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Speaker 1: Hello, everyone, Welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho, I'm Danielle Henderson,

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Speaker 1: and hey guys, we are here again to talk about

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Speaker 1: films with you again.

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Speaker 2: How's it going to you?

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Speaker 3: It's going all right, it's going all right. I went

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Speaker 3: outside last night to take my garbage out. Usually I

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Speaker 3: take it out before the sun goes down, because you know,

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Speaker 3: all the animals and shit around here. I don't like

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Speaker 3: to be out in these streets too late. But I forgot,

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Speaker 3: and I took it out last night at like ten o'clock,

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Speaker 3: and I looked up and I realized that I can

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Speaker 3: see like every constellation, Like I can see all the

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Speaker 3: stars in the sky. And it just made me think that,

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Speaker 3: like I have been living in cities for so long. Yeah,

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Speaker 3: I forgot that I couldn't see the sky. That's so

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Speaker 3: sad but so true that like, yeah, I don't know.

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Speaker 3: There was just I just had a moment with myself

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Speaker 3: where I was like, oh, this is nice. It's lovely

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Speaker 3: that I'm like back in a place where I can

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Speaker 3: see the full scope of the fucking earth.

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Speaker 2: Yeah, that's so cool.

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Speaker 1: I mean, it's it's like you forget that when you

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Speaker 1: live in these big cities with like it's called light pollution,

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Speaker 1: isn't that what it's actually called?

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Speaker 2: Yeah, and I don't know like it happens when I

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Speaker 2: go down to my parents' house.

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Speaker 1: I think it's also the fact that there's not a

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Speaker 1: lot of like tall trees where they live, too, so

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Speaker 1: you could really see the sky and you're just like,

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Speaker 1: oh my god, like this is so peaceful and wonderful,

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Speaker 1: and yeah, why do I live in an apartment complex.

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Speaker 2: On you know, in the middle of a city where

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Speaker 2: I can't see shit?

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Speaker 3: There are good things about that too. There are great

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Speaker 3: things about living in cities. We're not capping on cities,

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Speaker 3: but like, yeah, it's a different space that I'm in

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Speaker 3: right now, and I appreciate the space that I'm in

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Speaker 3: right now. Yeah, I've been having all these like existential moments,

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Speaker 3: and I think that's part of it, is that I

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Speaker 3: live in the space now where I have like this

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Speaker 3: expansion all around me. So yeah, basically just you know,

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Speaker 3: took out my garbage and reckoned with the fact that

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Speaker 3: I'm middle fucking aged.

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Speaker 1: Well, I'm right there with you, cause you know, I

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Speaker 1: catch myself in all these moments where I'm like, yeah,

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Speaker 1: I'm doing this stuff, like I'm doing middle aged stuff.

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Speaker 1: You know, besides the fact of like just getting out

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Speaker 1: of bed and you know, groaning and that kind of thing,

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Speaker 1: I don't I don't have any jois de' vivra when

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Speaker 1: it comes to waking up or getting my body moving.

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Speaker 2: I know, you know, I'm into birds, right, Like, we

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Speaker 2: talked about this a long time ago.

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Speaker 1: I got into bird watching much like a lot of

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Speaker 1: people during the pandemic. We talked about it, like, I

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Speaker 1: don't know, it was a while ago, it was a

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Speaker 1: while ago. I don't know if it was last year.

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Speaker 1: And basically here in the in where I'm living right

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Speaker 1: now in Georgia.

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Speaker 2: There's a lot of birds. It's like a big bird area.

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Speaker 2: I think. There's a lot of trees around me.

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Speaker 1: And so I just decided, Hey, I'm gonna put out

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Speaker 1: a feeder and put some like black oil sunflower seeds.

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Speaker 1: And this squirrel buster is the name of the feeder.

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Speaker 1: By the way, it's called the squirrel buster.

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Speaker 4: Ah.

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Speaker 3: I like how even in the world of bird feeders,

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Speaker 3: they're like we're gonna have a war, Like squirrels can

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Speaker 3: fuck off. This is birds.

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Speaker 1: Only That's what I really figured out is like part

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Speaker 1: of the strategy of bird feeding is trying to get

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Speaker 1: squirrels to not eat the seed, right, Okay, So I

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Speaker 1: bought an apparatus called the squirrel Buster. It's actually technically

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Speaker 1: called the squirrel Buster Mini, okay, and it's like a

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Speaker 1: tube feeder that has it's on a spring.

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Speaker 2: So basically, if a bird sits.

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Speaker 1: On the perch, it can eat the seed at the bottom, right,

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Speaker 1: But if a squirrel gets on it, I guess.

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Speaker 2: It weighs too much and so it'll shut. That's the technology, right, Okay.

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Speaker 3: So not only are bird feeders entering classes territory, they

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Speaker 3: are straight up body shaming squirrels. Get your bad ass

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Speaker 3: off in this fucking feeder.

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Speaker 1: So now I guess in response squirrels are they have

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Speaker 1: complex body image issues.

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Speaker 3: One of them is like writing an article for Bustle.

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Speaker 1: So here's the thing that alone sometimes doesn't actually work

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Speaker 1: because the squirrels figure out how to get up the

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Speaker 1: pole and then hang upside down.

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Speaker 3: That's what I figured out. Look, I'm on this girl's side,

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Speaker 3: I'm on this squirrel side. I just gotta say I

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Speaker 3: love these smart little bastards.

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Speaker 2: They are crafty as hell. So then I went out

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Speaker 2: and bought a baffle.

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Speaker 1: Which is basically like it's a cone that wraps around

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Speaker 1: the pole that is also wobbling, so they can't even

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Speaker 1: try to jump on it.

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Speaker 3: They can't get any purchase at all.

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Speaker 1: Right, And I also have this bird feeder pushed away

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Speaker 1: from the house and from trees so they can't jump

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Speaker 1: from anything. So I've really figured out how to only

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Speaker 1: have birds at this feeder. And let me fucking tell you,

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Speaker 1: these birds are eating me out of house.

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Speaker 3: At home.

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Speaker 1: I have to fill up the bird feeder every fucking day,

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Speaker 1: damn sometimes twice a day. What yes, And I'm not.

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Speaker 1: I know it's not squirrels because I watch it. I

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Speaker 1: actually watch the bird feeder a lot. And I also

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Speaker 1: technically have a camera that's I pointed outside like it's

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Speaker 1: on the outside, but it somehow like catches the bird feeder,

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Speaker 1: and I sometimes I'll look at that footage I'll be

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Speaker 1: there's not a squirrel. It is literally all birds. It's

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Speaker 1: birds eating this bird seed and they must be coming

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Speaker 1: from miles away.

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Speaker 3: Tell them their friends, you know why, Like the word

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Speaker 3: is out and they're like this motherfucker, yeah has hooked

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Speaker 3: us up. She's got a baffle. She is on our side.

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Speaker 3: She's here for us, Like they put out the clarion call. Yes,

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Speaker 3: like if you want some black oiled sunflower seeds or

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Speaker 3: some suet or whatever, the hell.

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Speaker 2: Well, I'm about to get to the suet.

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Speaker 1: So I'm like, well, okay, let me give them another

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Speaker 1: station to feed from. It's like a golden corral at

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Speaker 1: my house for these birds. I'm like, yo, hit up

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Speaker 1: the bird seed, hit up the suet. I got a

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Speaker 1: little bird bath. It's like, go to your stations, do

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Speaker 1: all your stuff. So I went and bought a suet

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Speaker 1: cake thing.

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Speaker 3: You know.

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Speaker 1: It was like a cage, right and you can hang it.

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Speaker 1: So I put it in the backyard because I was like,

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Speaker 1: let him come to the backyard too. Let's get a

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Speaker 1: little you know, flow here. So the suit cakes are

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Speaker 1: supposed to last for a long fucking time. They're basically

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Speaker 1: I don't know if you know what sue it is.

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Speaker 1: I'm sure people do, but yeah, it's basically like crisco

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Speaker 1: or something with seeds and corn and shit, and it's

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Speaker 1: for their fuel so they can like have food through

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Speaker 1: the winter or they need the fat or whatever. I

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Speaker 1: have to replace those every couple of days, and that

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Speaker 1: shit should technically last.

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Speaker 2: For a long time because they're very dense.

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Speaker 3: Okay, so what you've done is, first of all, I

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Speaker 3: love the double dere obstacle course around the whole house

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Speaker 3: for the birds. You like, take a bath, eat something,

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Speaker 3: see if you can get away from the squirrel, go

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Speaker 3: to the suet station, slide down into the goop. Big

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Speaker 3: your ticket, Like double their obstacle course. You've also set

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Speaker 3: up a fucking McDonald's for these birds with these suet cakes,

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Speaker 3: and as we know from human experience and our own

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Speaker 3: psychological experience, they are gonna chow the fuck down on

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Speaker 3: that suet whenever they get a chance.

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Speaker 1: Yes, so there is a literal gang of birds. They're

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Speaker 1: these red winged blackbirds. And I posted about them on

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Speaker 1: my personal Instagram like a while back, and I had

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Speaker 1: people being like, oh my god, those birds are nasty.

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Speaker 1: They will fuck you up. They will push all the

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Speaker 1: other birds away from the feeder. They will attack you

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Speaker 1: as people like they're afraid of nobody. The minute I

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Speaker 1: saw one at the feeder, I took that picture, I

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Speaker 1: posted the story, and then literally the same day I

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Speaker 1: saw probably like two hundred of them in the chart,

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Speaker 1: and they were all fucking with the suet feeder, like

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Speaker 1: knocking it over. I mean they were swinging it like.

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Speaker 1: I was like, damn. Like they were like old timey boxers,

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Speaker 1: you know, just basically like sitting around the punching bag

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Speaker 1: like being fucking rough. And I was like, well, these

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Speaker 1: are the birds that are eating all the suet and

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Speaker 1: they're doing it in these giant flocks like they're just

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Speaker 1: like and they were all over the deck, like sitting

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Speaker 1: on all my patio furniture, like they're just like we

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Speaker 1: we live here now, like this is our house.

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Speaker 3: So you set up for McDonald's and now you're in

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Speaker 3: a turf war with some birds, and the turf war

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Speaker 3: is between you and the birds. It's not even between

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Speaker 3: the birds and like another flock of birds. It's like, Hi,

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Speaker 3: I live here, this is my home. I'm the one

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Speaker 3: who's set up, Yeah, the food situation for you. Can

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Speaker 3: you give me a small break? And they're like nah,

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Speaker 3: And then they're like picking their teeth with a fucking knife,

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Speaker 3: picking their little beaks like nah, truly, you're just gonna

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Speaker 3: keep bringing us some suet. Yeah, and all this shit's

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Speaker 3: gonna stay cool or else.

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Speaker 1: Yeah, they're all the ray Winstone of birds, and they're

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Speaker 1: just grust mean and they're bullies apparently. And you know

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Speaker 1: the other thing is that there's all these other birds

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Speaker 1: around too, so like there are these you know, they're

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Speaker 1: called tufted tit mice.

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Speaker 3: Don't even try it. We've already been down this road.

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Speaker 2: We don't know. We don't know the bird names.

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Speaker 1: I think they're called it's a tufted tit mouse, but

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Speaker 1: I guess maybe if they are multiples, they're mice.

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Speaker 2: I don't know. Somebody correct me.

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Speaker 1: But they're so cute and little bitty, and they're very

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Speaker 1: sweet and just I've seen the blackbirds fuck with them,

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Speaker 1: like I've seen them be like get out of here,

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Speaker 1: like they're sitting on the bird feeder, and then like

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Speaker 1: the flock comes and the birds freak the fuck out, like,

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Speaker 1: oh shit, the fucking the dudes are.

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Speaker 2: In town, you know, And I'm like, damn, dude.

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Speaker 3: One of the blackbirds lands and it has like those

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Speaker 3: pink rollers in its fucking head. It's riding another bird.

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Speaker 2: Like I have a chauffeur, Like get that little bitch.

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Speaker 1: But that's the thing is that, like there's no way

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Speaker 1: to not feed them, all right, So it's like I

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Speaker 1: want to try to get something that they won't eat,

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Speaker 1: but the little baby guys will eat.

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Speaker 2: And I'm like, no, it doesn't work that way. Right.

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Speaker 1: Once you start feeding birds, animal kingdom takes over and

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Speaker 1: it's all a mess. But honestly, I have never bought

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Speaker 1: so much bird food in my life, and it is

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Speaker 1: like a daily task for me to go replace the

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Speaker 1: fucking seed because I'm like, they're.

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Speaker 2: Devouring, and they're devouring this food.

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Speaker 3: Listen, as your friend, I gotta say, I do want

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Speaker 3: you to retire one day, and these birds and this

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Speaker 3: bird seed situation, it's too cost prohibitive at this point,

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Speaker 3: Like we are talking, we're gonna have medical bills to pay.

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Speaker 4: Yeah, we got like imagine you going in and being like,

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Speaker 4: I do need to get this cavity filled, but I

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Speaker 4: have spent five hundred dollars in bird seed this month.

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Speaker 4: You are eventually gonna have to make a decision about

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Speaker 4: how much do you love birds in your yard versus

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Speaker 4: how much do you want to retire.

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Speaker 1: I know, and I'm just sort of like now they

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Speaker 1: expect it, though, Like what am I supposed to do?

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Speaker 2: Like take all the shit down and be like that's it,

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Speaker 2: y'all have eaten enough?

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Speaker 3: Yes, because look, you're already a people pleaser. You can't

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Speaker 3: also now be a bird pleaser. Cut them off, stop

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Speaker 3: buying seeds, just take everything and put it inside the

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Speaker 3: fucking garage. They are done. The cash cow is closed.

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Speaker 3: It's closed.

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Speaker 1: Shut them off. You cannot be a bird pleaser. A

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Speaker 1: bird pleaser. Yeah, you know, you're right. I really can't.

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Speaker 1: And I mean there's the neighbor has a bird feeder too.

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Speaker 2: Yeah, let them get.

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Speaker 3: Fucking mobbed by goddamn two hundred birds.

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Speaker 1: Well, and the funny thing is is that she doesn't

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Speaker 1: fill the feeder up all the way, so she keeps

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Speaker 1: them guessing. She makes it like a third of the

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Speaker 1: way up, or like she'll put in like half of it.

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Speaker 2: And I'm just like, damn, that's cold.

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Speaker 1: Yeah, they're basically like, no wonder they're at my house

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Speaker 1: because she's like rationing the sea because she knows they're

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Speaker 1: just gonna gorge themselves.

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Speaker 3: She's on an austerity budget, and you're like gold Kingdom

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Speaker 3: right here. We always got suet, we always got feed

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Speaker 3: You gotta break the pattern. You can still look at

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Speaker 3: their wings. They will still show up and be like,

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Speaker 3: oh damn, it's empty. Like you can still look at

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Speaker 3: their wings and like their little marks and shit. Even

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Speaker 3: if they're mad about it. You can still do the

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Speaker 3: thing that you want to do, which is watch if

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Speaker 3: you're not letting them eat you at a house and home,

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Speaker 3: I'm like.

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Speaker 2: Will they though?

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Speaker 1: Will they still come by if I don't give them food?

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Speaker 3: Look, they might not, But that's okay. You don't need

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Speaker 3: these birds love. You have set up a situation where

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Speaker 3: you are destined to make yourself feel bad in some way.

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Speaker 3: Oh yeah, because if you stop feeding them and they

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Speaker 3: stop hanging out, you're gonna be like, fuck, I fucked up.

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Speaker 3: But if you keep feeding them and then you can't

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Speaker 3: pay your rent, you're gonna be like, fuck, I fucked up.

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Speaker 1: I don't know why I go to a therapist. I

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Speaker 1: could just call you. You could just tell me literally

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Speaker 1: everything about myself, just through the birds, through the bird situation.

