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Speaker 1: What kind of a show you guys putting.

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Speaker 2: On here today?

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Speaker 3: You're not interested in art?

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Speaker 4: Now?

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Speaker 5: No, look, we're going to do this thing.

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Speaker 3: We're going to have a.

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Speaker 2: Conversation from Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 2: I'm Adam Kempinar.

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Speaker 1: And in for Josh this week, I'm Ayisha Harris.

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Speaker 4: I don't know why Dion's going out with the high

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Speaker 4: school boy.

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Speaker 1: They're like dogs.

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Speaker 6: You have to clean them and feed them.

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Speaker 4: They're just like these nervous creatures that jump and flab

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Speaker 4: all over.

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Speaker 1: You do all of.

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Speaker 2: Me this week on the show, Sharing the Gang from

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Speaker 2: Clueless R thirty and we've got a review. I better

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Speaker 2: not get a whatever from you. Aishaugh as If Adam

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Speaker 2: plus the top five movie quotes in our lexicon and more.

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Speaker 1: As far back as I can remember, I always wanted

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Speaker 1: to be a guest host on Film Spotting.

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Speaker 2: Ahead on Film Spotting.

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Speaker 7: This episode is brought to you by Peloton break through

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Speaker 7: the busiest time of year with the brand new Peloton

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Speaker 7: and go. Explore the new Peloton Cross training tread plus

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Speaker 7: at one peloton dot com.

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Speaker 2: Welcome to Film Spotting and welcome to the show. Aisha Harris,

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Speaker 2: of course from NPR's Pop Culture Happy Hour and the

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Speaker 2: author of Wanna Be Reckonings with the Pop Culture That

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Speaker 2: Shapes Me. It's great to have you back on the show. Aisha,

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Speaker 2: Thank you.

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Speaker 1: It's always a pleasure to be here with you and Sava.

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Speaker 1: Josh can't be here either, but happy to tick on

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Speaker 1: the reins this week.

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Speaker 2: Yeah, it's a gen X versus millennial movie quote showdown.

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Speaker 2: Greed is good verse, show me the money, inconceivable, verse

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Speaker 2: to infinity and beyond. The top five movie quotes in

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Speaker 2: our lexicon is where we landed, and what we mean

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Speaker 2: by that is, you know we're not going with I'll

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Speaker 2: make him an offer he can't refuse. It's not the

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Speaker 2: greatest all time movie quotes, though. You went gangster there

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Speaker 2: in the opening of the show. Maybe you're making a

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Speaker 2: lot of stern ultimatums and you're dropping Vito Corleone into

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Speaker 2: your everyday speech. I don't know Ayisha.

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Speaker 1: Yeah, maybe maybe I do quote Goodfellas a lot. I

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Speaker 1: will say, then I'm not a mafia person at all.

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Speaker 2: But no, you know, you can find a way.

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Speaker 1: There's always a way.

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Speaker 2: The fun part of this is that unless you're regularly

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Speaker 2: hanging out with people who grew up on the same

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Speaker 2: movies you did, you often find yourself quoting from movies

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Speaker 2: and the people you're quoting them around don't know what

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Speaker 2: you're referencing, and they just stare back at you blankly.

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Speaker 2: Since we do come from different generations, that might be

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Speaker 2: the case with this top five. We're abusing ourselves while

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Speaker 2: the other person looks back at us blankly. We'll have

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Speaker 2: to see what happens.

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Speaker 1: Yeah, it's quite possible. I'm I will say though, as

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Speaker 1: a preview, my list does kind of hop over multiple decades.

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Speaker 1: So I'm just going to say it's I.

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Speaker 2: Wish I did I have. I'm gonna go ahead and

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Speaker 2: say this. Now, this was not by design, obviously, I

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Speaker 2: would never intend to do this. I have three choices

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Speaker 2: from the same year. Oh interesting, somehow that ended up happening,

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Speaker 2: I don't know.

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Speaker 4: Ye.

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Speaker 2: We will also play Massacre Theater and more, but first

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Speaker 2: we take another look at Clueless for its thirtieth anniversary.

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Speaker 2: The movie came to theaters in July nineteen ninety five,

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Speaker 2: with writer director Amy Heckerlin returning to the la High

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Speaker 2: School scene of her nineteen eighty two breakthrough Fast Times

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Speaker 2: at Ridgemont High. The story is Heckerlin's riff on Jane

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Speaker 2: Austen's Emma with Alsia Silverstone shared the busybody it girl

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Speaker 2: of the fictional Bronson Alcott High School, another nod to

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Speaker 2: nineteenth century women's lit heroes. Bronson Alcott was the father

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Speaker 2: of Louisa May Alcott. The young cast was largely unknown.

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Speaker 2: Silverstone was the girl from the Aerosmith videos. It was

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Speaker 2: Paul Rudd's first film of note, and Britney Murphy's debut.

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Speaker 2: Clueless made a respectable fifty six million at the box office,

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Speaker 2: good enough to be the thirty second highest grosser of

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Speaker 2: ninety five, putting it in the company of films like

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Speaker 2: Terry Gilliam's Twelve Monkeys, the Sabrina remake with Harrison Ford,

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Speaker 2: and the Sandra Bullock thriller The Net, but its pop

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Speaker 2: culture impact was much greater. Remember movie soundtracks, Ayisha, there's

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Speaker 2: a pretty good ones, right this is one of them.

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Speaker 1: This is one of them.

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Speaker 2: Yeah. The Clueless soundtrack went platinum, selling over a million copies,

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Speaker 2: featuring the likes of Radiohead, Counting Crows, the Beastie Boys,

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Speaker 2: and Coolio who wasn't rolling with the Homies back in

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Speaker 2: ninety five? Silverstone made the cover of Rolling Stone in

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Speaker 2: September ninety five, And then there were the clothes and

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Speaker 2: the quotable lines.

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Speaker 8: Would you look at that girl?

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Speaker 4: She is so adorably clue.

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Speaker 1: We've got to adopt her share.

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Speaker 2: She is toe up our stock with plummet.

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Speaker 4: Don't you want to use your popularity for a good cause? No?

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Speaker 4: Come here, yeah, come here, hang with us?

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Speaker 1: Oh thank you. How do you like California?

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Speaker 4: Mea, I'm freaking I can really use some sort of

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Speaker 4: a horrible refreshment.

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Speaker 2: Oh well, we do lunch in ten minutes.

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Speaker 7: We don't have any tea, but we have coke and stuff.

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Speaker 2: Oh shit, you guys got coke here?

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Speaker 6: Oh yeah, yeah, this is America.

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Speaker 2: It's from a TV show, but a now ubiquitous pop

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Speaker 2: culture quote that I'm guessing we've both caught ourselves using

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Speaker 2: once or twice or one hundred times. Ayisha is hello,

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Speaker 2: fellow kids. Steve Mushmi undercover and hilariously out of place

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Speaker 2: as a high school student in a thirty rock cutaway.

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Speaker 2: It's the perfect shorthand for those moments when you're painfully

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Speaker 2: aware that you're trying to pull off some slang or

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Speaker 2: trend the cool kids they're using, except well, you're not

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Speaker 2: one of them. Maybe never were. Amy Heckerlein might have

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Speaker 2: been one of the cool kids. She was certainly one

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Speaker 2: of the coolest directors, coming off her debut what has

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Speaker 2: to be the definitive high school movie, or at least

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Speaker 2: the definitive high school sex comedy, nineteen eighty two's Fast

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Speaker 2: Times at Ridgemont High. That one was written by an

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Speaker 2: undercover Cameron Crowe, who really did blend in for a

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Speaker 2: year as a student at Claremont High in San Diego.

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Speaker 2: Heckerlein is a boomer, not in the urban dictionary sense.

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Speaker 2: She's a literal baby boomer making a movie about gen xers,

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Speaker 2: But at twenty eight, she might have felt more like

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Speaker 2: an older sister or aunt to someone like Jennifer Jason Lee,

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Speaker 2: who was playing fifteen year old Stacy. Fast forward to Clueless,

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Speaker 2: our heroine cher Horowitz is still a teenager, but when

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Speaker 2: principal photography began in November nineteen ninety four. Heckerlin was

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Speaker 2: forty even with her high school movie Bona Fides and

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Speaker 2: spending some time sitting in at Beverly Hills High. What

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Speaker 2: gave her the confidence to think she could not only

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Speaker 2: capture the idioms and expressions of mid nineties teens, but

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Speaker 2: possible new ones that would become part of the culture

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Speaker 2: was Clueless, not a giant ship headed straight for a

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Speaker 2: Hello fellow kids, Iceberg, and yet Heckerlane navigated around it effortlessly. Aisha,

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Speaker 2: tell me, and you can take these in any order.

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Speaker 1: Yeah.

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Speaker 2: Do you have a favorite bit of slang or a

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Speaker 2: favorite Clueless quip? What's your relationship to Clueless? Neither of

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Speaker 2: us was likely their opening weekend in the theater when

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Speaker 2: it came out. I was the same age as Paul

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Speaker 2: Rudd's Josh and also very much into Complaint Rock, as

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Speaker 2: Sharon derisively dubs it, which made me about seven years

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Speaker 2: younger than Paul Rudd actually was. You might have had

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Speaker 2: a jeep like Shares, but it was one of those

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Speaker 2: sidewalk cruisers like my daughter Olivia drives it tops out

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Speaker 2: of two miles per hours. Yeah. So when did you

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Speaker 2: first see Clueless? And what did you make of it?

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Speaker 2: And finally, how did Heckerlane pull this off?

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Speaker 1: Oh Man, Well, okay, I guess I will start with

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Speaker 1: how I first encountered it. So I was seven when

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Speaker 1: this movie came out, and I remember being in the

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Speaker 1: movie theater for some movie. I can't remember what it

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Speaker 1: would it since it came out in ninety five. It

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Speaker 1: might have been something like cast for The Friendly Ghost,

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Speaker 1: I don't know. I was seeing something in the theater

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Speaker 1: and I remember seeing the trailer and being like, oh,

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Speaker 1: I really want to see this movie. But I was

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Speaker 1: seven and my parents were very strict no movies, no

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Speaker 1: PG thirteen movies until you're thirteen, Like that was a

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Speaker 1: hard and fast role that they pretty much always stuffed by.

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Speaker 1: So my first encounter with this movie was actually the

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Speaker 1: TV show that aired not too long after the movie

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Speaker 1: came out. It did not have Alicia Silverstone in the

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Speaker 1: lead role that was played by Rachel Blanchard, but a

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Speaker 1: lot of the other cast members, including Stacy Dash and

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Speaker 1: Donald Faison, were in that show. So I watched that show.

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Speaker 1: I remember I didn't have a soundtrack, but it was

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Speaker 1: kind of like I had friends who had the soundtrack,

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Speaker 1: and also I did my parents did buy me the

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Speaker 1: CD ROM, the Clueless CD RAM, which I think was

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Speaker 1: also based off the TV show where you got to

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Speaker 1: like give characters makeovers and also like file through Shar's

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Speaker 1: virtual closet.

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Speaker 2: Share.

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Speaker 1: Yeah. Yeah, So it was probably not until several years

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Speaker 1: later when I could have actually like actually understood the

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Speaker 1: movie that I actually saw the movie and it became

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Speaker 1: such a touch, like I you know, and again, all

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Speaker 1: of my friends had much more lenient parents, so I

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Speaker 1: knew the slang, the as if and all that from them.

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Speaker 1: But when I finally saw it, it was just one

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Speaker 1: of those movies. It is fascinating to think that Amy

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Speaker 1: Heckerlin is like the same age as my parents and

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Speaker 1: she made this movie. It's like my parents were not

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Speaker 1: at all right tip to what was going on. Especially

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Speaker 1: you know, Amy Hecklin is from the East Coast, She's

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Speaker 1: not from calif So it's not just about her age,

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Speaker 1: but she's also coming at it from like a I

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Speaker 1: am not from this culture in a way, and I

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Speaker 1: think what she she had a really keen eye for

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Speaker 1: understanding how to draw characters and make characters who yes,

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Speaker 1: they have slang yes, they sound like I think some

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Speaker 1: teenagers sounded like but at the time. But also this

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Speaker 1: is based off of Emma, the Jane Austin book, And

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Speaker 1: when you start with a piece of fiction that can

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Speaker 1: easily translate across multiple generations, I think that makes it

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Speaker 1: easier to create, to find an end to that kind

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Speaker 1: of character design. So I don't know, it's not everyone

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Speaker 1: has that talent, because there are plenty of examples of

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Speaker 1: the how do you do fellow kids that I can

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Speaker 1: think of, where it's like, what are we doing here?

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Speaker 1: And to be fair, a lot of the characters in

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Speaker 1: this film, or the performers in this film were not

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Speaker 1: do they do not look like they are in high

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Speaker 1: schoo and they definitely weren't. Stacy Dash was thirty or

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Speaker 1: close to thirty. I mean she looks great, and she

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Speaker 1: looks convincingly like a young girl.

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Speaker 2: Still was at least eighteen.

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Speaker 1: I think, yeah, she was a teenager, and Brittany Murphy

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Speaker 1: was as well. But it is interesting to see some

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Speaker 1: of the older the other people in the cast and like,

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Speaker 1: you were clearly not in high school. You were far

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Speaker 1: past high school. Even Paul Rudd seemed a little too

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Speaker 1: old for being you know, just about to graduate from college.

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Speaker 1: But yeah, it's a special skill, I think, and amyor

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Speaker 1: Heckelin is one of the few people who was able

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Speaker 1: to do that.

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Speaker 2: Yeah, clearly she does have it. Before I jump in here,

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Speaker 2: what about a favorite favorite line or particular phrase? Do

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Speaker 2: you have one?

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Speaker 1: Oh? Okay? So I was torn because I was thinking

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Speaker 1: about are the quote list that we have coming up?

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Speaker 1: But this is not on my list and it's not

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Speaker 1: giving it in a way. But I feel as though

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Speaker 1: the moment that I love still is when Ty played

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Speaker 1: by Brittany Murphy, is really upset with Schaer and she's like,

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Speaker 1: why have I even listening to you? To begin with?

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Speaker 1: You're a virgin who can't drive?

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Speaker 2: Who can't drive?

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Speaker 1: And then the way burn a burn, and then Brittany

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Speaker 1: Murphy just does this like smirk where she cocks her

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Speaker 1: head and her like her eyebrow. It's like the perfect look.

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Speaker 1: It's like I got you, I got you. And then,

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Speaker 1: of course, you know, SHARE's response is that's way harsh, Tie,

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Speaker 1: And I do say that was way harsh Ty quite

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Speaker 1: a bit.

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Speaker 2: Do you.

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Speaker 1: I can see that well mention on my list?

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Speaker 2: I saw a bit of trivia somewhere that supposedly Britney Murphy.

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Speaker 2: For the rest of her too short life, that was

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Speaker 2: the line she heard the most created back to her.

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Speaker 2: People said that back to her all the time, and

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Speaker 2: it was on many lists of the most iconic insults

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Speaker 2: ever in movies. And I think that's one of her

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Speaker 2: best moments, yeah, in this film, and I think it's

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Speaker 2: one of Silverstone's best moments in the film as well,

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Speaker 2: in terms of her response to that. I think my

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Speaker 2: my favorite line. It's two that are competing with each other.

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Speaker 2: Surprisingly enough, maybe Dan Hidea has one of the best

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Speaker 2: equips in the movie playing Cher's dad, and it's when

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Speaker 2: when Christian comes over and he's just being He's just

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Speaker 2: being that kind of smug jirk that he is, you know,

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Speaker 2: and he turns to him and says, do you think

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Speaker 2: the death of Sammy Davis us left an opening in

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Speaker 2: the rat pack? It's so perfect. But then, of course

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Speaker 2: Cher has one of the best lines when when Josh

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Speaker 2: in total seriousness, says he's talking about some fundraising event

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Speaker 2: and he says, we might get Marky Mark to plant

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Speaker 2: a celebrity tree, and she says, oh, how fabulous getting

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Speaker 2: Marky Mark to take time from his busy pants dropping

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Speaker 2: schedule to plant trees. And it's the delivery, but it's

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Speaker 2: it's the humor. It's the the wit of those lines,

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Speaker 2: right that that make this movie so good and make

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Speaker 2: it still so good. And kind of going back to

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Speaker 2: my question, I think you said it clearly, she has

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Speaker 2: a talent. You know, this isn't This isn't a perfect analogy.

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Speaker 2: I couldn't come up with a perfect analogy. Clearly the

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Speaker 2: math doesn't check out here. And also, Amy Heckerling is

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Speaker 2: far more talented than me. And I also didn't make

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Speaker 2: a movie like Fast Times the original Am on High.

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Speaker 2: But it's sort of like if I decided, you know,

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Speaker 2: I'm just gonna I'm gonna follow my two high school

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Speaker 2: age sons around for a year and pay attention to

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Speaker 2: Minecraft and YouTube, and then I'm gonna make I'm gonna

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Speaker 2: try to make the definitive like YouTube movie. I would

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Speaker 2: never do that. There's no way I would feel like

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Speaker 2: I could authentically capture that. And yet Heckerling did it.

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Speaker 2: She did it somehow with Fast Times and Clueless, Heckerleen

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Speaker 2: cements her status is one of gen X's pre eminent chroniclers,

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Speaker 2: bridging the cultural chasm between the early eighties and mid

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Speaker 2: nineties high school experience with un Hanny wit, style and charm,

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Speaker 2: and it is this huge cultural chasm. It's hard to

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Speaker 2: think about that those kids that we see represented in

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Speaker 2: Fast Times in the kids we see represented in Clueless

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Speaker 2: are technically, for whatever credence we give to these generational categories,

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Speaker 2: they are the same generation. They are gen xers. Technically

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Speaker 2: they are from the same generation, just on the early

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Speaker 2: end and the back end, and yet they do feel

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Speaker 2: like they are from completely different generations. And I think

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Speaker 2: the wit is a huge part of the success of

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Speaker 2: this film, and I think it does harken back to

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Speaker 2: the source material that she is invoking and the way

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Speaker 2: she uses some of that language, certainly, But I also

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Speaker 2: think a big difference between this and something like Fast

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Speaker 2: Times too, is there's an element that you would not

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Speaker 2: have or you don't see on display in Fast Times

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Speaker 2: because it's something we didn't think about in the eighties.

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Speaker 2: I don't feel like this was a term that ever

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Speaker 2: got thrown around in the eighties, and by the time

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Speaker 2: we get to the mid nineties, a film like this

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Speaker 2: had to have it. And it's irony self awareness, right

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Speaker 2: and from the opening of this movie, you know that

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Speaker 2: that's going to be a key element of the movie

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Speaker 2: and a key part of its success. It's actually odd that,

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Speaker 2: or it struck me as odd this time watching it,

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Speaker 2: that the first bit of music that we hear is

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Speaker 2: kids in America.

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Speaker 1: Oh my God, Why yes, Yes.

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Speaker 2: Kids in America is more like a song we might

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Speaker 2: hear in Fast Times at Ridgemont High. It's from nineteen

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Speaker 2: eighty one. At least from a timing standpoint, it's more

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Speaker 2: appropriate to Fast Times. But with that frenetic cutting and everything,

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Speaker 2: it feels like a commercial from the mid nineties. And

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Speaker 2: sure enough what happens in the voiceover share comes on

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Speaker 2: and points out, you guys are probably thinking this is

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Speaker 2: a Noxima commercial, so you realize that that, yes, that's

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Speaker 2: what it feels like. The rest of the movie doesn't

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Speaker 2: feel like this at all. This isn't really the kind

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Speaker 2: of music. Even I don't know if I necessarily need

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Speaker 2: to read it as Heckerlan critiquing the song showing but

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Speaker 2: it is almost as if she's saying, this isn't really

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Speaker 2: the music the kids today are listening to. It is

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Speaker 2: like the music that maybe advertisers think reflects the kids

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Speaker 2: of today, kids in America. This is what kids are like.

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Speaker 2: This is how they would shoot this, this is the

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Speaker 2: soundtrack to it, this is how they would edit it.

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Speaker 2: And so right away you understand that this movie is

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Speaker 2: going to be very self aware. That Share is in

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Speaker 2: on the joke, everybody's in on the joke. Heckerlin's certainly

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Speaker 2: in on it, And it's going to be impossible to

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Speaker 2: hate any of these characters, even though Share is certainly

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Speaker 2: a character, and some of our friends are certainly characters

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Speaker 2: who could reasonably be called snobs, and many of them

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Speaker 2: are characters who a lot of us, probably in high school,

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Speaker 2: would have thought were snobs and would have been intimidated by.

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Speaker 2: But we don't feel that way about them. And that

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Speaker 2: self awareness and that irony extends to all of the

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Speaker 2: pop culture references. Right, the fact that the names of

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Speaker 2: the characters are Share in Dion, and there's references to

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Speaker 2: I can I can tein a Turner. Even if you

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Speaker 2: don't necessarily believe Share, maybe understands that reference fully. Yeah, right,

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Speaker 2: And how about Murray in that great scene where he's

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Speaker 2: explaining that street slang is an increasingly valid form of expression.

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Speaker 2: You know, there's just this clear sense of artifice. Yeah,

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Speaker 2: and like the world of Austin High School has its

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Speaker 2: own rules and customs and language, and everyone is just

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Speaker 2: kind of putting on airrs to some extent and it works.

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Speaker 1: D So did you get your poor cards?

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Speaker 7: Yeah, I'm a toast. How'd you do?

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Speaker 1: I totally choked.

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Speaker 2: My father is gonna go ballistic on me.

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Speaker 7: Mister Hall was way harsh.

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Speaker 1: He gave me a C minus.

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Speaker 2: Well, he gave me a sea, which drives on my

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Speaker 2: entire average.

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Speaker 4: But I'll call you okay.

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Speaker 1: The language is so so crucial, and both from like

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Speaker 1: a dialogue if we're talking about the like dialogue specifically,

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Speaker 1: but also the cultural language that she Amy Heckling is

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Speaker 1: really tapping into, I think kids in America, which, by

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Speaker 1: the way, when I was watching it this time, I

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Speaker 1: hadn't watched Clueless since before Barbie seeing the Barbie movie,

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Speaker 1: and I realized this sounds very similar to I'm Just Ken.

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Speaker 1: Trust me go back and listen to that song and

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Speaker 1: then listen to it I'm Just Ken and the verses

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Speaker 1: I have some similar melodic tones going on there, and

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Speaker 1: I was like, is this inspired? I googled No, one

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Speaker 1: seems to have picked up on this. Maybe it's just me,

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Speaker 1: but it sounds I was like, this sounds like I'm

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Speaker 1: just ken. But I do love the way that this

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Speaker 1: movie sort of like she's picking a very specific type

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Speaker 1: of teenager. And I think that's part of what makes

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Speaker 1: this movie work. It's a not like most people did

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Speaker 1: not talk like share in Dion before this movie came out.

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Speaker 1: This is she's owning it on like a very small

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Speaker 1: percentage of the teenage population. But within that there are

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Speaker 1: so many references that cross multiple generations, multiple timelines, and

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Speaker 1: it really shows that these these characters, even though they

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Speaker 1: are very much in their own insular worlds and maybe

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Speaker 1: they don't fully understand everything that does not directly apply

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Speaker 1: to them, they do still have some media literacy and

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Speaker 1: like understanding of what like things that came before them

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Speaker 1: and how they play into who they are now. One

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Speaker 1: of my other favorite lines is like searching for a

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Speaker 1: boy in high school is as useless as searching for

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Speaker 1: meaning in a poly Shore movie. Look that does it

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Speaker 1: date that movie? Yes, someone watching Clueless today who's maybe

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Speaker 1: fifteen or sixteen probably has a new idea who Polyshore is. Right,

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Speaker 1: But you can understand just by the way that that

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Speaker 1: line is written. It's it's kind of it's sort of

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Speaker 1: like Shakespeare. It's like when you say it in a

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Speaker 1: certain way, when you frame it a certain way, you're

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Speaker 1: going to understand it, regardless of the time or how

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Speaker 1: old you are. And I think that's what's so great

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00:21:03,680 --> 00:21:06,960
Speaker 1: about this movie is that all of these characters feel real,

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00:21:07,480 --> 00:21:10,639
Speaker 1: and all these characters they are saying lines, and they

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Speaker 1: are saying things that feel as though they understand what

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Speaker 1: they're saying. Yes, and this movie is responsible for bringing

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Speaker 1: an entire lexicon into the culture. And I think that's

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Speaker 1: another reason why Amy Heckling was able to get away

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Speaker 1: with it, right, is that, yes, she was pulling from

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Speaker 1: some parts of teenage culture, but really she was also

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Speaker 1: bringing it to the rest of us who did not

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Speaker 1: grow up in the Valley or in Beverly Hills or wherever. Yes,

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Speaker 1: it just it just feels both like culturally specific but

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Speaker 1: also culturally enlarging, if that makes sense.

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Speaker 2: It makes total sense. Yeah, Yeah, we couldn't be We

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Speaker 2: couldn't be more in sync. It's one of those perfect

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Speaker 2: examples where the more specific it is, the more universal

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Speaker 2: it feels. Because of how specific it is, because of

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Speaker 2: how to its period it feels the more time specific,

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Speaker 2: actually the more timeless. I think it does feel what

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Speaker 2: it gets right about the high school experience and in

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Speaker 2: some cases to your point, I had this line in

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Speaker 2: my notes here as well, Aisha. What it says specifically

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Speaker 2: maybe about the female high school experience, right, but also

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Speaker 2: more broadly about the high school experience across generations. Even

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Speaker 2: if it's dated, it's actually okay. So for example, everybody

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Speaker 2: in this movie is distracted by what they're wireless phones,

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Speaker 2: and we can laugh at it. We can laugh at

427
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Speaker 2: the fact that they're on these monstrosities right where we're

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Speaker 2: all now carrying around these computers right on our smartphones

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Speaker 2: and they're so much more powerful, and it's kind of hilarious.