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Speaker 3: We will use a bird metaphor anytime we need it.

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Speaker 3: But you gotta cut this shit off at the knees.

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Speaker 1: Well, we're gonna figure this out because I know I'm

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Speaker 1: fucking tired of hauling around a giant bucket of bird seed.

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Speaker 3: I like the idea of feeding them sometimes, like the

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Speaker 3: occasional yeah, for a little snack into bird feeders.

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Speaker 2: Yeah, I like that.

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Speaker 3: Keep them toes. Yeah, they're used to it. They're wild,

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Speaker 3: they're used to not being This is the other thing.

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Speaker 3: I think these birds have started maybe losing their minds

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Speaker 3: a little bit because they're not used to eating. Like

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Speaker 3: this is good every day.

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Speaker 2: Oh, I know, I know.

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Speaker 3: So for the sake of the animal kingdom.

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Speaker 2: Yeah.

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Speaker 1: I notice in the neighborhood there's a lot of like

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Speaker 1: wild animal things, Like there's things to attract bees, things

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Speaker 1: to attract straight cats, things to truck birds. And I'm like,

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Speaker 1: it's a new era because I can remember when we

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Speaker 1: were growing up, nobody gave a fuck about animals. I

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Speaker 1: hate to say it, it's so true. Like growing up,

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Speaker 1: especially in the eighties, I was like, no one.

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Speaker 2: Cared about animals like this, Like, am I wrongly wild animal?

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Speaker 3: They're like, oh, you're wild?

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Speaker 2: A bird feeder? What the fuck a bird feeder? I know.

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Speaker 3: We would make bird feeders at school and shit like

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Speaker 3: here's a little project we did. It's a bird feeder,

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Speaker 3: and our parents would just throw it in the garbage,

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Speaker 3: Like I'm not feeding birds the hell you think I am. Yeah.

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Speaker 3: But also I have to say I've noticed this trend

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Speaker 3: in my own neighborhood too, when the original wildlife guy

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Speaker 3: that I eventually had to let go was here and

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Speaker 3: setting trap and like trying to do they have a

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Speaker 3: heart thing with all the groundhogs even look in their

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Speaker 3: little dens, their nests and say there's a lot of

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Speaker 3: food in here, and I was like, where are they

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Speaker 3: getting this food? And then one day I saw my

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Speaker 3: neighbor throwing an actual bucket full of like apples and

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Speaker 3: banana peels and like feeding the wild animals. Yeah, So

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Speaker 3: like that's why the deer are partying and break dancing

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Speaker 3: in my yard. Yeah, and that's why the groundhogs were like, yeah,

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Speaker 3: we're sitting up shop because like people are actually feeding

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Speaker 3: wild animals now.

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Speaker 4: Yeah.

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Speaker 1: And there's a moment too where I think about it

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Speaker 1: because I'm just like cognizant of sort of the whole

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Speaker 1: idea of food waste, and I hate food waste, and

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Speaker 1: I you know, there's times where I'm just like.

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Speaker 2: You know how it is.

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Speaker 1: You buy the box of spinach and you don't eat

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Speaker 1: it you're like, ah, this is so wasteful.

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Speaker 2: I don't want to throw it away. Maybe I'm just

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Speaker 2: throw it in the backyard. Somebody will eat it.

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Speaker 1: But then I realized too that that is sort of

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Speaker 1: in a way disrupting something else right in the wild,

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Speaker 1: and it does cause problems sometimes. So it is like

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Speaker 1: thing where I'm like, I don't know. I'm trying to

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Speaker 1: be a good citizen, yes, but sometimes it is tough

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Speaker 1: because you're like, you know, that's when I tell you

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Speaker 1: not to feed the wild animals and like national parks

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Speaker 1: and stuff, because the animals get used to it, and

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Speaker 1: then they start becoming aggressive towards people because they want

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Speaker 1: the food.

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Speaker 3: Exactly. I've definitely chucked an apple or two in my

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Speaker 3: backyard because I'm like, well, I'm not going to eat

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Speaker 3: it because it's mushy. Yeah, but I don't want to

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Speaker 3: waste it. So I've thrown some food in the backyard.

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Speaker 3: But I also know that when I'm chucking that fucking

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Speaker 3: apple back there, that I'm writing my own ticket to

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Speaker 3: having to have some weird guy come to my house

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Speaker 3: instead of trap exactly. So it's like, what do I

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Speaker 3: want to do? Would I rather have the animals find

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Speaker 3: their shit. I know that it is well within my

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Speaker 3: ethos and yours to want to take care of things

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Speaker 3: and people to our own detriment. And now that you're

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Speaker 3: at the beginning of this road, so I just want

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Speaker 3: to put up a roadblock for you and just say, reconsider.

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Speaker 3: Otherwise you are going to be spending thousands of dollars

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Speaker 3: to get bird shit cleaned off of your roof, in

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Speaker 3: your car and your deck. Look, I will send you

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Speaker 3: a little tin bucket for compost, and you can throw

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Speaker 3: those scraps right in there. You do not have to

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Speaker 3: use them to feed the wild animals in the city

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Speaker 3: of Atlanta.

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Speaker 2: Well, listen, we're going to figure out this bird situation.

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Speaker 1: I just I think that there's a happy medium between

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Speaker 1: starving them out and giving them an endless buffet. Yes,

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Speaker 1: there's got to be a happy medium there. I'll figure

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Speaker 1: it out.

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Speaker 3: I will say, I appreciate your kindness and your generosity,

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Speaker 3: and this is one of the ways that you exhibit

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Speaker 3: love in your life, and that is something that I

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Speaker 3: just love about you. And if you can't afford to

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Speaker 3: retire because you've been feeding birds for twenty years, you

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Speaker 3: could move in here. You can move in here an,

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Speaker 3: you know that I'm always ready for you. I bought

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Speaker 3: this house so that I can help take care of

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Speaker 3: all my friends who are wilded out their money right

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Speaker 3: now because we're in a pandemic and we just need

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Speaker 3: a little bit of love. I'm like, look, this place

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Speaker 3: will always be open for you. We will have a

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Speaker 3: little commune. We can golden girls it, and I will

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Speaker 3: show you how to compose and make some dirt so

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Speaker 3: we don't have to have COVID deer in my backyard

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Speaker 3: or COVID rats backyard or working out together.

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Speaker 1: I love how every episode essentially comes back to if

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Speaker 1: you become destitute, you can move in with me in

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Speaker 1: the woods.

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Speaker 3: Like this is like.

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Speaker 1: Every all of the advice that you ever give me

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Speaker 1: is basically like I'm always headed towards this like financial disaster,

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Speaker 1: and you're like, just come live with me. You know,

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Speaker 1: we'll be together, It'll it'll be fine. I'm like, you

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Speaker 1: know what, this is actually really comforting. Yeah know that

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Speaker 1: if I make bad decisions, I have a place to go.

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Speaker 3: You got a place to go.

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Speaker 2: Thank you for offering every episode. I appreciate it.

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Speaker 3: Look it's always open, and it's because look, I'm gonna

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Speaker 3: need it too. It's to my own selfish benefit because

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Speaker 3: you know damn well that I have spent too much

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Speaker 3: money here already, and I don't even have a kitchen.

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Speaker 3: I don't even have like a whole house or life here,

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Speaker 3: and I have just worn myself and my bank account out.

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Speaker 3: So it's to my own benefit as well that it'll

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Speaker 3: be like, Yeah, if I had some friends here and

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Speaker 3: we all just want to, like, you know, get hospital

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Speaker 3: guourneys with flags on them, and that's what we want

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Speaker 3: to spend our money on, then we can do that

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Speaker 3: together not feel bad. If we want to go broke

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Speaker 3: feeding birds, we can do that together. You got my

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Speaker 3: support in that way.

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Speaker 1: Look, you got our listeners want to join your commune too,

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Speaker 1: So that's how enticing it is. It's a really truly

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00:18:10,880 --> 00:18:13,520
Speaker 1: a great offer. I'm coming up there to get apples

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Speaker 1: and coffee in another state. It's happening enough of these

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Speaker 1: bad decisions for me, and I will be headed to

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Speaker 1: your house too.

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Speaker 3: Sweet. Yeah, well, then in that case, I take it

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Speaker 3: all back, keep feeding those birds, and I'll see you

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Speaker 3: in a year. I miss going in the movies with you,

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Speaker 3: so I'm gonna start encouraging you to buy some bird seed.

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Speaker 1: I love this psychotic psychology.

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Speaker 3: Speaking of movies, Yes, should we get into our theme

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Speaker 3: for this week? Hell?

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Speaker 2: Fuck yeah, fucking hell yeah.

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Speaker 1: So we've just moved out of Black History Month and

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Speaker 1: now we're doing a couple more special weeks for this

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Speaker 1: week and next week.

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Speaker 2: Why don't we talk about what we're doing.

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Speaker 3: Well, it's Women's History Month. Yes, and again, as per usual,

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Speaker 3: we tend to talk about women and black people all

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Speaker 3: the time on this podcast. That's just how we are.

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Speaker 3: But we're going to shine a little bit of a

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Speaker 3: light for the next couple of weeks on some movies

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Speaker 3: and creators that we really love and want to bring

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Speaker 3: some attention to. So for our first foray into celebrating

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Speaker 3: Women's History Month, we have I think a pretty cool theme.

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Speaker 3: Do you want to tell them what it is?

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Speaker 2: Yes? The famous called don't call It a Comeback.

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Speaker 3: Yes, And so we're looking at two early films from

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Speaker 3: creators who have been around for a long time. And

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Speaker 3: so I think that we called it don't call it

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Speaker 3: a comeback because we're just trying to let people know

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Speaker 3: that there are women who have been directing in this

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Speaker 3: field for a long time and have had varied careers,

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Speaker 3: and they might be people that you don't know about,

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Speaker 3: or you do, but maybe you only knew about one

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Speaker 3: or two things. So we just kind of want to

436
00:19:55,680 --> 00:19:57,320
Speaker 3: shine a light on women who have been doing this

437
00:19:57,359 --> 00:19:59,000
Speaker 3: for a long ass fucking time.

438
00:19:59,280 --> 00:20:02,119
Speaker 1: Yes, And for this week and next week, we're going

439
00:20:02,200 --> 00:20:05,160
Speaker 1: to be focusing on female directors and I think it's

440
00:20:05,200 --> 00:20:08,159
Speaker 1: going to be like a great little showcase of the

441
00:20:08,280 --> 00:20:10,840
Speaker 1: talent that's out there. I mean, like, obviously this is

442
00:20:10,880 --> 00:20:14,479
Speaker 1: a huge sort of buzzwordy type of thing that's been

443
00:20:14,520 --> 00:20:17,240
Speaker 1: happening for the past couple of years where film culture,

444
00:20:17,880 --> 00:20:21,080
Speaker 1: the film business is trying to be more inclusive. Trying

445
00:20:21,400 --> 00:20:23,840
Speaker 1: is the operative word, and you know a lot of

446
00:20:23,880 --> 00:20:26,760
Speaker 1: people are finally realizing that there are people other than

447
00:20:26,840 --> 00:20:30,600
Speaker 1: like Straits's white men that are making film. And you know,

448
00:20:30,720 --> 00:20:34,520
Speaker 1: it's kind of great because it does show the talent

449
00:20:34,680 --> 00:20:37,520
Speaker 1: and the diversity that's actually out there with these filmmakers

450
00:20:37,520 --> 00:20:39,199
Speaker 1: people making movies, and there are people who have been

451
00:20:39,200 --> 00:20:41,400
Speaker 1: doing it for a long time, especially your director, who

452
00:20:41,480 --> 00:20:45,160
Speaker 1: is I think one of the most beloved directors ever

453
00:20:45,880 --> 00:20:48,399
Speaker 1: just across the board. You know, of all genders, I

454
00:20:48,520 --> 00:20:51,000
Speaker 1: haven't seen your movie in so long, So I'm really

455
00:20:51,000 --> 00:20:53,960
Speaker 1: happy to have seen it again because it's it really

456
00:20:54,040 --> 00:20:55,800
Speaker 1: is like and once you watch it, you're like, oh,

457
00:20:55,840 --> 00:21:00,439
Speaker 1: this set the table for so many things.

458
00:21:00,040 --> 00:21:02,200
Speaker 2: Yes, it's crazy.

459
00:21:02,440 --> 00:21:04,399
Speaker 3: I know. I hadn't seen your movie in a while either,

460
00:21:04,640 --> 00:21:08,600
Speaker 3: and it's of a moment that kicked off something even

461
00:21:08,680 --> 00:21:11,800
Speaker 3: like I do think culturally, but also for me personally

462
00:21:12,240 --> 00:21:15,280
Speaker 3: to realize that stories could be told this way and

463
00:21:15,680 --> 00:21:19,000
Speaker 3: very important to my personal development and professional development, but

464
00:21:19,080 --> 00:21:22,080
Speaker 3: also I think to just bushering in an era, Yeah,

465
00:21:22,280 --> 00:21:24,760
Speaker 3: of those kinds of stories. And I think that both

466
00:21:24,800 --> 00:21:26,440
Speaker 3: of the people that we're going to focus on today

467
00:21:26,440 --> 00:21:28,400
Speaker 3: have been revolutionary figures of their time.

468
00:21:28,640 --> 00:21:31,000
Speaker 1: Yeah, and both were kind of operating separately in these

469
00:21:31,040 --> 00:21:34,359
Speaker 1: different eras of filmmaking, so you know, French new wave

470
00:21:34,720 --> 00:21:37,959
Speaker 1: nineties independent cinema, and I think they're both sort of

471
00:21:38,000 --> 00:21:40,640
Speaker 1: like one of the best examples of both those things.

472
00:21:40,760 --> 00:21:44,240
Speaker 1: So I'm excited to get into the movies.

473
00:21:44,560 --> 00:21:48,520
Speaker 2: Well, let's do it then, Okay, So my movie.

474
00:21:48,480 --> 00:21:51,040
Speaker 1: For the theme, Don't Call It a Comeback is the

475
00:21:51,040 --> 00:21:53,480
Speaker 1: movie from nineteen ninety two. It was based on a

476
00:21:53,520 --> 00:21:56,560
Speaker 1: book which was called Don't Look and It Won't hurt.

477
00:21:56,600 --> 00:21:58,520
Speaker 1: It was written by Richard Peck, but the movie was

478
00:21:58,560 --> 00:22:02,600
Speaker 1: written and directed by Alison Ana And it's called Gas, Food, Lodging,

479
00:22:03,840 --> 00:22:04,760
Speaker 1: Desert is Alive.

480
00:22:06,640 --> 00:22:07,639
Speaker 3: It's not what you think.

481
00:22:08,800 --> 00:22:09,080
Speaker 4: To me.

482
00:22:09,640 --> 00:22:11,400
Speaker 1: It's a film with mystery secret.

483
00:22:13,520 --> 00:22:15,480
Speaker 3: Its sound is the sound in my memory.

484
00:22:17,200 --> 00:22:19,120
Speaker 1: I'll go ahead and get a one sentence synopsis spread

485
00:22:19,160 --> 00:22:21,720
Speaker 1: out of the way. A single mom and her two

486
00:22:21,760 --> 00:22:26,800
Speaker 1: teenage daughters traverse the complexities of life and love amid

487
00:22:26,840 --> 00:22:31,200
Speaker 1: the desolate yet romantic landscape of rural New Mexico.

488
00:22:31,680 --> 00:22:34,200
Speaker 2: Ah, beautiful, thank you so much.

489
00:22:34,680 --> 00:22:37,600
Speaker 1: Like Danielle just mentioned, this film is a big favorite

490
00:22:37,760 --> 00:22:40,200
Speaker 1: for both of us, A big favorite of mine especially.

491
00:22:40,280 --> 00:22:42,720
Speaker 2: I've loved it for so long. I've loved you for

492
00:22:42,760 --> 00:22:43,399
Speaker 2: so long.

493
00:22:45,000 --> 00:22:46,800
Speaker 1: I saw it for the first time in the nineties,

494
00:22:46,840 --> 00:22:49,159
Speaker 1: and honestly, I was waiting for the right moment to

495
00:22:49,200 --> 00:22:51,920
Speaker 1: talk about this movie like with you an inside man,

496
00:22:52,400 --> 00:22:53,439
Speaker 1: This is my inside man.

497
00:22:53,480 --> 00:22:55,560
Speaker 2: I'm like, when are we gonna drop this one?

498
00:22:55,960 --> 00:23:00,560
Speaker 1: The director of this wonderful film is the one full

499
00:23:00,640 --> 00:23:01,440
Speaker 1: Alison Anders.

500
00:23:01,640 --> 00:23:02,480
Speaker 3: Oh. I love her.

501
00:23:02,600 --> 00:23:04,160
Speaker 2: I know I consider her a hero.

502
00:23:04,520 --> 00:23:06,480
Speaker 1: I actually have gotten the chance to get to know

503
00:23:06,560 --> 00:23:09,400
Speaker 1: her a little bit over the years through my full time.

504
00:23:09,280 --> 00:23:11,639
Speaker 2: Job, and she is such a gem.

505
00:23:12,040 --> 00:23:14,879
Speaker 1: She you know, was an important and instrumental figure of

506
00:23:15,000 --> 00:23:18,200
Speaker 1: nineties independent cinema and certainly one of the best directors

507
00:23:18,240 --> 00:23:20,720
Speaker 1: of that era from my money, absolutely, and she's had

508
00:23:20,760 --> 00:23:22,840
Speaker 1: such a great career. I mean she's still working. She

509
00:23:22,960 --> 00:23:25,200
Speaker 1: works both in film and TV, a lot of TV

510
00:23:25,440 --> 00:23:26,080
Speaker 1: at this point.

511
00:23:26,160 --> 00:23:27,679
Speaker 2: But listen, she's a boss.

512
00:23:27,720 --> 00:23:30,360
Speaker 1: I mean, she's a film professor at UC Santa Barbara.

513
00:23:30,480 --> 00:23:32,520
Speaker 1: She's obviously a consummate cinophile.

514
00:23:32,680 --> 00:23:35,920
Speaker 2: She's a MacArthur fellow, she's a Peabody winner, she runs

515
00:23:35,960 --> 00:23:36,960
Speaker 2: a film festival.

516
00:23:37,119 --> 00:23:41,240
Speaker 1: She has the best taste in records, the best taste,

517
00:23:41,320 --> 00:23:44,480
Speaker 1: and she's just a champion of film and film preservation.

518
00:23:44,600 --> 00:23:45,800
Speaker 1: I mean, she's amazing.

519
00:23:46,080 --> 00:23:48,239
Speaker 3: And she has a dope ass Instagram, yeah, where she

520
00:23:48,280 --> 00:23:51,359
Speaker 3: talks about her life and her friends and she really

521
00:23:52,000 --> 00:23:56,160
Speaker 3: just emphasizes so much what's important to her as a creator.

522
00:23:56,200 --> 00:23:58,920
Speaker 3: And I just I love her Instagram from a creative perspective.

523
00:23:59,119 --> 00:24:02,520
Speaker 1: Oh yeah, she's so great, a great family, great daughters,

524
00:24:02,600 --> 00:24:05,879
Speaker 1: a great granddaughter now and she's so cool. And I

525
00:24:05,920 --> 00:24:08,320
Speaker 1: want to point people to this. So Gas Food Lodging

526
00:24:08,400 --> 00:24:11,160
Speaker 1: is actually on Criterion Channel right now as we are

527
00:24:11,200 --> 00:24:13,640
Speaker 1: recording this it's on Criterion, but she does this really

528
00:24:13,720 --> 00:24:16,440
Speaker 1: great intro to the movie where she talks a lot

529
00:24:16,480 --> 00:24:19,040
Speaker 1: about her early years, and part of that was that

530
00:24:19,080 --> 00:24:21,960
Speaker 1: she was on set for Paris, Texas, which is the

531
00:24:22,000 --> 00:24:24,960
Speaker 1: Wim Wonders film, and she was really like influenced by him,

532
00:24:25,000 --> 00:24:27,760
Speaker 1: and apparently she wrote him a fan letter and she

533
00:24:27,760 --> 00:24:30,359
Speaker 1: sent him a mixtape which I thought was so cute.

534
00:24:30,720 --> 00:24:31,520
Speaker 3: I love that.

535
00:24:31,880 --> 00:24:34,280
Speaker 1: I know it's you got to see it on the channel.

536
00:24:34,400 --> 00:24:37,000
Speaker 1: She talks about it and it's awesome. But he invited

537
00:24:37,040 --> 00:24:39,480
Speaker 1: her a couple of her filmmaking friends to the set

538
00:24:39,600 --> 00:24:42,520
Speaker 1: and basically she kind of learned film from him, and

539
00:24:42,680 --> 00:24:45,200
Speaker 1: Claire Deny was on set, so she learned a lot

540
00:24:45,320 --> 00:24:48,159
Speaker 1: about working on set from her too. So it's like

541
00:24:48,480 --> 00:24:51,119
Speaker 1: it's just kind of amazing like her life and you know,

542
00:24:51,160 --> 00:24:54,359
Speaker 1: she went to UCLA for film school, and especially in

543
00:24:54,400 --> 00:24:56,960
Speaker 1: the intro that she does on Criterion Channel, she talks

544
00:24:57,000 --> 00:24:59,159
Speaker 1: a lot about her personal life, which I feel like

545
00:24:59,400 --> 00:25:01,600
Speaker 1: it flows a lot lot through her work and very

546
00:25:01,680 --> 00:25:03,760
Speaker 1: much so in this film, I believe.

547
00:25:04,200 --> 00:25:05,560
Speaker 2: So Gas Food.

548
00:25:05,320 --> 00:25:09,439
Speaker 1: Lodging was technically the second film that Alison Anders directed.

549
00:25:09,480 --> 00:25:11,560
Speaker 1: The first one was this great punk rock movie called

550
00:25:11,640 --> 00:25:15,480
Speaker 1: Border Radio, and she co directed that movie with her

551
00:25:15,520 --> 00:25:19,800
Speaker 1: longtime friends and creative collaborators Kurt Voss and Dean Lent.

552
00:25:20,080 --> 00:25:23,679
Speaker 1: But Gas Food Lodging was her first solo credit. So

553
00:25:23,960 --> 00:25:25,640
Speaker 1: I gotta tell you, I mean, there's just so many

554
00:25:25,640 --> 00:25:26,920
Speaker 1: things I love about this movie.

555
00:25:27,040 --> 00:25:29,240
Speaker 2: The cast is impeccable. Okay.

556
00:25:29,440 --> 00:25:33,719
Speaker 1: You have the great Brook Adams, who I saw and

557
00:25:33,760 --> 00:25:36,480
Speaker 1: fell in love with when I saw the Terrence Malick

558
00:25:36,560 --> 00:25:38,800
Speaker 1: movie Days of Heaven. That's the first time I ever

559
00:25:38,880 --> 00:25:41,600
Speaker 1: noticed her, and I thought she was so magnificent in

560
00:25:41,600 --> 00:25:45,919
Speaker 1: that movie. And in this movie, she plays the mother Nora,

561
00:25:46,320 --> 00:25:51,480
Speaker 1: and her two daughters are played by the two goddesses

562
00:25:51,760 --> 00:25:56,360
Speaker 1: of the eighties and nineties Okay Ione Sky plays Trudy,

563
00:25:56,920 --> 00:26:00,760
Speaker 1: who is the older daughter, and for Usa Baal is Shade,

564
00:26:01,240 --> 00:26:02,040
Speaker 1: the younger.

565
00:26:01,800 --> 00:26:04,920
Speaker 3: Daughter nineties Queens.

566
00:26:04,440 --> 00:26:08,199
Speaker 1: The Queens Okay, and Shade is essentially the narrator of

567
00:26:08,200 --> 00:26:11,160
Speaker 1: this film. And this movie takes place in the desert

568
00:26:11,480 --> 00:26:14,800
Speaker 1: in rural New Mexico, which I've driven through and been

569
00:26:14,840 --> 00:26:18,840
Speaker 1: to a few times, and I love it. It's got

570
00:26:18,840 --> 00:26:21,879
Speaker 1: that feeling of it's remote, but it's also there's this

571
00:26:22,000 --> 00:26:24,760
Speaker 1: kind of romantic energy to it, and I feel like

572
00:26:25,160 --> 00:26:27,920
Speaker 1: this movie captures that so perfectly.

573
00:26:28,119 --> 00:26:29,960
Speaker 3: Yeah, and we talked about it a little bit when

574
00:26:29,960 --> 00:26:32,240
Speaker 3: we were talking about film and Luise. But there's a

575
00:26:32,280 --> 00:26:36,080
Speaker 3: real freedom to that space that I think also comes

576
00:26:36,160 --> 00:26:39,760
Speaker 3: with the territory, and it really impacts how you see

577
00:26:39,760 --> 00:26:44,000
Speaker 3: these characters as well, because they're free to be a mess,

578
00:26:44,320 --> 00:26:47,640
Speaker 3: but they're also free to kind of develop their intelligence

579
00:26:47,880 --> 00:26:50,760
Speaker 3: and their emotional intelligence in a way that you wouldn't

580
00:26:50,760 --> 00:26:52,960
Speaker 3: be able to do if you were constantly like right

581
00:26:53,000 --> 00:26:56,359
Speaker 3: on top of people and in a really lockdown place.

582
00:26:56,400 --> 00:26:58,320
Speaker 3: So I think that the freedom of this space was

583
00:26:58,520 --> 00:27:00,560
Speaker 3: really crucial to the film as well.

584
00:27:00,840 --> 00:27:05,320
Speaker 1: Yeah, and also too, there's something about I love stories

585
00:27:05,400 --> 00:27:09,800
Speaker 1: of young people who live in like rural environments, like

586
00:27:09,840 --> 00:27:13,880
Speaker 1: are just sort of like living in these very small towns. Yes,

587
00:27:14,280 --> 00:27:16,960
Speaker 1: because I lived in a pretty rural area of South

588
00:27:16,960 --> 00:27:19,320
Speaker 1: Carolina when I was a young child, when I was

589
00:27:19,320 --> 00:27:22,600
Speaker 1: like in elementary school, and I have such strong feelings

590
00:27:22,600 --> 00:27:24,760
Speaker 1: about that period of my life. And you know, when

591
00:27:24,800 --> 00:27:26,399
Speaker 1: you're a child, like so much of your life is

592
00:27:26,480 --> 00:27:28,560
Speaker 1: kind of like trying to make your own fun, and

593
00:27:28,600 --> 00:27:30,879
Speaker 1: that goes double for when you live in the middle

594
00:27:30,880 --> 00:27:33,640
Speaker 1: of nowhere. I feel like this movie captures a lot

595
00:27:33,680 --> 00:27:38,320
Speaker 1: of that, and honestly too. Stylistically, this movie is as

596
00:27:38,320 --> 00:27:42,320
Speaker 1: the kids would say, it's a mood okay, Like this

597
00:27:42,400 --> 00:27:44,920
Speaker 1: movie was made in the early nineties, and I swear

598
00:27:44,960 --> 00:27:47,640
Speaker 1: to God's stylistically all of that is back right now.

599
00:27:47,720 --> 00:27:51,080
Speaker 2: Like we're all about some desert vibes. We're all about

600
00:27:51,119 --> 00:27:51,760
Speaker 2: those hats.

601
00:27:52,040 --> 00:27:55,200
Speaker 3: I swear there's a scene in the film where Faruza

602
00:27:55,240 --> 00:27:59,480
Speaker 3: bulk where's there's a reason for it. She's wearing this

603
00:27:59,600 --> 00:28:02,919
Speaker 3: wig and these like silver glitter shorts, like over a

604
00:28:02,920 --> 00:28:06,080
Speaker 3: pair of heights with some platforms. I swear I've seen

605
00:28:06,119 --> 00:28:07,880
Speaker 3: somebody at stop and shop wearing that outfit.

606
00:28:08,160 --> 00:28:11,760
Speaker 1: It's like that mixed with like every guy looks like

607
00:28:12,280 --> 00:28:18,600
Speaker 1: rattle and hum era you two, you know, I fucking

608
00:28:18,720 --> 00:28:30,480
Speaker 1: love it? Like I love it, okay, killing me. It's

609
00:28:30,520 --> 00:28:34,000
Speaker 1: a perfect era of style for my money. I love it,

610
00:28:34,119 --> 00:28:36,400
Speaker 1: Oh Lord, rattling.

611
00:28:36,000 --> 00:28:38,959
Speaker 4: The home you too? Is like I can't I'll never

612
00:28:39,000 --> 00:28:40,920
Speaker 4: get over it. Continue, I'll never get over it.

613
00:28:42,800 --> 00:28:45,240
Speaker 1: I hope I have evoked a feeling and a sense

614
00:28:45,280 --> 00:28:47,200
Speaker 1: of style by simply saying that.

615
00:28:47,480 --> 00:28:50,320
Speaker 2: So a little bit about the plot of the film.

616
00:28:50,680 --> 00:28:53,360
Speaker 1: So Nora and her daughters are living in this trailer

617
00:28:53,400 --> 00:28:57,600
Speaker 1: park in Laramie, New Mexico is the town, and Noora

618
00:28:57,760 --> 00:28:59,880
Speaker 1: is a waitress at a roadside diner, and you can

619
00:29:00,120 --> 00:29:03,520
Speaker 1: hell she's working really hard to keep all her balls

620
00:29:03,520 --> 00:29:06,520
Speaker 1: in the air, right. She's trying to provide for her

621
00:29:06,600 --> 00:29:09,800
Speaker 1: daughters as a single mom, but also she's trying to

622
00:29:09,840 --> 00:29:12,720
Speaker 1: have her own life and her own romantic relationships too.

623
00:29:13,200 --> 00:29:15,000
Speaker 1: At the beginning of the film, she's kind of in

624
00:29:15,000 --> 00:29:18,360
Speaker 1: the middle of this breakup with this man who was married,

625
00:29:18,640 --> 00:29:21,000
Speaker 1: but eventually they kind of call it off, and she

626
00:29:21,240 --> 00:29:24,320
Speaker 1: kind of takes a shine to this really sweet, goofy

627
00:29:24,360 --> 00:29:27,480
Speaker 1: neighbor of hers who owns a satellite business and his

628
00:29:27,560 --> 00:29:29,800
Speaker 1: name is Hamlet, and he's kind of like kind of

629
00:29:29,800 --> 00:29:30,640
Speaker 1: reminds me of like.

630
00:29:30,640 --> 00:29:32,920
Speaker 2: Woody Harrelson, like early Woody Harrelson.

631
00:29:33,120 --> 00:29:35,680
Speaker 1: Yeah, but even though she's a single mom and she's

632
00:29:35,680 --> 00:29:37,920
Speaker 1: got a lot of responsibility, I love that she's also

633
00:29:38,080 --> 00:29:40,400
Speaker 1: trying to have her own thing too, which I feel

634
00:29:40,400 --> 00:29:42,960
Speaker 1: like doesn't happen a lot, and movies in't tevy about

635
00:29:42,960 --> 00:29:45,160
Speaker 1: single mothers. They're always sort of like the put upon,

636
00:29:45,400 --> 00:29:48,480
Speaker 1: like depressed, you know, they don't have their own wants.