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Speaker 2: But it's the same. It's really no different. We're all

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Speaker 2: just walking around distracted by electronic devices. So the technology changes,

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Speaker 2: but the distraction part of it hasn't really changed. The

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Speaker 2: technology of you know, in the setup I referenced the

434
00:23:05,040 --> 00:23:08,400
Speaker 2: net coming out around the same time or whatever. Yeah,

435
00:23:08,720 --> 00:23:11,639
Speaker 2: and we laugh at that movie now for how dated

436
00:23:11,720 --> 00:23:15,000
Speaker 2: that technology looks. How dated is the technology of share

437
00:23:15,160 --> 00:23:18,040
Speaker 2: waking up that first day and picking out or outfit,

438
00:23:18,400 --> 00:23:23,480
Speaker 2: just the the the archaic nature of the of that technology.

439
00:23:23,680 --> 00:23:26,760
Speaker 2: But what do we have now? We have apps. We

440
00:23:26,880 --> 00:23:30,280
Speaker 2: have apps where I am sure that there are young

441
00:23:30,480 --> 00:23:33,440
Speaker 2: women and perhaps young men are who are waking up

442
00:23:33,880 --> 00:23:38,560
Speaker 2: and choosing their outfit just by looking at themselves and

443
00:23:38,600 --> 00:23:40,640
Speaker 2: seeing how they look in that outfit on that phone,

444
00:23:40,760 --> 00:23:43,480
Speaker 2: or they are trying on those outfits and they are

445
00:23:43,720 --> 00:23:48,000
Speaker 2: sending pictures via Snapchat or whatever to their friends and

446
00:23:48,040 --> 00:23:50,680
Speaker 2: getting feedback, or they're putting it out to their followers

447
00:23:50,760 --> 00:23:53,800
Speaker 2: and getting feedback in real time and deciding what they're

448
00:23:53,800 --> 00:23:56,399
Speaker 2: going to wear. So again, the technology has changed, how

449
00:23:56,440 --> 00:24:00,520
Speaker 2: they're using it's change, but overall the purpose of it

450
00:24:00,680 --> 00:24:04,680
Speaker 2: and the need for it hasn't really changed at all.

451
00:24:04,800 --> 00:24:07,520
Speaker 2: And even the part too that reminded me, you know

452
00:24:07,560 --> 00:24:09,240
Speaker 2: what I wrote in my notes was, you know, every

453
00:24:09,280 --> 00:24:12,399
Speaker 2: generation kind of gets the breakfast club it deserves. And

454
00:24:12,440 --> 00:24:15,760
Speaker 2: we have the scene here where they're showing tie around

455
00:24:15,840 --> 00:24:17,680
Speaker 2: and they're saying, okay, you know, that's where the load

456
00:24:17,680 --> 00:24:22,320
Speaker 2: ees are and they're showing whereas are the Persian mafia.

457
00:24:22,560 --> 00:24:25,679
Speaker 2: So that's more different than you know, all the different

458
00:24:25,680 --> 00:24:29,760
Speaker 2: clicks that are on display on detention in the breakfast club.

459
00:24:29,800 --> 00:24:33,080
Speaker 2: And we've seen different versions and vary over the years,

460
00:24:33,119 --> 00:24:36,199
Speaker 2: right ingols has to do so the names change, but

461
00:24:36,240 --> 00:24:40,600
Speaker 2: they don't. The groups really don't change. The divisions, the

462
00:24:40,760 --> 00:24:44,520
Speaker 2: types of divisions, the fact that there are divisions, those

463
00:24:44,600 --> 00:24:47,640
Speaker 2: don't change. Those are universal to the high school experience.

464
00:24:47,680 --> 00:24:51,480
Speaker 2: So that's what Heckerline gets right. She gets the specifics right,

465
00:24:51,520 --> 00:24:52,960
Speaker 2: she gets the details right.

466
00:24:53,320 --> 00:24:56,879
Speaker 1: Yeah. One thing I always am struck by, especially the

467
00:24:56,920 --> 00:25:00,680
Speaker 1: older I get whenever I return to this movie is,

468
00:25:01,320 --> 00:25:03,360
Speaker 1: you know, for all of the great things about it.

469
00:25:03,400 --> 00:25:05,720
Speaker 1: And I don't think this is necessarily a fault of

470
00:25:05,760 --> 00:25:09,920
Speaker 1: the movie per se, but it is noticeable even more

471
00:25:09,960 --> 00:25:13,720
Speaker 1: every time I watch it, of how just ingrained this

472
00:25:13,800 --> 00:25:17,680
Speaker 1: idea of diet culture is in the film, and it's

473
00:25:17,840 --> 00:25:20,199
Speaker 1: it's so true to the time of the nineties, but

474
00:25:20,200 --> 00:25:23,520
Speaker 1: it's also very true of now where you know, there's

475
00:25:23,800 --> 00:25:27,200
Speaker 1: so many scenes where Cher and Dionne are talking about

476
00:25:27,200 --> 00:25:30,760
Speaker 1: their weight, a lot of like dieting and eating disorder talk.

477
00:25:31,200 --> 00:25:33,480
Speaker 1: But at the same time, like, I'm glad it exists

478
00:25:33,520 --> 00:25:36,360
Speaker 1: because it does make it feel like a time capsule.

479
00:25:37,560 --> 00:25:39,800
Speaker 1: You know, I think today if it were made, this

480
00:25:39,880 --> 00:25:43,080
Speaker 1: movie were made, you know, Amy Heckeling would probably be

481
00:25:43,119 --> 00:25:46,200
Speaker 1: called out for not being more critical of that kind

482
00:25:46,280 --> 00:25:50,760
Speaker 1: of culture, but again, that wasn't that wasn't where we

483
00:25:50,760 --> 00:25:54,080
Speaker 1: were at then. Like then was absolutely in a way

484
00:25:54,119 --> 00:25:58,520
Speaker 1: that it is sadly coming back today now, but especially

485
00:25:58,560 --> 00:26:01,520
Speaker 1: back then, I just remember, like I'm obsessed with, you know,

486
00:26:02,720 --> 00:26:06,000
Speaker 1: not eating or starving yourselves, and that was what even

487
00:26:06,040 --> 00:26:07,879
Speaker 1: as a seven year old kid, like, those were the

488
00:26:07,920 --> 00:26:11,000
Speaker 1: sort of images I was used to seeing and it

489
00:26:11,080 --> 00:26:13,240
Speaker 1: was just really interesting to see. That's like another thing

490
00:26:13,720 --> 00:26:17,440
Speaker 1: for me that that both puts it in that time

491
00:26:17,440 --> 00:26:20,600
Speaker 1: period but also just feels kind of evergreen and relatable. Sadly,

492
00:26:22,080 --> 00:26:24,359
Speaker 1: but do you have that And then of course you

493
00:26:24,400 --> 00:26:28,760
Speaker 1: have Christian, who is so obviously gay to anyone over

494
00:26:28,800 --> 00:26:32,320
Speaker 1: the age of I don't know, fifteen, maybe you would

495
00:26:32,320 --> 00:26:37,000
Speaker 1: you would expect that quote you already mentioned about Samy Davish, like,

496
00:26:37,040 --> 00:26:39,480
Speaker 1: I love that Christian who's played by Justin Walker. He

497
00:26:39,560 --> 00:26:43,520
Speaker 1: dresses like Geen Kelly, talks like Sammy Davis Junior, but

498
00:26:43,640 --> 00:26:46,800
Speaker 1: yet like for a movie in the nineteen nineties, in

499
00:26:46,840 --> 00:26:51,560
Speaker 1: the mid nineteen nineties, he's treated like like his sexuality

500
00:26:51,640 --> 00:26:54,239
Speaker 1: is not a joke at least in the sense it's

501
00:26:54,280 --> 00:26:56,840
Speaker 1: a joke because Shares seems to be the only one

502
00:26:56,840 --> 00:27:02,159
Speaker 1: who doesn't see exactly but like he is like his

503
00:27:02,600 --> 00:27:05,840
Speaker 1: like when she finds out she doesn't, she's not mean

504
00:27:05,840 --> 00:27:08,199
Speaker 1: to him. In fact, we see the scene where he

505
00:27:08,280 --> 00:27:11,840
Speaker 1: saves Tie from those those boys at the mall, like

506
00:27:11,920 --> 00:27:15,880
Speaker 1: he's seen as like both like very flamboyant and feminine,

507
00:27:15,920 --> 00:27:18,600
Speaker 1: but also able to stand up for himself and for

508
00:27:18,640 --> 00:27:21,600
Speaker 1: other people. And I think Christian just feels like such

509
00:27:21,640 --> 00:27:28,720
Speaker 1: a nice progressive for that time character that especially in

510
00:27:28,800 --> 00:27:30,880
Speaker 1: an age of like you know, Ace Fincher and all

511
00:27:30,880 --> 00:27:34,520
Speaker 1: these like you know, constant homophobia in movies when you

512
00:27:34,560 --> 00:27:36,760
Speaker 1: go back and watch them from that era, in transphobia,

513
00:27:37,440 --> 00:27:40,199
Speaker 1: it's nice to see that in a movie like this.

514
00:27:40,280 --> 00:27:41,680
Speaker 1: It doesn't taint it in a way.

515
00:27:42,040 --> 00:27:44,080
Speaker 4: Dee, I almost have sex with him?

516
00:27:44,400 --> 00:27:51,399
Speaker 1: You almost had sex with whom Christian? What yo?

517
00:27:51,520 --> 00:27:51,720
Speaker 4: Look?

518
00:27:51,880 --> 00:27:53,159
Speaker 1: Are you blind to something?

519
00:27:54,000 --> 00:27:54,320
Speaker 3: You make?

520
00:27:54,480 --> 00:27:55,680
Speaker 1: Christian is a cake boy?

521
00:27:56,280 --> 00:27:59,920
Speaker 5: What he's a disco dance and Oscar wail reading straws

522
00:28:00,200 --> 00:28:02,000
Speaker 5: tin can holding friend of Dorothy know what I'm saying.

523
00:28:03,359 --> 00:28:08,480
Speaker 7: No way, he's kay. Yes, even he does like to

524
00:28:08,520 --> 00:28:10,600
Speaker 7: shop shift and the boy can dress.

525
00:28:11,000 --> 00:28:13,040
Speaker 3: Oh my god, I'm totally bugging.

526
00:28:13,480 --> 00:28:16,240
Speaker 2: Really, more than anything, that character serves the fact that

527
00:28:16,359 --> 00:28:20,359
Speaker 2: for all of her self assuredness and confidence, it shows

528
00:28:20,359 --> 00:28:24,800
Speaker 2: how clueless or reinforces how clueless really that that share

529
00:28:24,880 --> 00:28:26,680
Speaker 2: character is. I wanted to go back to the poly

530
00:28:26,760 --> 00:28:29,639
Speaker 2: shoreline for a second, because that was something that really

531
00:28:29,680 --> 00:28:33,040
Speaker 2: resonated with me this time. That back when I saw

532
00:28:33,040 --> 00:28:36,280
Speaker 2: this movie as a college boy for the first time

533
00:28:36,480 --> 00:28:40,360
Speaker 2: did not did not click with me. I think about

534
00:28:40,480 --> 00:28:44,440
Speaker 2: now how truly clueless I was in high school, and

535
00:28:44,480 --> 00:28:50,120
Speaker 2: how it's just accepted science biological fact the girls mature

536
00:28:50,160 --> 00:28:53,920
Speaker 2: faster than boys. And I'm thinking about how anybody who

537
00:28:54,400 --> 00:28:58,600
Speaker 2: regularly listens to this show will remember the wisdom of

538
00:28:58,640 --> 00:29:01,480
Speaker 2: Ethan Hawk in my interview with him, where he was

539
00:29:01,520 --> 00:29:05,360
Speaker 2: talking about how fathers shouldn't be over protective of their daughters.

540
00:29:05,400 --> 00:29:07,960
Speaker 2: They need to let them make mistakes when they're young

541
00:29:08,080 --> 00:29:13,160
Speaker 2: and break hearts and get their hearts broken. And that's great,

542
00:29:13,760 --> 00:29:16,240
Speaker 2: But I also don't know how many of us open

543
00:29:16,320 --> 00:29:20,280
Speaker 2: minded dads like the idea of our high school daughters

544
00:29:20,320 --> 00:29:24,280
Speaker 2: necessarily dating college guys. But man, when you hear a

545
00:29:24,280 --> 00:29:26,360
Speaker 2: line like that and you think about it, you really

546
00:29:26,400 --> 00:29:29,280
Speaker 2: think about it. I wonder how many high school girls,

547
00:29:29,280 --> 00:29:32,040
Speaker 2: and maybe, Ayisha, you can tell me your own perspective,

548
00:29:32,200 --> 00:29:35,480
Speaker 2: I wonder how many high school girls felt, not just

549
00:29:35,560 --> 00:29:39,240
Speaker 2: as a joke, as a witty line, actually felt the

550
00:29:39,320 --> 00:29:44,400
Speaker 2: same way shared it that being surrounded by these moronic

551
00:29:45,160 --> 00:29:49,440
Speaker 2: boys every day in high school really felt like such

552
00:29:49,480 --> 00:29:53,280
Speaker 2: a futile way to live, you know that, like, what

553
00:29:53,320 --> 00:29:58,600
Speaker 2: are we doing here? This is such a hollow experience

554
00:29:58,760 --> 00:30:02,160
Speaker 2: every day. I have never thought of it before until this,

555
00:30:02,440 --> 00:30:03,440
Speaker 2: until this revisit.

556
00:30:03,840 --> 00:30:08,640
Speaker 1: Oh yes, it resonates so well. I definitely by the

557
00:30:08,680 --> 00:30:11,960
Speaker 1: time you're you know, junior year, maybe senior year, that's

558
00:30:12,000 --> 00:30:15,360
Speaker 1: when you're like, okay, I've I've explored the territory now

559
00:30:15,440 --> 00:30:17,520
Speaker 1: and I want to see what, Like, there's got to

560
00:30:17,560 --> 00:30:20,600
Speaker 1: be something better than this. And that was true for

561
00:30:20,640 --> 00:30:22,600
Speaker 1: me both in high school and in college. By the

562
00:30:22,600 --> 00:30:24,720
Speaker 1: time I was you know, I was like, okay, this

563
00:30:25,280 --> 00:30:29,080
Speaker 1: I need to the pool needs to be expanded, we

564
00:30:29,120 --> 00:30:33,000
Speaker 1: need to go into the deeper end. And but at

565
00:30:33,000 --> 00:30:37,120
Speaker 1: the same time, yes, girls tend to mature or at

566
00:30:37,200 --> 00:30:40,800
Speaker 1: least half too mature, faster than boys for many reasons

567
00:30:40,800 --> 00:30:44,600
Speaker 1: outside of our control in some ways, but I think

568
00:30:45,920 --> 00:30:48,360
Speaker 1: what's so great about this movie is the fact that

569
00:30:48,840 --> 00:30:52,960
Speaker 1: you know, Chaer thinks she's ready for you know, someone older,

570
00:30:53,000 --> 00:30:54,560
Speaker 1: and I guess she does end up with Josh at

571
00:30:54,600 --> 00:30:57,600
Speaker 1: the end, which you know, still very weird plotline but whatever.

572
00:30:58,120 --> 00:30:59,880
Speaker 2: It is very.

573
00:31:01,400 --> 00:31:05,920
Speaker 1: But but like she she's not as emotionally mature I

574
00:31:05,960 --> 00:31:09,000
Speaker 1: think as she thinks she is. She's definitely smarter than

575
00:31:09,040 --> 00:31:10,800
Speaker 1: most people want to give her credit for, and I

576
00:31:11,240 --> 00:31:13,440
Speaker 1: love that about her. She is, you know, the she

577
00:31:13,600 --> 00:31:17,240
Speaker 1: is the I feel weird calling her a bimboo because

578
00:31:17,240 --> 00:31:19,160
Speaker 1: she's a high school but like she she is that

579
00:31:19,240 --> 00:31:24,200
Speaker 1: sort of like dumb blonde archetype that is often for

580
00:31:24,520 --> 00:31:28,720
Speaker 1: for a good reason, often subverted go you know, Maril

581
00:31:28,760 --> 00:31:31,640
Speaker 1: Monroe gentlemen for for blondes like you can go on

582
00:31:31,720 --> 00:31:35,160
Speaker 1: and on and on of characters where everyone assumes that

583
00:31:35,160 --> 00:31:37,880
Speaker 1: they're just a sexpot or they're just you know, dumb

584
00:31:37,880 --> 00:31:41,040
Speaker 1: and yeah, you don't share. She's a virgin who can't drive,

585
00:31:41,200 --> 00:31:42,880
Speaker 1: so hot jokes on them.

586
00:31:43,760 --> 00:31:47,600
Speaker 2: Right right. I think some some good writing by Heckerline

587
00:31:47,960 --> 00:31:51,280
Speaker 2: that threads that needle really nicely. I was thinking about

588
00:31:51,320 --> 00:31:55,239
Speaker 2: the bit where she is in the back seat with

589
00:31:55,440 --> 00:31:58,640
Speaker 2: Josh and Josh's girlfriend, Yes, and she starts to get

590
00:31:58,640 --> 00:32:03,480
Speaker 2: really really defined because she argues with the girlfriend about

591
00:32:03,520 --> 00:32:06,960
Speaker 2: who says that line in Hamlet. It's just like.

592
00:32:06,960 --> 00:32:09,640
Speaker 7: Hamlet said, to thine own self be true.

593
00:32:10,400 --> 00:32:12,000
Speaker 1: No, Hamlet didn't say that.

594
00:32:13,280 --> 00:32:17,640
Speaker 2: I think that I remember Hamlet accurately. Well, I remember

595
00:32:17,800 --> 00:32:21,560
Speaker 2: mel Gibson accurately. They didn't say that that.

596
00:32:21,520 --> 00:32:22,640
Speaker 6: Polonius guy did.

597
00:32:24,720 --> 00:32:29,440
Speaker 2: She knows that, not because she's really some savant who

598
00:32:29,520 --> 00:32:33,440
Speaker 2: is secretly devouring Shakespeare on the side and just acts

599
00:32:33,520 --> 00:32:35,880
Speaker 2: like she's not into Shakespeare or something like that. No,

600
00:32:36,200 --> 00:32:39,960
Speaker 2: she really is smart. She really does have a good vocabulary.

601
00:32:40,000 --> 00:32:43,600
Speaker 2: She really does retain a lot of information. She's not

602
00:32:43,760 --> 00:32:47,280
Speaker 2: devouring Shakespeare, but she does go to mel Gibson movies,

603
00:32:47,760 --> 00:32:50,960
Speaker 2: and because she's smart, it retains information and goes to

604
00:32:51,000 --> 00:32:55,360
Speaker 2: mel Gibson movies. She remembers who says what line in

605
00:32:55,400 --> 00:32:57,840
Speaker 2: that movie? And then mel Gibson doesn't say that line.

606
00:32:57,880 --> 00:33:01,040
Speaker 2: So it's believable that she remember that. But it's also

607
00:33:01,160 --> 00:33:05,400
Speaker 2: like it's character building. We start to pick up on

608
00:33:05,440 --> 00:33:07,959
Speaker 2: the fact that, or we certainly start to pick up

609
00:33:07,960 --> 00:33:11,600
Speaker 2: on it following this that it makes sense that she

610
00:33:11,800 --> 00:33:15,240
Speaker 2: likes Josh and so she doesn't like this girlfriend and

611
00:33:15,320 --> 00:33:17,480
Speaker 2: so that that defiance is going to come out a

612
00:33:17,520 --> 00:33:19,680
Speaker 2: little bit, and she's gonna she's going to put it

613
00:33:19,760 --> 00:33:22,840
Speaker 2: back in the girlfriend's face right in that moment if

614
00:33:22,880 --> 00:33:25,440
Speaker 2: she can. So I like that we get a little

615
00:33:25,440 --> 00:33:28,080
Speaker 2: bit of character building there in that moment, but we

616
00:33:28,120 --> 00:33:31,760
Speaker 2: also understand in a believable way, we see how smart

617
00:33:31,800 --> 00:33:32,440
Speaker 2: she really is.

618
00:33:32,880 --> 00:33:35,840
Speaker 1: Yeah, and it's not just that scene. Like her liking

619
00:33:36,000 --> 00:33:39,080
Speaker 1: Josh to some extent makes sense. He's you know, he's

620
00:33:39,160 --> 00:33:42,160
Speaker 1: the he's wants to study environmental law and he wants

621
00:33:42,160 --> 00:33:44,840
Speaker 1: to he's reading Nietzsche at the pool. He's the intellectual.

622
00:33:44,960 --> 00:33:47,280
Speaker 1: He thinks he's gonna make the world a better place

623
00:33:47,360 --> 00:33:51,959
Speaker 1: and cheer for. As self involved as she is, Like

624
00:33:52,080 --> 00:33:55,080
Speaker 1: her whole thing is that she's trying to be like

625
00:33:55,240 --> 00:33:57,360
Speaker 1: make the world a better place as well. When I

626
00:33:57,360 --> 00:34:00,480
Speaker 1: even think about that opening the first scene in class,

627
00:34:00,560 --> 00:34:03,600
Speaker 1: the mister Hall's class where she's like debate club and

628
00:34:03,600 --> 00:34:07,080
Speaker 1: she's arguing about immigration and like we should we should

629
00:34:07,160 --> 00:34:11,080
Speaker 1: open our border. You know, it's and she is she's

630
00:34:11,280 --> 00:34:14,000
Speaker 1: arguing the pro side, and she argues it quite well.

631
00:34:14,480 --> 00:34:16,960
Speaker 1: It's you know, it's in her way, it's in her

632
00:34:17,800 --> 00:34:22,839
Speaker 1: you know, very teenage Beverly Hill's girly way, but she

633
00:34:23,480 --> 00:34:24,920
Speaker 1: she does it in a way that is just like,

634
00:34:25,000 --> 00:34:27,600
Speaker 1: oh yeah, this is again another way this movie feels

635
00:34:27,680 --> 00:34:30,520
Speaker 1: quite relevant because you can totally see someone arguing the

636
00:34:30,560 --> 00:34:33,440
Speaker 1: same thing in their high school class today and it

637
00:34:33,560 --> 00:34:37,360
Speaker 1: hitting a little different. But yeah, it's it's not just

638
00:34:37,960 --> 00:34:41,120
Speaker 1: one or two scenes. It is threaded very well throughout

639
00:34:41,920 --> 00:34:44,400
Speaker 1: of Share. It's not like it comes out of nowhere.

640
00:34:44,400 --> 00:34:47,320
Speaker 1: And I think that's that's that's why Share endoors.

641
00:34:47,400 --> 00:34:50,800
Speaker 2: Yeah, well, let's talk about another reason why I think

642
00:34:51,239 --> 00:34:53,279
Speaker 2: Share indoors, and I want to get your take on it,

643
00:34:53,320 --> 00:34:58,680
Speaker 2: and that's Silverstone's performance. Yes, it's it's hard or this

644
00:34:58,760 --> 00:35:02,080
Speaker 2: is a little bit unfair because producer Sam Sam van

645
00:35:02,160 --> 00:35:05,799
Speaker 2: Holgren isn't here to defend himself, I suppose, But I'm

646
00:35:05,800 --> 00:35:09,560
Speaker 2: gonna quote something he said on Letterboxed. And you are

647
00:35:09,640 --> 00:35:14,239
Speaker 2: familiar with Sam. Sam is a lovely man who generally

648
00:35:14,360 --> 00:35:16,560
Speaker 2: he wants to look for the good in everything, and

649
00:35:16,600 --> 00:35:22,520
Speaker 2: he is despite this prolonged preamble here, I am saying, truthfully,

650
00:35:22,560 --> 00:35:27,680
Speaker 2: he definitely wants to be generous. With this quote on

651
00:35:27,800 --> 00:35:31,960
Speaker 2: Letterboxed in his review of Clueless, but I think we

652
00:35:32,040 --> 00:35:34,640
Speaker 2: could hear it and sense that it maybe comes off

653
00:35:34,680 --> 00:35:37,480
Speaker 2: as a little bit of a backhanded compliment. He says

654
00:35:37,520 --> 00:35:44,399
Speaker 2: this about Silverstone, while never being particularly great, is never

655
00:35:44,560 --> 00:35:49,000
Speaker 2: less than perfect, even twenty plus years later, There's no

656
00:35:49,040 --> 00:35:51,680
Speaker 2: one else you'd want in that role. Now, I think

657
00:35:51,719 --> 00:35:55,319
Speaker 2: I read that before I rewatched the movie, so I

658
00:35:55,360 --> 00:35:57,600
Speaker 2: did have it kind of bouncing around in my head

659
00:35:57,840 --> 00:36:00,680
Speaker 2: before the rewatched, and I was thinking the first time

660
00:36:00,719 --> 00:36:02,880
Speaker 2: I read it, I thought, Okay, I get what he's saying.

661
00:36:03,000 --> 00:36:06,759
Speaker 2: I think, and and I know it's a compliment. He's

662
00:36:06,800 --> 00:36:09,120
Speaker 2: saying she's never less than perfect.