637
00:29:48,560 --> 00:29:53,080
Speaker 3: And she's also like really funny and fucking spry, and like, yeah,

638
00:29:53,120 --> 00:29:55,400
Speaker 3: the one thing that I love about this movie more

639
00:29:55,440 --> 00:29:59,600
Speaker 3: than anything is that these three characters yell at each other,

640
00:29:59,840 --> 00:30:03,240
Speaker 3: and the realist like mother daughter way and she gives

641
00:30:03,280 --> 00:30:04,760
Speaker 3: it as good as she gets it, Like she's not

642
00:30:04,800 --> 00:30:07,320
Speaker 3: one of these moms who's like, my daughter yelled at me.

643
00:30:07,360 --> 00:30:08,840
Speaker 3: I have to go cry in a corner. She's like

644
00:30:08,880 --> 00:30:10,360
Speaker 3: fuck you and fuck you.

645
00:30:12,080 --> 00:30:15,600
Speaker 1: Yeah, because Moura comes to blows the most with the

646
00:30:15,680 --> 00:30:19,640
Speaker 1: older daughter, Trudy, and Trudy is definitely in her bitchy,

647
00:30:19,920 --> 00:30:21,360
Speaker 1: shitty teenager phase.

648
00:30:22,200 --> 00:30:23,320
Speaker 2: She wears a leather.

649
00:30:23,240 --> 00:30:26,600
Speaker 1: Jacket, she skips school, always cussin' at her mom, she

650
00:30:26,640 --> 00:30:31,120
Speaker 1: stays out late, and she sort of describes herself as

651
00:30:31,440 --> 00:30:35,000
Speaker 1: a girl who quote unquote has a REP right okay,

652
00:30:35,480 --> 00:30:38,640
Speaker 1: which we later learn is a very complicated issue for

653
00:30:38,680 --> 00:30:43,280
Speaker 1: her and is something that stems from this horrific sexual

654
00:30:43,280 --> 00:30:47,480
Speaker 1: assault that she experienced. So it's not easy for her

655
00:30:47,520 --> 00:30:50,720
Speaker 1: to sort of like be in this phase where she's like,

656
00:30:50,920 --> 00:30:52,840
Speaker 1: I'm living in a small town and I'm this girl

657
00:30:52,840 --> 00:30:54,320
Speaker 1: with a REP and I don't know how to like

658
00:30:54,760 --> 00:30:56,360
Speaker 1: really process it all.

659
00:30:56,880 --> 00:31:00,120
Speaker 3: Yeah, the Trudy character, I think It was really formative

660
00:31:00,200 --> 00:31:02,680
Speaker 3: for me to see in the nineties for that reason,

661
00:31:02,720 --> 00:31:06,280
Speaker 3: because we're not looking at someone who is shying away

662
00:31:06,320 --> 00:31:08,400
Speaker 3: from her past. And I think this is what Alison

663
00:31:08,440 --> 00:31:11,080
Speaker 3: Andrews has done so remarkably well as a director of

664
00:31:11,080 --> 00:31:13,920
Speaker 3: this film, is that we're watching Trudy trying to figure

665
00:31:13,960 --> 00:31:17,000
Speaker 3: her shit out and take some kind of She's not

666
00:31:17,000 --> 00:31:19,120
Speaker 3: trying to take power from what happened to her. She's

667
00:31:19,160 --> 00:31:21,080
Speaker 3: trying to figure out, like, how can I have a

668
00:31:21,200 --> 00:31:24,360
Speaker 3: life knowing what has happened to me, knowing how people

669
00:31:24,400 --> 00:31:26,520
Speaker 3: see me, and knowing that that's not what I want. Like,

670
00:31:26,520 --> 00:31:28,600
Speaker 3: we're right in the middle of that, and I think

671
00:31:28,680 --> 00:31:30,800
Speaker 3: it's a really cool narrative place to be.

672
00:31:31,320 --> 00:31:33,320
Speaker 1: Yeah, And you know, at the beginning of the film,

673
00:31:33,360 --> 00:31:37,160
Speaker 1: Trudy is trying to date this terrible high school jock

674
00:31:37,280 --> 00:31:40,800
Speaker 1: guy from her school, right, and you realize that, like,

675
00:31:41,000 --> 00:31:44,200
Speaker 1: these guys are not nice to her. And eventually she

676
00:31:44,400 --> 00:31:48,520
Speaker 1: meets this geologist in town who's just sort of passing

677
00:31:48,600 --> 00:31:51,920
Speaker 1: through for work. And he's this British guy. His name

678
00:31:52,000 --> 00:31:55,680
Speaker 1: is Dank, which I love a guy named Dank. But

679
00:31:55,960 --> 00:31:59,840
Speaker 1: Dank is unlike the boys that she has known. He

680
00:32:00,160 --> 00:32:03,120
Speaker 1: is a little bit more soulful and romantic, and he

681
00:32:03,240 --> 00:32:06,520
Speaker 1: shows truly this sort of tenderness that she was never

682
00:32:06,600 --> 00:32:10,400
Speaker 1: given by these guys from her town. And she really

683
00:32:10,440 --> 00:32:12,360
Speaker 1: is gravitating towards him because I think that's sort of

684
00:32:12,360 --> 00:32:13,360
Speaker 1: what she needs.

685
00:32:13,600 --> 00:32:15,840
Speaker 2: And not for nothing. I gotta tell you a dank

686
00:32:16,360 --> 00:32:17,920
Speaker 2: great look on Dick.

687
00:32:18,040 --> 00:32:21,960
Speaker 1: He's got that British nineties shoegaze band hair.

688
00:32:22,520 --> 00:32:25,600
Speaker 3: There's one point where he hangs out of the truck.

689
00:32:25,920 --> 00:32:28,120
Speaker 3: She comes out with his thermos because he left his

690
00:32:28,160 --> 00:32:30,160
Speaker 3: thermis on the front of his car. She comes out

691
00:32:30,200 --> 00:32:32,280
Speaker 3: AND's like, hey, you've got your thermist, and as she's

692
00:32:32,320 --> 00:32:35,400
Speaker 3: walking away, he kind of leans over and his hair

693
00:32:35,440 --> 00:32:38,680
Speaker 3: just kind of flops. His hair flops in the exact

694
00:32:38,720 --> 00:32:42,080
Speaker 3: way that made me want to have sex when I

695
00:32:42,120 --> 00:32:44,240
Speaker 3: was in high school. Like when I saw that hair flop,

696
00:32:44,240 --> 00:32:45,880
Speaker 3: I was like, maybe I won't be a virgin forever.

697
00:32:46,120 --> 00:32:47,560
Speaker 3: Maybe one day I'll get one of those.

698
00:32:48,600 --> 00:32:54,480
Speaker 1: I mean, simply the nineties shoegaze hunk that we have

699
00:32:54,640 --> 00:32:56,520
Speaker 1: all wanted at one point or another.

700
00:32:56,880 --> 00:33:00,280
Speaker 3: And Robert Nepper, the actor that plays Dank. I don't

701
00:33:00,280 --> 00:33:03,280
Speaker 3: know if anyone's a fan of the TV show Eye Zombie,

702
00:33:03,440 --> 00:33:07,640
Speaker 3: but he has a pivotal role as the father of Blaane,

703
00:33:08,000 --> 00:33:10,720
Speaker 3: one of the zombies, and he has a pivotal role

704
00:33:11,160 --> 00:33:14,760
Speaker 3: in the later seasons. And he's still a fascinating actor.

705
00:33:15,040 --> 00:33:15,719
Speaker 3: Just wild.

706
00:33:16,040 --> 00:33:17,720
Speaker 2: Wow, he's great in this film.

707
00:33:17,760 --> 00:33:21,240
Speaker 1: He's a big part of the evolution of Trudy certainly.

708
00:33:21,600 --> 00:33:26,600
Speaker 1: And meanwhile, her younger sister, Shane, Okay, Shane, she seems

709
00:33:26,600 --> 00:33:29,640
Speaker 1: like she's like maybe eighth grade, ninth grade.

710
00:33:29,680 --> 00:33:30,240
Speaker 2: Maybe, I don't know.

711
00:33:30,320 --> 00:33:32,600
Speaker 1: I couldn't figure that part out. She doesn't seem like

712
00:33:32,640 --> 00:33:35,360
Speaker 1: super duper young. She's kind of in her early teenage years.

713
00:33:35,360 --> 00:33:38,200
Speaker 1: I guess I would say Shane could not be cuter.

714
00:33:38,520 --> 00:33:41,080
Speaker 1: I mean, just could not be. She spends her days

715
00:33:41,080 --> 00:33:44,120
Speaker 1: at the Spanish language movie theater in town, and she's

716
00:33:44,160 --> 00:33:48,920
Speaker 1: obsessed with this black and white movie Mexican film actress

717
00:33:49,040 --> 00:33:52,360
Speaker 1: named Elvier Riverro, and she has her posters all over

718
00:33:52,400 --> 00:33:54,680
Speaker 1: her wall, and she spends her days like going to

719
00:33:54,680 --> 00:33:58,240
Speaker 1: the movie theater and watching these like high key melodramas

720
00:33:58,240 --> 00:34:01,320
Speaker 1: that Elvi Rivero's in. And I just love her. You

721
00:34:01,360 --> 00:34:03,440
Speaker 1: could tell that a lot of her friends from school

722
00:34:03,520 --> 00:34:05,920
Speaker 1: or a little they're blonde and beautiful and sort of

723
00:34:05,960 --> 00:34:08,120
Speaker 1: like vapid. I don't know vap it's the word, but

724
00:34:08,160 --> 00:34:11,080
Speaker 1: it's that thing of like she's really sensitive and soulful,

725
00:34:11,080 --> 00:34:13,480
Speaker 1: and she's got great style, and you could tell she's like,

726
00:34:13,520 --> 00:34:14,480
Speaker 1: I'm different from.

727
00:34:14,360 --> 00:34:15,960
Speaker 2: A lot of the people my age.

728
00:34:16,080 --> 00:34:20,320
Speaker 1: Okay, Yeah, And she's obsessed with the idea of contacting

729
00:34:20,360 --> 00:34:23,239
Speaker 1: her real father, who she's never had a relationship with,

730
00:34:23,280 --> 00:34:25,399
Speaker 1: but she knows that his name is John Evans. And

731
00:34:25,760 --> 00:34:29,440
Speaker 1: she has this like little tin, like a little cookie

732
00:34:29,480 --> 00:34:32,359
Speaker 1: tin of like trinkets from him, and one of them

733
00:34:32,400 --> 00:34:34,200
Speaker 1: is the sort of you know, a little film reel

734
00:34:34,520 --> 00:34:37,160
Speaker 1: of like a whole movie that he was in with

735
00:34:37,200 --> 00:34:39,960
Speaker 1: her and Trudy as babies, and she just looks at

736
00:34:40,000 --> 00:34:41,279
Speaker 1: it all the time. I mean, it's just like this

737
00:34:41,360 --> 00:34:43,560
Speaker 1: moment where you're like, you can tell she really wants

738
00:34:43,600 --> 00:34:45,479
Speaker 1: to know him, but she never has.

739
00:34:45,880 --> 00:34:49,640
Speaker 3: Shane is a character I think is in that moment, because,

740
00:34:49,680 --> 00:34:51,880
Speaker 3: like you said, I'm not sure of her specific age,

741
00:34:51,960 --> 00:34:55,640
Speaker 3: but she's in that moment where she is like a

742
00:34:55,680 --> 00:34:59,000
Speaker 3: pre Trudy Trudy. So you're looking at someone who is

743
00:34:59,040 --> 00:35:02,040
Speaker 3: searching for her fond and is very interested in her

744
00:35:02,080 --> 00:35:05,239
Speaker 3: mother being with a man that she likes, and I

745
00:35:05,239 --> 00:35:07,879
Speaker 3: feel like she's in this moment where she's like right

746
00:35:07,920 --> 00:35:11,080
Speaker 3: on the cusp of deciding how she feels about men

747
00:35:11,320 --> 00:35:14,040
Speaker 3: based on the men in her life. Yes, and her

748
00:35:14,080 --> 00:35:16,319
Speaker 3: father is a huge part of that for her, And

749
00:35:16,360 --> 00:35:19,160
Speaker 3: so I think that that is it's an unspoken element,

750
00:35:19,280 --> 00:35:21,680
Speaker 3: but it really translates. I mean it came through to

751
00:35:21,680 --> 00:35:24,799
Speaker 3: me loud and clear and watching it this time, that like, oh,

752
00:35:24,880 --> 00:35:30,120
Speaker 3: she is looking for validation from men, not in a

753
00:35:30,160 --> 00:35:33,040
Speaker 3: sexual way, but in an emotional way. Ye. The fallout

754
00:35:33,080 --> 00:35:35,680
Speaker 3: from that, from either receiving it from the wrong man

755
00:35:35,840 --> 00:35:38,960
Speaker 3: or not receiving it at all, is how you get

756
00:35:38,960 --> 00:35:42,880
Speaker 3: a Trudy.

757
00:35:41,000 --> 00:35:43,560
Speaker 1: Well and also too, like her interactions with the guys

758
00:35:43,560 --> 00:35:45,839
Speaker 1: in her life, she sort of tries to get something

759
00:35:45,880 --> 00:35:48,440
Speaker 1: going with this friend of hers named Darius, who is

760
00:35:48,480 --> 00:35:52,480
Speaker 1: played by Donovan Leech, who is actually Ione Sky's brother.

761
00:35:52,640 --> 00:35:53,919
Speaker 2: I don't know if anybody knew that.

762
00:35:53,960 --> 00:35:56,920
Speaker 1: But he kind of works in this retro shop and

763
00:35:56,960 --> 00:35:59,480
Speaker 1: he's this kind of glam rock kind of guy, and

764
00:35:59,520 --> 00:36:02,000
Speaker 1: he's obset as with Olivia Newton John and at one

765
00:36:02,040 --> 00:36:06,160
Speaker 1: point Shade thinks that that's what he kind of wants

766
00:36:06,520 --> 00:36:09,600
Speaker 1: sexually from women, is he wants like the Olivia Newton

767
00:36:09,640 --> 00:36:11,520
Speaker 1: John type and that's when she comes in with her

768
00:36:11,560 --> 00:36:14,680
Speaker 1: outfit and her blonde wig. And that scene in particular

769
00:36:14,760 --> 00:36:17,279
Speaker 1: hit me because it was it's so innocent in a

770
00:36:17,320 --> 00:36:19,600
Speaker 1: way where she's basically like, oh, like, this is a

771
00:36:19,640 --> 00:36:20,880
Speaker 1: boy that I hang out with, and I think I

772
00:36:20,880 --> 00:36:22,440
Speaker 1: want to kiss him, and how do I do that?

773
00:36:22,520 --> 00:36:24,400
Speaker 2: Well, I guess I have to dress like Olivia Newton

774
00:36:24,480 --> 00:36:26,640
Speaker 2: John and maybe he'll maybe he'll like me.

775
00:36:27,239 --> 00:36:30,399
Speaker 1: But eventually, you know, Shane kind of gravitates towards this

776
00:36:30,440 --> 00:36:34,160
Speaker 1: guy in town, this very sweet Mexican guy named Javier,

777
00:36:34,640 --> 00:36:37,160
Speaker 1: who is played by Jacob Vargas, and you know, he

778
00:36:37,200 --> 00:36:39,120
Speaker 1: works at the movie theater that she goes to all

779
00:36:39,160 --> 00:36:43,000
Speaker 1: the time, and obviously with him, his character, you know,

780
00:36:43,080 --> 00:36:43,919
Speaker 1: experiences a.

781
00:36:43,840 --> 00:36:46,560
Speaker 2: Lot of racism in this town.