663
00:36:09,400 --> 00:36:09,640
Speaker 1: Hmm.

664
00:36:10,360 --> 00:36:12,839
Speaker 2: But then watching it, I'm like, well, wait, why why

665
00:36:12,920 --> 00:36:16,040
Speaker 2: is she never particularly great? I think she's just particularly great.

666
00:36:16,440 --> 00:36:19,359
Speaker 2: I actually think she's really great, And I've got three

667
00:36:19,520 --> 00:36:22,440
Speaker 2: or four scenes where I can point to them and

668
00:36:22,480 --> 00:36:26,879
Speaker 2: say that's just legitimately great acting. Now, after this movie,

669
00:36:27,200 --> 00:36:28,719
Speaker 2: I don't know that there's a lot of people that

670
00:36:28,760 --> 00:36:32,680
Speaker 2: would say, Okay, she went on to maybe live up

671
00:36:32,719 --> 00:36:34,560
Speaker 2: to the promise of this movie, or she didn't have

672
00:36:34,560 --> 00:36:37,200
Speaker 2: the opportunities to live up to the promise of this movie.

673
00:36:37,360 --> 00:36:40,239
Speaker 2: But I think in this performance, in this role, I'm

674
00:36:40,239 --> 00:36:44,479
Speaker 2: gonna go ahead and say she's not only perfect, as

675
00:36:44,560 --> 00:36:47,960
Speaker 2: share She's great.

676
00:36:48,160 --> 00:36:56,799
Speaker 1: Sam's not here, I think sometimes and I'm absolutely I've

677
00:36:56,840 --> 00:37:00,319
Speaker 1: done this too, and I as a critic, I have

678
00:37:00,960 --> 00:37:04,520
Speaker 1: definitely been there where sometimes someone is so good at

679
00:37:04,560 --> 00:37:08,200
Speaker 1: what they do that you can't you don't see the craft.

680
00:37:08,560 --> 00:37:13,799
Speaker 1: You don't see that it's not just innate talent, it's

681
00:37:13,840 --> 00:37:17,359
Speaker 1: not just perfect casting, it's not just how you look

682
00:37:17,520 --> 00:37:23,720
Speaker 1: it is. It takes the seams. You can't see the seams,

683
00:37:23,719 --> 00:37:26,480
Speaker 1: and so you think that they're not there. And I

684
00:37:27,000 --> 00:37:29,799
Speaker 1: think there are all different types of performances that work.

685
00:37:29,840 --> 00:37:33,960
Speaker 1: And I think this works because she seems believable a

686
00:37:34,080 --> 00:37:36,120
Speaker 1: she is close to the age that she's supposed to

687
00:37:36,160 --> 00:37:39,080
Speaker 1: be in this movie. That absolutely helps. And so I

688
00:37:39,120 --> 00:37:44,959
Speaker 1: think having that proximity to still being youthful is part

689
00:37:45,000 --> 00:37:48,800
Speaker 1: of it. But you can't so much of this movie,

690
00:37:49,000 --> 00:37:52,160
Speaker 1: especially with voiceover narration, and voiceover narration can be so

691
00:37:52,560 --> 00:37:55,440
Speaker 1: hard to get right because if you do it, if

692
00:37:55,480 --> 00:37:57,919
Speaker 1: you go too heavy onto it, or if you put

693
00:37:57,960 --> 00:38:01,319
Speaker 1: too much you know, emphasis on, it might feel just

694
00:38:01,320 --> 00:38:03,560
Speaker 1: a little too cute toy or a little too like,

695
00:38:03,560 --> 00:38:06,960
Speaker 1: look at me, I'm narrating hey. And then if you

696
00:38:07,120 --> 00:38:09,239
Speaker 1: don't give any oop to it, then you're just gonna

697
00:38:09,280 --> 00:38:13,520
Speaker 1: feel it's just gonna deaden the movie. And I think

698
00:38:13,560 --> 00:38:17,000
Speaker 1: she finds so many great ways to deliver lines to

699
00:38:18,200 --> 00:38:21,600
Speaker 1: and to talk as though she's talking to us, as

700
00:38:21,600 --> 00:38:23,920
Speaker 1: she's talking to her friends in a way like she

701
00:38:24,040 --> 00:38:26,560
Speaker 1: doesn't switch up the way she talks between how she

702
00:38:26,640 --> 00:38:29,719
Speaker 1: actually talks with people like Dion and Ti and how

703
00:38:29,760 --> 00:38:34,480
Speaker 1: she talks to us. And that takes talent, that takes effort,

704
00:38:34,520 --> 00:38:39,359
Speaker 1: it takes work, and it takes understanding who this character is.

705
00:38:39,640 --> 00:38:43,400
Speaker 1: And I think that Alicia Silverstone, she just does such

706
00:38:43,440 --> 00:38:47,440
Speaker 1: a good job of inhabiting all of that that it

707
00:38:47,480 --> 00:38:51,799
Speaker 1: can be hard to see that it also takes more

708
00:38:51,840 --> 00:38:55,040
Speaker 1: than just being a pretty face or being you know,

709
00:38:55,280 --> 00:38:58,000
Speaker 1: delivering the lines. That's how I feel about it.

710
00:38:58,239 --> 00:39:01,439
Speaker 4: Here's where Dion this she's my friend because we both

711
00:39:01,480 --> 00:39:02,719
Speaker 4: know what it's like to have people be.

712
00:39:02,840 --> 00:39:03,760
Speaker 2: Jealous of us.

713
00:39:05,320 --> 00:39:08,080
Speaker 4: Growth friend, and I must give her snaps for her

714
00:39:08,120 --> 00:39:12,439
Speaker 4: courageous fashion efforts. Hey, San Diane and I were both

715
00:39:12,520 --> 00:39:15,720
Speaker 4: named after great singers of the past who now do infomercials.

716
00:39:17,080 --> 00:39:20,400
Speaker 2: I agree with you. I think that that's very well argued.

717
00:39:20,440 --> 00:39:24,680
Speaker 2: The voiceover element is a really great point. How deathly

718
00:39:24,880 --> 00:39:28,560
Speaker 2: she handles that how conversational it seems, which is something

719
00:39:28,600 --> 00:39:31,799
Speaker 2: you don't necessarily think about that often with voiceovers. But

720
00:39:31,840 --> 00:39:34,960
Speaker 2: I think it's a really crucial element here the language too,

721
00:39:35,040 --> 00:39:38,480
Speaker 2: the way she handles the language and makes the Austin

722
00:39:39,080 --> 00:39:42,440
Speaker 2: element of that how smooth that is, how natural and

723
00:39:42,480 --> 00:39:45,839
Speaker 2: conversational that is as well. And that scene that we

724
00:39:45,840 --> 00:39:49,160
Speaker 2: were referencing earlier, I think is a really important one

725
00:39:49,239 --> 00:39:53,120
Speaker 2: when Ty delivers that great insult and she says that

726
00:39:53,280 --> 00:39:57,360
Speaker 2: was way harsh. We may laugh at it, but the

727
00:39:58,040 --> 00:40:06,840
Speaker 2: just heartbroken, just absolute devastation that Silverstone reveals in that moment.

728
00:40:07,320 --> 00:40:11,160
Speaker 2: It could be a reaction where we kind of laugh

729
00:40:11,200 --> 00:40:14,239
Speaker 2: at chair, because if you really think about it, her

730
00:40:14,280 --> 00:40:17,480
Speaker 2: friend just told her you're a virgin who can't drive.

731
00:40:18,320 --> 00:40:21,080
Speaker 2: It's not In some ways, it shouldn't actually be that

732
00:40:21,239 --> 00:40:25,400
Speaker 2: soul crushing, right, but we understand that for this character,

733
00:40:25,520 --> 00:40:29,239
Speaker 2: that's that's going to a place that feels like a

734
00:40:29,280 --> 00:40:30,480
Speaker 2: friend should never go.

735
00:40:31,200 --> 00:40:35,319
Speaker 1: So when when you're a teenager, everything any it's one

736
00:40:35,360 --> 00:40:39,560
Speaker 1: of the smallest insult or dig will crush your soul.

737
00:40:39,960 --> 00:40:42,600
Speaker 1: And the reason she says you can't drive is because

738
00:40:42,600 --> 00:40:47,480
Speaker 1: she literally just failed her driving tests. Yes, so it's

739
00:40:47,480 --> 00:40:49,400
Speaker 1: still fresh.

740
00:40:48,719 --> 00:40:51,480
Speaker 2: It's all those things. It's so raw, and it's just

741
00:40:51,520 --> 00:40:54,960
Speaker 2: the lowest of low blows at that moment, and you

742
00:40:55,000 --> 00:40:59,160
Speaker 2: don't expect your friend to go there, and she goes there,

743
00:40:59,400 --> 00:41:02,759
Speaker 2: and she reacts in such a hurt way that we

744
00:41:02,800 --> 00:41:05,600
Speaker 2: don't We may be laughing a little bit at Tie,

745
00:41:05,640 --> 00:41:08,560
Speaker 2: but we're not laughing at all at at the way

746
00:41:08,880 --> 00:41:11,400
Speaker 2: Silverstone reacts, We're not laughing at Share at all. And

747
00:41:11,440 --> 00:41:14,080
Speaker 2: I think the way she responds there is really great.

748
00:41:14,080 --> 00:41:16,759
Speaker 2: But then we've also got just the comedic chops, the

749
00:41:16,800 --> 00:41:20,360
Speaker 2: physical comedy. The way she falls off the bed with

750
00:41:20,560 --> 00:41:24,040
Speaker 2: Christian right when she's kind of trying to seduce him

751
00:41:24,520 --> 00:41:29,160
Speaker 2: is really hilarious. At that whole series of scenes when

752
00:41:29,920 --> 00:41:32,799
Speaker 2: she's the montage where she's trying to seduce him in

753
00:41:32,880 --> 00:41:35,640
Speaker 2: class as well, that I think is really great. Drop

754
00:41:35,719 --> 00:41:38,960
Speaker 2: on the pencil and doing all of that stuff. And

755
00:41:39,000 --> 00:41:41,719
Speaker 2: I just think the way Silverstone handles the balance of

756
00:41:42,040 --> 00:41:45,440
Speaker 2: the baby doll shtick with the sex kit and routine.

757
00:41:45,920 --> 00:41:49,239
Speaker 2: You know, she's just balancing throughout the whole film, either

758
00:41:49,320 --> 00:41:54,279
Speaker 2: being smarter and more in control than she maybe really is,

759
00:41:54,360 --> 00:41:58,359
Speaker 2: but also sometimes underplaying or you know, she's she's more

760
00:41:58,440 --> 00:42:01,200
Speaker 2: vulnerable than she really wants to believe that she is,

761
00:42:01,880 --> 00:42:06,240
Speaker 2: and she lets all of those layers to that character

762
00:42:06,680 --> 00:42:08,799
Speaker 2: come out. That scene between her and Paul Rudd on

763
00:42:08,800 --> 00:42:12,920
Speaker 2: the stairs is a really lovely, romantic, intimate scene between

764
00:42:12,960 --> 00:42:15,840
Speaker 2: those two characters as well. You know what another great

765
00:42:16,000 --> 00:42:19,120
Speaker 2: Alicia's Silverstone moment is is just watching the range of

766
00:42:19,120 --> 00:42:22,080
Speaker 2: emotions that she goes through when the camera's just on her,

767
00:42:22,400 --> 00:42:28,239
Speaker 2: when she's listening to Tie talk about Josh Oh and

768
00:42:28,280 --> 00:42:33,520
Speaker 2: how she's starting to have feelings for Josh. Another great

769
00:42:33,719 --> 00:42:38,600
Speaker 2: acting moment from Silverstone. So I think she's perfect. I

770
00:42:38,600 --> 00:42:43,120
Speaker 2: think she's great in this film. Definitely can't imagine anyone

771
00:42:43,160 --> 00:42:45,600
Speaker 2: else in this part, which it sounds like Sam would

772
00:42:45,600 --> 00:42:46,719
Speaker 2: certainly agree with that part.

773
00:42:47,040 --> 00:42:51,000
Speaker 1: Yeah, absolutely, And I mean really, the whole cast is

774
00:42:51,080 --> 00:42:56,080
Speaker 1: just so fantastic. I love Stacy Dash her actual real

775
00:42:56,120 --> 00:43:01,880
Speaker 1: life politics aside. This is a It's such a great

776
00:43:02,000 --> 00:43:06,080
Speaker 1: perform and it's interesting because you know, this is a

777
00:43:06,120 --> 00:43:10,040
Speaker 1: black friend character and these these were very prevalent in

778
00:43:10,120 --> 00:43:14,839
Speaker 1: the nineties, and oftentimes they were not They didn't have

779
00:43:15,520 --> 00:43:19,720
Speaker 1: the same sort of heft to them as I think Dion.

780
00:43:20,360 --> 00:43:23,680
Speaker 1: And also, you know, the Donald Faison character. Have they

781
00:43:23,960 --> 00:43:26,160
Speaker 1: they have a full relationship? Is it a is a

782
00:43:26,280 --> 00:43:32,440
Speaker 1: very h messy, chaotic relationship. Absolutely, But but I also

783
00:43:32,560 --> 00:43:35,720
Speaker 1: just really love that dynamic and the fact that Dion

784
00:43:35,840 --> 00:43:38,920
Speaker 1: doesn't feel like just a side character. She feels like

785
00:43:38,960 --> 00:43:43,160
Speaker 1: she is integral to the plot. She's integral to the

786
00:43:43,200 --> 00:43:46,640
Speaker 1: Shares life. And I'm sorry, but the driving in La

787
00:43:47,000 --> 00:43:48,440
Speaker 1: scene where like.

788
00:43:49,080 --> 00:43:50,799
Speaker 2: I was just going to bring it up, I've been there,

789
00:43:50,920 --> 00:43:52,880
Speaker 2: and without bringing it up, I've been.

790
00:43:52,680 --> 00:43:56,120
Speaker 1: There driving like driving in La is very stressful. I

791
00:43:56,160 --> 00:43:58,120
Speaker 1: can always imagine how stressful it is when you don't

792
00:43:58,160 --> 00:43:58,880
Speaker 1: know how to drive.

793
00:43:59,400 --> 00:44:03,440
Speaker 2: It's just it is, you know, But that scene, watching

794
00:44:03,440 --> 00:44:07,279
Speaker 2: it again is even if it wasn't real and I

795
00:44:07,320 --> 00:44:09,840
Speaker 2: don't know, I mean, i've been in La traffic. I

796
00:44:09,880 --> 00:44:13,640
Speaker 2: don't know that I've ever driven in La. But even

797
00:44:13,680 --> 00:44:17,080
Speaker 2: if you just know the reputation of being on those freeways, right,

798
00:44:17,520 --> 00:44:21,360
Speaker 2: you get the joke. But the way the joke builds,

799
00:44:22,640 --> 00:44:28,240
Speaker 2: the Gramma flipping the bird, the bikers like the Hell's

800
00:44:28,280 --> 00:44:32,799
Speaker 2: Angels pulling up behind them, Semi's honking like it's If

801
00:44:32,840 --> 00:44:35,320
Speaker 2: you don't watch that scene and don't think it's hilarious,

802
00:44:35,760 --> 00:44:38,359
Speaker 2: I feel for you. Right, and yeah, how about a

803
00:44:38,400 --> 00:44:41,160
Speaker 2: subtle moment like this? I just I was going to

804
00:44:41,200 --> 00:44:42,719
Speaker 2: ask you if there are any other moments that you

805
00:44:42,760 --> 00:44:46,200
Speaker 2: just wanted to mention that are legitimately hilarious moments. And

806
00:44:46,239 --> 00:44:48,080
Speaker 2: I had two that I wanted to make sure we mentioned.

807
00:44:48,080 --> 00:44:53,200
Speaker 2: One was the freeway and you know, credit, maybe you

808
00:44:53,200 --> 00:44:57,000
Speaker 2: can help me because I'm blanking on the actor's name.

809
00:44:57,280 --> 00:45:01,880
Speaker 2: It's Jeremy Is Jeremy something? Who is el en oh Elton?

810
00:45:02,640 --> 00:45:05,680
Speaker 1: Yes, Yes, it's Jeremy Sisto.

811
00:45:05,719 --> 00:45:08,359
Speaker 2: Thank you, yes, yeah. And this is a recurring bit,

812
00:45:08,480 --> 00:45:11,640
Speaker 2: but the first time it happens, and I don't know

813
00:45:11,640 --> 00:45:14,680
Speaker 2: if it's Share or someone else, but you know the

814
00:45:14,840 --> 00:45:18,040
Speaker 2: maybe it's the teacher who is just delivered like an

815
00:45:18,080 --> 00:45:23,920
Speaker 2: impassioned speech or plea and says any comments and the

816
00:45:23,960 --> 00:45:25,799
Speaker 2: hand goes up right away. My foot hurts. Can I

817
00:45:25,800 --> 00:45:29,760
Speaker 2: go to the nurse? Just perfect? Just couldn't care less,

818
00:45:30,280 --> 00:45:32,600
Speaker 2: couldn't be more tuned out? My foot hurts? Can I

819
00:45:32,640 --> 00:45:34,680
Speaker 2: go to the nurse? The way he delivers that I

820
00:45:34,680 --> 00:45:37,080
Speaker 2: thought was comedic? Gold. Do you have any others that

821
00:45:37,120 --> 00:45:37,960
Speaker 2: you want to single out?

822
00:45:38,120 --> 00:45:43,600
Speaker 1: Oh man, there's so many. I love the part where

823
00:45:43,640 --> 00:45:47,720
Speaker 1: a share first of all Wala Sean as mister Hall perfect.

824
00:45:48,480 --> 00:45:50,799
Speaker 1: But I love when she gets a pass on being

825
00:45:50,880 --> 00:45:53,680
Speaker 1: charty because she tells him she was riding the Crimson Wave.

826
00:45:55,680 --> 00:45:59,080
Speaker 2: Is it surfing surfing the Crimson Wave?

827
00:45:59,160 --> 00:46:01,240
Speaker 1: Oh, surfing fing the Crimson Yes.

828
00:46:01,040 --> 00:46:01,640
Speaker 2: Even better?

829
00:46:01,920 --> 00:46:05,120
Speaker 1: You know what, Like I I bet I have actually

830
00:46:05,120 --> 00:46:07,480
Speaker 1: done that. I did that in high school to get

831
00:46:07,480 --> 00:46:10,600
Speaker 1: out of swimming in Pe because I was like, why

832
00:46:10,600 --> 00:46:13,759
Speaker 1: are we swimming? I don't my hair? I have to know.

833
00:46:14,320 --> 00:46:15,680
Speaker 1: So I got out of a lot because I had

834
00:46:15,680 --> 00:46:17,160
Speaker 1: a male teacher and he was just like, oh I

835
00:46:17,200 --> 00:46:18,920
Speaker 1: don't want to hear this. It's fine, you don't have.

836
00:46:18,880 --> 00:46:19,520
Speaker 2: To right right.

837
00:46:20,160 --> 00:46:24,560
Speaker 1: So I love that moment. I also, I mean rolling

838
00:46:24,600 --> 00:46:25,360
Speaker 1: with the Homies.

839
00:46:25,760 --> 00:46:27,240
Speaker 2: Rolling with the Homies, it's.

840
00:46:27,080 --> 00:46:29,719
Speaker 1: A it's a classic. It's You've got Tolio and You've

841
00:46:29,760 --> 00:46:33,760
Speaker 1: got You've got uh tie singing Rolling with the Homies.

842
00:46:33,800 --> 00:46:35,120
Speaker 1: It's great, it's classic.

843
00:46:35,840 --> 00:46:40,719
Speaker 2: The other, the other iconic one is he monally challenge challenged.

844
00:46:40,840 --> 00:46:42,040
Speaker 1: Yes, the peace term.

845
00:46:43,640 --> 00:46:46,760
Speaker 2: You know how picky I am about my shoes, She says,

846
00:46:48,960 --> 00:46:53,160
Speaker 2: it's it's so so good. So that's clueless, which is

847
00:46:53,239 --> 00:46:56,960
Speaker 2: currently streaming on Paramount Plus and is available on vo

848
00:46:57,080 --> 00:47:00,759
Speaker 2: D We recommend that you revisited or see it for

849
00:47:00,800 --> 00:47:03,840
Speaker 2: the first time if you have somehow never had the

850
00:47:03,920 --> 00:47:04,840
Speaker 2: plusure amber.

851
00:47:05,120 --> 00:47:08,080
Speaker 1: My plastic surgeon doesn't want me doing any activity where

852
00:47:08,480 --> 00:47:12,359
Speaker 1: balls fly at my nose. There goes your social life.

853
00:47:13,160 --> 00:47:15,919
Speaker 7: I'm gonna be a super model.

854
00:47:16,680 --> 00:47:18,320
Speaker 2: Listening is the number one thing you can do to

855
00:47:18,360 --> 00:47:21,480
Speaker 2: sport an independently produced show like Film Spotting. A couple

856
00:47:21,480 --> 00:47:23,040
Speaker 2: more things you can do. Take a minute to give

857
00:47:23,120 --> 00:47:25,880
Speaker 2: us a rating or review on Apple Podcasts or Spotify.

858
00:47:26,160 --> 00:47:27,960
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859
00:47:28,040 --> 00:47:31,280
Speaker 2: have been listening for twenty years. Every new review helps

860
00:47:31,360 --> 00:47:34,399
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861
00:47:34,440 --> 00:47:37,640
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862
00:47:37,719 --> 00:47:39,600
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863
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864
00:47:41,719 --> 00:47:45,040
Speaker 2: you get our weekly newsletter, you get exclusive opportunities like

865
00:47:45,120 --> 00:47:47,520
Speaker 2: being part of the Film Spotting Family discord, and you

866
00:47:47,560 --> 00:47:50,839
Speaker 2: get monthly bonus shows. We did put out our May

867
00:47:50,920 --> 00:47:54,480
Speaker 2: bonus show recently. That was a draft with our Film

868
00:47:54,520 --> 00:47:59,200
Speaker 2: Spotting Madness Bracket Contest winner Ricky Kendall of directors who

869
00:47:59,239 --> 00:48:03,280
Speaker 2: are no longer with us fun show. This is also

870
00:48:03,480 --> 00:48:06,040
Speaker 2: usually the spot where we feature a member of the

871
00:48:06,040 --> 00:48:11,520
Speaker 2: Film Spotting family, but we're sharing messages that listeners submitted

872
00:48:11,560 --> 00:48:14,239
Speaker 2: ahead of Film spotting Fest in March. We're going to

873
00:48:14,280 --> 00:48:16,600
Speaker 2: highlight some more of these over the course of this

874
00:48:16,760 --> 00:48:20,800
Speaker 2: twentieth anniversary year. We gave listeners a few potential prompts

875
00:48:20,840 --> 00:48:23,200
Speaker 2: like my favorite show memory is, or the thing I

876
00:48:23,239 --> 00:48:26,120
Speaker 2: really value about film Spotting is, or film Spotting kind

877
00:48:26,120 --> 00:48:28,279
Speaker 2: of changed my life when or you could just say

878
00:48:28,280 --> 00:48:31,560
Speaker 2: whatever you wanted to say. Aisha, you were so gracious

879
00:48:31,600 --> 00:48:34,920
Speaker 2: to send a message in that we played ahead of

880
00:48:34,920 --> 00:48:37,759
Speaker 2: some of our screenings at Film Spotting Fest. Is part

881
00:48:37,840 --> 00:48:41,080
Speaker 2: of that video, we're going to feature the audio from

882
00:48:41,160 --> 00:48:43,680
Speaker 2: a couple of longtime listeners. Here.

883
00:48:43,800 --> 00:48:45,920
Speaker 6: Hi, this is quiz Master Thomas Todd coming to you

884
00:48:45,960 --> 00:48:48,440
Speaker 6: from New York City. Just wanted to wish a happy

885
00:48:48,600 --> 00:48:53,560
Speaker 6: twentieth birthday to my favorite podcast, Film Spotting. Congratulations to Adam,

886
00:48:53,719 --> 00:48:57,440
Speaker 6: Sam and Josh on twenty years film content in the

887
00:48:57,520 --> 00:49:01,600
Speaker 6: can Film Spotting changed my life When in the deepest

888
00:49:01,680 --> 00:49:04,319
Speaker 6: darkest parts of twenty twenty I got an email from

889
00:49:04,320 --> 00:49:08,440
Speaker 6: Adam Kempanard that said, trivia, huh, it'll never work call me.

890
00:49:08,960 --> 00:49:11,720
Speaker 6: Over the last five years, we've hosted nearly thirty Trivia

891
00:49:11,760 --> 00:49:15,760
Speaker 6: Spottings and been able to meet and engage with film

892
00:49:15,800 --> 00:49:19,680
Speaker 6: fans from all over the world and embarrass Adam on Zoom.

893
00:49:20,160 --> 00:49:23,840
Speaker 6: What else could a guy ask for? So congratulations to

894
00:49:23,880 --> 00:49:26,600
Speaker 6: Film Spotting. Thank you for all the friendships that I

895
00:49:26,719 --> 00:49:30,880
Speaker 6: formed in real life and online due to your podcast.