782
00:36:46,440 --> 00:36:49,280
Speaker 1: And Shane is kind of the only person that isn't

783
00:36:49,440 --> 00:36:52,839
Speaker 1: shitty to him, really, and they gravitate towards each other

784
00:36:52,880 --> 00:36:54,280
Speaker 1: because I think they both feel like they're.

785
00:36:54,080 --> 00:36:56,080
Speaker 2: Outsiders, and it's very sweet.

786
00:36:56,120 --> 00:36:57,840
Speaker 1: There's a scene where she goes to his house for

787
00:36:57,880 --> 00:36:59,959
Speaker 1: the first time and he introduces her to his mother.

788
00:37:00,680 --> 00:37:03,440
Speaker 1: Gorgeous the scene of the mother sitting outside of the

789
00:37:03,480 --> 00:37:06,680
Speaker 1: house like in the Sunshine is one of the most

790
00:37:06,719 --> 00:37:08,920
Speaker 1: gorgeous scenes I've ever seen in a movie.

791
00:37:09,200 --> 00:37:13,080
Speaker 3: Like truly, I agree, it's stunning. Oh got that actress too?

792
00:37:13,560 --> 00:37:14,080
Speaker 3: So cool?

793
00:37:14,360 --> 00:37:16,680
Speaker 1: Yeah, And the thing I love about this movie is

794
00:37:16,680 --> 00:37:19,239
Speaker 1: that it is very slice of life. It's about these

795
00:37:19,480 --> 00:37:23,040
Speaker 1: everyday people in their lives interacting with these different people

796
00:37:23,120 --> 00:37:24,880
Speaker 1: in the town that they live in. And to me,

797
00:37:25,360 --> 00:37:26,719
Speaker 1: I think it has a lot in common with this

798
00:37:26,800 --> 00:37:29,000
Speaker 1: other movie that I love, which is also about a

799
00:37:29,040 --> 00:37:31,920
Speaker 1: single mom who is also raising a child in the desert.

800
00:37:32,080 --> 00:37:33,920
Speaker 2: It's called Alice Doesn't Live Here Anymore.

801
00:37:34,040 --> 00:37:36,000
Speaker 1: And I feel like I've talked about it or maybe

802
00:37:36,040 --> 00:37:38,480
Speaker 1: brought it up before, but it's extra credit if anybody

803
00:37:38,560 --> 00:37:39,440
Speaker 1: wants to see it.

804
00:37:39,480 --> 00:37:40,960
Speaker 2: But I feel like it has a lot in common

805
00:37:40,960 --> 00:37:41,640
Speaker 2: with this movie.

806
00:37:41,719 --> 00:37:44,040
Speaker 1: But I think a little bit about what you've said

807
00:37:44,160 --> 00:37:46,480
Speaker 1: before is that if I were to sum up what

808
00:37:46,600 --> 00:37:49,560
Speaker 1: this family like, mother and her daughters, if I were

809
00:37:49,560 --> 00:37:51,799
Speaker 1: to sum up what they have in common, and ultimately,

810
00:37:51,920 --> 00:37:53,560
Speaker 1: what I think is a big theme of this film

811
00:37:53,640 --> 00:37:55,160
Speaker 1: is that I think that the three of them, in

812
00:37:55,200 --> 00:37:58,160
Speaker 1: their own ways, I think they're attempting to have faith

813
00:37:58,320 --> 00:38:03,359
Speaker 1: in men, even when been abandoned and disappointed by them. Right,

814
00:38:03,640 --> 00:38:06,600
Speaker 1: that's a very relatable concept to me. And they're also

815
00:38:06,760 --> 00:38:10,000
Speaker 1: navigating their own womanhood in relation to these men in

816
00:38:10,000 --> 00:38:12,719
Speaker 1: their lives, kind of like what you said before. And

817
00:38:12,800 --> 00:38:15,359
Speaker 1: Shade is kind of like the reason I think she's

818
00:38:15,360 --> 00:38:17,239
Speaker 1: the narrator is and I think that we see that

819
00:38:17,360 --> 00:38:19,719
Speaker 1: most purely through her eyes, and you definitely see it

820
00:38:19,840 --> 00:38:23,000
Speaker 1: kind of she's the youngest character. She's forming the building

821
00:38:23,040 --> 00:38:27,040
Speaker 1: blocks of what would become her later like the truly character,

822
00:38:27,360 --> 00:38:28,280
Speaker 1: the Nora character.

823
00:38:28,400 --> 00:38:28,600
Speaker 2: Right.

824
00:38:29,360 --> 00:38:31,680
Speaker 1: And at a certain point she does meet up with

825
00:38:31,760 --> 00:38:33,840
Speaker 1: her real father and it kind of like a really

826
00:38:34,000 --> 00:38:37,320
Speaker 1: like a weirdly unremarkable like meeting, like he basically is like,

827
00:38:37,360 --> 00:38:41,840
Speaker 1: what's up, you're my daughter, which.

828
00:38:41,640 --> 00:38:45,560
Speaker 3: Again I also love because Alison Andrews didn't make a

829
00:38:45,640 --> 00:38:47,680
Speaker 3: meal out of it the way most people do. In

830
00:38:47,719 --> 00:38:50,160
Speaker 3: those moments where it's like the music swells and then

831
00:38:50,200 --> 00:38:53,680
Speaker 3: it's this big emotional conflict. She's just like, wait, you're

832
00:38:53,719 --> 00:38:55,680
Speaker 3: my dad and he's like, yep, what's up. I mean,

833
00:38:55,719 --> 00:38:57,320
Speaker 3: it's like so real.

834
00:38:58,840 --> 00:39:01,960
Speaker 1: Yeah, And her father is played by the actor James Brolin,

835
00:39:02,160 --> 00:39:05,279
Speaker 1: and I gotta say, for all you craggy hot hornballs

836
00:39:05,280 --> 00:39:08,640
Speaker 1: out there, he is hot, hot hot in this movie.

837
00:39:08,280 --> 00:39:11,239
Speaker 2: The mustache, the jean jacket. I mean, you're taking me.

838
00:39:11,239 --> 00:39:18,000
Speaker 1: There, Okay, craggy hot, But like I said, I mean,

839
00:39:18,040 --> 00:39:19,920
Speaker 1: there's just so many great things about this film, like

840
00:39:19,960 --> 00:39:22,920
Speaker 1: the little touches like j Mascus from Dinosaur Junior does

841
00:39:22,920 --> 00:39:24,200
Speaker 1: the soundtrack and he's in the.

842
00:39:24,160 --> 00:39:25,480
Speaker 2: Movie towards the end.

843
00:39:25,920 --> 00:39:28,120
Speaker 1: And also just sort of knowing a little bit about

844
00:39:28,160 --> 00:39:32,279
Speaker 1: Alison Anders' biography, like through the Criterion Channel intro, but

845
00:39:32,400 --> 00:39:34,319
Speaker 1: just you know, reading about her and spending a little

846
00:39:34,320 --> 00:39:36,640
Speaker 1: time with her. I mean, this movie feels very personal,

847
00:39:36,800 --> 00:39:38,839
Speaker 1: like a lot of what is happening on screen came

848
00:39:38,920 --> 00:39:41,279
Speaker 1: from her life because I know that she was also

849
00:39:41,320 --> 00:39:43,960
Speaker 1: a single mother and also a victim of sexual assault,

850
00:39:44,120 --> 00:39:46,600
Speaker 1: and much like Shade, she spent a lot of time

851
00:39:46,600 --> 00:39:49,880
Speaker 1: in movie theaters, you know, passing the time in her life.

852
00:39:49,880 --> 00:39:52,720
Speaker 1: And so I don't know, there's something like really nice

853
00:39:52,800 --> 00:39:57,200
Speaker 1: about knowing, how like, especially in these independent movements, like

854
00:39:57,280 --> 00:39:59,960
Speaker 1: knowing that filmmakers are putting like sort of their person

855
00:40:00,239 --> 00:40:02,960
Speaker 1: stories on screen. Like to me, that feels like it's

856
00:40:02,960 --> 00:40:05,600
Speaker 1: so wonderful and it's a break from sort of the

857
00:40:05,640 --> 00:40:08,560
Speaker 1: other kinds of entertainment, which are these like big, huge

858
00:40:08,680 --> 00:40:11,719
Speaker 1: like epic stories. Sometimes it's like it's nice to be like, oh,

859
00:40:11,760 --> 00:40:15,200
Speaker 1: here's like a little story. It's contained, it's personal, it's

860
00:40:15,280 --> 00:40:17,759
Speaker 1: you know, the everyday beats of people's lives. I just

861
00:40:17,880 --> 00:40:20,479
Speaker 1: love that this movie is so wonderful. Oh my god,

862
00:40:20,600 --> 00:40:22,640
Speaker 1: Like I hope you all watch it if you haven't

863
00:40:22,640 --> 00:40:24,360
Speaker 1: seen it, because it really is very special.

864
00:40:24,600 --> 00:40:27,560
Speaker 3: I agree, beautiful encapsulation. I don't even want to stomp

865
00:40:27,600 --> 00:40:29,839
Speaker 3: on what you just said by adding anything else, but

866
00:40:30,040 --> 00:40:32,880
Speaker 3: I completely agree. I think that this is a movie

867
00:40:32,880 --> 00:40:34,600
Speaker 3: that deserves to be watched. I'm glad it's on the

868
00:40:34,600 --> 00:40:37,799
Speaker 3: Criterion Channel. I'm glad it still gets the accolades that

869
00:40:37,840 --> 00:40:40,880
Speaker 3: I think it deserves. It's again, was very formative to

870
00:40:40,920 --> 00:40:44,160
Speaker 3: me to see how someone could take elements of their

871
00:40:44,239 --> 00:40:47,799
Speaker 3: life and bring it to a narrative that feels is

872
00:40:48,000 --> 00:40:50,480
Speaker 3: full as a life itself feels.

873
00:40:50,960 --> 00:40:55,600
Speaker 2: Yes, well, oh my god, your movie be betiful. It

874
00:40:55,680 --> 00:40:57,879
Speaker 2: is a fucking classic. I'm just throwing that out there.

875
00:40:57,920 --> 00:41:05,560
Speaker 3: This shit is a God diump classic. My choice for

876
00:41:05,680 --> 00:41:09,160
Speaker 3: our theme of don't call it a comeback. This film

877
00:41:09,600 --> 00:41:14,000
Speaker 3: was released in nineteen sixty two. It was written and

878
00:41:14,200 --> 00:41:18,560
Speaker 3: directed by Agnes Varda and it is called Cleo from

879
00:41:18,719 --> 00:41:20,239
Speaker 3: five to seven.

880
00:41:21,480 --> 00:41:39,440
Speaker 2: She got She's Oh God, Mademoiselle.

881
00:41:40,280 --> 00:41:43,120
Speaker 3: Before I get into this film, I want to talk

882
00:41:43,160 --> 00:41:47,640
Speaker 3: about the director, the writer, Agnes Varda, who you, as

883
00:41:47,680 --> 00:41:51,600
Speaker 3: you mentioned earlier, is iconic in the truest sense of

884
00:41:51,600 --> 00:41:54,640
Speaker 3: the word. Has had a very long and storied career.

885
00:41:54,719 --> 00:41:58,120
Speaker 3: She died in twenty nineteen, but between her feature films

886
00:41:58,160 --> 00:42:02,040
Speaker 3: and her shorts, she directed over forty films. She's Belgian,

887
00:42:02,120 --> 00:42:05,279
Speaker 3: She's this Belgian born French director. What I really love

888
00:42:05,320 --> 00:42:08,760
Speaker 3: about her is that she was a pioneer in French

889
00:42:08,800 --> 00:42:11,839
Speaker 3: New Wave, which for so much of my life, that

890
00:42:11,960 --> 00:42:15,120
Speaker 3: phrasing and that terminology and that thought was attributed to

891
00:42:15,280 --> 00:42:17,960
Speaker 3: men who worked in that genre, so Jean Luc Gadard,

892
00:42:17,960 --> 00:42:21,560
Speaker 3: Francois Truffau, and Jacques Demi, who was actually her husband.

893
00:42:21,560 --> 00:42:24,480
Speaker 3: They were married until he died in nineteen ninety. But

894
00:42:24,920 --> 00:42:28,040
Speaker 3: that whole genre, like French New Wave, was always attributed

895
00:42:28,120 --> 00:42:31,080
Speaker 3: to men, and you know, occasionally they were focus on

896
00:42:31,120 --> 00:42:34,440
Speaker 3: an actor or actress. But what Agnes Varda was doing

897
00:42:34,920 --> 00:42:38,759
Speaker 3: is revolutionary now. So imagine having a film come out

898
00:42:38,760 --> 00:42:42,200
Speaker 3: in nineteen fifty five, nineteen sixty two where she's taking

899
00:42:42,400 --> 00:42:45,919
Speaker 3: this French new wave school of thought, which is very experimental,

900
00:42:45,960 --> 00:42:50,160
Speaker 3: doesn't shy away from political statements, digs into existentialism, and

901
00:42:50,880 --> 00:42:53,560
Speaker 3: does this at a time when it's not only unheard

902
00:42:53,560 --> 00:42:58,080
Speaker 3: of in film and they're revolutionizing film, but it's revolutionary

903
00:42:58,120 --> 00:43:00,799
Speaker 3: in terms of how women were seen in film. And

904
00:43:00,920 --> 00:43:04,680
Speaker 3: Varda had a strong background in photography, which is why

905
00:43:04,840 --> 00:43:06,920
Speaker 3: for me, some of her films just have such a

906
00:43:06,960 --> 00:43:10,240
Speaker 3: distinct look because she pauses on a lot of actors

907
00:43:10,280 --> 00:43:13,000
Speaker 3: and moments that could just be framed portraits. There's a

908
00:43:13,000 --> 00:43:14,920
Speaker 3: ton of information out there about her, like you know,

909
00:43:14,960 --> 00:43:17,880
Speaker 3: as per usual, I'm not going to dig into a

910
00:43:17,920 --> 00:43:20,680
Speaker 3: bunch of it. But there's a really great interview with

911
00:43:20,719 --> 00:43:22,520
Speaker 3: her in The Gentle Woman, which I believe is on

912
00:43:22,520 --> 00:43:25,239
Speaker 3: their website. There's also a really great interview with her

913
00:43:25,480 --> 00:43:28,399
Speaker 3: in The Believer. She talks to Shila Hetty, and she's

914
00:43:28,440 --> 00:43:31,480
Speaker 3: just a great interview subject because she's so she's just

915
00:43:31,480 --> 00:43:34,400
Speaker 3: got this like really laissez faire, kind of cool pointed

916
00:43:34,680 --> 00:43:37,040
Speaker 3: way of talking about her life. And she's also the

917
00:43:37,080 --> 00:43:40,040
Speaker 3: subject of a documentary, maybe a couple documentaries. But I

918
00:43:40,040 --> 00:43:43,040
Speaker 3: think that she herself was so she was able to

919
00:43:43,120 --> 00:43:45,719
Speaker 3: be as revolutionary as she was because she was very

920
00:43:46,000 --> 00:43:48,759
Speaker 3: thoughtful about what she wanted to see on screen. And

921
00:43:49,160 --> 00:43:52,359
Speaker 3: one of the reasons I chose this particular film and

922
00:43:52,600 --> 00:43:55,480
Speaker 3: wanted to discuss her this month is that I think

923
00:43:55,520 --> 00:43:59,719
Speaker 3: it's important to feature women and to feature directors who

924
00:44:00,200 --> 00:44:04,400
Speaker 3: use their cameras as narrative devices to tell stories from

925
00:44:04,440 --> 00:44:06,879
Speaker 3: and of their own lives. But I also think it's

926
00:44:06,880 --> 00:44:09,279
Speaker 3: important to kind of let people know that they don't

927
00:44:09,320 --> 00:44:12,359
Speaker 3: have to be afraid of French New wave or experimental

928
00:44:12,440 --> 00:44:15,000
Speaker 3: film because I'll tell you from personal experience, the way

929
00:44:15,000 --> 00:44:17,160
Speaker 3: that most people talk about French New Wave makes me

930
00:44:17,200 --> 00:44:21,879
Speaker 3: want to fucking die, Like I would rather fucking chew

931
00:44:21,960 --> 00:44:24,879
Speaker 3: tinfoil than listen to most people talk about French New

932
00:44:24,880 --> 00:44:27,400
Speaker 3: Wave because it's very elite, like people get really like

933
00:44:27,440 --> 00:44:30,040
Speaker 3: elitist and uppity about it. And yeah, there's a lot

934
00:44:30,160 --> 00:44:33,879
Speaker 3: under the surface if you're looking to expand your knowledge base,

935
00:44:34,000 --> 00:44:36,640
Speaker 3: if you're looking to kind of dig into what that

936
00:44:36,680 --> 00:44:39,359
Speaker 3: movement was all about. But you should also be able

937
00:44:39,400 --> 00:44:41,960
Speaker 3: to just watch a good fucking movie without having to

938
00:44:42,040 --> 00:44:45,480
Speaker 3: know what Anna Karina's fart smelled like. And this is

939
00:44:45,480 --> 00:44:47,640
Speaker 3: a good fucking movie.

940
00:44:47,760 --> 00:44:50,200
Speaker 1: I want to say two things to that point. First,

941
00:44:50,239 --> 00:44:52,600
Speaker 1: I think Anna Karina as far as probably smelled like cigarettes.

942
00:44:52,719 --> 00:44:54,000
Speaker 2: Just gotta throw that out there.

943
00:44:54,560 --> 00:44:56,080
Speaker 3: Sale ones, stale ones.

944
00:44:57,080 --> 00:44:58,640
Speaker 1: That's a new low for us. By the way, on

945
00:44:58,640 --> 00:45:01,600
Speaker 1: this podcast, I want to say I'm enjoying it, but

946
00:45:01,640 --> 00:45:04,120
Speaker 1: I'm just saying that we are talking about the way

947
00:45:04,400 --> 00:45:10,279
Speaker 1: someone's part smell. Second, I totally understand. I just want

948
00:45:10,320 --> 00:45:12,400
Speaker 1: to throw this out there. I totally understand your thoughts

949
00:45:12,400 --> 00:45:14,720
Speaker 1: on this because, first of all, I feel like French

950
00:45:14,800 --> 00:45:18,480
Speaker 1: New Wave generally is sort of like really kind of

951
00:45:18,480 --> 00:45:21,440
Speaker 1: the first foray into a lot of people sort of

952
00:45:21,640 --> 00:45:25,000
Speaker 1: quote unquote centinophile culture or you know, it certainly was

953
00:45:25,040 --> 00:45:28,080
Speaker 1: for me, Like I remember learning about French New Way

954
00:45:28,200 --> 00:45:30,120
Speaker 1: very early in college and it was like the first

955
00:45:30,120 --> 00:45:32,440
Speaker 1: time that I ever got introduced to foreign film. It's

956
00:45:32,480 --> 00:45:35,840
Speaker 1: a very like easy entry point to world cinema to

957
00:45:36,239 --> 00:45:40,400
Speaker 1: quote unquote cinophile culture, right, And I think there's a

958
00:45:40,400 --> 00:45:42,080
Speaker 1: lot of reasons for that. I think that there was

959
00:45:42,160 --> 00:45:44,840
Speaker 1: really great distribution. We talk about this a lot, but

960
00:45:44,880 --> 00:45:46,920
Speaker 1: also there's a lot of people, and it's a lot

961
00:45:46,920 --> 00:45:49,439
Speaker 1: of characters and a lot of great These movies are great,

962
00:45:49,440 --> 00:45:51,239
Speaker 1: don't get me wrong. But I also think it is

963
00:45:51,239 --> 00:45:54,960
Speaker 1: intimidating for people because it feels so big and so important,

964
00:45:55,040 --> 00:45:58,400
Speaker 1: and so you know, largely male, and it's all about

965
00:45:58,400 --> 00:46:02,640
Speaker 1: these beautiful French sixties women and they were muses to

966
00:46:02,719 --> 00:46:05,239
Speaker 1: a lot of these directors, and these movies are very

967
00:46:05,320 --> 00:46:08,200
Speaker 1: kind of political and experimental, and so I think it

968
00:46:08,520 --> 00:46:11,160
Speaker 1: is intimidating. And I think that there's this moment too,

969
00:46:11,400 --> 00:46:13,520
Speaker 1: like as a young person, especially where you're.

970
00:46:13,360 --> 00:46:14,480
Speaker 2: Like, oh, I'm into this.

971
00:46:14,680 --> 00:46:15,520
Speaker 3: I get it.

972
00:46:15,520 --> 00:46:17,319
Speaker 1: It's really kind of the first time that I ever

973
00:46:17,400 --> 00:46:19,640
Speaker 1: felt elitist about anything.

974
00:46:19,320 --> 00:46:20,680
Speaker 2: And I was like, I'm savoring it.

975
00:46:20,840 --> 00:46:23,479
Speaker 3: Fuck, give me this one thing.

976
00:46:24,239 --> 00:46:26,200
Speaker 2: Like I'm nineteen years old.

977
00:46:26,520 --> 00:46:29,640
Speaker 1: I like something cool and I want to know that

978
00:46:29,880 --> 00:46:33,719
Speaker 1: about myself. And then as I've gotten older, I've realized that, yeah,

979
00:46:33,719 --> 00:46:36,640
Speaker 1: that is something that I've grown out of entirely, and

980
00:46:36,680 --> 00:46:38,920
Speaker 1: you realize there is so much more to film than

981
00:46:39,080 --> 00:46:42,080
Speaker 1: French New wave in that way, right. Yeah, But I

982
00:46:42,080 --> 00:46:44,759
Speaker 1: think it's really great that you. I'm so glad that

983
00:46:44,800 --> 00:46:46,640
Speaker 1: you feel like this is the space to sort of

984
00:46:46,719 --> 00:46:48,879
Speaker 1: say that, because I think a lot of people feel

985
00:46:48,880 --> 00:46:50,960
Speaker 1: that way, and I think a lot of it's okay

986
00:46:51,040 --> 00:46:51,640
Speaker 1: to feel that way.

987
00:46:51,680 --> 00:46:52,640
Speaker 2: It's okay to feel.

988
00:46:52,400 --> 00:46:56,200
Speaker 1: Intimidated by film school bullshit, and I just wanted to

989
00:46:56,239 --> 00:46:58,000
Speaker 1: say that that's I'm glad that you said that because

990
00:46:58,000 --> 00:46:59,200
Speaker 1: I think a lot of people can relate.

991
00:46:59,480 --> 00:47:01,240
Speaker 3: Thank you so much much because I feel like it. Also,

992
00:47:01,560 --> 00:47:03,799
Speaker 3: I'm hoping that it helps people to know that as

993
00:47:03,880 --> 00:47:07,600
Speaker 3: much as we love film and talk about film, that

994
00:47:07,680 --> 00:47:09,839
Speaker 3: we both have felt that at moments. And I think

995
00:47:09,840 --> 00:47:12,719
Speaker 3: it would be a shame if someone didn't get to

996
00:47:12,880 --> 00:47:16,640
Speaker 3: experience a movie made by Agnes Varda because they feel

997
00:47:16,680 --> 00:47:19,120
Speaker 3: like it would be too highbrow or too high falutin

998
00:47:19,280 --> 00:47:22,680
Speaker 3: or to anything. You know. I want people to feel

999
00:47:23,160 --> 00:47:25,120
Speaker 3: free to dip a toe in and you still might

1000
00:47:25,160 --> 00:47:28,120
Speaker 3: not like it, that's fine. But like, I just don't

1001
00:47:28,160 --> 00:47:30,879
Speaker 3: think there's any reason for this to be a prohibitive

1002
00:47:31,280 --> 00:47:33,960
Speaker 3: sort of genre for people, because I think there's a

1003
00:47:34,040 --> 00:47:37,520
Speaker 3: lot there that might be discussed in a very elitist way,

1004
00:47:37,520 --> 00:47:40,280
Speaker 3: but isn't elitist at its core, Like the art itself

1005
00:47:40,360 --> 00:47:44,040
Speaker 3: is not elitist. So and again, I love when people

1006
00:47:44,080 --> 00:47:46,640
Speaker 3: are very knowledgeable about things and they have that knowledge

1007
00:47:46,680 --> 00:47:49,160
Speaker 3: to share. That's not at all what I'm saying. I'm

1008
00:47:49,200 --> 00:47:52,239
Speaker 3: saying because again, if you like this movie, there's so

1009
00:47:52,360 --> 00:47:54,560
Speaker 3: much for you to explore. And I think that is

1010
00:47:54,800 --> 00:47:58,439
Speaker 3: as someone who picks an intellectual hobby for herself every year,

1011
00:47:59,200 --> 00:48:01,839
Speaker 3: I love nothing more than that. Yeah, but I do

1012
00:48:01,920 --> 00:48:03,879
Speaker 3: think that sometimes you have to crack the door open

1013
00:48:03,960 --> 00:48:07,000
Speaker 3: for people, and I'm hoping that this does that for

1014
00:48:07,080 --> 00:48:08,319
Speaker 3: people who are nervous.

1015
00:48:08,040 --> 00:48:10,920
Speaker 1: About it totally. Sometimes you do realize that things that

1016
00:48:10,960 --> 00:48:14,279
Speaker 1: you deem very heavy or intellectual, it's oftentimes just a

1017
00:48:14,480 --> 00:48:16,680
Speaker 1: kind of patina or something. You know, It's like this

1018
00:48:16,680 --> 00:48:18,640
Speaker 1: thing where it's like, well, if you strip it back

1019
00:48:18,680 --> 00:48:21,319
Speaker 1: and you just sort of understand that it is a

1020
00:48:21,320 --> 00:48:23,719
Speaker 1: film and it doesn't have to be overwhelming and it

1021
00:48:23,840 --> 00:48:26,239
Speaker 1: you know, I just feel like you're doing a good

1022
00:48:26,320 --> 00:48:28,399
Speaker 1: job here of walking us through that, and I love

1023
00:48:28,440 --> 00:48:29,520
Speaker 1: it so thank you.

1024
00:48:30,280 --> 00:48:31,799
Speaker 3: Well, I'm going to walk you through it even more

1025
00:48:31,840 --> 00:48:34,640
Speaker 3: by giving you a one sentence synopsis of this movie.

1026
00:48:34,840 --> 00:48:37,640
Speaker 3: So Cleo from five to seven is about a young

1027
00:48:37,840 --> 00:48:41,960
Speaker 3: French singer who is forced to consider the scope and

1028
00:48:42,040 --> 00:48:45,160
Speaker 3: shape of her life during the two hours she spends

1029
00:48:45,280 --> 00:48:49,120
Speaker 3: waiting for the results of some medical tests to confirm

1030
00:48:49,239 --> 00:48:52,200
Speaker 3: whether or not she has cancer. So right off the

1031
00:48:52,239 --> 00:48:56,360
Speaker 3: bet that to me is a very interesting framework for

1032
00:48:56,400 --> 00:48:59,319
Speaker 3: a film like the two hours of a woman in

1033
00:48:59,400 --> 00:49:03,560
Speaker 3: nineteen early nineteen sixties trying to figure out if they

1034
00:49:03,600 --> 00:49:06,160
Speaker 3: have cancer or not and thinking about, like what impact

1035
00:49:06,239 --> 00:49:08,520
Speaker 3: that would have on her life if she does have it.

1036
00:49:08,560 --> 00:49:11,399
Speaker 3: Like I'm just instantly in on that alone. The movie

1037
00:49:11,440 --> 00:49:14,040
Speaker 3: takes place in real time. It's not like film all

1038
00:49:14,080 --> 00:49:16,120
Speaker 3: at once, but it takes place in real time so

1039
00:49:16,160 --> 00:49:19,720
Speaker 3: that you can get a real sense of the dread

1040
00:49:20,400 --> 00:49:24,560
Speaker 3: that comes with waiting for bad news. And the film

1041
00:49:24,640 --> 00:49:28,239
Speaker 3: has some interior dialogue of the characters, which I like

1042
00:49:28,280 --> 00:49:31,040
Speaker 3: because it's just enough to place you in the framework,

1043
00:49:31,080 --> 00:49:34,120
Speaker 3: but it's not enough to overwhelm what's happening on the screen,

1044
00:49:34,480 --> 00:49:36,879
Speaker 3: So it's not like every character you're inside their head

1045
00:49:36,920 --> 00:49:39,920
Speaker 3: every minute. It's just enough to kind of punctuate a moment.

1046
00:49:40,200 --> 00:49:43,360
Speaker 3: And like I said before, this film feels revolutionary to

1047
00:49:43,400 --> 00:49:47,759
Speaker 3: me now, so just imagine how revolutionary it was when

1048
00:49:47,760 --> 00:49:50,440
Speaker 3: it was released. And you know, again, I wanted to

1049
00:49:50,520 --> 00:49:53,520
Speaker 3: kind of shine a light on a director who is

1050
00:49:53,560 --> 00:49:56,319
Speaker 3: not just a woman director, but a woman director who

1051
00:49:56,320 --> 00:49:59,160
Speaker 3: showcased women's lives and thoughts at a time when it

1052
00:49:59,160 --> 00:50:01,360
Speaker 3: was unheard of. So at the start of this film,

1053
00:50:01,560 --> 00:50:04,880
Speaker 3: Cleo is at a tarot reading, which I know we

1054
00:50:05,000 --> 00:50:10,480
Speaker 3: already love. We love some witch shit we love, and

1055
00:50:10,600 --> 00:50:14,399
Speaker 3: this tower reading is not going well. She is like, yeah,

1056
00:50:14,480 --> 00:50:16,640
Speaker 3: shit's going down, like you are in for some fucking

1057
00:50:16,719 --> 00:50:19,520
Speaker 3: bad news. But from that reading and the way that

1058
00:50:19,560 --> 00:50:21,920
Speaker 3: Cleo leaves that room, you get to really see that

1059
00:50:21,960 --> 00:50:25,400
Speaker 3: this is someone who's kind of erratic and self centered

1060
00:50:25,480 --> 00:50:29,960
Speaker 3: and beauty obsessed and basically like this potential diagnosis could

1061
00:50:30,040 --> 00:50:33,000
Speaker 3: not have happened to a worse person. She is not

1062
00:50:33,120 --> 00:50:36,920
Speaker 3: equipped to handle even thinking about getting this news. So

1063
00:50:36,960 --> 00:50:39,600
Speaker 3: that's really what a lot of the film is about,

1064
00:50:39,800 --> 00:50:41,880
Speaker 3: is like watching this woman who's so obsessed with her

1065
00:50:41,880 --> 00:50:45,760
Speaker 3: own beauty and her own image really trying to wrestle

1066
00:50:45,800 --> 00:50:47,719
Speaker 3: with what is going to happen? Who am I going

1067
00:50:47,760 --> 00:50:50,560
Speaker 3: to become if I get this news? So the setup

1068
00:50:50,640 --> 00:50:54,600
Speaker 3: is fantastic, and you know, there's many essays about the

1069
00:50:54,640 --> 00:50:56,839
Speaker 3: Tarot card reading at the beginning, which you can find

1070
00:50:56,880 --> 00:50:59,120
Speaker 3: if you like. But I think that again, just in

1071
00:50:59,200 --> 00:51:01,640
Speaker 3: terms of the setup up of a film about a

1072
00:51:01,680 --> 00:51:05,839
Speaker 3: woman's life and thoughts, it's really cool that Varda dug

1073
00:51:05,840 --> 00:51:08,640
Speaker 3: into some mysticism here, because I think that a lot

1074
00:51:08,719 --> 00:51:12,000
Speaker 3: of us are really into and tied to kind of

1075
00:51:12,040 --> 00:51:16,120
Speaker 3: the earthy, mystical elements of trying to understand our own lives.