896
00:49:31,120 --> 00:49:33,680
Speaker 6: Thank you for giving me all the wonderful films that

897
00:49:33,680 --> 00:49:37,360
Speaker 6: I've seen over the last twenty years. I really cherish

898
00:49:37,400 --> 00:49:39,600
Speaker 6: them and treasure of them, and I hope we get

899
00:49:39,640 --> 00:49:43,200
Speaker 6: another twenty years of Film Spotting going forward. See you

900
00:49:43,280 --> 00:49:43,920
Speaker 6: all at the fest.

901
00:49:44,400 --> 00:49:47,719
Speaker 8: Hey, film Spotting, Happy twentieth. This is Ross Bratton from

902
00:49:47,760 --> 00:49:51,200
Speaker 8: New York City and I've been listening to the show,

903
00:49:51,239 --> 00:49:53,439
Speaker 8: I believe since twenty thirteen. I was trying to peg

904
00:49:53,440 --> 00:49:57,840
Speaker 8: it down myself. Film Spotting kind of changed my life

905
00:49:58,640 --> 00:50:01,400
Speaker 8: once Trivia Spotting came into the picture.

906
00:50:02,080 --> 00:50:04,719
Speaker 9: It really got a chance for me to actually interact

907
00:50:05,000 --> 00:50:09,120
Speaker 9: with Josh and Sam and Adam for the first time.

908
00:50:09,760 --> 00:50:12,759
Speaker 9: It's set by person, but it also introduced me to

909
00:50:12,760 --> 00:50:17,160
Speaker 9: so many different writers and podcasters and thinkers on film

910
00:50:17,600 --> 00:50:21,280
Speaker 9: that I still follow today. And most importantly, it introduced

911
00:50:21,320 --> 00:50:23,000
Speaker 9: me to some of the best friends that I currently

912
00:50:23,000 --> 00:50:26,239
Speaker 9: have in my life. Taking the community aspect that I

913
00:50:26,239 --> 00:50:29,799
Speaker 9: felt listening to Josh and Adam on the podcast, having

914
00:50:29,800 --> 00:50:32,120
Speaker 9: these film discussions and bringing it to such a larger

915
00:50:32,160 --> 00:50:36,040
Speaker 9: world and so many other people that it's absolutely my

916
00:50:36,080 --> 00:50:39,480
Speaker 9: life would not be the same without it. So happy twentieth,

917
00:50:39,760 --> 00:50:42,440
Speaker 9: Happy one thousand episodes, Looking forward seeing everyone in Chicago.

918
00:50:43,160 --> 00:50:47,120
Speaker 2: Always a pleasure to hear from Thomas and Ross, part

919
00:50:47,120 --> 00:50:50,959
Speaker 2: of the Trivia Spotting film spotting Mafia as I refer

920
00:50:51,040 --> 00:50:53,440
Speaker 2: to them in New York City. Actually, just a couple

921
00:50:53,480 --> 00:50:55,000
Speaker 2: of weeks ago when I was in New York, had

922
00:50:55,000 --> 00:50:57,360
Speaker 2: a chance to hang out with Thomas and Ross and

923
00:50:57,440 --> 00:51:02,160
Speaker 2: other members of the Mafia, all people who did meet

924
00:51:02,719 --> 00:51:06,040
Speaker 2: via Trivia Spotting. I issue you participated in that as well,

925
00:51:06,080 --> 00:51:07,879
Speaker 2: back during COVID, which was so much fun.

926
00:51:07,960 --> 00:51:14,320
Speaker 1: Yeah. Yeah, Thomas and Ross, longtime social media friends. It's yeah,

927
00:51:14,440 --> 00:51:17,480
Speaker 1: it's still great. Your show has really brought so many

928
00:51:17,560 --> 00:51:22,320
Speaker 1: people together and it makes my heart heart melt.

929
00:51:23,080 --> 00:51:25,520
Speaker 2: Yeah, it's so good. And I like the way Ross

930
00:51:25,560 --> 00:51:28,680
Speaker 2: framed it too. Where you have this community that's this

931
00:51:29,320 --> 00:51:32,360
Speaker 2: online or kind of virtual community, you hear the names

932
00:51:32,480 --> 00:51:35,799
Speaker 2: and you have relationships, those parasocial relationships, and then all

933
00:51:35,840 --> 00:51:39,040
Speaker 2: of a sudden, trivia spotting happens and you realize that

934
00:51:39,080 --> 00:51:40,960
Speaker 2: you live in the same city as some of these folks,

935
00:51:40,960 --> 00:51:43,640
Speaker 2: and all of a sudden, you're hanging out with them regularly,

936
00:51:43,719 --> 00:51:46,279
Speaker 2: and they're your actual best friends. And it's really cool

937
00:51:46,320 --> 00:51:48,959
Speaker 2: to see that this group is hanging out all the time.

938
00:51:49,000 --> 00:51:51,560
Speaker 2: So thank you to Thomas and Ross.

939
00:51:54,960 --> 00:51:58,160
Speaker 5: At this moment, rescue workers are laboring to recover and

940
00:51:58,320 --> 00:52:03,799
Speaker 5: identify the remains of Jah Korda, international businessman maverick in

941
00:52:03,840 --> 00:52:07,200
Speaker 5: the fields of armaments and aviation, among the richest men

942
00:52:07,239 --> 00:52:12,719
Speaker 5: in Europe. This was Korda's sixth recorded airplane.

943
00:52:12,239 --> 00:52:15,080
Speaker 2: Crash that can only be from Wes Anderson's latest The

944
00:52:15,120 --> 00:52:19,760
Speaker 2: Phoenician Scheme, which expands to more theaters this weekend. Josh

945
00:52:19,760 --> 00:52:22,760
Speaker 2: and I will have a review of it next week.

946
00:52:23,160 --> 00:52:25,320
Speaker 2: I will finally get to see it after it opens

947
00:52:25,719 --> 00:52:28,360
Speaker 2: this weekend. Aisha, what about you? Have you seen it?

948
00:52:28,440 --> 00:52:30,359
Speaker 2: Do you have plans to talk about it on Pop

949
00:52:30,400 --> 00:52:31,160
Speaker 2: Culture Happy Hour?

950
00:52:31,360 --> 00:52:35,000
Speaker 1: Pop Culture Happy Hour, We'll be doing an episode on it.

951
00:52:35,000 --> 00:52:37,040
Speaker 1: It may or may not have dropped by the time

952
00:52:37,440 --> 00:52:39,680
Speaker 1: this episode drops, but I will not be on it

953
00:52:39,719 --> 00:52:42,239
Speaker 1: because I am not a Wes Anderson fan.

954
00:52:43,160 --> 00:52:45,760
Speaker 2: Really, so you decided to abstain?

955
00:52:45,960 --> 00:52:49,120
Speaker 1: Well, yes, generally speaking. Now, I will say I am

956
00:52:49,120 --> 00:52:53,319
Speaker 1: the type of person who has seen most of his

957
00:52:53,440 --> 00:52:56,239
Speaker 1: movies and I keep up with them, but I do

958
00:52:56,320 --> 00:52:59,640
Speaker 1: it mostly because I feel an obligation too, not because

959
00:52:59,640 --> 00:53:04,440
Speaker 1: I actuallyually enjoy them. Okay, He's just not for me.

960
00:53:04,760 --> 00:53:05,640
Speaker 1: He's just not for me.

961
00:53:06,440 --> 00:53:09,720
Speaker 2: I get it. Has there been any Wes Anderson film

962
00:53:10,000 --> 00:53:10,960
Speaker 2: you've really enjoyed?

963
00:53:11,280 --> 00:53:16,759
Speaker 1: I remember liking Grand Budapest Hotel, and I also liked

964
00:53:17,040 --> 00:53:19,680
Speaker 1: Moonrise Kingdom a little bit, but I have not revisited

965
00:53:20,000 --> 00:53:24,480
Speaker 1: any of them. Okay, so yeah, he's just like for me,

966
00:53:24,560 --> 00:53:26,520
Speaker 1: he's such an a qua. I feel like he's an

967
00:53:26,560 --> 00:53:30,359
Speaker 1: acquired taste, and of the Anderson's I'm always gonna pick

968
00:53:30,400 --> 00:53:31,360
Speaker 1: pet over.

969
00:53:32,840 --> 00:53:32,960
Speaker 8: Was.

970
00:53:33,080 --> 00:53:35,640
Speaker 1: That's that is where I stand. M.

971
00:53:35,920 --> 00:53:39,080
Speaker 2: Yeah, yeah, that's fair enough. Yeah, I will tune in.

972
00:53:39,120 --> 00:53:41,839
Speaker 2: I'll see what your fellow co hosts had to say

973
00:53:41,960 --> 00:53:45,160
Speaker 2: about the Phoenician scheme. Also next week on Film Spotting,

974
00:53:45,200 --> 00:53:50,000
Speaker 2: we will wrap up officially our Andre Tarkovsky Marathon with

975
00:53:50,080 --> 00:53:54,319
Speaker 2: some awards our favorite scenes, performances and films from the

976
00:53:54,480 --> 00:53:57,880
Speaker 2: five film Marathon. As far as a name for the awards,

977
00:53:58,000 --> 00:54:00,480
Speaker 2: I know we said this at the end of our

978
00:54:00,600 --> 00:54:03,920
Speaker 2: last discussion. I can't remember if we settled on the

979
00:54:03,960 --> 00:54:06,359
Speaker 2: Birches or something else. No, I think we said the

980
00:54:06,360 --> 00:54:10,080
Speaker 2: Holy Fools, so that might be what we're going with.

981
00:54:10,640 --> 00:54:12,920
Speaker 2: We'll have it all settled by the time we record

982
00:54:13,080 --> 00:54:16,160
Speaker 2: that episode. We'll also have results from the current Film

983
00:54:16,160 --> 00:54:19,080
Speaker 2: Spotting poll asking you to choose one and only one

984
00:54:19,200 --> 00:54:24,919
Speaker 2: Mission Impossible movie? What is your favorite, Aisha, I will

985
00:54:24,920 --> 00:54:27,400
Speaker 2: tell you which one is currently in the lead in

986
00:54:27,440 --> 00:54:30,759
Speaker 2: the bowl? Okay, what about the Mission Impossible franchise? Is

987
00:54:30,800 --> 00:54:33,320
Speaker 2: that something you feel the same about as you feel

988
00:54:33,400 --> 00:54:35,920
Speaker 2: about Wes Anderson? Or are you a fan? No, do

989
00:54:35,960 --> 00:54:36,840
Speaker 2: you have a favorite?

990
00:54:36,920 --> 00:54:40,879
Speaker 1: I am a fan, but I it's it's you're gonna

991
00:54:40,880 --> 00:54:43,160
Speaker 1: tell me the which one is in the lead, and

992
00:54:43,200 --> 00:54:45,360
Speaker 1: I'm going to be like, which one is that?

993
00:54:46,000 --> 00:54:47,960
Speaker 2: Exactly? No, it's the same thing. It's like, why could

994
00:54:48,000 --> 00:54:50,560
Speaker 2: they put numbers anymore? Can we just have two, three,

995
00:54:50,600 --> 00:54:50,960
Speaker 2: and four?

996
00:54:51,200 --> 00:54:51,399
Speaker 1: Yeah?

997
00:54:51,440 --> 00:54:53,280
Speaker 2: If you tell me which one is the stunt?

998
00:54:53,440 --> 00:54:56,840
Speaker 1: Yes, yeah, yeah, yeah, yes exactly. Yeah.

999
00:54:56,960 --> 00:54:58,600
Speaker 2: You can tell me the stunt and I'll tell you

1000
00:54:58,640 --> 00:54:58,960
Speaker 2: the name.

1001
00:54:59,080 --> 00:55:04,080
Speaker 1: Oh true, I mean I really like the one was it?

1002
00:55:04,360 --> 00:55:08,359
Speaker 1: Uh oh shoot which hunky white.

1003
00:55:08,120 --> 00:55:09,640
Speaker 2: Guy Henry Cavill.

1004
00:55:09,760 --> 00:55:11,600
Speaker 1: Yes, the Henry cavi one where they're in the fighting

1005
00:55:11,600 --> 00:55:12,160
Speaker 1: in the bathroom.

1006
00:55:12,440 --> 00:55:14,719
Speaker 2: Yeah, so that's the that's the one in the lead.

1007
00:55:14,800 --> 00:55:16,839
Speaker 2: And that's also the one I picked. Oh, which one

1008
00:55:16,920 --> 00:55:20,080
Speaker 2: is my favorite? That's Fallout, which is number six.

1009
00:55:20,280 --> 00:55:22,319
Speaker 1: Yes, yes, that was That was very fun.

1010
00:55:22,480 --> 00:55:25,279
Speaker 2: Yeah, and that's that's part of it. That that has

1011
00:55:25,400 --> 00:55:28,319
Speaker 2: not only that great scene in the bathroom, that fight

1012
00:55:28,360 --> 00:55:31,480
Speaker 2: in the bathroom's fantastic. Yeah, it also has the Halo

1013
00:55:31,640 --> 00:55:34,000
Speaker 2: jump is the set piece. And while there are other

1014
00:55:34,800 --> 00:55:38,879
Speaker 2: really good Rebecca Ferguson Mission Impossible movies, that is also

1015
00:55:38,960 --> 00:55:43,240
Speaker 2: one that has Rebecca Ferguson doing Rebecca Ferguson things. So yeah, yeah,

1016
00:55:43,280 --> 00:55:44,320
Speaker 2: Fallout's my favorite.

1017
00:55:44,400 --> 00:55:46,520
Speaker 1: That's great. Okay, Yeah, I'm happy that's in the lead.

1018
00:55:46,640 --> 00:55:49,240
Speaker 2: Good good vote in that bowl and leave a comment

1019
00:55:49,520 --> 00:55:52,840
Speaker 2: at film spotting dot Net. This week, on our sister podcast,

1020
00:55:52,880 --> 00:55:56,720
Speaker 2: The Next Picture Show, looking at Cinema's Present via It's Past,

1021
00:55:56,960 --> 00:56:00,600
Speaker 2: it's part two of their Pain Pals pairing. They're pairing

1022
00:56:00,640 --> 00:56:05,280
Speaker 2: Friendship with Paul Rudd and Tim Robinson and PTA's the Master.

1023
00:56:05,600 --> 00:56:08,360
Speaker 2: New episodes of the next picture show. Yeah, drop every

1024
00:56:08,520 --> 00:56:12,920
Speaker 2: Tuesday wherever you get your podcasts. It's time now for

1025
00:56:13,239 --> 00:56:16,239
Speaker 2: Massacre Theater, where we perform a scene and you get

1026
00:56:16,239 --> 00:56:19,520
Speaker 2: a chance to win a film spotting prize. Last time,

1027
00:56:19,880 --> 00:56:22,640
Speaker 2: Josh and I massacred this scene.

1028
00:56:23,200 --> 00:56:24,560
Speaker 1: Oh but you have that look, Dawn.

1029
00:56:25,200 --> 00:56:32,879
Speaker 3: I always can tell now you haven't been doing anything foolish. Well,

1030
00:56:32,960 --> 00:56:35,319
Speaker 3: I do hope you've forgotten all about that silly little

1031
00:56:35,360 --> 00:56:39,680
Speaker 3: plan of yours, which one about blowing up.

1032
00:56:39,640 --> 00:56:40,280
Speaker 2: The fight house.

1033
00:56:40,640 --> 00:56:48,799
Speaker 3: Oh, I was only fooling. Besides, what would the president say?

1034
00:56:49,000 --> 00:56:54,080
Speaker 3: You're a naughty boy, Bruno when you can always make

1035
00:56:54,080 --> 00:57:02,640
Speaker 3: me laugh. Don't get shaved before your father gets home.

1036
00:57:03,080 --> 00:57:06,560
Speaker 2: That was Marion Lorne and Robert Walker in nineteen fifty

1037
00:57:06,600 --> 00:57:11,000
Speaker 2: one Strangers on a Train, written by Whitfield Cook, Chenzie

1038
00:57:11,200 --> 00:57:14,960
Speaker 2: Ormond and Raymond Chandler, based on the novella by Patricia Highsmith.

1039
00:57:15,280 --> 00:57:19,160
Speaker 2: Directed by mister Alfred Hitchcock. The Massacre was part of

1040
00:57:19,160 --> 00:57:21,800
Speaker 2: a show devoted to a couple of films in Richard

1041
00:57:21,840 --> 00:57:26,600
Speaker 2: Linklater's trilogy Before Sunrise and Before Sunset. We also reviewed

1042
00:57:26,680 --> 00:57:31,480
Speaker 2: nineteen eighty three's Nostalgia, the final film in our Tarkowski marathon.

1043
00:57:31,560 --> 00:57:34,480
Speaker 2: So why that scene from Strangers on a Train. Well,

1044
00:57:34,520 --> 00:57:39,120
Speaker 2: it's probably pretty obvious. Alex Moffatt and Melbourne, Australia got it,

1045
00:57:39,640 --> 00:57:43,560
Speaker 2: connecting to Jesse and Selene being strangers on a train

1046
00:57:44,040 --> 00:57:46,760
Speaker 2: before they're romance. But Aisha, if you want to take

1047
00:57:46,760 --> 00:57:50,400
Speaker 2: this one. Dennis Bartel in San Diego decided to go

1048
00:57:50,520 --> 00:57:52,040
Speaker 2: a little deeper with the connections.

1049
00:57:52,240 --> 00:57:55,400
Speaker 1: Yes, I shall, as luck would have it. I just

1050
00:57:55,440 --> 00:57:58,360
Speaker 1: rewatched this movies days before listening to the podcast, so

1051
00:57:58,480 --> 00:58:01,800
Speaker 1: I got it right away. Connections, of course, the main

1052
00:58:01,840 --> 00:58:04,600
Speaker 1: connection is the chance train encounter. The film shares with

1053
00:58:04,640 --> 00:58:07,800
Speaker 1: the Before trilogy. Also, I never saw nostalgia, but you

1054
00:58:07,840 --> 00:58:10,080
Speaker 1: said there are motherhood themes, and you chose a mother

1055
00:58:10,240 --> 00:58:13,280
Speaker 1: son scene. That scene ends in the review of an

1056
00:58:13,360 --> 00:58:16,520
Speaker 1: abstract grotesque painting, with the punchline that the mother was

1057
00:58:16,560 --> 00:58:20,880
Speaker 1: trying to paint Saint Francis, so perhaps she's a holy fool. Finally,

1058
00:58:21,000 --> 00:58:23,200
Speaker 1: Strangers is about a tennis player, and you float the

1059
00:58:23,240 --> 00:58:26,960
Speaker 1: idea of a potential Josh O'Connor marathon. Interesting, I did

1060
00:58:26,960 --> 00:58:30,120
Speaker 1: not know that O'Connor, of course, recently played a tennis

1061
00:58:30,160 --> 00:58:34,400
Speaker 1: player in Challengers. Did you did you get that last

1062
00:58:34,400 --> 00:58:37,720
Speaker 1: connection with Josh O'Connor is that well planned.

1063
00:58:39,040 --> 00:58:42,880
Speaker 2: It did come up in some listener feedback. There was

1064
00:58:42,920 --> 00:58:46,640
Speaker 2: a suggestion of some Josh O'Connor viewing in our future,

1065
00:58:46,680 --> 00:58:49,520
Speaker 2: which Josh and I, Josh Larsai and I are on

1066
00:58:49,560 --> 00:58:52,800
Speaker 2: board with. I love it when listeners like Dennis put

1067
00:58:52,840 --> 00:58:55,800
Speaker 2: in all this heavy lifting. But you know, the connection

1068
00:58:55,880 --> 00:58:59,760
Speaker 2: really was just people on a train. We keep it simple.

1069
00:59:00,120 --> 00:59:03,640
Speaker 2: We usually keep it simple here on film spotting. And

1070
00:59:04,280 --> 00:59:08,080
Speaker 2: speaking of simple, you know, Sam wasn't digging too deep

1071
00:59:08,520 --> 00:59:11,400
Speaker 2: into his list of options for massacre theater. We did

1072
00:59:11,400 --> 00:59:15,200
Speaker 2: Strangers on a Train exactly one year ago and also

1073
00:59:15,240 --> 00:59:17,400
Speaker 2: at some point in the past. This is the third

1074
00:59:17,440 --> 00:59:19,480
Speaker 2: time we've done strangers on the train, at least not

1075
00:59:19,600 --> 00:59:21,919
Speaker 2: the same scene, you know. I mean, I guess three

1076
00:59:21,920 --> 00:59:25,000
Speaker 2: times over twenty years isn't too bad, right, But twice

1077
00:59:25,000 --> 00:59:25,640
Speaker 2: in one year?

1078
00:59:25,760 --> 00:59:29,240
Speaker 1: Maybe you need to do a MASCAR theater pantheon for.

1079
00:59:29,280 --> 00:59:31,479
Speaker 2: We should they just put some titles away?

1080
00:59:31,640 --> 00:59:31,880
Speaker 1: Sure?

1081
00:59:32,320 --> 00:59:36,400
Speaker 2: Despite that, Despite that, this was one of the and

1082
00:59:36,480 --> 00:59:38,520
Speaker 2: I knew it would be because it was a tough scene.

1083
00:59:38,560 --> 00:59:43,040
Speaker 2: This was one of the fewest or lowest entered massacre

1084
00:59:43,120 --> 00:59:47,080
Speaker 2: theaters of all time. Let's just say, Alex, Dennis and

1085
00:59:47,160 --> 00:59:52,600
Speaker 2: our ultimate winner had very high chances winning. Sorry, Alex

1086
00:59:52,680 --> 00:59:55,520
Speaker 2: and Dennis, we do have a winner. I'm going to

1087
00:59:55,600 --> 00:59:59,960
Speaker 2: reach into the very open and flowing film Spotting half

1088
01:00:00,160 --> 01:00:02,560
Speaker 2: and pick out the winner of the winner is Taylor

1089
01:00:02,960 --> 01:00:08,640
Speaker 2: Sear in Birmingham, Alabama. Congratulations Taylor, email feedback at film

1090
01:00:08,680 --> 01:00:10,320
Speaker 2: spotting dot net. We're going to set you up with

1091
01:00:10,360 --> 01:00:13,360
Speaker 2: your very own film Spotting t shirt or film Spotting

1092
01:00:13,400 --> 01:00:15,920
Speaker 2: tote bag, or if you're not already a family member,

1093
01:00:16,200 --> 01:00:18,680
Speaker 2: we'll set you up with a trial membership to the

1094
01:00:18,680 --> 01:00:19,920
Speaker 2: Film Spotting Family.

1095
01:00:21,600 --> 01:00:22,840
Speaker 3: What happened to the Canola line?

1096
01:00:23,560 --> 01:00:25,720
Speaker 1: You're supposed to say? Forget about it, sand Chez.

1097
01:00:25,600 --> 01:00:27,040
Speaker 2: The old man likes HISOK.

1098
01:00:27,040 --> 01:00:29,520
Speaker 9: I made a mistake, all right, didn't make any difference anyway.

1099
01:00:29,680 --> 01:00:30,880
Speaker 1: Hey, I'm letting it go.

1100
01:00:31,080 --> 01:00:35,280
Speaker 2: But don't say it doesn't matter. Every line matters. We

1101
01:00:35,320 --> 01:00:38,640
Speaker 2: move on to this week's edition of Massacre Theater. As usual,

1102
01:00:38,760 --> 01:00:41,840
Speaker 2: there is a tie in. It should be a fairly

1103
01:00:42,000 --> 01:00:45,960
Speaker 2: clear tie in to this week's show, though the content

1104
01:00:46,160 --> 01:00:51,400
Speaker 2: of the scene itself isn't necessarily going to give that away. Now, Aisha,

1105
01:00:51,480 --> 01:00:54,520
Speaker 2: I know that you've done some dancing in your life,

1106
01:00:54,560 --> 01:00:58,040
Speaker 2: and I also know that you were a theater major.

1107
01:00:58,320 --> 01:00:59,680
Speaker 2: How is your accent work?

1108
01:01:00,280 --> 01:01:02,640
Speaker 1: My accent work was never great. It was never my

1109
01:01:02,720 --> 01:01:05,440
Speaker 1: strong point. So this should be fun.

1110
01:01:06,320 --> 01:01:09,880
Speaker 2: It will be. And despite that, you've stepped up to

1111
01:01:09,920 --> 01:01:13,000
Speaker 2: the plate. You've decided to take the leading role in

1112
01:01:13,040 --> 01:01:13,600
Speaker 2: this scene.

1113
01:01:13,800 --> 01:01:17,480
Speaker 1: Look, I'm a drama queen at heart, so I love it.

1114
01:01:18,080 --> 01:01:19,160
Speaker 1: We're gonna give us a whirl.

1115
01:01:20,160 --> 01:01:23,400
Speaker 2: We are okay, Hey, we don't call it Masacar theater

1116
01:01:23,680 --> 01:01:26,919
Speaker 2: for nothing. Okay, yes, I am going to give you

1117
01:01:27,000 --> 01:01:28,800
Speaker 2: the action. Are you ready?

1118
01:01:29,280 --> 01:01:29,920
Speaker 1: I am ready?

1119
01:01:30,760 --> 01:01:32,200
Speaker 2: And action.

1120
01:01:33,560 --> 01:01:35,720
Speaker 1: I realized that when I met you at the Turkey

1121
01:01:35,760 --> 01:01:39,800
Speaker 1: curry buffet that I was unforgivably rude and wearing a

1122
01:01:39,840 --> 01:01:42,840
Speaker 1: reindeer jumper that my mother had given me the day before.