1076
00:51:16,600 --> 00:51:19,160
Speaker 3: So I love that, and I think the next few

1077
00:51:19,200 --> 00:51:21,239
Speaker 3: scenes the way the movie's broken up, it's broken up

1078
00:51:21,239 --> 00:51:25,080
Speaker 3: into chapters that take place in chunks of time, and

1079
00:51:25,440 --> 00:51:27,799
Speaker 3: you're really seeing Cleo throughout her day, like, you know,

1080
00:51:27,840 --> 00:51:31,440
Speaker 3: how she's dealing with her friends, and who's helping her

1081
00:51:31,480 --> 00:51:34,239
Speaker 3: with this news, who she keeps the news from, you know,

1082
00:51:34,320 --> 00:51:37,400
Speaker 3: these kind of wild and wonderful non sequiturs that happened

1083
00:51:37,440 --> 00:51:40,000
Speaker 3: to her. So the first person that we see is

1084
00:51:40,040 --> 00:51:45,040
Speaker 3: her friend Angel. And this friend, look, I just want

1085
00:51:45,080 --> 00:51:49,200
Speaker 3: to say, is a highly superstitious friend, your best bet

1086
00:51:49,239 --> 00:51:50,680
Speaker 3: when you're waiting for test results.

1087
00:51:50,760 --> 00:51:53,759
Speaker 4: Because Angel is just like, look, bitch, never buy or

1088
00:51:53,840 --> 00:51:58,319
Speaker 4: carry anything new on Tuesdays, like she is just immediately

1089
00:52:00,000 --> 00:52:02,719
Speaker 4: it's like, yeah, it could be bad, it could be

1090
00:52:02,800 --> 00:52:04,959
Speaker 4: really bad. And I'm like, damn, you need another friend

1091
00:52:05,000 --> 00:52:06,000
Speaker 4: right now in this moment.

1092
00:52:07,440 --> 00:52:09,279
Speaker 1: I don't need any of this right now. I am

1093
00:52:09,400 --> 00:52:13,160
Speaker 1: on edge. Let's just not talk about anything good like this.

1094
00:52:13,920 --> 00:52:16,680
Speaker 3: But that's also why I love this character, because this

1095
00:52:16,719 --> 00:52:20,160
Speaker 3: is a friend who comes out of the gate being like, yeah,

1096
00:52:20,239 --> 00:52:23,480
Speaker 3: Cleo's a pain in the ass, she's like so fucking neurotic.

1097
00:52:23,800 --> 00:52:25,719
Speaker 3: But then you see her as they go back to

1098
00:52:25,760 --> 00:52:28,600
Speaker 3: Cleo's apartment. You see her really trying to care for

1099
00:52:28,800 --> 00:52:31,120
Speaker 3: this friend, and she's caring for her in the way

1100
00:52:31,120 --> 00:52:34,200
Speaker 3: that she knows how, which is like very pointed and

1101
00:52:34,320 --> 00:52:36,799
Speaker 3: tough at telling her things like, you know, don't tell

1102
00:52:36,840 --> 00:52:39,399
Speaker 3: your lover that you're sick, because that ain't where it's at,

1103
00:52:39,480 --> 00:52:41,000
Speaker 3: Like he can't take care of you. He doesn't want

1104
00:52:41,040 --> 00:52:43,560
Speaker 3: to hear this shit. So she's giving her like real

1105
00:52:43,760 --> 00:52:46,359
Speaker 3: tough love before she even knows if that's what this

1106
00:52:46,400 --> 00:52:49,480
Speaker 3: person needs. But that's what she is. She's a tough

1107
00:52:49,520 --> 00:52:50,040
Speaker 3: love person.

1108
00:52:50,200 --> 00:52:51,399
Speaker 2: Yeah, and I.

1109
00:52:51,320 --> 00:52:52,960
Speaker 3: Think it's kind of cool that she. You know, they

1110
00:52:52,960 --> 00:52:55,479
Speaker 3: go hat shopping and Cleo is kind of like wants

1111
00:52:55,520 --> 00:52:57,759
Speaker 3: to buy this hat and Angela is like, don't buy

1112
00:52:57,760 --> 00:53:01,520
Speaker 3: that hat. It's Tuesday. But again, in a very subtle way,

1113
00:53:01,560 --> 00:53:04,360
Speaker 3: what you're seeing there is Cleo is trying to find

1114
00:53:04,360 --> 00:53:07,279
Speaker 3: a way to like look to the future because she

1115
00:53:07,360 --> 00:53:09,239
Speaker 3: doesn't know what kind of future she's gonna have or

1116
00:53:09,239 --> 00:53:11,000
Speaker 3: if she's going to run a future at all. So

1117
00:53:11,040 --> 00:53:13,000
Speaker 3: her friend is really trying to squash it and be

1118
00:53:13,080 --> 00:53:15,480
Speaker 3: like stay in the moment, but Cleo's kind of like, well,

1119
00:53:15,520 --> 00:53:17,680
Speaker 3: if I buy this hat for the winter, even though

1120
00:53:17,680 --> 00:53:19,920
Speaker 3: it's summertime, I might have a chance to wear it.

1121
00:53:20,560 --> 00:53:22,839
Speaker 3: So it's kind of a very cool interplay happening there.

1122
00:53:22,880 --> 00:53:25,400
Speaker 3: It's really subtle, But I just really appreciated about so

1123
00:53:25,400 --> 00:53:28,800
Speaker 3: many moments in this film. And then you're really seeing

1124
00:53:29,320 --> 00:53:31,759
Speaker 3: you know again, Angela is rough as fuck. She's like,

1125
00:53:31,800 --> 00:53:33,320
Speaker 3: I don't think you're tough enough on men, like I

1126
00:53:33,360 --> 00:53:35,600
Speaker 3: don't think you're hard enough on them, because you're seeing

1127
00:53:35,760 --> 00:53:38,719
Speaker 3: Cleo kind of reconsidering her relationship with this lover that

1128
00:53:38,800 --> 00:53:42,480
Speaker 3: she has, who's very attentive and seems to care about her,

1129
00:53:42,560 --> 00:53:45,680
Speaker 3: but she's not close enough to him to feel like

1130
00:53:45,719 --> 00:53:49,560
Speaker 3: she can be vulnerable. And that's what most relationships that

1131
00:53:49,760 --> 00:53:52,840
Speaker 3: work come down to, is your vulnerability and your ability

1132
00:53:52,880 --> 00:53:55,960
Speaker 3: to let someone care for you. So at her moment

1133
00:53:56,040 --> 00:53:59,120
Speaker 3: of the highest need, she's realizing she doesn't have this

1134
00:53:59,239 --> 00:54:01,920
Speaker 3: with this guy. So what this two hours is doing

1135
00:54:02,000 --> 00:54:04,560
Speaker 3: for her is we're really seeing her go through this

1136
00:54:04,640 --> 00:54:07,960
Speaker 3: whirlwind because she's reckoning with how people see her, how

1137
00:54:08,000 --> 00:54:10,839
Speaker 3: she sees herself. In her inner dialogue, you can tell

1138
00:54:10,920 --> 00:54:14,080
Speaker 3: she doesn't want to continue being treated like a spoiled child,

1139
00:54:14,239 --> 00:54:18,680
Speaker 3: but she keeps acting like one anyway. So she's really

1140
00:54:18,920 --> 00:54:20,759
Speaker 3: in this moment where I think she's looking to the

1141
00:54:20,800 --> 00:54:23,320
Speaker 3: people in her life as she travels through this movie

1142
00:54:23,520 --> 00:54:26,600
Speaker 3: to see what kind of person she could be to

1143
00:54:26,640 --> 00:54:30,520
Speaker 3: make her more comfortable with this potential diagnosis. Yeah.

1144
00:54:30,600 --> 00:54:32,879
Speaker 1: Yeah, And I think it's interesting too, like the men

1145
00:54:33,000 --> 00:54:34,920
Speaker 1: that she sort of interacts with, like the men that

1146
00:54:34,960 --> 00:54:37,319
Speaker 1: she knows, but also the strangers that she meets, it

1147
00:54:37,360 --> 00:54:39,640
Speaker 1: feels like a lot of them are sort of reducing

1148
00:54:39,680 --> 00:54:42,719
Speaker 1: her to like a very specific role, like she's just

1149
00:54:42,719 --> 00:54:44,200
Speaker 1: this kind of beautiful singer.

1150
00:54:44,680 --> 00:54:44,879
Speaker 4: Right.

1151
00:54:45,320 --> 00:54:47,840
Speaker 2: They kind of almost don't believe her.

1152
00:54:47,800 --> 00:54:49,359
Speaker 1: You know, in a lot of ways when she tells them,

1153
00:54:49,360 --> 00:54:52,280
Speaker 1: I don't feel well, I'm sick or whatever. And granted,

1154
00:54:52,320 --> 00:54:54,719
Speaker 1: I mean she doesn't at the moment she's in the

1155
00:54:54,800 --> 00:54:57,840
Speaker 1: moment with them, she doesn't technically know if she is,

1156
00:54:58,320 --> 00:55:00,439
Speaker 1: but it just to me seems like, oh, you could

1157
00:55:00,480 --> 00:55:03,960
Speaker 1: tell that her entire life, men have always just sort

1158
00:55:04,000 --> 00:55:06,799
Speaker 1: of reduced her to just being this like pretty girl

1159
00:55:07,080 --> 00:55:09,719
Speaker 1: y and like she's not to be believed when she

1160
00:55:09,840 --> 00:55:13,400
Speaker 1: tells people things like she's feeling sick or she's this

1161
00:55:13,440 --> 00:55:16,680
Speaker 1: and that and it's depressing. Yeah, Like I'm just like wow,

1162
00:55:16,760 --> 00:55:18,919
Speaker 1: here she's walking around town basically being like I don't

1163
00:55:18,960 --> 00:55:19,640
Speaker 1: feel good.

1164
00:55:19,600 --> 00:55:21,840
Speaker 2: And all these guys are just like, eh, yeah, whatever,

1165
00:55:22,000 --> 00:55:24,200
Speaker 2: Yeah you're pretty. Who cares you know, you're crazy, Like

1166
00:55:24,880 --> 00:55:25,480
Speaker 2: you're pretty.

1167
00:55:26,080 --> 00:55:29,000
Speaker 3: There's nothing that's that exemplifies that more than that scene

1168
00:55:29,000 --> 00:55:31,640
Speaker 3: where she's in her apartment and those two musicians come

1169
00:55:31,680 --> 00:55:33,960
Speaker 3: over and they're like, why are you better? Are you sick?

1170
00:55:34,000 --> 00:55:37,000
Speaker 3: And she's like actually yeah, and they're like, well, fuck you.

1171
00:55:37,000 --> 00:55:38,600
Speaker 3: Get up and like we're gonna play the piano and

1172
00:55:38,640 --> 00:55:42,000
Speaker 3: make jokes and like write, totally not taking her seriously

1173
00:55:42,200 --> 00:55:44,840
Speaker 3: at all, And she gets up and is trying to

1174
00:55:44,880 --> 00:55:47,080
Speaker 3: do the thing, and she ends up singing this very

1175
00:55:47,200 --> 00:55:50,359
Speaker 3: mournful song is just gorgeous, and then they go right

1176
00:55:50,400 --> 00:55:53,040
Speaker 3: back into their fucking comedy routine of like not taking

1177
00:55:53,040 --> 00:55:56,719
Speaker 3: her seriously and talking about her looks and reducing her.

1178
00:55:57,040 --> 00:55:59,719
Speaker 3: And I think that this is a movie that is

1179
00:55:59,800 --> 00:56:04,760
Speaker 3: really about a woman starting to fight against that reduction. Yeah,

1180
00:56:04,840 --> 00:56:06,840
Speaker 3: I love it again. There are a lot of non sequiturs.

1181
00:56:06,880 --> 00:56:09,400
Speaker 3: She has this one friend who's fucking hilarious, who is

1182
00:56:09,800 --> 00:56:13,120
Speaker 3: a nude model, and she just got her driver's license,

1183
00:56:13,160 --> 00:56:15,560
Speaker 3: and she drives her car by using her arm to

1184
00:56:15,640 --> 00:56:18,200
Speaker 3: do turn signals, and the whole time she's like, yeah,

1185
00:56:18,200 --> 00:56:25,080
Speaker 3: I can't drive whatever. But you see, you can see

1186
00:56:25,080 --> 00:56:28,359
Speaker 3: Cleo like really having fun, and you want that for her,

1187
00:56:28,560 --> 00:56:30,520
Speaker 3: like I want you to not spend this two hours

1188
00:56:30,560 --> 00:56:33,680
Speaker 3: being so pent up. Yeah, So those moments of release

1189
00:56:33,760 --> 00:56:37,200
Speaker 3: that she gives herself feel really good as a viewer, because,

1190
00:56:37,239 --> 00:56:39,360
Speaker 3: like you said, it could be really depressing to watch

1191
00:56:39,440 --> 00:56:42,040
Speaker 3: how people treat her. And then she's just seeing these

1192
00:56:42,080 --> 00:56:45,719
Speaker 3: weird things, like some dudes just eating live frogs, like

1193
00:56:45,800 --> 00:56:48,640
Speaker 3: Paris was just fucking wild in the city. He's like,

1194
00:56:48,760 --> 00:56:51,120
Speaker 3: Varna never comes back to that moment. This dude just

1195
00:56:51,160 --> 00:56:54,840
Speaker 3: swallows three fucking live, huge ass frogs and that's it.

1196
00:56:55,400 --> 00:56:59,200
Speaker 2: And then vomits water up like that. I was like

1197
00:56:59,400 --> 00:57:02,279
Speaker 2: fucking right by that. I said, what the fuck? Just

1198
00:57:02,320 --> 00:57:03,920
Speaker 2: like all of a sudden, he swallows these frogs, and

1199
00:57:03,920 --> 00:57:04,120
Speaker 2: all of.

1200
00:57:04,080 --> 00:57:05,880
Speaker 1: A sudden, it's just like blah, and there's like this

1201
00:57:06,040 --> 00:57:08,680
Speaker 1: waterfall of water that comes out of his mouth on

1202
00:57:08,800 --> 00:57:11,400
Speaker 1: the street in front of everyone.

1203
00:57:11,800 --> 00:57:12,480
Speaker 3: On the street.

1204
00:57:12,760 --> 00:57:16,360
Speaker 4: No cgi, no fucking like, you know that dude just

1205
00:57:16,600 --> 00:57:17,080
Speaker 4: ate those.