1123
01:01:43,360 --> 01:01:48,760
Speaker 1: But the thing is, what I'm trying to say, very inarticulately,

1124
01:01:49,000 --> 01:01:54,520
Speaker 1: is that, in fact, despite appearances, I like you very

1125
01:01:55,000 --> 01:01:55,479
Speaker 1: very much.

1126
01:01:57,000 --> 01:02:00,720
Speaker 2: Apart from the smoking and the drinking and the mother

1127
01:02:01,480 --> 01:02:02,800
Speaker 2: and the verbal diarrhea.

1128
01:02:02,960 --> 01:02:07,000
Speaker 1: No, I like you very much just as you are.

1129
01:02:08,360 --> 01:02:14,600
Speaker 2: And and see, well done. I think you undersoldier accent work.

1130
01:02:14,920 --> 01:02:17,280
Speaker 2: Oh that was pretty good.

1131
01:02:17,400 --> 01:02:19,920
Speaker 1: Let's ask people from the country that I just or

1132
01:02:20,040 --> 01:02:21,720
Speaker 1: the that I just tried.

1133
01:02:21,560 --> 01:02:26,640
Speaker 2: To let well, we might not because they may not

1134
01:02:26,760 --> 01:02:32,440
Speaker 2: know what country that was supposed to be fair. But

1135
01:02:32,720 --> 01:02:37,040
Speaker 2: I don't know. Maybe Turkey Curry buffet gave it away.

1136
01:02:37,160 --> 01:02:40,840
Speaker 2: We'll have to see, I don't I don't know if

1137
01:02:40,880 --> 01:02:43,200
Speaker 2: you know what film we just massacred. Email the movie's

1138
01:02:43,280 --> 01:02:46,280
Speaker 2: title and your name and location to feedback at filmspotting

1139
01:02:46,320 --> 01:02:50,720
Speaker 2: dot net. The deadline is Monday, June fifteenth. We'll select

1140
01:02:50,760 --> 01:02:53,760
Speaker 2: the winner randomly from all the correct entries and announce

1141
01:02:53,800 --> 01:02:57,800
Speaker 2: it in a couple of weeks. You mean not good

1142
01:02:58,080 --> 01:02:59,560
Speaker 2: like one out of one hundred.

1143
01:03:00,360 --> 01:03:03,760
Speaker 1: I'd say more like one out of a million.

1144
01:03:05,800 --> 01:03:07,600
Speaker 8: So you're telling me there's a chance.

1145
01:03:11,600 --> 01:03:15,440
Speaker 2: Yeah, Okay, here we go top five time, tying in

1146
01:03:15,480 --> 01:03:19,520
Speaker 2: with the movie Clueless and all the great quotes, all

1147
01:03:19,520 --> 01:03:22,840
Speaker 2: the great lines and phrases. We are sharing our top

1148
01:03:22,920 --> 01:03:27,200
Speaker 2: five movie quotes in our lexicons. So these are movie lines,

1149
01:03:27,760 --> 01:03:31,720
Speaker 2: movie phrases that maybe we continue to say to this day.

1150
01:03:31,720 --> 01:03:33,960
Speaker 2: And I will say I kind of went with phrases

1151
01:03:33,960 --> 01:03:36,800
Speaker 2: that I still often use, but it didn't have to

1152
01:03:36,840 --> 01:03:39,440
Speaker 2: be that. They could also be phrases that at various

1153
01:03:39,480 --> 01:03:43,360
Speaker 2: points in our lives we have definitely said they are

1154
01:03:43,880 --> 01:03:47,320
Speaker 2: ingrained in our brains. And I don't know about u Ayisha,

1155
01:03:47,400 --> 01:03:50,080
Speaker 2: but for me, it was kind of like I have

1156
01:03:50,160 --> 01:03:53,480
Speaker 2: a compulsion to use when I hear a certain trigger,

1157
01:03:54,400 --> 01:03:57,040
Speaker 2: I just have to say this line. Yeah, that's where

1158
01:03:57,040 --> 01:03:57,400
Speaker 2: I went.

1159
01:03:57,760 --> 01:04:01,720
Speaker 1: Yeah, that's that's mostly where I went. Although I will

1160
01:04:01,760 --> 01:04:05,000
Speaker 1: say the first one that we will get to is

1161
01:04:05,040 --> 01:04:07,760
Speaker 1: one that was more I've never actually I don't think

1162
01:04:07,760 --> 01:04:10,080
Speaker 1: I've ever actually used it in real life. This is okay,

1163
01:04:10,080 --> 01:04:12,400
Speaker 1: this is the generational divide here is that there's a

1164
01:04:12,480 --> 01:04:15,320
Speaker 1: time when you might have been, you know, in middle

1165
01:04:15,320 --> 01:04:18,760
Speaker 1: school or high school, and you left up an AOL

1166
01:04:18,880 --> 01:04:23,439
Speaker 1: away message on AOL instant messenger, and oftentimes we would

1167
01:04:23,480 --> 01:04:27,480
Speaker 1: have I would use movie quotes as sure my away message.

1168
01:04:27,560 --> 01:04:30,280
Speaker 1: So course, yeah, yeah, so that's where I went. But

1169
01:04:30,320 --> 01:04:32,120
Speaker 1: for the most part, they are things that I say

1170
01:04:32,240 --> 01:04:36,640
Speaker 1: in real life or use while writing, even reference and

1171
01:04:36,800 --> 01:04:37,560
Speaker 1: while writing so.

1172
01:04:37,720 --> 01:04:41,400
Speaker 2: Yes, okay, yeah, so o our lead in there we

1173
01:04:41,520 --> 01:04:44,440
Speaker 2: played dumb and dumber. That feels to me like one.

1174
01:04:44,560 --> 01:04:46,959
Speaker 2: Regardless of how many times any of us have seen

1175
01:04:47,040 --> 01:04:49,360
Speaker 2: dumb and dumber, maybe you've never even seen it, or

1176
01:04:49,400 --> 01:04:52,600
Speaker 2: how you feel about it, that feels like one that's

1177
01:04:52,680 --> 01:04:55,400
Speaker 2: just in the zeitgeist. So you're telling me there's a

1178
01:04:55,480 --> 01:04:57,880
Speaker 2: chance if someone says to you something that feels like

1179
01:04:57,880 --> 01:05:00,880
Speaker 2: the odds are stacked against you, this is just not

1180
01:05:01,040 --> 01:05:04,919
Speaker 2: gonna happen. It's super unlikely. So you're telling me there's

1181
01:05:04,960 --> 01:05:07,400
Speaker 2: a chance. It just it just seems to be one

1182
01:05:07,440 --> 01:05:09,480
Speaker 2: that we all use. Another one I thought of. That's

1183
01:05:09,680 --> 01:05:12,520
Speaker 2: like that where I wonder if some people say it

1184
01:05:12,720 --> 01:05:15,160
Speaker 2: and they don't even they don't even know what movie

1185
01:05:15,160 --> 01:05:17,960
Speaker 2: it's from, but they probably know they're doing a McConaughey

1186
01:05:18,280 --> 01:05:21,200
Speaker 2: is all right, all right, all right, oh yes, you know, yeah,

1187
01:05:21,240 --> 01:05:24,600
Speaker 2: absolutely not gonna be on my list. These are gonna

1188
01:05:24,640 --> 01:05:27,720
Speaker 2: be very personal. These are going to be very idiosyncratic.

1189
01:05:28,120 --> 01:05:30,000
Speaker 2: I think people are gonna hear my list and be

1190
01:05:30,160 --> 01:05:34,440
Speaker 2: like if they didn't know it before, Adam's a Weirdo's

1191
01:05:34,600 --> 01:05:37,280
Speaker 2: that's where we're That's where we're gonna come out. After

1192
01:05:37,320 --> 01:05:40,640
Speaker 2: they hear my choices. You get to you get to

1193
01:05:40,640 --> 01:05:42,919
Speaker 2: start us off. Ayisha, what's your number five?

1194
01:05:43,080 --> 01:05:47,200
Speaker 1: Okay? So my number five is the oldest quote on here,

1195
01:05:47,360 --> 01:05:49,320
Speaker 1: is it? Yes, it is the oldest quote. It's from

1196
01:05:49,360 --> 01:05:53,200
Speaker 1: before I was born. And this is the one that

1197
01:05:53,240 --> 01:05:55,880
Speaker 1: I was referencing where I left it up as my

1198
01:05:56,000 --> 01:06:00,720
Speaker 1: AOL away message many times, and it is from Cassidy

1199
01:06:00,800 --> 01:06:04,160
Speaker 1: and the Sundance Kid, boy I Got vision, and the

1200
01:06:04,200 --> 01:06:06,520
Speaker 1: rest of the world wears bifocals.

1201
01:06:07,720 --> 01:06:10,280
Speaker 3: You just keep thinking, but that's what you're good at.

1202
01:06:11,480 --> 01:06:12,439
Speaker 8: Boy I Got vision.

1203
01:06:12,480 --> 01:06:14,640
Speaker 2: In the rest of the World wears bifocals.

1204
01:06:14,920 --> 01:06:17,480
Speaker 1: Butch played by Paul Newman, He's the leader of the

1205
01:06:17,480 --> 01:06:19,240
Speaker 1: Hole in the Wall gang. And then you've got sun

1206
01:06:19,360 --> 01:06:23,520
Speaker 1: Dance Robert Redford his like right hand and he's gunslinger,

1207
01:06:24,520 --> 01:06:27,000
Speaker 1: and Butch is just this is This is one of

1208
01:06:27,000 --> 01:06:30,520
Speaker 1: the movies that when I was twelve or thirteen and

1209
01:06:30,640 --> 01:06:33,080
Speaker 1: really getting into classic movies, this is one of the

1210
01:06:33,440 --> 01:06:37,280
Speaker 1: like the movies that made me love Paul Newman. I

1211
01:06:37,320 --> 01:06:41,120
Speaker 1: thought he was so hot. I also just loved his

1212
01:06:41,280 --> 01:06:46,000
Speaker 1: swagger and his cockiness and just the way that he

1213
01:06:46,000 --> 01:06:48,960
Speaker 1: he doesn't have too many talents. I think the point is,

1214
01:06:49,000 --> 01:06:50,720
Speaker 1: like Sundance is the one who's carrying a lot of

1215
01:06:50,760 --> 01:06:54,080
Speaker 1: the weight. He's the one who is, you know, the great.

1216
01:06:54,080 --> 01:06:56,120
Speaker 1: He can shoot, and he can he can he can

1217
01:06:56,240 --> 01:06:58,600
Speaker 1: do physical things, and and Butch is kind of like

1218
01:06:58,600 --> 01:07:00,680
Speaker 1: the thinker. And I love that movie. In the movie

1219
01:07:01,040 --> 01:07:03,760
Speaker 1: where he's like sentence's just like yeah, you just keep

1220
01:07:03,800 --> 01:07:06,720
Speaker 1: thinking that's what you're good at, you know, which is

1221
01:07:06,760 --> 01:07:08,720
Speaker 1: like I got vision the rest of the world, but

1222
01:07:08,760 --> 01:07:12,400
Speaker 1: where's my vocals? And when you think about being, you know,

1223
01:07:12,600 --> 01:07:15,840
Speaker 1: a twelve thirteen year old kid and wanting to feel

1224
01:07:15,880 --> 01:07:18,520
Speaker 1: as though you know everything, or wanting to put on

1225
01:07:18,600 --> 01:07:24,320
Speaker 1: this air of being you know, great and smart and

1226
01:07:24,880 --> 01:07:27,160
Speaker 1: knowing things that no one else knows even though you're

1227
01:07:27,240 --> 01:07:30,040
Speaker 1: you're freaking twelve years old or thirteen years old, Like

1228
01:07:30,280 --> 01:07:34,120
Speaker 1: that was the perfect quote wanted. I wanted it to

1229
01:07:34,200 --> 01:07:37,680
Speaker 1: feel I wanted to exude confidence that I definitely did

1230
01:07:37,680 --> 01:07:40,560
Speaker 1: not actually have. And I just I love that line.

1231
01:07:40,600 --> 01:07:41,600
Speaker 1: It just feels great.

1232
01:07:42,280 --> 01:07:46,200
Speaker 2: It's great. It is great. That movie. That entire screenplay

1233
01:07:46,440 --> 01:07:49,320
Speaker 2: from William Goldman, of course, is just filled with gold Yeah.

1234
01:07:49,400 --> 01:07:52,000
Speaker 1: Right, yeah, it's a very quotable movie.

1235
01:07:52,160 --> 01:07:56,680
Speaker 2: Who are these guys? Great? Great choice? So I said,

1236
01:07:56,760 --> 01:07:59,400
Speaker 2: people are going to hear my picks and think Adam's

1237
01:07:59,400 --> 01:08:03,000
Speaker 2: a weirdo. I'll tell you who's an even bigger weirdo.

1238
01:08:03,240 --> 01:08:07,400
Speaker 2: This is a perfect when the cats away the Mice

1239
01:08:07,480 --> 01:08:11,440
Speaker 2: will play list. One time when I was off, infamously,

1240
01:08:11,680 --> 01:08:16,680
Speaker 2: Josh had a guest host and did top five movie manimals.

1241
01:08:17,000 --> 01:08:18,960
Speaker 1: Oh yeah, I still are not even.

1242
01:08:18,800 --> 01:08:22,080
Speaker 2: Sure what that list was about. We're doing movie quotes

1243
01:08:22,160 --> 01:08:27,519
Speaker 2: because I have never heard Josh Larson quote a movie

1244
01:08:28,080 --> 01:08:30,400
Speaker 2: in the entire time we've known each other, and in fact,

1245
01:08:30,439 --> 01:08:34,000
Speaker 2: in talking to him about it, h he's never quoted

1246
01:08:34,000 --> 01:08:37,880
Speaker 2: a movie and saying. One of the ways and one

1247
01:08:37,880 --> 01:08:40,640
Speaker 2: of the reasons Sam and I bonded and continue to

1248
01:08:40,680 --> 01:08:44,080
Speaker 2: bond to this day is because of our shared love

1249
01:08:44,120 --> 01:08:46,200
Speaker 2: of movie quotes and the fact that we usually speak

1250
01:08:46,240 --> 01:08:49,080
Speaker 2: to each other in movie quotes. My friends that I'm

1251
01:08:49,120 --> 01:08:52,320
Speaker 2: still friends with from grade school, and I have many

1252
01:08:52,360 --> 01:08:54,639
Speaker 2: of them that I still see and talk to regularly

1253
01:08:54,680 --> 01:08:58,720
Speaker 2: from grade school and high school, we still speak in

1254
01:08:58,840 --> 01:09:04,200
Speaker 2: movie quotes. Other I can't imagine a world where I

1255
01:09:04,240 --> 01:09:08,479
Speaker 2: have friends that I don't constantly talk to in movie quote.

1256
01:09:08,520 --> 01:09:10,760
Speaker 2: So it's just a hard thing for me to wrap

1257
01:09:10,800 --> 01:09:12,840
Speaker 2: my brain around. So this would be a top five

1258
01:09:12,880 --> 01:09:15,479
Speaker 2: that I would never get to do otherwise. So I'm

1259
01:09:15,560 --> 01:09:18,760
Speaker 2: very glad that you're here, happy to do it. It'll

1260
01:09:18,800 --> 01:09:21,840
Speaker 2: be It'll be fun. Now another thing maybe I'm getting

1261
01:09:21,840 --> 01:09:24,920
Speaker 2: away with because Josh is not here to call me

1262
01:09:24,960 --> 01:09:28,160
Speaker 2: out on it a little disclaimer. There are two movies

1263
01:09:28,160 --> 01:09:30,080
Speaker 2: on my list that are in the Film Spotting Pantheon

1264
01:09:30,479 --> 01:09:33,160
Speaker 2: that technically shouldn't be eligible. Yeah, I'm breaking the rules.

1265
01:09:33,600 --> 01:09:35,479
Speaker 1: You I'll allow it. I'll allow it.

1266
01:09:35,560 --> 01:09:37,559
Speaker 2: I'm not thank you. I just I just think we're

1267
01:09:37,560 --> 01:09:42,360
Speaker 2: getting so specific when you're getting down to individual movie lines. Yes, like,

1268
01:09:42,600 --> 01:09:45,960
Speaker 2: just to do this list justice, these these lines had

1269
01:09:45,960 --> 01:09:49,880
Speaker 2: to be eligible. Okay, so my number five is not

1270
01:09:50,040 --> 01:09:53,880
Speaker 2: from a Pantheon movie, though it probably could be for me,

1271
01:09:54,600 --> 01:09:58,120
Speaker 2: and I mentioned this earlier. Somehow, again not by design

1272
01:09:58,160 --> 01:10:01,600
Speaker 2: at all. Somehow three movies from the same year in

1273
01:10:01,640 --> 01:10:05,519
Speaker 2: the nineteen nineties ended up on my list. And maybe

1274
01:10:05,520 --> 01:10:09,120
Speaker 2: it's not a total shock because this year, the year

1275
01:10:09,120 --> 01:10:12,000
Speaker 2: in question was nineteen ninety two. I was in high school.

1276
01:10:12,040 --> 01:10:15,040
Speaker 2: It's a year I was really starting to get into movies.

1277
01:10:15,080 --> 01:10:18,720
Speaker 2: There's a fourth movie that's also from the nineties. I

1278
01:10:18,840 --> 01:10:21,000
Speaker 2: had to go I had to have at least one

1279
01:10:22,120 --> 01:10:25,400
Speaker 2: nineteen eighties choice in here, and if I was going

1280
01:10:25,479 --> 01:10:28,080
Speaker 2: to pick one movie from the eighties, I felt like

1281
01:10:28,120 --> 01:10:31,679
Speaker 2: it had to be the first movie that I really

1282
01:10:31,800 --> 01:10:37,439
Speaker 2: remember quoting incessantly with my friends, and that movie was

1283
01:10:38,200 --> 01:10:39,080
Speaker 2: The Breakfast Club.

1284
01:10:39,240 --> 01:10:40,920
Speaker 1: I knew it. I was waiting.

1285
01:10:42,120 --> 01:10:47,320
Speaker 2: While this particular line from jud Nelson's John Bender may

1286
01:10:47,360 --> 01:10:50,519
Speaker 2: not even be in the top thirty funniest moments in

1287
01:10:50,560 --> 01:10:54,519
Speaker 2: the movie, it's the line that has always stuck with

1288
01:10:54,600 --> 01:10:59,160
Speaker 2: me for daily life application because of its flexibility and

1289
01:10:59,240 --> 01:11:04,680
Speaker 2: because of Nelson's great delivery. This is early in the movie.

1290
01:11:04,800 --> 01:11:10,719
Speaker 2: They're just all arriving. They've sat down. Principal Vernon has

1291
01:11:11,320 --> 01:11:13,360
Speaker 2: given them the speech about how they have to write

1292
01:11:13,400 --> 01:11:17,040
Speaker 2: the essay or whatever, and Bender has taken the pin

1293
01:11:17,160 --> 01:11:20,400
Speaker 2: out of the library door, so Vernon can't spy on them,

1294
01:11:20,439 --> 01:11:24,320
Speaker 2: as he says. And he comes in and he's trying

1295
01:11:24,360 --> 01:11:26,240
Speaker 2: to prop the door open because of course he can't

1296
01:11:26,240 --> 01:11:29,760
Speaker 2: find the pin and he's having tons of trouble. He

1297
01:11:29,880 --> 01:11:35,400
Speaker 2: makes the jock Emilio Estevez Andrew come help him. And

1298
01:11:36,160 --> 01:11:39,160
Speaker 2: there are eighties kids out there right now listening who

1299
01:11:39,200 --> 01:11:42,200
Speaker 2: know exactly what words are coming next.

1300
01:11:42,479 --> 01:11:43,960
Speaker 5: Hey, how come Andrew gets to get up?

1301
01:11:44,680 --> 01:11:48,120
Speaker 2: As if he gets up, we'll all get up. It'll

1302
01:11:48,120 --> 01:11:54,640
Speaker 2: be anarchy. So you might think that's very specific, Adam,

1303
01:11:55,120 --> 01:11:58,040
Speaker 2: how often are you referencing a guy named Andrew getting up?

1304
01:11:58,520 --> 01:12:01,960
Speaker 2: But that's the thing, Ayisha, you can just substitute in

1305
01:12:02,040 --> 01:12:06,200
Speaker 2: whatever name and whatever action you like, Hey, how come

1306
01:12:06,240 --> 01:12:08,479
Speaker 2: Ayisha gets to go to the party. If she gets

1307
01:12:08,479 --> 01:12:10,240
Speaker 2: to go to the party, we all get to go

1308
01:12:10,280 --> 01:12:14,240
Speaker 2: to the party. It'll be anarchy. Yes, literally, anytime you

1309
01:12:14,280 --> 01:12:17,720
Speaker 2: feel like you're being treated unfairly, somebody's getting to do

1310
01:12:17,800 --> 01:12:20,599
Speaker 2: something you think you should get to do, or they

1311
01:12:20,680 --> 01:12:24,719
Speaker 2: get something you think you should get to. John Hughes

1312
01:12:25,320 --> 01:12:28,519
Speaker 2: and John Bender are there for you. They've been there

1313
01:12:28,560 --> 01:12:30,679
Speaker 2: for me since nineteen eighty five.

1314
01:12:30,800 --> 01:12:35,479
Speaker 1: That's very relatable, and we've all I feel like anyone

1315
01:12:35,520 --> 01:12:38,360
Speaker 1: who grew up as a kid has has said some

1316
01:12:38,560 --> 01:12:39,519
Speaker 1: version of that line.

1317
01:12:39,800 --> 01:12:42,120
Speaker 2: Yes, hey wait, how come he gets to do that?

1318
01:12:42,360 --> 01:12:45,719
Speaker 2: This is just this is just me channeling that via

1319
01:12:46,040 --> 01:12:46,599
Speaker 2: John Bender.

1320
01:12:46,640 --> 01:12:48,840
Speaker 1: And now I'm like, hey, why don't they get to

1321
01:12:49,280 --> 01:12:51,240
Speaker 1: have to pay taxes? I have to pay taxes? What

1322
01:12:51,280 --> 01:12:52,040
Speaker 1: are we doing here?

1323
01:12:52,560 --> 01:12:52,760
Speaker 4: Right?

1324
01:12:53,960 --> 01:12:55,040
Speaker 2: So that's my number five?

1325
01:12:56,760 --> 01:13:03,120
Speaker 1: That's great, great, well for my number four. I had

1326
01:13:03,120 --> 01:13:06,880
Speaker 1: a hard time trying to remember when I've used this,

1327
01:13:07,280 --> 01:13:11,439
Speaker 1: but I have used it multiple times. Just not again,

1328
01:13:11,479 --> 01:13:14,840
Speaker 1: this is not in real life. On usually in social media.

1329
01:13:15,320 --> 01:13:17,479
Speaker 1: I do a lot of quoting on social media, So

1330
01:13:17,560 --> 01:13:19,680
Speaker 1: I'm giving myself a past here it's still feel. It

1331
01:13:19,720 --> 01:13:23,400
Speaker 1: is my lexicon. And this is a moment from one

1332
01:13:23,479 --> 01:13:26,960
Speaker 1: of my favorite, absolute, hands down favorite movies of all time,

1333
01:13:27,600 --> 01:13:31,519
Speaker 1: when Harry met Sally. There are so many quotes, some

1334
01:13:31,600 --> 01:13:34,599
Speaker 1: of which would make it into my Honorable Mentions. And

1335
01:13:35,120 --> 01:13:37,800
Speaker 1: you know, I'm sure this is probably this might be

1336
01:13:37,840 --> 01:13:40,639
Speaker 1: like the seventh quote you might think when you're thinking

1337
01:13:40,680 --> 01:13:42,640
Speaker 1: about when Harrram and Sally, it's not I'll have what

1338
01:13:42,720 --> 01:13:46,479
Speaker 1: she's having, you know, It's not that it is the

1339
01:13:46,479 --> 01:13:49,840
Speaker 1: moment where we have in case you forget when Harry

1340
01:13:49,880 --> 01:13:53,000
Speaker 1: met Sally. We have the main couples in the movie,

1341
01:13:53,040 --> 01:13:55,519
Speaker 1: Harry and Sally, but then you also have a bunch

1342
01:13:55,600 --> 01:14:00,960
Speaker 1: of couples, like couples, interstitial couples who come in and

1343
01:14:01,280 --> 01:14:03,640
Speaker 1: they are played by actors, but they're based off of

1344
01:14:03,880 --> 01:14:08,080
Speaker 1: stories that real couples have given to the filmmakers. And

1345
01:14:08,120 --> 01:14:10,839
Speaker 1: so you have these two actors and one of the couples,

1346
01:14:11,240 --> 01:14:13,599
Speaker 1: a woman is recalling meeting her husband when they were

1347
01:14:13,600 --> 01:14:17,479
Speaker 1: both camp counselors, and she's she's just sitting there in

1348
01:14:17,520 --> 01:14:19,559
Speaker 1: this great way and she's just like, yeah, like people

1349
01:14:19,560 --> 01:14:22,360
Speaker 1: were always crossing rooms to talk to my friend Maxine,

1350
01:14:22,800 --> 01:14:25,240
Speaker 1: but he was coming to talk to me, and.

1351
01:14:25,200 --> 01:14:28,600
Speaker 2: He said, I'm Ben Small of the Coney Island Smalls.

1352
01:14:29,120 --> 01:14:31,519
Speaker 1: At that moment, I knew I knew the way you

1353
01:14:31,560 --> 01:14:34,080
Speaker 1: know about a good melon. I knew the way you

1354
01:14:34,160 --> 01:14:39,320
Speaker 1: know about a good melon, which is like it's like

1355
01:14:39,400 --> 01:14:42,320
Speaker 1: her delivery is great. But like I've also used it

1356
01:14:42,400 --> 01:14:45,439
Speaker 1: when I'm just describing something or just like yeah, I knew,

1357
01:14:45,760 --> 01:14:48,000
Speaker 1: I knew the way you know you know about a

1358
01:14:48,000 --> 01:14:52,200
Speaker 1: good melon. It's like you just yes, that instinct of

1359
01:14:52,320 --> 01:14:54,280
Speaker 1: like oh this is perfect or this is exactly what

1360
01:14:54,360 --> 01:14:57,040
Speaker 1: I need or what I want. It's just and again,

1361
01:14:57,080 --> 01:14:59,400
Speaker 1: it's it's a quote that I think, unless you were

1362
01:14:59,439 --> 01:15:01,840
Speaker 1: a huge one Harry met Sally fan, you're you're not

1363
01:15:01,880 --> 01:15:04,000
Speaker 1: gonna know what like everyone knows I'll have what she's having.

1364
01:15:05,320 --> 01:15:08,960
Speaker 1: But that's the one that's like, oh, you're you're digging

1365
01:15:09,000 --> 01:15:11,800
Speaker 1: deep into the one. Her name at Sally lore there.

1366
01:15:11,840 --> 01:15:13,839
Speaker 1: But it's it's such a good quote.

1367
01:15:14,680 --> 01:15:15,479
Speaker 2: I don't even know how.

1368
01:15:15,560 --> 01:15:17,439
Speaker 1: I don't know how you know about a good melon.

1369
01:15:17,479 --> 01:15:20,440
Speaker 1: I don't eat melons, but it's substitute.

1370
01:15:20,520 --> 01:15:23,880
Speaker 2: Yes, I don't know, you still get it. You instantly understand.

1371
01:15:23,840 --> 01:15:25,280
Speaker 1: Yes, exactly exactly.

1372
01:15:25,360 --> 01:15:29,719
Speaker 2: That's so great okay, my number four is the first

1373
01:15:29,800 --> 01:15:34,839
Speaker 2: of my three nineteen ninety two choices, and referenced Cameron

1374
01:15:34,880 --> 01:15:37,479
Speaker 2: Crowe earlier when talking about Clueless. I'm going to give

1375
01:15:37,520 --> 01:15:43,080
Speaker 2: him some more love here. The movie is Singles, so

1376
01:15:43,240 --> 01:15:44,280
Speaker 2: some more gen x.

1377
01:15:45,160 --> 01:15:47,240
Speaker 1: I haven't I still haven't seen this? Is that crazy?

1378
01:15:47,280 --> 01:15:48,280
Speaker 2: You haven't seen it? Okay?

1379
01:15:48,520 --> 01:15:48,840
Speaker 1: Yeah?

1380
01:15:49,200 --> 01:15:50,160
Speaker 2: Yeah, okay, well.

1381
01:15:50,280 --> 01:15:52,880
Speaker 1: Wait, wait the single is the one with Ethan Hawk.

1382
01:15:53,800 --> 01:15:58,160
Speaker 2: No, no, that's it's Pemble Scott. Yeah, Reality Bikes.

1383
01:15:58,000 --> 01:15:59,759
Speaker 1: Okay, I've seen realated by haven't seen Singles?

1384
01:15:59,800 --> 01:16:03,439
Speaker 2: Yeah, okay. There's a scene early in the film where

1385
01:16:03,520 --> 01:16:07,519
Speaker 2: this fictional grunge band I suppose called Citizen Dick. We

1386
01:16:07,560 --> 01:16:10,040
Speaker 2: actually never see them perform a little bit of practice,

1387
01:16:10,040 --> 01:16:13,320
Speaker 2: but that's it. This fictional grunge band called Citizen Dick

1388
01:16:14,040 --> 01:16:17,280
Speaker 2: is sitting in the coffeehouse where Bridget Fonda's character works.

1389
01:16:17,360 --> 01:16:22,920
Speaker 2: She's the girlfriend of Matt Dillon's character, Cliff ponseol It.

1390
01:16:23,120 --> 01:16:27,200
Speaker 2: He's the lead singer of Citizen Dick, and they're sitting

1391
01:16:27,240 --> 01:16:30,040
Speaker 2: at a table. The bandmates they're reading a review of

1392
01:16:30,080 --> 01:16:33,400
Speaker 2: a recent show. And as I said, they're a fictional band,

1393
01:16:33,800 --> 01:16:37,240
Speaker 2: but his bandmates are three of the real members of

1394
01:16:37,320 --> 01:16:41,080
Speaker 2: Pearl Jam. Now again this is nineteen ninety two, but

1395
01:16:41,560 --> 01:16:43,680
Speaker 2: I think you know, Pearl Jam at that point was

1396
01:16:43,720 --> 01:16:47,720
Speaker 2: a real band and was known, but maybe you know,

1397
01:16:47,720 --> 01:16:50,599
Speaker 2: they certainly weren't the huge stars that they are now.

1398
01:16:51,120 --> 01:16:53,160
Speaker 2: And I don't remember exactly when they filmed this, but

1399
01:16:53,320 --> 01:16:55,679
Speaker 2: it's Jeff on Meant the bass player, it's Stone Gossard,

1400
01:16:55,720 --> 01:16:58,479
Speaker 2: one of the guitar players, and Eddie Vedder though Eddie

1401
01:16:58,560 --> 01:17:02,559
Speaker 2: is the drummer in this band, and it's a it's

1402
01:17:02,560 --> 01:17:06,679
Speaker 2: a great visual gag actually from Cameron Crow, because Jeff

1403
01:17:07,560 --> 01:17:10,280
Speaker 2: starts to read the review once again.

1404
01:17:10,080 --> 01:17:12,040
Speaker 5: When the shirtless Cliff Ponti, and he starts to sing,

1405
01:17:12,160 --> 01:17:14,920
Speaker 5: wait a minute here, I don't want to hear anything negative.

1406
01:17:16,640 --> 01:17:19,200
Speaker 2: And and even though he says that it's clear, he

1407
01:17:19,240 --> 01:17:21,640
Speaker 2: doesn't think it's going to be that bad, you know,

1408
01:17:21,800 --> 01:17:24,040
Speaker 2: And so he just kind of kind of smiles and

1409
01:17:24,320 --> 01:17:28,639
Speaker 2: and and just waits, and they go back to reading,

1410
01:17:29,400 --> 01:17:33,559
Speaker 2: and Crow shows us an over the shoulder shot of

1411
01:17:33,600 --> 01:17:36,679
Speaker 2: the of the newspaper, so we see what it says

1412
01:17:36,800 --> 01:17:40,519
Speaker 2: after that, and it's like it's like, once again, when

1413
01:17:40,520 --> 01:17:43,639
Speaker 2: the shirtless Cliff Ponsolate starts to sing, you wish Cliff

1414
01:17:43,680 --> 01:17:46,800
Speaker 2: would move to another town like New York or LA

1415
01:17:47,120 --> 01:17:50,559
Speaker 2: where his mediocrity blah blah blah. And and then it

1416
01:17:50,600 --> 01:17:53,000
Speaker 2: cuts back to a close up of Cliff and it

1417
01:17:53,160 --> 01:17:55,839
Speaker 2: just holds on him while he's still trying to maintain

1418
01:17:55,880 --> 01:17:59,519
Speaker 2: a smile for this extended period of time, and they

1419
01:17:59,600 --> 01:18:02,640
Speaker 2: just keep breeding, and it it only cuts back to

1420
01:18:02,760 --> 01:18:05,800
Speaker 2: Jeff and Eddie when they have to turn the page.

1421
01:18:06,200 --> 01:18:10,639
Speaker 2: There's more, right, there's more negative parts of the review other.

1422
01:18:10,439 --> 01:18:12,760
Speaker 1: Than that he was able to backed by Stone and

1423
01:18:12,840 --> 01:18:14,280
Speaker 1: Jeff and Drummerady better.

1424
01:18:14,280 --> 01:18:17,120
Speaker 2: I mean that's good. That's that's a good review. Finally,

1425
01:18:18,120 --> 01:18:23,960
Speaker 2: the review concludes, and we hear cliffs undaunted response.

1426
01:18:23,760 --> 01:18:27,160
Speaker 1: A compliment for us is a compliment for you, No, man,

1427
01:18:28,680 --> 01:18:33,400
Speaker 1: just negative energy just makes me stronger. We will not retreat.

1428
01:18:33,479 --> 01:18:35,560
Speaker 1: This band is unstoppable.

1429
01:18:36,240 --> 01:18:43,599
Speaker 2: This weekend we rock Portland. Yeah, now I have read that. Yeah,

1430
01:18:44,080 --> 01:18:47,720
Speaker 2: it's a little longer, right, so I unconsciously always shortened that.

1431
01:18:47,880 --> 01:18:51,320
Speaker 2: I removed though, we will not retreat. This band is unstoppable.

1432
01:18:51,520 --> 01:18:56,439
Speaker 2: And somehow I also changed this weekend to tonight. I

1433
01:18:56,479 --> 01:18:59,720
Speaker 2: would always say, no, man, this negative energy just makes

1434
01:18:59,720 --> 01:19:03,040
Speaker 2: me stronger. Tonight we rocked Portland. So I was misquoting

1435
01:19:03,400 --> 01:19:08,240
Speaker 2: Cliff Ponsolate, how dare I? But whenever, Ayisha, whenever, somebody

1436
01:19:08,280 --> 01:19:11,720
Speaker 2: was just really bringing me down. They were telling me

1437
01:19:11,800 --> 01:19:14,759
Speaker 2: all the reasons why I had screwed something up, or

1438
01:19:14,800 --> 01:19:17,479
Speaker 2: why I wasn't going to be able to accomplish something.

1439
01:19:18,200 --> 01:19:22,120
Speaker 2: I didn't need Tony Robbins or some other self help guru,

1440
01:19:22,360 --> 01:19:24,840
Speaker 2: because the voice I had in my head and the

1441
01:19:24,960 --> 01:19:27,760
Speaker 2: voice that then inevitably came out of my mouth, was

1442
01:19:27,800 --> 01:19:30,679
Speaker 2: Cliff Ponsolate saying, no, man, this negative energy just makes

1443
01:19:30,720 --> 01:19:35,360
Speaker 2: me stronger. Tonight we rocked Portland. Oh and and yes,

1444
01:19:35,560 --> 01:19:38,559
Speaker 2: everybody I said it to thought I was insane, but

1445
01:19:38,640 --> 01:19:39,439
Speaker 2: that didn't stop me.

1446
01:19:39,720 --> 01:19:42,439
Speaker 1: That's like the inverse of way harsh tie. It's like,

1447
01:19:42,640 --> 01:19:46,160
Speaker 1: instead of letting it, letting it harsh, you harsh five.

1448
01:19:46,320 --> 01:19:47,960
Speaker 1: You're like, yeah, that's it, just ignore it.

1449
01:19:48,000 --> 01:19:52,120
Speaker 2: No, nope, nope, I'm moving on. I'm moving on.

1450
01:19:52,479 --> 01:19:54,479
Speaker 1: That's great. I love it. Now I need to go

1451
01:19:54,600 --> 01:19:55,240
Speaker 1: watch singles.

1452
01:19:56,000 --> 01:19:58,360
Speaker 2: Yeah, I think you should like it's.

1453
01:19:58,240 --> 01:20:01,320
Speaker 1: I know, it's such a mom it's such a move.

1454
01:20:01,439 --> 01:20:03,680
Speaker 2: Yeah, and that's the thing. And yeah, I know there

1455
01:20:03,720 --> 01:20:05,639
Speaker 2: are a lot of people who are pretty down on it.

1456
01:20:06,240 --> 01:20:08,320
Speaker 2: I wouldn't put it up there. There are at least

1457
01:20:08,439 --> 01:20:11,080
Speaker 2: three other at least three other Camera Crow movies I

1458
01:20:11,120 --> 01:20:13,960
Speaker 2: like better, maybe four, yeah, or five. But I still

1459
01:20:14,040 --> 01:20:15,680
Speaker 2: enjoy it. I still have a soft spot for it.

1460
01:20:15,720 --> 01:20:19,719
Speaker 2: And talk about movie soundtracks, I still adore the single soundtrack.

1461
01:20:19,840 --> 01:20:23,840
Speaker 1: So yeah, awesome, you're number three, well my number three.

1462
01:20:24,280 --> 01:20:28,360
Speaker 1: We're taking it to animated realm here. And it is

1463
01:20:28,400 --> 01:20:31,360
Speaker 1: from another movie that has so many quotes, so many

1464
01:20:31,439 --> 01:20:33,720
Speaker 1: quotes that I also use, but I how to choose one.

1465
01:20:34,280 --> 01:20:36,920
Speaker 1: And it is from Emperor's New Groove. I don't know

1466
01:20:36,920 --> 01:20:40,560
Speaker 1: if you've watched it recently, Adam, No, I've.

1467
01:20:40,280 --> 01:20:43,960
Speaker 2: Never seen it. I've never seen it. And Sam Sam

1468
01:20:44,120 --> 01:20:47,200
Speaker 2: loves this movie like five star loves this movie and

1469
01:20:47,200 --> 01:20:48,000
Speaker 2: I've never seen it.

1470
01:20:48,160 --> 01:20:50,880
Speaker 1: Love Sam and I are on the same page. We

1471
01:20:51,080 --> 01:20:53,880
Speaker 1: may not agree about Alisia Silverstone, but we absolutely agree

1472
01:20:53,880 --> 01:20:58,240
Speaker 1: about this. The quote is said by the fantastic wonderful

1473
01:20:58,320 --> 01:21:01,920
Speaker 1: character Izma, who's played by earth the Kitzma. Is this

1474
01:21:02,120 --> 01:21:08,320
Speaker 1: like craggly, old purple skinned lady who is the advisor

1475
01:21:08,400 --> 01:21:11,439
Speaker 1: to the spoiled brat Emperor Kusco played by David Spade,

1476
01:21:11,520 --> 01:21:15,080
Speaker 1: voice by David Spade and she's fired as his advisor,

1477
01:21:15,160 --> 01:21:18,120
Speaker 1: and she seeks revenge and she tries to have him poisoned,

1478
01:21:18,160 --> 01:21:22,640
Speaker 1: but accidentally turns him into a lama instead. And so

1479
01:21:22,760 --> 01:21:26,679
Speaker 1: this moment comes towards the end of the film where

1480
01:21:26,920 --> 01:21:30,360
Speaker 1: they're all like they're on a wild goosecase and Kronk

1481
01:21:30,600 --> 01:21:35,160
Speaker 1: her Beefy Henchman who's voiced by Patrick Warburton Kronk, She's like,

1482
01:21:35,280 --> 01:21:38,080
Speaker 1: we have to go to the secret lab. And Kronk

1483
01:21:38,160 --> 01:21:40,639
Speaker 1: pulls a lever that's supposed to lead to their secret lab.

1484
01:21:40,880 --> 01:21:45,639
Speaker 1: But then Ezma falls through the ground while screaming wrong lever. Again.

1485
01:21:45,680 --> 01:21:48,080
Speaker 1: This is a it's animated, and there's a lot of

1486
01:21:48,439 --> 01:21:53,120
Speaker 1: Looney Tunes esque zaniness happening here. She quickly re emerges

1487
01:21:53,280 --> 01:21:56,920
Speaker 1: soaking wet while dragging in a crocodile, and she like

1488
01:21:57,360 --> 01:21:59,760
Speaker 1: the crocodile alligator camember witch and like she shakes it

1489
01:21:59,800 --> 01:22:03,280
Speaker 1: off and she says, why do we even have that lem?

1490
01:22:04,439 --> 01:22:08,160
Speaker 1: Why do we even have that lever? And that that

1491
01:22:08,360 --> 01:22:12,880
Speaker 1: is a line that you'd be surprised how often you

1492
01:22:12,920 --> 01:22:16,479
Speaker 1: can use it when something doesn't work or when something

1493
01:22:16,720 --> 01:22:18,960
Speaker 1: does the opposite of what it's supposed to do. I

1494
01:22:18,960 --> 01:22:22,080
Speaker 1: will often be just be like, why don't even have that?

1495
01:22:22,400 --> 01:22:25,040
Speaker 1: I don't I don't substitute it. I just say lever

1496
01:22:25,200 --> 01:22:29,960
Speaker 1: and then like maybe maybe one person understands, but it just.

1497
01:22:29,880 --> 01:22:32,400
Speaker 2: Feels, yeah, machinery fails.

1498
01:22:32,840 --> 01:22:36,680
Speaker 1: Yeah, why why do we even have that dishwasher? Ear?

1499
01:22:36,760 --> 01:22:39,560
Speaker 1: The kid is just so perfect in this role, and

1500
01:22:40,320 --> 01:22:43,920
Speaker 1: I love you know, there's been so much sort of

1501
01:22:44,040 --> 01:22:47,280
Speaker 1: stunt casting when it comes to voice rolls and animated movies,

1502
01:22:47,320 --> 01:22:49,400
Speaker 1: and I think this is one of the films where

1503
01:22:50,000 --> 01:22:52,639
Speaker 1: you know, you know all the names of the people

1504
01:22:52,640 --> 01:22:54,800
Speaker 1: who are being who are voicing these characters, but yet

1505
01:22:54,840 --> 01:22:56,960
Speaker 1: they all work so well. David Spade is great, Like,

1506
01:22:57,439 --> 01:22:59,440
Speaker 1: I think you would really like this movie, Adam.

1507
01:22:59,280 --> 01:23:01,240
Speaker 2: Everybody I know, oh loves it.

1508
01:23:01,400 --> 01:23:04,240
Speaker 1: So it's also very short, It's like eighty minutes. It's

1509
01:23:04,360 --> 01:23:08,080
Speaker 1: a breeze and Kronk is great. So why do we

1510
01:23:08,120 --> 01:23:11,760
Speaker 1: even have that? Lever? I will be asking until the

1511
01:23:11,840 --> 01:23:13,120
Speaker 1: day I die.

1512
01:23:13,680 --> 01:23:17,519
Speaker 2: That's so great? Okay, I'm in. And then Sam has

1513
01:23:17,560 --> 01:23:20,000
Speaker 2: been talking about that movie since two thousand and five

1514
01:23:20,240 --> 01:23:21,800
Speaker 2: and somehow I still haven't seen it.

1515
01:23:22,000 --> 01:23:23,559
Speaker 1: Ah, yeah, let me know when you do.

1516
01:23:23,680 --> 01:23:27,719
Speaker 2: Yeah, Okay, So how I arrived at my number three pick?

1517
01:23:27,760 --> 01:23:32,680
Speaker 2: Which is actually a joint pick. Here is interesting. I

1518
01:23:32,720 --> 01:23:36,800
Speaker 2: think it comes from the day the two of us

1519
01:23:36,880 --> 01:23:39,599
Speaker 2: settled on this top five. We were corresponding, we were

1520
01:23:39,640 --> 01:23:42,559
Speaker 2: scheduling the recording. This is like a month ago or so.

1521
01:23:42,760 --> 01:23:45,840
Speaker 2: We were scheduling it, and we were settling on this list,

1522
01:23:46,360 --> 01:23:49,840
Speaker 2: and so my brain is going, I'm thinking about I'm

1523
01:23:49,840 --> 01:23:52,559
Speaker 2: trying to you know, I'm going through the entire history

1524
01:23:52,600 --> 01:23:55,320
Speaker 2: of my life, thinking about all the movies I've quoted

1525
01:23:55,760 --> 01:24:01,759
Speaker 2: and the most quotable films. And even though it's weeks away,

1526
01:24:01,800 --> 01:24:05,320
Speaker 2: I'm putting in the work and I'm jotting things down

1527
01:24:05,400 --> 01:24:09,080
Speaker 2: in my notes app And that night, so this is

1528
01:24:09,120 --> 01:24:13,240
Speaker 2: just a couple hours after we were talking, my wife

1529
01:24:13,240 --> 01:24:16,720
Speaker 2: had made breakfast for dinner. Always a good call to

1530
01:24:16,760 --> 01:24:21,000
Speaker 2: make breakfast for dinner, right, Yeah, And I was going

1531
01:24:21,040 --> 01:24:24,479
Speaker 2: back into the kitchen for like my fourth or fifth

1532
01:24:24,520 --> 01:24:28,680
Speaker 2: piece of bacon, and as I was picking it up,

1533
01:24:29,320 --> 01:24:34,519
Speaker 2: a voice in my head instinctively went, bacon tastes good.

1534
01:24:35,439 --> 01:24:41,520
Speaker 2: Pork chops taste good. Suddenly I was doing John Travolta

1535
01:24:42,000 --> 01:24:45,840
Speaker 2: as Vincent Vega sitting across from Jewels Winfield in the

1536
01:24:45,880 --> 01:24:49,479
Speaker 2: diner in pulp fiction. When Jewles is explaining why he

1537
01:24:49,520 --> 01:24:50,719
Speaker 2: doesn't dig on swine.

1538
01:24:50,960 --> 01:24:52,280
Speaker 8: Yeah, bacon taste good.

1539
01:24:53,000 --> 01:24:54,240
Speaker 1: Pork chops taste good.

1540
01:24:54,479 --> 01:24:58,840
Speaker 2: Bacon tastes good. Pork chops taste good, like instantly, that's

1541
01:24:58,880 --> 01:25:00,240
Speaker 2: the compulsion I'm talking about.

1542
01:25:00,280 --> 01:25:00,360
Speaker 8: It.

1543
01:25:00,400 --> 01:25:02,920
Speaker 2: If someone says I don't like bacon, I say, yeah,

1544
01:25:02,960 --> 01:25:07,559
Speaker 2: but bacon tastes good. Right, And that instantly then took

1545
01:25:07,600 --> 01:25:11,280
Speaker 2: me to the two pulp fiction quotes I really do

1546
01:25:11,600 --> 01:25:16,160
Speaker 2: use more often than that. And yes, I guess I'm

1547
01:25:16,200 --> 01:25:21,719
Speaker 2: cheating here a little bit from jewels. Yeah you know them, right, Well.

1548
01:25:21,640 --> 01:25:22,679
Speaker 1: Yeah, yeah, go for it.

1549
01:25:22,920 --> 01:25:25,439
Speaker 2: You know them, but they're they're a pair. I can't

1550
01:25:25,439 --> 01:25:28,360
Speaker 2: separate jewels in vincent, so I'm not going to separate

1551
01:25:28,400 --> 01:25:31,720
Speaker 2: these quotes. If you're in any scenario, let's see if

1552
01:25:31,720 --> 01:25:33,680
Speaker 2: you can. You can pull these. If you're in any

1553
01:25:33,720 --> 01:25:37,679
Speaker 2: scenario where someone impresses you with their knowledge, they pull

1554
01:25:37,760 --> 01:25:41,759
Speaker 2: out an arcane bit of trivia. Check out the Big

1555
01:25:41,800 --> 01:25:45,719
Speaker 2: Brain on Brett. If it's an arcane bit of trivia,

1556
01:25:46,000 --> 01:25:48,880
Speaker 2: they come up with a brilliant idea, or maybe they

1557
01:25:49,080 --> 01:25:51,360
Speaker 2: just come up with a good idea under pressure. Maybe

1558
01:25:51,360 --> 01:25:53,360
Speaker 2: it's not even that good of an idea, but it's

1559
01:25:53,439 --> 01:25:56,280
Speaker 2: like you're just it was the best idea of the bunch, right.

1560
01:25:56,600 --> 01:25:58,479
Speaker 2: It doesn't matter if you're out at a bar, you're

1561
01:25:58,479 --> 01:26:01,240
Speaker 2: in a business meeting, you're at a dinner party. It's

1562
01:26:01,320 --> 01:26:05,920
Speaker 2: literally usable in any scenario. You can say like I do,

1563
01:26:06,280 --> 01:26:07,599
Speaker 2: or like Jeweles does.

1564
01:26:07,840 --> 01:26:10,640
Speaker 5: Check out the big brain on bread.

1565
01:26:10,800 --> 01:26:14,040
Speaker 2: Right, and you can swap their name in or don't.

1566
01:26:14,439 --> 01:26:16,880
Speaker 2: Just go ahead and call them Brett. Yeah, it works,

1567
01:26:17,320 --> 01:26:21,800
Speaker 2: just like you say, lever call them Brett. Doesn't matter right.

1568
01:26:23,360 --> 01:26:28,559
Speaker 2: The other The other is Vincent's line when he's buying

1569
01:26:28,680 --> 01:26:32,000
Speaker 2: drugs from Eric Stoltz, and it's the only quote on

1570
01:26:32,040 --> 01:26:34,120
Speaker 2: my list. I think it's the only quote on my

1571
01:26:34,160 --> 01:26:36,920
Speaker 2: list that you can say and the person you're saying

1572
01:26:36,920 --> 01:26:39,639
Speaker 2: it to won't necessarily look at you like you're crazy

1573
01:26:39,880 --> 01:26:43,559
Speaker 2: because it doesn't sound totally absurd, which is why I

1574
01:26:43,600 --> 01:26:47,240
Speaker 2: think I use it so often. Stolt says, I'll take

1575
01:26:47,280 --> 01:26:51,320
Speaker 2: the Pepsi challenge against that Amsterdam shit, and Vincent says,

1576
01:26:51,640 --> 01:26:55,839
Speaker 2: that's a bold statement, sat amstertams, that's a bold statement.

1577
01:26:58,080 --> 01:27:02,040
Speaker 2: I use it so m I probably said it a

1578
01:27:02,120 --> 01:27:03,280
Speaker 2: thousand times on this show.

1579
01:27:03,880 --> 01:27:07,120
Speaker 1: Yeah, it's funny because like I say that all the time.

1580
01:27:07,120 --> 01:27:09,760
Speaker 1: But I don't connect it with pulp fiction. It's I

1581
01:27:09,760 --> 01:27:10,400
Speaker 1: feel like it's.

1582
01:27:10,479 --> 01:27:13,719
Speaker 2: You're just actually using the phrase. It's just you picked

1583
01:27:13,760 --> 01:27:16,720
Speaker 2: it up. Yeah, yeah, Yeah, that's a bold statement. And

1584
01:27:17,000 --> 01:27:20,120
Speaker 2: I'm not totally doing the Vincent Vega draw but kind of,

1585
01:27:20,160 --> 01:27:21,880
Speaker 2: you know, cause I'm a bad imitator. But it's like,

1586
01:27:22,040 --> 01:27:23,080
Speaker 2: that's a bold statement.

1587
01:27:23,280 --> 01:27:23,479
Speaker 4: You know.

1588
01:27:23,800 --> 01:27:26,320
Speaker 2: That's what I'm hearing in my head every time anyone

1589
01:27:26,400 --> 01:27:30,719
Speaker 2: makes something that sounds remotely close to a bold statement.

1590
01:27:30,960 --> 01:27:31,400
Speaker 1: I love it.

1591
01:27:31,479 --> 01:27:34,400
Speaker 2: That's a bold statement. Those two lines for pulp fiction

1592
01:27:34,880 --> 01:27:36,719
Speaker 2: will never leave my head.

1593
01:27:37,200 --> 01:27:39,840
Speaker 1: That's great. I look, I'm not Josh, so I'm not

1594
01:27:39,880 --> 01:27:43,559
Speaker 1: going to ding you for cheating. Uh, you're getting away with.

1595
01:27:43,520 --> 01:27:46,400
Speaker 2: I think I think we need a permanent seat. Would

1596
01:27:46,439 --> 01:27:48,360
Speaker 2: you like would you like another job by you? Show?

1597
01:27:48,520 --> 01:27:52,719
Speaker 1: Sure? Why not be gone? Josh?

1598
01:27:53,320 --> 01:27:54,960
Speaker 2: Yes? What's your number? Two?

1599
01:27:55,920 --> 01:27:58,680
Speaker 1: Number two? Okay, So this is where I get extremely

1600
01:27:58,840 --> 01:28:02,680
Speaker 1: extremely niche. This is something that pretty much only me

1601
01:28:03,040 --> 01:28:08,320
Speaker 1: and my husband quoted each other because we've shown many

1602
01:28:08,320 --> 01:28:10,280
Speaker 1: people of this movie, but I don't think they have

1603
01:28:10,960 --> 01:28:12,559
Speaker 1: watched it as many times as we. I watch it,

1604
01:28:12,560 --> 01:28:14,280
Speaker 1: probably at least once or twice a year. It might

1605
01:28:14,280 --> 01:28:16,439
Speaker 1: be my favorite movie. Of all time or one of them.

1606
01:28:16,479 --> 01:28:18,560
Speaker 1: It's in the top ten. And this is from a

1607
01:28:18,600 --> 01:28:24,679
Speaker 1: movie called Miami Connection. It is grindhouse feature, really shaggy, terrible,

1608
01:28:25,120 --> 01:28:29,479
Speaker 1: really horrible movie, horribly made but so bad, it's so good.

1609
01:28:29,680 --> 01:28:32,840
Speaker 1: It's the how did this get made? Guys did an

1610
01:28:32,840 --> 01:28:35,040
Speaker 1: episode around this, which is how I learned about it.

1611
01:28:35,040 --> 01:28:37,840
Speaker 1: So it's that kind of movie, sure, And it was

1612
01:28:37,880 --> 01:28:41,040
Speaker 1: like it was from nineteen eighty seven, and it is

1613
01:28:41,120 --> 01:28:47,160
Speaker 1: about a a group called the electro synthpop band called

1614
01:28:47,240 --> 01:28:50,280
Speaker 1: Dragon Sound. They're a multi ethnic group of students who

1615
01:28:50,280 --> 01:28:55,479
Speaker 1: are attending the University of Central Florida together. And they

1616
01:28:55,640 --> 01:29:00,240
Speaker 1: are also like they know kung fu and do they

1617
01:29:00,320 --> 01:29:03,240
Speaker 1: fight these motorcycle riding ninjas. There's a lot going on,

1618
01:29:05,600 --> 01:29:07,759
Speaker 1: and there's a lot of great quotes from that movie,

1619
01:29:08,360 --> 01:29:10,880
Speaker 1: but the one that I find myself quoting and kind

1620
01:29:10,880 --> 01:29:14,280
Speaker 1: of you could argue I'm shoehorning this quote in into

1621
01:29:14,280 --> 01:29:16,320
Speaker 1: my real life, but like, I can't help it. It

1622
01:29:16,479 --> 01:29:19,000
Speaker 1: just reminds me. But there's a scene where all of

1623
01:29:19,080 --> 01:29:22,559
Speaker 1: the guys in the group there's one woman, but the

1624
01:29:22,600 --> 01:29:25,519
Speaker 1: guys are all like living together and like off campus

1625
01:29:25,560 --> 01:29:28,280
Speaker 1: housing or something. Also, they're all in college, but they're

1626
01:29:28,320 --> 01:29:32,640
Speaker 1: at minimum thirty. Some of them are much older. But

1627
01:29:32,720 --> 01:29:36,479
Speaker 1: they are in the house and one of the characters, Jim,

1628
01:29:36,560 --> 01:29:39,880
Speaker 1: who is played by Maurice Smith, he gets a letter

1629
01:29:40,120 --> 01:29:43,240
Speaker 1: from his someone who says he's his father, and he's like,

1630
01:29:43,880 --> 01:29:45,800
Speaker 1: I thought my father. I'd lost my father a long

1631
01:29:45,840 --> 01:29:48,639
Speaker 1: time ago, and so he gets this letter. They're all

1632
01:29:48,640 --> 01:29:53,040
Speaker 1: standing there in the living room and Mark who's played

1633
01:29:53,040 --> 01:29:54,760
Speaker 1: by y K. Kim, and he's like the leader of

1634
01:29:54,800 --> 01:29:58,200
Speaker 1: the group. He says, I didn't know you had a father.

1635
01:29:58,680 --> 01:30:00,680
Speaker 1: I thought we were all orphans.

1636
01:30:03,000 --> 01:30:04,960
Speaker 7: I didn't know you had a father.

1637
01:30:05,439 --> 01:30:08,240
Speaker 2: I thought we are or or PiZZ.

1638
01:30:09,120 --> 01:30:13,080
Speaker 1: And it's it's like one of those like the entire

1639
01:30:13,160 --> 01:30:16,519
Speaker 1: scene is ridiculous because then like Jim goes off and

1640
01:30:16,560 --> 01:30:18,840
Speaker 1: stands in the corner and does a monologue where he's like,

1641
01:30:19,439 --> 01:30:23,839
Speaker 1: my mother was Korean and my father was Black American

1642
01:30:24,240 --> 01:30:26,040
Speaker 1: and he just like goes off and not like it's

1643
01:30:26,080 --> 01:30:30,200
Speaker 1: it's insane, but I find myself off and saying when

1644
01:30:30,240 --> 01:30:34,479
Speaker 1: I'm with my husband, where something will happen. We're like

1645
01:30:34,560 --> 01:30:37,599
Speaker 1: we'll learn something about someone else, orts learn something about

1646
01:30:37,600 --> 01:30:39,479
Speaker 1: each other that like we didn't know, and they would

1647
01:30:39,479 --> 01:30:41,320
Speaker 1: be like I didn't know you had a father, and

1648
01:30:41,320 --> 01:30:43,280
Speaker 1: I thought we were all orphans.

1649
01:30:44,800 --> 01:30:48,160
Speaker 2: And it's the all. It's the all that really sells it, right, Yeah,

1650
01:30:48,280 --> 01:30:48,840
Speaker 2: I thought we.

1651
01:30:48,720 --> 01:30:50,880
Speaker 1: Were all because like they were all supposed to be

1652
01:30:51,000 --> 01:30:54,599
Speaker 1: or these are grown, grown men, but like their connection

1653
01:30:54,720 --> 01:30:56,519
Speaker 1: is that they're all like from different parts of the

1654
01:30:56,520 --> 01:30:58,840
Speaker 1: world and then they like don't know their families. But

1655
01:30:58,880 --> 01:31:00,960
Speaker 1: then this guy all of a sudden learns that you

1656
01:31:01,040 --> 01:31:03,559
Speaker 1: might have a father, and so it's like, oh man,

1657
01:31:03,640 --> 01:31:05,240
Speaker 1: we're not all orphans anymore.

1658
01:31:06,439 --> 01:31:08,439
Speaker 2: Wow, I have never heard of this movie.

1659
01:31:08,520 --> 01:31:11,160
Speaker 1: Oh my goodness, you have to someone I think from

1660
01:31:11,200 --> 01:31:14,760
Speaker 1: Almo draft House rediscovered it because like it played in

1661
01:31:15,200 --> 01:31:17,519
Speaker 1: one or two theaters for like a week in nineteen

1662
01:31:17,520 --> 01:31:19,880
Speaker 1: eighty seven and then like was buried. And since it's

1663
01:31:19,920 --> 01:31:22,200
Speaker 1: become kind of like a cult classic where you know,

1664
01:31:22,360 --> 01:31:26,599
Speaker 1: people will have screenings of it. It's it's it's ridiculous. Also,

1665
01:31:26,600 --> 01:31:30,240
Speaker 1: the music is fantastic. I highly recommend watching it, and

1666
01:31:30,400 --> 01:31:33,040
Speaker 1: I think you can find it on Prime streaming or

1667
01:31:33,080 --> 01:31:35,479
Speaker 1: even on YouTube. Yeah. So yeah, yeah, I.

1668
01:31:35,479 --> 01:31:38,000
Speaker 2: Mean, I know you captured this insanity, but I'm still

1669
01:31:38,000 --> 01:31:40,720
Speaker 2: going to read it From IMDb. This is the synopsis

1670
01:31:41,280 --> 01:31:44,240
Speaker 2: A martial Arts rock band. I mean we could just

1671
01:31:44,280 --> 01:31:48,920
Speaker 2: stop there goes up against a band of motorcycle ninjas, yes,

1672
01:31:49,600 --> 01:31:52,320
Speaker 2: who have tightened their grip on Florida's narcotics trait.

1673
01:31:52,920 --> 01:31:55,720
Speaker 1: Yes, I forgot about the drums. I mean, but it's

1674
01:31:55,760 --> 01:31:58,559
Speaker 1: it's it's Miami connection, but it's set in Orlando.

1675
01:31:58,920 --> 01:32:02,320
Speaker 2: This band is only the roll Black Bulson Taekwondo and

1676
01:32:02,360 --> 01:32:02,960
Speaker 2: there pretty bad.

1677
01:32:03,040 --> 01:32:04,559
Speaker 9: I want you to mess it up by going out

1678
01:32:04,600 --> 01:32:06,759
Speaker 9: with a second grade musician like a John character.

1679
01:32:07,000 --> 01:32:17,759
Speaker 1: I can play God Damn Suns Chance Okay, yeah, so yeah,

1680
01:32:17,800 --> 01:32:18,759
Speaker 1: we are all ours.

1681
01:32:20,040 --> 01:32:25,960
Speaker 2: Okay, that's amazing. My number two. Maybe it was because

1682
01:32:26,240 --> 01:32:29,479
Speaker 2: I was a pretentious English major when this movie came out.

1683
01:32:29,760 --> 01:32:34,240
Speaker 2: Whatever it was, These words Ayisha just really they spoke

1684
01:32:34,280 --> 01:32:40,519
Speaker 2: to me, spoken by the immortal Kadeem Hartisan and white

1685
01:32:40,560 --> 01:32:45,160
Speaker 2: Men Can't Jump. Oh, they resonated with me then, and

1686
01:32:45,360 --> 01:32:49,720
Speaker 2: they have resonated with me to this very day. They

1687
01:32:49,760 --> 01:32:56,160
Speaker 2: are from the opening hustle scene between Woody Harrelson and

1688
01:32:56,240 --> 01:33:01,160
Speaker 2: Wesley Snipes. Snipes, Sidney Dean, is this a movie you've seen?

1689
01:33:01,320 --> 01:33:02,280
Speaker 2: White Men Can't Jump?

1690
01:33:02,479 --> 01:33:04,720
Speaker 1: I have never seen it in its entirety, believe it

1691
01:33:04,800 --> 01:33:06,800
Speaker 1: or not. It's been on my list of things, and

1692
01:33:06,800 --> 01:33:08,640
Speaker 1: I didn't even Realizekadem Hardison wasn't it.

1693
01:33:09,760 --> 01:33:12,960
Speaker 2: Yeah, Jor is his name. He's the sidekick. Yeah, he's

1694
01:33:13,000 --> 01:33:17,800
Speaker 2: the sidekick to Snipe's character Sidney Dean. He's just made

1695
01:33:17,840 --> 01:33:22,519
Speaker 2: his third shot in a row and Harrelson's Billy Hoyle

1696
01:33:22,600 --> 01:33:25,480
Speaker 2: has to reciprocate. He has to make the shot. Hardison's

1697
01:33:25,680 --> 01:33:28,320
Speaker 2: character Junior is standing next to him basically kind of

1698
01:33:28,360 --> 01:33:33,439
Speaker 2: heckling him, and after Sidney's third shot balls, he says

1699
01:33:33,880 --> 01:33:36,559
Speaker 2: to Billy, is.

1700
01:33:36,560 --> 01:33:38,000
Speaker 7: A joyful a man?

1701
01:33:38,040 --> 01:33:40,240
Speaker 1: John Key said, John Keys, that's from man.

1702
01:33:41,800 --> 01:33:47,440
Speaker 2: Something about something about in this this scenario, this hustle scenario,

1703
01:33:47,720 --> 01:33:50,639
Speaker 2: Kadeem Hardison dropping John Keats and saying, that's my man,

1704
01:33:50,720 --> 01:33:55,240
Speaker 2: John Keatson. I don't know. I have just always loved it.

1705
01:33:55,320 --> 01:33:59,520
Speaker 2: And I'm a terrible basketball player. But you know, maybe

1706
01:33:59,760 --> 01:34:01,640
Speaker 2: I'm out there with one of the kids and I

1707
01:34:01,680 --> 01:34:05,120
Speaker 2: swish one in the driveway, or maybe you just do something,

1708
01:34:05,800 --> 01:34:08,200
Speaker 2: you have to do something that requires some precision and

1709
01:34:08,240 --> 01:34:11,080
Speaker 2: you actually you nail it, you do it perfectly, or

1710
01:34:11,120 --> 01:34:15,160
Speaker 2: you actually do just see something that's beautiful, legitimately beautiful.

1711
01:34:16,320 --> 01:34:19,400
Speaker 2: It calls for it demands a thing of beauty is

1712
01:34:19,439 --> 01:34:22,240
Speaker 2: a joy forever. John Keats said that. My man John Keats,

1713
01:34:23,680 --> 01:34:26,840
Speaker 2: I say it all the time. My daughter Sophie, who

1714
01:34:26,880 --> 01:34:29,840
Speaker 2: is now an English major or pretentious English major, who

1715
01:34:30,240 --> 01:34:33,160
Speaker 2: adores John Keats and has read way more than I

1716
01:34:33,160 --> 01:34:37,040
Speaker 2: have ever read. And when we went to Rome recently,

1717
01:34:37,080 --> 01:34:39,400
Speaker 2: we had to go to the Keats house where he

1718
01:34:39,520 --> 01:34:43,160
Speaker 2: passed away, and loves the movie Bright Star because of Keats,

1719
01:34:43,200 --> 01:34:47,360
Speaker 2: that great Campion film. But she knew of John Keats

1720
01:34:47,840 --> 01:34:50,280
Speaker 2: because of me quoting a thing of beauty is a

1721
01:34:50,360 --> 01:34:53,759
Speaker 2: joy forever, not because I was quoting the Keats poem.

1722
01:34:54,200 --> 01:34:55,880
Speaker 2: I was quoting white men can't jump.

1723
01:34:56,160 --> 01:34:59,080
Speaker 1: You planted the seed planted s Yes, I the seed.

1724
01:34:59,160 --> 01:35:02,960
Speaker 2: So what I get the dual benefit of quoting both

1725
01:35:03,040 --> 01:35:07,200
Speaker 2: Ron Shelton, one of our all time great sports movie directors,

1726
01:35:07,280 --> 01:35:11,160
Speaker 2: and John Keats simultaneously. I love the line it is.

1727
01:35:11,520 --> 01:35:14,599
Speaker 2: It is always going to be useful. We're always going

1728
01:35:14,640 --> 01:35:16,880
Speaker 2: to encounter beauty. So yeah, why not?

1729
01:35:17,240 --> 01:35:18,280
Speaker 1: Yeah, thank of beauty.

1730
01:35:18,360 --> 01:35:19,840
Speaker 2: Love it, my man John Keats.

1731
01:35:22,080 --> 01:35:26,840
Speaker 1: Number one, Yeah, number one. Okay, So this is yet

1732
01:35:26,880 --> 01:35:29,439
Speaker 1: another movie where I could have chosen eight million other

1733
01:35:29,520 --> 01:35:34,000
Speaker 1: quotes that I also use many times. And you know, Clueless.

1734
01:35:34,120 --> 01:35:36,040
Speaker 1: That is a movie that is near and dear to

1735
01:35:36,080 --> 01:35:39,000
Speaker 1: my heart. I love it. But as someone who is

1736
01:35:39,040 --> 01:35:43,040
Speaker 1: a younger millennial when that movie came out and I

1737
01:35:43,080 --> 01:35:44,880
Speaker 1: saw it when I was, you know, a little bit

1738
01:35:44,920 --> 01:35:50,120
Speaker 1: past the flurry of Clueless mania, it's not the movie

1739
01:35:50,120 --> 01:35:51,880
Speaker 1: that has stuck with me in the same way that

1740
01:35:51,960 --> 01:35:54,120
Speaker 1: a different movie that came out just at the right

1741
01:35:54,120 --> 01:35:59,320
Speaker 1: time and which is clearly inspired in many ways by Clueless.

1742
01:35:59,800 --> 01:36:03,879
Speaker 1: Is this movie. Of course, you may may have guessed

1743
01:36:03,920 --> 01:36:07,599
Speaker 1: by now, it is Mean Girls. I was sixteen when

1744
01:36:07,640 --> 01:36:11,439
Speaker 1: this movie came out, and it spoke to me in

1745
01:36:11,479 --> 01:36:13,599
Speaker 1: so many ways. It still speaks to me in many

1746
01:36:13,600 --> 01:36:18,040
Speaker 1: many ways. I still say things like gruel randomly. It's

1747
01:36:18,200 --> 01:36:22,479
Speaker 1: just it is part of the lexicon. But my number

1748
01:36:22,479 --> 01:36:26,439
Speaker 1: one is going to be the moment when Damien played

1749
01:36:26,439 --> 01:36:30,719
Speaker 1: by Daniel Fransese, dressed up as Santa, is going around

1750
01:36:31,000 --> 01:36:35,000
Speaker 1: giving out candy grams for students, and of course Katie

1751
01:36:35,080 --> 01:36:38,080
Speaker 1: played by Lindsay Lohan and Damien and Jani is played

1752
01:36:38,080 --> 01:36:40,280
Speaker 1: by Linday Kaplan. They have this whole plot to like

1753
01:36:40,360 --> 01:36:42,680
Speaker 1: drive a wedge between the plastics the popular girls at

1754
01:36:42,680 --> 01:36:44,639
Speaker 1: the school, and so one of them is like we're

1755
01:36:44,640 --> 01:36:46,519
Speaker 1: gonna give out these candy grams and make sure one

1756
01:36:46,520 --> 01:36:50,000
Speaker 1: of the plastics doesn't get one. And so in that moment,

1757
01:36:50,479 --> 01:36:52,599
Speaker 1: Damien comes in dressed like Santa, and he's.

1758
01:36:52,439 --> 01:36:57,960
Speaker 2: Like tailor Zimmlement two for you, Glenn Coco. Far for you,

1759
01:36:58,120 --> 01:36:58,920
Speaker 2: Glenn Coco.

1760
01:36:59,080 --> 01:37:05,760
Speaker 1: You go, Glencoe, You go, Glenn Coco. And this is

1761
01:37:05,840 --> 01:37:08,120
Speaker 1: kind of similar to your check out the Big Brains

1762
01:37:08,320 --> 01:37:12,040
Speaker 1: on Bread quote, where I will find any like, anytime

1763
01:37:12,120 --> 01:37:16,639
Speaker 1: someone does something, whether it's big or small, dumb, whatever,

1764
01:37:16,760 --> 01:37:18,759
Speaker 1: I'll just be like, you go, Glenn Coco.

1765
01:37:21,479 --> 01:37:24,280
Speaker 2: Do you always do the voice too? I usually do.

1766
01:37:24,400 --> 01:37:26,920
Speaker 1: I usually do because it's like you can't. It's hard

1767
01:37:27,000 --> 01:37:29,240
Speaker 1: to say it without it. It's just like burnt in

1768
01:37:29,320 --> 01:37:32,320
Speaker 1: my brain. It's like full for you, Glenn Coco, you go,

1769
01:37:32,320 --> 01:37:34,639
Speaker 1: Cook Cocoa. And then sometimes I'll add in the other

1770
01:37:34,720 --> 01:37:37,080
Speaker 1: line that comes after it, and not for Groten readers,

1771
01:37:39,200 --> 01:37:41,600
Speaker 1: but yes, you go, Glen Coco. It works in so

1772
01:37:41,680 --> 01:37:46,639
Speaker 1: many situations it's become it's probably the line on here

1773
01:37:47,040 --> 01:37:50,759
Speaker 1: of my picks that's like resonated the most in pop culture.

1774
01:37:50,840 --> 01:37:53,240
Speaker 1: It's like a lot of people when I say it,

1775
01:37:53,360 --> 01:37:56,800
Speaker 1: will know exactly what I'm referencing, and so it's just

1776
01:37:57,640 --> 01:37:59,800
Speaker 1: I say it a lot. I say it, probably too much,

1777
01:38:00,080 --> 01:38:02,519
Speaker 1: but yeah, it's so good.

1778
01:38:04,479 --> 01:38:07,920
Speaker 2: I love it perfect. I can see I can see

1779
01:38:07,920 --> 01:38:12,479
Speaker 2: how that could be applied in many situations. Yeah, more

1780
01:38:12,520 --> 01:38:15,840
Speaker 2: than more than my number one, but it is my

1781
01:38:16,000 --> 01:38:19,880
Speaker 2: number one, and hopefully I can explain why. So this

1782
01:38:19,960 --> 01:38:22,880
Speaker 2: is one of the films, along with pulp fiction, that

1783
01:38:23,040 --> 01:38:25,479
Speaker 2: is in the film spotting Pantheon, and that's because it

1784
01:38:25,520 --> 01:38:28,720
Speaker 2: was put in very early on by my then co

1785
01:38:28,800 --> 01:38:32,680
Speaker 2: host producer Sam, a film we bonded over early on,

1786
01:38:32,880 --> 01:38:37,360
Speaker 2: realized that we quoted it together and knew we were

1787
01:38:37,360 --> 01:38:40,400
Speaker 2: going to get along if we were both quoting this

1788
01:38:40,520 --> 01:38:42,840
Speaker 2: film because it it might be for both of us

1789
01:38:42,960 --> 01:38:45,519
Speaker 2: the film that we think is the most quotable movie

1790
01:38:45,600 --> 01:38:51,720
Speaker 2: of all time, and it's Glen Garry Glenn Ross. This

1791
01:38:51,800 --> 01:38:56,240
Speaker 2: is from the scene featuring, of course, Alec Baldwin's character Blake,

1792
01:38:56,840 --> 01:39:00,479
Speaker 2: which that scene might offer the most quotes per minute

1793
01:39:01,120 --> 01:39:03,800
Speaker 2: of any scene in all of cinema. The one I

1794
01:39:03,920 --> 01:39:07,679
Speaker 2: use most often, though let me be clear, it's either

1795
01:39:07,720 --> 01:39:11,679
Speaker 2: when I'm in the car by myself feeling a little

1796
01:39:11,760 --> 01:39:14,960
Speaker 2: road ragee or when I'm in the company of very

1797
01:39:15,000 --> 01:39:19,960
Speaker 2: good friends with whom I'm very comfortable around. It comes

1798
01:39:19,960 --> 01:39:25,440
Speaker 2: from Blake's explanation of the AIDA.

1799
01:39:24,680 --> 01:39:30,679
Speaker 5: Acronym Aida attention interest, decision action attention.

1800
01:39:31,120 --> 01:39:34,479
Speaker 2: Do I have your attention? Interest? Are you interested?

1801
01:39:34,560 --> 01:39:37,519
Speaker 1: I know you are, because it's a walk you close

1802
01:39:37,760 --> 01:39:38,920
Speaker 1: or you hit the bricks?

1803
01:39:39,520 --> 01:39:44,040
Speaker 2: Decision? Have you made your decision for Christ? Have you

1804
01:39:44,160 --> 01:39:47,559
Speaker 2: made your decision for Christ? It's that in the way

1805
01:39:47,760 --> 01:39:53,400
Speaker 2: Baldwin delivers that line, in specifically the for Christ, because

1806
01:39:54,520 --> 01:39:58,080
Speaker 2: with just a little bit more emphasis on Christ, it

1807
01:39:58,160 --> 01:40:01,920
Speaker 2: becomes this pure expression of exasperation, like have you made

1808
01:40:01,960 --> 01:40:06,680
Speaker 2: your decision for Christ? Like for Christ? You know. But

1809
01:40:06,760 --> 01:40:10,320
Speaker 2: he isn't expressing exasperation, as he says to these men

1810
01:40:10,400 --> 01:40:14,760
Speaker 2: earlier that he's haranguing and belittling. I'm here, I'm here

1811
01:40:14,760 --> 01:40:17,559
Speaker 2: from downtown. I'm here for Mitch and Murray. I'm here

1812
01:40:17,600 --> 01:40:20,519
Speaker 2: on a mission of mercy. He's offering. He thinks he's

1813
01:40:20,520 --> 01:40:24,120
Speaker 2: offering them their only ticket to salvation. And in the

1814
01:40:24,160 --> 01:40:28,000
Speaker 2: context of ai DA, getting the customer to sign on

1815
01:40:28,080 --> 01:40:32,800
Speaker 2: the line which is dotted, is that ticket, and it

1816
01:40:32,880 --> 01:40:38,560
Speaker 2: is in their world it is as consequential as accepting

1817
01:40:38,640 --> 01:40:43,799
Speaker 2: Jesus as their Lord and savior. So so he is saying,

1818
01:40:44,439 --> 01:40:48,880
Speaker 2: have you made your decision for Christ? So when I'm

1819
01:40:48,920 --> 01:40:52,560
Speaker 2: in the car and it's the other cars turned to

1820
01:40:52,600 --> 01:40:55,439
Speaker 2: go at the stop sign and they're just sitting there,

1821
01:40:56,000 --> 01:40:58,720
Speaker 2: or they're taking way too long to merge onto the interstate,

1822
01:40:59,040 --> 01:41:02,280
Speaker 2: I might channel a little blake and ask no one

1823
01:41:02,360 --> 01:41:06,000
Speaker 2: in particular, have you made your decision for Christ? Or

1824
01:41:06,080 --> 01:41:08,679
Speaker 2: if a friend is taking a long time to decide

1825
01:41:08,720 --> 01:41:11,240
Speaker 2: what to order at the restaurant, yeah, they might get

1826
01:41:11,280 --> 01:41:13,719
Speaker 2: a little blake. You know, they might get some blake.

1827
01:41:13,720 --> 01:41:17,160
Speaker 2: Have you made your decision for Christ? You know, if

1828
01:41:17,160 --> 01:41:20,599
Speaker 2: it's midday, I might have invited them out by saying, now,

1829
01:41:20,600 --> 01:41:23,240
Speaker 2: will you go to lunch? Go to lunch? Will you

1830
01:41:23,360 --> 01:41:25,920
Speaker 2: go to lunch? I might throw in a bonus Glengarry

1831
01:41:25,920 --> 01:41:30,200
Speaker 2: Glenn Ross quote as well. So it's an embarrassment of

1832
01:41:30,320 --> 01:41:34,760
Speaker 2: riches for me. So that's it. Something just about Baldwin's

1833
01:41:35,360 --> 01:41:39,599
Speaker 2: line delivery just every time slays me, and it's seared

1834
01:41:39,760 --> 01:41:44,280
Speaker 2: into my brain. So anytime, really, anytime, I'm getting just

1835
01:41:44,360 --> 01:41:47,800
Speaker 2: a little bit impatient. Just know I may not be

1836
01:41:47,920 --> 01:41:51,439
Speaker 2: saying it, but I am thinking, have you made your

1837
01:41:51,479 --> 01:41:52,559
Speaker 2: decision for Christ?

1838
01:41:52,760 --> 01:41:59,000
Speaker 1: Have you made your decision for Christ. He's just I mean,

1839
01:41:59,280 --> 01:42:01,240
Speaker 1: I haven't watched that movie in a very long time,

1840
01:42:01,280 --> 01:42:04,519
Speaker 1: but I have done multiple rewatches of thirty Rock and

1841
01:42:05,080 --> 01:42:09,840
Speaker 1: his ability to channel exasperation and smugness and just like

1842
01:42:09,880 --> 01:42:13,080
Speaker 1: to stain all in sometimes all in one. One fell

1843
01:42:13,160 --> 01:42:15,600
Speaker 1: Swoop is masterclass. Masterclass.

1844
01:42:15,640 --> 01:42:19,920
Speaker 2: It's true, isn't it. To see our picks, and that

1845
01:42:20,000 --> 01:42:23,839
Speaker 2: means in this case, not only revisiting or rereading the quotes,

1846
01:42:23,880 --> 01:42:26,479
Speaker 2: but also watching the scenes. You can go to film

1847
01:42:26,560 --> 01:42:29,639
Speaker 2: spotting dot net and click on lists. You can send

1848
01:42:29,680 --> 01:42:32,080
Speaker 2: your picks or any other comments about the show to

1849
01:42:32,120 --> 01:42:35,599
Speaker 2: feedback at film spotting dot net. That is our show.

1850
01:42:36,120 --> 01:42:38,120
Speaker 2: Send your picks or any other comments about the show

1851
01:42:38,160 --> 01:42:41,519
Speaker 2: to feedback at film spotting dot net. Ashe, do you

1852
01:42:41,560 --> 01:42:44,080
Speaker 2: have any others that you want to make sure you

1853
01:42:44,080 --> 01:42:45,519
Speaker 2: get a mention in for?

1854
01:42:46,160 --> 01:42:50,439
Speaker 1: Yeah, yeah, one is from Coming to America. There are

1855
01:42:50,479 --> 01:42:53,600
Speaker 1: so many from that, but specifically this is beautiful what

1856
01:42:53,760 --> 01:42:57,920
Speaker 1: is that velvet? I love that line. Also, I always

1857
01:42:57,920 --> 01:43:00,200
Speaker 1: get the fuzzy ends of the lollipop from Some Like

1858
01:43:00,240 --> 01:43:05,040
Speaker 1: It Hot, the Marilyn Monroe line, and baby Fishmouth from

1859
01:43:05,080 --> 01:43:08,240
Speaker 1: When Harry met Sally. Sometimes I just yell, I have

1860
01:43:08,320 --> 01:43:12,840
Speaker 1: baby fishmouth, because sure, there.

1861
01:43:12,680 --> 01:43:14,800
Speaker 2: Are so many. This is tough, but I'll give you.

1862
01:43:14,960 --> 01:43:17,320
Speaker 2: I'll give you a couple. One I was reminded of

1863
01:43:17,360 --> 01:43:20,599
Speaker 2: I had to add to the list. Just following this

1864
01:43:20,640 --> 01:43:24,639
Speaker 2: past weekend, I was at a graduation party and there

1865
01:43:24,640 --> 01:43:28,639
Speaker 2: were different drinks being served. I opened up the fridge

1866
01:43:28,680 --> 01:43:31,599
Speaker 2: to see what beer they had, and the only beer,

1867
01:43:31,960 --> 01:43:34,120
Speaker 2: Not that this was necessarily a bad thing, but the

1868
01:43:34,160 --> 01:43:37,960
Speaker 2: only beer that they had for me to drink was Heineken,

1869
01:43:38,600 --> 01:43:42,559
Speaker 2: which meant that in my brain, I said, Sam, get

1870
01:43:42,600 --> 01:43:47,240
Speaker 2: ready to get out the bleeper for radio Heineken. Fuck

1871
01:43:47,320 --> 01:43:52,719
Speaker 2: that shit. Perhaps blue ribbon, just like Dennis Hopper's frank

1872
01:43:52,760 --> 01:43:56,479
Speaker 2: booth in blue velvet. Anybody who saw that film or

1873
01:43:56,720 --> 01:43:59,800
Speaker 2: saw it ten or twenty times like I did, or

1874
01:44:00,880 --> 01:44:02,679
Speaker 2: that's what you think of when you think of Heineken,

1875
01:44:02,800 --> 01:44:05,960
Speaker 2: even if you like Heinegan. You think about that line

1876
01:44:06,080 --> 01:44:10,120
Speaker 2: from Dennis Hopper. Here's another weird one from Airplane. Of

1877
01:44:10,160 --> 01:44:14,200
Speaker 2: all the lines from Airplane, one I think about all

1878
01:44:14,280 --> 01:44:18,440
Speaker 2: the time, which was apparently a spoof of coffee commercials

1879
01:44:18,760 --> 01:44:23,000
Speaker 2: back in the day, where you know a wife was

1880
01:44:23,080 --> 01:44:26,120
Speaker 2: like suspicious of her husband because they're out at a

1881
01:44:26,160 --> 01:44:29,120
Speaker 2: dinner party, or something. They're somewhere and he orders a

1882
01:44:29,160 --> 01:44:32,920
Speaker 2: second cup of coffee and she's like, he never orders

1883
01:44:32,920 --> 01:44:35,439
Speaker 2: a second cup of coffee at home, Like when she

1884
01:44:35,600 --> 01:44:39,040
Speaker 2: makes coffee, he doesn't like it or something, and she's

1885
01:44:39,080 --> 01:44:43,120
Speaker 2: all anxious about it. So there's a line where he says, yes,

1886
01:44:43,160 --> 01:44:45,519
Speaker 2: I'll have a second cup of coffee from the flight attendant,

1887
01:44:45,760 --> 01:44:48,559
Speaker 2: and in voiceover she's like, Jim never has a second

1888
01:44:48,560 --> 01:44:50,920
Speaker 2: cup of coffee at home. For some reason, that line

1889
01:44:50,960 --> 01:44:52,840
Speaker 2: is so stuck with me that if I'm at a

1890
01:44:52,840 --> 01:44:55,600
Speaker 2: restaurant or something and someone goes, oh, would you like

1891
01:44:55,640 --> 01:44:58,479
Speaker 2: some more coffee, I'll be like, you never have a

1892
01:44:58,479 --> 01:45:03,000
Speaker 2: second cup of coffee at home? Why I don't? I

1893
01:45:03,080 --> 01:45:08,559
Speaker 2: don't really know. Ghostbusters. There's a part in Ghostbusters me

1894
01:45:08,640 --> 01:45:11,320
Speaker 2: and my friends from the eighties, my grade school friends,

1895
01:45:11,360 --> 01:45:13,400
Speaker 2: we think about this one all the time when Rick

1896
01:45:13,479 --> 01:45:19,040
Speaker 2: Moranis's character like turns into whoever, the gatekeeper, the key master,

1897
01:45:19,400 --> 01:45:23,160
Speaker 2: whoever right later in the movie, and he's acting all

1898
01:45:23,280 --> 01:45:27,040
Speaker 2: all funny, and Janine asks do you want some coffee?

1899
01:45:27,439 --> 01:45:32,160
Speaker 2: And he turns to Egon and he says do I

1900
01:45:32,640 --> 01:45:35,720
Speaker 2: and Egan says, yes, have some, and he turns and

1901
01:45:35,760 --> 01:45:38,840
Speaker 2: so Rick Moranis turns to Janet and goes, yes, have some.

1902
01:45:39,880 --> 01:45:42,400
Speaker 2: Anytime we're at a restaurant or something and someone says like,

1903
01:45:42,479 --> 01:45:45,360
Speaker 2: do you want some? And they go do I, Yes,

1904
01:45:45,439 --> 01:45:47,920
Speaker 2: have some? Yes, And they repeat that, yes, have some.

1905
01:45:48,080 --> 01:45:50,960
Speaker 2: We do that whole bit. Why I don't know, because

1906
01:45:50,960 --> 01:45:54,000
Speaker 2: we're stupid, but we do, Yes, Yes, have some. One

1907
01:45:54,120 --> 01:45:55,960
Speaker 2: last one this is another. This is another one that

1908
01:45:56,080 --> 01:45:59,439
Speaker 2: Sam and I we actually saw this movie together. We

1909
01:45:59,439 --> 01:46:01,439
Speaker 2: reviewed it on show. He didn't end up liking it

1910
01:46:01,479 --> 01:46:03,720
Speaker 2: as much as me, but it's a line that got

1911
01:46:03,720 --> 01:46:07,000
Speaker 2: a simultaneous laugh out of both of us and we

1912
01:46:07,080 --> 01:46:10,360
Speaker 2: still both say it to this day. There's a moment

1913
01:46:10,400 --> 01:46:12,640
Speaker 2: in the movie Little Miss Sunshine. I don't remember the

1914
01:46:12,680 --> 01:46:15,960
Speaker 2: exact circumstances, but you know, they're in the van or

1915
01:46:15,960 --> 01:46:19,000
Speaker 2: whatever I don't remember. They get pulled over by the

1916
01:46:19,040 --> 01:46:21,360
Speaker 2: cops and there's something in the back of the van

1917
01:46:21,840 --> 01:46:23,880
Speaker 2: that they don't want the cops to see, or Greg

1918
01:46:23,920 --> 01:46:26,000
Speaker 2: Kaneer is. The dad is sure there's something in the

1919
01:46:26,040 --> 01:46:28,280
Speaker 2: back of the van that they don't want the cops

1920
01:46:28,320 --> 01:46:32,280
Speaker 2: to see, and the cop says like take this out,

1921
01:46:32,439 --> 01:46:36,080
Speaker 2: you know, show me what's under here, and the dad

1922
01:46:36,160 --> 01:46:40,000
Speaker 2: canear being sure that he's gonna see this terrible thing

1923
01:46:40,320 --> 01:46:43,960
Speaker 2: goes sweet sweetness, and the way he says it, the

1924
01:46:43,960 --> 01:46:46,519
Speaker 2: way he says sweet sweetness. Sam and I now say

1925
01:46:46,520 --> 01:46:49,800
Speaker 2: that we still say that for some reason anytime, anytime,

1926
01:46:49,880 --> 01:46:52,519
Speaker 2: like we think something terrible is about to happen, or

1927
01:46:52,840 --> 01:46:55,920
Speaker 2: like instead of saying like oh God or oh no,

1928
01:46:56,280 --> 01:46:59,280
Speaker 2: we say sweet sweetness, just like Greg Knneer does.

1929
01:46:59,520 --> 01:47:02,720
Speaker 1: So yeah, yes, that's like me. And when I say

1930
01:47:03,800 --> 01:47:06,599
Speaker 1: because of fast and the furious, it's like you sometimes

1931
01:47:06,600 --> 01:47:09,400
Speaker 1: you say you're just like you gotta say it, family.

1932
01:47:09,080 --> 01:47:11,519
Speaker 2: You got to say it. It's just like Vin Diesel.

1933
01:47:11,720 --> 01:47:11,960
Speaker 7: Right.

1934
01:47:13,120 --> 01:47:15,880
Speaker 2: Those are our honorable mentions and again those are all

1935
01:47:16,000 --> 01:47:19,559
Speaker 2: of our picks for top five movie quotes in our lexicon.

1936
01:47:19,600 --> 01:47:21,839
Speaker 2: We would love to hear from you. Email us feedback

1937
01:47:21,840 --> 01:47:26,320
Speaker 2: at film spotting dot net. That is our show. You

1938
01:47:26,320 --> 01:47:30,160
Speaker 2: can find me and film Spotting on Instagram, Facebook and

1939
01:47:30,479 --> 01:47:33,920
Speaker 2: letterboxed at film Spotting, Josh is at Larson on film

1940
01:47:33,960 --> 01:47:36,879
Speaker 2: Aisha work, and we find you on social media these days.

1941
01:47:37,080 --> 01:47:41,280
Speaker 1: I'm on Blue Sky at Aisha Harris very straightforward. You

1942
01:47:41,320 --> 01:47:44,479
Speaker 1: can also find me on Instagram at a hot eight

1943
01:47:44,600 --> 01:47:47,240
Speaker 1: eight the numbers eight eight and then of course find

1944
01:47:47,280 --> 01:47:50,479
Speaker 1: me on NPR pop Quatre Happy Hour, where you get

1945
01:47:50,520 --> 01:47:54,479
Speaker 1: your podcasts. We're we're we're having a fun time over

1946
01:47:54,520 --> 01:47:56,920
Speaker 1: there and yeah, that's that's it.

1947
01:47:57,280 --> 01:47:59,799
Speaker 2: If you are not subscribed to that show, do yourself

1948
01:47:59,800 --> 01:48:03,040
Speaker 2: with FA Get subscribed to Pop Culture Happy Hour as

1949
01:48:03,080 --> 01:48:06,800
Speaker 2: soon as you can. Film Spotting is independently produced and

1950
01:48:06,960 --> 01:48:09,479
Speaker 2: listener supported. Support the show by joining the Film Spotting

1951
01:48:09,479 --> 01:48:12,479
Speaker 2: Family at filmspottingfamily dot com. You can listen early in

1952
01:48:12,520 --> 01:48:15,719
Speaker 2: ad free, plus get a weekly newsletter, monthly bonus shows,

1953
01:48:15,720 --> 01:48:19,880
Speaker 2: and access to the entire archive. For show t shirts

1954
01:48:19,880 --> 01:48:22,679
Speaker 2: and other merch go to filmspotting dot net slash shop

1955
01:48:23,040 --> 01:48:25,280
Speaker 2: in the archives. Here in my notes, it just says

1956
01:48:25,400 --> 01:48:29,679
Speaker 2: Fast Times a Ridgemont High, Sacred Cow when Hey, I'm

1957
01:48:29,680 --> 01:48:32,759
Speaker 2: on board. I haven't seen that movie in one hundred years,

1958
01:48:32,920 --> 01:48:35,920
Speaker 2: and we got to find when the next anniversary is

1959
01:48:36,000 --> 01:48:40,200
Speaker 2: and give that movie some love out wide. What about

1960
01:48:40,200 --> 01:48:43,080
Speaker 2: this one? I share you guys gonna talk about this one?

1961
01:48:43,080 --> 01:48:45,200
Speaker 2: How do you feel about the world of John Wick

1962
01:48:45,280 --> 01:48:49,280
Speaker 2: because Ballerina is out. Yes, I'm supposed to do this

1963
01:48:49,360 --> 01:48:52,120
Speaker 2: in movie trailer guy voice in a world where to

1964
01:48:52,200 --> 01:48:56,200
Speaker 2: read John Wick, Well, the armis is the Ballerina.

1965
01:48:56,439 --> 01:48:59,680
Speaker 1: Yeah, it has this absurdly long marketing title that is

1966
01:48:59,720 --> 01:49:02,360
Speaker 1: something along lines of from the world of John Wick

1967
01:49:02,920 --> 01:49:07,360
Speaker 1: Colon Ballerina, which no one's saying all that. Yeah, you're

1968
01:49:07,360 --> 01:49:09,679
Speaker 1: absolutely doing it. I actually saw it at the time

1969
01:49:09,720 --> 01:49:12,080
Speaker 1: that we're recording this. I saw it last night. We

1970
01:49:12,200 --> 01:49:15,400
Speaker 1: just taped our episode this morning, so yeah, we will

1971
01:49:15,439 --> 01:49:18,720
Speaker 1: be covering it. It's if you like John Wick, you'll

1972
01:49:18,720 --> 01:49:20,360
Speaker 1: probably like this. That's what I'll say.

1973
01:49:20,400 --> 01:49:24,520
Speaker 2: Okay, fair enough. The Ritual is also out Two Priests

1974
01:49:24,640 --> 01:49:29,519
Speaker 2: one Exorcism. The two priests are Dan Stevens and Al Pacino. Okay, okay,

1975
01:49:29,600 --> 01:49:34,840
Speaker 2: in limited release. Another movie featuring some priests, Dogma Resurrected.

1976
01:49:34,920 --> 01:49:38,320
Speaker 2: This is a twenty fifth anniversary re release in theaters.

1977
01:49:38,920 --> 01:49:43,120
Speaker 2: Dangerous Animals is also out now follow Me Here. Not

1978
01:49:43,200 --> 01:49:46,599
Speaker 2: just a serial killer movie, not just a killer shark movie.

1979
01:49:46,840 --> 01:49:51,439
Speaker 2: It's a serial killer who feeds his victims. Too sharp movie,

1980
01:49:51,880 --> 01:49:56,679
Speaker 2: okay with Ji Courtney. Brian Talerico says, quote fun stuff.

1981
01:49:57,080 --> 01:49:57,639
Speaker 2: Oh quote.

1982
01:49:58,240 --> 01:50:01,559
Speaker 1: I mean I say, I trust Brian for a lot

1983
01:50:01,600 --> 01:50:02,920
Speaker 1: of Yeah.

1984
01:50:03,000 --> 01:50:04,240
Speaker 2: Yeah, steer us wrong.

1985
01:50:05,640 --> 01:50:09,000
Speaker 1: I mean it sounds like a fun, fun movie to

1986
01:50:09,120 --> 01:50:11,679
Speaker 1: watch with a lot of other people. Perhaps, Yeah, Yeah.

1987
01:50:12,080 --> 01:50:14,840
Speaker 2: The Life of Chuck is also out. This is the

1988
01:50:14,920 --> 01:50:18,519
Speaker 2: Life of Chuck, starring Tom Hidleston in three acts, directed

1989
01:50:18,560 --> 01:50:22,160
Speaker 2: by Mike Flanagan, adapting the Stephen King novella. This one

1990
01:50:22,200 --> 01:50:25,559
Speaker 2: the People's Choice Award at the twenty twenty four Toronto

1991
01:50:25,600 --> 01:50:30,200
Speaker 2: International Film Festival. Now fun fact that maybe everyone is

1992
01:50:30,240 --> 01:50:33,040
Speaker 2: familiar with by now in relation to this film, all

1993
01:50:33,080 --> 01:50:35,760
Speaker 2: but one winner of that award going back to two

1994
01:50:35,800 --> 01:50:39,120
Speaker 2: thousand and eight has been nominated for Best Picture, including

1995
01:50:39,200 --> 01:50:43,200
Speaker 2: several winners Green Book, Slum Dog, Millionaire, The King's Speech,

1996
01:50:43,439 --> 01:50:46,400
Speaker 2: Twelve Years of Slave, and Nomad Land. We'll see if

1997
01:50:46,520 --> 01:50:50,960
Speaker 2: The Life of Chuck has similar luck. The Phoenician scheme

1998
01:50:51,160 --> 01:50:54,200
Speaker 2: from Wes Anderson also expands. Next week on the show,

1999
01:50:54,360 --> 01:50:58,759
Speaker 2: Josh returns, We'll talk Wes Anderson in the Phoenician Scheme,

2000
01:50:58,920 --> 01:51:02,599
Speaker 2: We'll talk the documentary pavements, and we will close out

2001
01:51:02,680 --> 01:51:06,840
Speaker 2: our Andre Tarkovski marathon. Film Spotting is produced by Golden Joe,

2002
01:51:06,840 --> 01:51:09,439
Speaker 2: Toss and Sam van Holgren. Without Sam and Golden Joe,

2003
01:51:09,439 --> 01:51:12,759
Speaker 2: the show wouldn't go. Our production assistant is Sophie Kempinar

2004
01:51:12,840 --> 01:51:16,200
Speaker 2: and special thanks to everyone at WB Eazy Chicago. More

2005
01:51:16,200 --> 01:51:21,760
Speaker 2: information is available at wbez dot org. Aisha, this was

2006
01:51:21,880 --> 01:51:23,840
Speaker 2: a pleasure. I think this is the first time we've

2007
01:51:23,840 --> 01:51:27,120
Speaker 2: gotten to co host an entire show together. What a frill.

2008
01:51:27,400 --> 01:51:29,120
Speaker 2: Thank you anyway, I don't know about you.

2009
01:51:29,320 --> 01:51:32,320
Speaker 1: Yeah no, this was thrilling. I love it and I

2010
01:51:33,080 --> 01:51:36,280
Speaker 1: appreciate you allowing me to step in. Josh is very

2011
01:51:36,360 --> 01:51:38,400
Speaker 1: very big choose, so thank you.

2012
01:51:39,360 --> 01:51:42,280
Speaker 2: Yeah. He he is tall, he has big feet, so

2013
01:51:42,600 --> 01:51:46,559
Speaker 2: that's that's a fair that's a fair and accurate statement. Again,

2014
01:51:46,840 --> 01:51:50,880
Speaker 2: check Aisha out at pop Culture Happy Hour. Thanks again,

2015
01:51:51,280 --> 01:51:54,880
Speaker 2: thank you for film spotting. I'm Adam Kempinar. Thanks for listening.

2016
01:51:55,040 --> 01:51:58,000
Speaker 8: This conversation can serve no purpose anymore.

2017
01:51:58,840 --> 01:52:18,080
Speaker 2: Good fine film spotting is listeners supported. Join the film

2018
01:52:18,120 --> 01:52:20,920
Speaker 2: Spotting Family at film spotting family dot com and get

2019
01:52:20,960 --> 01:52:25,080
Speaker 2: access to ad free episodes, monthly bonus shows, our weekly newsletter, and,

2020
01:52:25,200 --> 01:52:27,479
Speaker 2: for the first time, all in one place, the entire

2021
01:52:27,760 --> 01:52:30,200
Speaker 2: film spotting archive going back to two thousand and five.

2022
01:52:30,479 --> 01:52:35,879
Speaker 2: That's a film Spotting Family dot com panically