1206
00:57:16,920 --> 00:57:22,160
Speaker 3: Fucking frogs on the street, fucking wild. There was a

1207
00:57:22,200 --> 00:57:24,960
Speaker 3: baby and an incubator at some point, just being carried

1208
00:57:25,000 --> 00:57:31,280
Speaker 3: down the street. Early sixes were fucking wild wild. Cleo's

1209
00:57:31,360 --> 00:57:33,080
Speaker 3: up this train with this man that she's met in

1210
00:57:33,120 --> 00:57:37,120
Speaker 3: this park, and they're starting to talk about love and

1211
00:57:37,160 --> 00:57:39,120
Speaker 3: they're starting to be knowledgeable about each other. And I

1212
00:57:39,160 --> 00:57:41,400
Speaker 3: think that at first he's very attracted to her beauty,

1213
00:57:41,400 --> 00:57:44,840
Speaker 3: and then as their moment goes on, you realize that

1214
00:57:44,920 --> 00:57:47,479
Speaker 3: he kind of has more to offer. And what's cool

1215
00:57:47,480 --> 00:57:50,200
Speaker 3: about this character is that he is a soldier. And

1216
00:57:50,280 --> 00:57:54,000
Speaker 3: Varna does not shy away from talking about the Algerian War,

1217
00:57:54,640 --> 00:57:56,640
Speaker 3: and you know, again like this is part of French

1218
00:57:56,680 --> 00:57:59,040
Speaker 3: New Wave where she was not shying away from talking

1219
00:57:59,040 --> 00:58:01,480
Speaker 3: about things that were of the moment, and so this

1220
00:58:01,680 --> 00:58:04,160
Speaker 3: soldier is kind of like, you know, I'm in a

1221
00:58:04,200 --> 00:58:07,200
Speaker 3: place where it's my job to risk my life and

1222
00:58:07,240 --> 00:58:09,480
Speaker 3: you don't know if you're going to be if your

1223
00:58:09,520 --> 00:58:11,880
Speaker 3: life is at risk right now, Cleo, So maybe just

1224
00:58:12,080 --> 00:58:14,240
Speaker 3: enjoy this and calm down. I'll take you to the

1225
00:58:14,280 --> 00:58:16,520
Speaker 3: doctor and you take me to the train station. But

1226
00:58:16,880 --> 00:58:19,040
Speaker 3: the thing that comes out of that conversation, because it

1227
00:58:19,080 --> 00:58:20,800
Speaker 3: goes on for a while with them, like they spend

1228
00:58:20,800 --> 00:58:24,760
Speaker 3: a lot of time together and she says something during

1229
00:58:24,760 --> 00:58:28,160
Speaker 3: that conversation. At some point she says, you know, today

1230
00:58:28,240 --> 00:58:32,520
Speaker 3: everything amazes me. And I feel like as this movie

1231
00:58:32,560 --> 00:58:35,880
Speaker 3: goes on, there's a lightness that she's being infused with,

1232
00:58:36,520 --> 00:58:39,000
Speaker 3: and she's doing that thing that we can't help but

1233
00:58:39,080 --> 00:58:41,959
Speaker 3: do when we're on the verge of getting potentially bad

1234
00:58:42,040 --> 00:58:45,600
Speaker 3: news where you start, she's starting to finally see her

1235
00:58:45,680 --> 00:58:49,000
Speaker 3: place in the world is bigger than herself. There's been

1236
00:58:49,000 --> 00:58:52,320
Speaker 3: a real contraction to her life. Pretty singer Paris, like

1237
00:58:52,360 --> 00:58:55,200
Speaker 3: that was her thing, and now there's been this expansion.

1238
00:58:55,320 --> 00:58:57,800
Speaker 3: Just in this two hours that you spent with this character,

1239
00:58:58,280 --> 00:59:00,800
Speaker 3: you can see this real expansion how she looks at

1240
00:59:00,920 --> 00:59:04,200
Speaker 3: she's finally looking at the world. So again, women directing

1241
00:59:04,200 --> 00:59:06,800
Speaker 3: in nineteen sixty two bringing that shit to the table.

1242
00:59:07,320 --> 00:59:10,400
Speaker 3: Unheard of, Yeah, unheard of. And it's a beautiful film,

1243
00:59:10,440 --> 00:59:14,040
Speaker 3: and it's funny and it's sweet and it's sad and

1244
00:59:14,120 --> 00:59:16,880
Speaker 3: it's just the ride. I love it. It's a fucking cool,

1245
00:59:17,400 --> 00:59:18,680
Speaker 3: rad movie.

1246
00:59:18,960 --> 00:59:20,000
Speaker 2: I couldn't agree more.

1247
00:59:20,080 --> 00:59:22,800
Speaker 1: I mean, stylistically, it feels like it, Like I said

1248
00:59:22,840 --> 00:59:27,800
Speaker 1: at the beginning, it really influenced so much, especially modern directors.

1249
00:59:28,160 --> 00:59:30,320
Speaker 1: That's one thing I think about the French New Wave

1250
00:59:30,400 --> 00:59:33,360
Speaker 1: that really was like a very revolutionary thing, which is

1251
00:59:33,360 --> 00:59:36,960
Speaker 1: that you know, they basically took the formalism out of

1252
00:59:37,000 --> 00:59:39,680
Speaker 1: movie making in that way that we had always seen

1253
00:59:39,720 --> 00:59:42,880
Speaker 1: in like classic Hollywood right where it felt very like

1254
00:59:43,400 --> 00:59:46,600
Speaker 1: in the moment and there's you know, jump cuts and

1255
00:59:46,680 --> 00:59:49,960
Speaker 1: sort of like interesting camera angles handheld cameras, like it's

1256
00:59:50,080 --> 00:59:51,200
Speaker 1: very natural seeming.

1257
00:59:51,560 --> 00:59:52,320
Speaker 2: And I feel like.

1258
00:59:52,800 --> 00:59:54,960
Speaker 1: This movie is the best example of that. I mean,

1259
00:59:55,000 --> 00:59:57,840
Speaker 1: it looks fantastic, but it's also got this like really

1260
00:59:58,120 --> 00:59:59,760
Speaker 1: kind of natural energy to it.

1261
01:00:00,120 --> 01:00:01,440
Speaker 2: Like I feel like.

1262
01:00:01,560 --> 01:00:04,840
Speaker 1: A lot of people copied and have copied since, and

1263
01:00:05,040 --> 01:00:07,840
Speaker 1: you know, obviously again setting the table for so much

1264
01:00:07,960 --> 01:00:11,040
Speaker 1: in film that we see today. And you know, AGNs

1265
01:00:11,080 --> 01:00:14,960
Speaker 1: Varda is Like it's funny because she was so iconic,

1266
01:00:15,320 --> 01:00:17,240
Speaker 1: even like in her own life, Like she had this

1267
01:00:17,320 --> 01:00:20,640
Speaker 1: haircut that I think everybody remembers. I've seen women with

1268
01:00:20,680 --> 01:00:23,200
Speaker 1: this haircut, Like I've seen people try to get the

1269
01:00:23,240 --> 01:00:27,560
Speaker 1: Agnes Varda like red dyed red bull cut. She rocked

1270
01:00:27,560 --> 01:00:30,520
Speaker 1: that shit to the end. I love it to the end.

1271
01:00:30,840 --> 01:00:34,479
Speaker 1: And also the number one cat lady of all time.

1272
01:00:35,920 --> 01:00:36,960
Speaker 3: Look, there are cats in this movie.

1273
01:00:37,000 --> 01:00:39,000
Speaker 4: There are two of them, two cats hanging out in

1274
01:00:39,000 --> 01:00:39,600
Speaker 4: the background.

1275
01:00:40,000 --> 01:00:40,520
Speaker 2: Oh my god.

1276
01:00:40,600 --> 01:00:43,320
Speaker 1: The scene where Cleo goes back to her apartment and

1277
01:00:43,360 --> 01:00:45,520
Speaker 1: she's doing that thing where she's like she puts on

1278
01:00:45,560 --> 01:00:47,680
Speaker 1: a robe and then she's like hanging from that pull

1279
01:00:47,760 --> 01:00:51,720
Speaker 1: up bar and there's this tiny little baby cat in

1280
01:00:51,760 --> 01:01:00,360
Speaker 1: the background doing like flips, And I was like, eh.

1281
01:00:57,480 --> 01:00:59,680
Speaker 3: I love a cat lady. I love a cat lady.

1282
01:01:00,120 --> 01:01:01,080
Speaker 2: Love a cat lady.

1283
01:01:01,200 --> 01:01:04,240
Speaker 1: And she is the A number one, Like she has

1284
01:01:04,320 --> 01:01:06,600
Speaker 1: cats in all of her films, and it's in her

1285
01:01:06,680 --> 01:01:10,600
Speaker 1: like you know, production company iconography and stuff, and she's

1286
01:01:10,720 --> 01:01:13,400
Speaker 1: so awesome, and like, yeah, I'm so glad you picked

1287
01:01:13,400 --> 01:01:15,600
Speaker 1: this movie because I feel like these two movies together.

1288
01:01:15,920 --> 01:01:18,680
Speaker 1: I mean, obviously, if you probably talked to Alison Anders,

1289
01:01:18,760 --> 01:01:22,360
Speaker 1: she would absolutely point to somebody like Agnes Varda being

1290
01:01:22,560 --> 01:01:22,960
Speaker 1: you know, an.

1291
01:01:22,920 --> 01:01:23,960
Speaker 2: Inspiration for her.

1292
01:01:24,080 --> 01:01:26,439
Speaker 1: And I think it's great that this is a great

1293
01:01:26,480 --> 01:01:30,360
Speaker 1: example of two women directors who worked and had worked

1294
01:01:30,360 --> 01:01:33,480
Speaker 1: for a very long time. Allison still working, Agnes Varda

1295
01:01:33,920 --> 01:01:37,240
Speaker 1: was making movies and appearing in public right before she died.

1296
01:01:37,800 --> 01:01:40,760
Speaker 1: It's great because it really shows that, like, as a

1297
01:01:40,800 --> 01:01:43,760
Speaker 1: woman you can actually have longevity in the business and

1298
01:01:43,800 --> 01:01:47,280
Speaker 1: you actually can make like a lot of great creative contributions,

1299
01:01:47,320 --> 01:01:50,800
Speaker 1: and they're both like as directors some of my favorites,

1300
01:01:51,000 --> 01:01:53,280
Speaker 1: and I'm just so excited we got to talk about them.

1301
01:01:53,960 --> 01:01:56,160
Speaker 3: And I think you just made a really good point

1302
01:01:56,200 --> 01:01:58,680
Speaker 3: that something I hadn't considered but I think is true,

1303
01:01:59,280 --> 01:02:03,840
Speaker 3: which is that women directors their films are often in

1304
01:02:03,920 --> 01:02:08,000
Speaker 3: conversation with each other. Hmm, and when men direct films,

1305
01:02:08,040 --> 01:02:11,200
Speaker 3: they're often in competition with each other. Yeah, and I

1306
01:02:11,240 --> 01:02:13,560
Speaker 3: think I'd rather have the conversation.

1307
01:02:13,880 --> 01:02:17,440
Speaker 1: Totally agree, Totally agree, And we're gonna have some more

1308
01:02:17,480 --> 01:02:21,480
Speaker 1: next week, so please please stay tuned if you liked

1309
01:02:21,560 --> 01:02:23,240
Speaker 1: this episode or if you just want to email us

1310
01:02:23,280 --> 01:02:26,040
Speaker 1: at all about anything we're at I saw what you

1311
01:02:26,040 --> 01:02:29,240
Speaker 1: did pot at gmail dot com. We would love questions

1312
01:02:29,240 --> 01:02:32,640
Speaker 1: for bonus episodes. Again, we're gonna solicit that because we

1313
01:02:32,800 --> 01:02:37,200
Speaker 1: actually love reading your letters and cracking up at some

1314
01:02:37,240 --> 01:02:40,000
Speaker 1: of the predicaments that you've been in, like movie theater

1315
01:02:40,080 --> 01:02:43,320
Speaker 1: predicaments especially Man, that shit makes me laugh so hard,

1316
01:02:43,840 --> 01:02:46,400
Speaker 1: it's so good. And we also have a we have

1317
01:02:46,440 --> 01:02:48,040
Speaker 1: a po box too, which I think is on the

1318
01:02:48,080 --> 01:02:49,840
Speaker 1: link tree. But just in case you want to send

1319
01:02:49,920 --> 01:02:50,840
Speaker 1: us snail mail.

1320
01:02:51,480 --> 01:02:53,800
Speaker 3: That's an option, and we did get some snail mail.

1321
01:02:53,840 --> 01:02:55,960
Speaker 3: Did we mention this last week already about the cups?

1322
01:02:56,200 --> 01:02:59,560
Speaker 1: We did, but we still haven't figured out who sent them.

1323
01:02:59,720 --> 01:03:03,439
Speaker 4: Yes, so if you send us mugs with birds on them,

1324
01:03:03,800 --> 01:03:05,240
Speaker 4: know that one made our day.

1325
01:03:05,440 --> 01:03:07,000
Speaker 3: But two we'd like to know who you are.

1326
01:03:07,680 --> 01:03:09,840
Speaker 1: Yeah, speaking of birds, I know we talked about birds

1327
01:03:09,840 --> 01:03:11,640
Speaker 1: at the beginning of the episode, but it was so

1328
01:03:11,840 --> 01:03:12,600
Speaker 1: great to get that.

1329
01:03:12,960 --> 01:03:15,040
Speaker 2: So thank you whoever says thank you.

1330
01:03:15,560 --> 01:03:18,120
Speaker 3: And look, you can find us on our social media.

1331
01:03:18,280 --> 01:03:21,160
Speaker 3: We are at I saw Pod on Instagram and Twitter,

1332
01:03:21,480 --> 01:03:24,080
Speaker 3: and also take a moment to hop over to Apple

1333
01:03:24,120 --> 01:03:30,280
Speaker 3: Podcasts and rate and review and subscribe, especially review and rate,

1334
01:03:30,600 --> 01:03:32,520
Speaker 3: actually do all of it, rate, review, and subscribe, but

1335
01:03:32,560 --> 01:03:36,520
Speaker 3: we do post your reviews occasionally on our social media

1336
01:03:36,640 --> 01:03:38,840
Speaker 3: so we like to read those. You guys are very

1337
01:03:39,000 --> 01:03:41,080
Speaker 3: very supportive of us, and we can't thank you enough.

1338
01:03:41,160 --> 01:03:44,040
Speaker 1: Yes, And you know, if you want some merch from us,

1339
01:03:44,480 --> 01:03:47,440
Speaker 1: we've got it at the Exactly Right Shop at exactly

1340
01:03:47,520 --> 01:03:48,520
Speaker 1: Rightmedia dot com.

1341
01:03:48,560 --> 01:03:51,480
Speaker 3: And if you want even more from us, we've got

1342
01:03:51,520 --> 01:03:54,400
Speaker 3: a bunch of bonus episodes up at sit your Premium

1343
01:03:54,440 --> 01:03:57,720
Speaker 3: exclusively and you can use the promo codesaw for a

1344
01:03:57,800 --> 01:03:58,320
Speaker 3: free month.

1345
01:03:58,680 --> 01:04:01,320
Speaker 2: That's right. So, Danielle, would you like to tell everybody

1346
01:04:01,320 --> 01:04:02,880
Speaker 2: what our movies are for next week?

1347
01:04:03,200 --> 01:04:06,680
Speaker 3: Oh? I would love to. So for next week, we

1348
01:04:07,440 --> 01:04:10,480
Speaker 3: have given you the assignment of watching A Girl Walks

1349
01:04:10,520 --> 01:04:14,960
Speaker 3: Home Alone at Night from twenty fourteen and Just Another

1350
01:04:15,040 --> 01:04:18,360
Speaker 3: Girl on the Irt from nineteen ninety two.

1351
01:04:18,800 --> 01:04:19,240
Speaker 2: Correct.

1352
01:04:19,400 --> 01:04:21,080
Speaker 1: And I know we said we're doing a couple of

1353
01:04:21,120 --> 01:04:24,000
Speaker 1: Women's History Month episodes, but there's also another theme in there,

1354
01:04:24,080 --> 01:04:25,080
Speaker 1: so you gotta guess.

1355
01:04:24,880 --> 01:04:27,080
Speaker 3: It, gotta guess it. It's not just women's history.

1356
01:04:27,240 --> 01:04:29,880
Speaker 2: Yes, you know, we always like to give you that

1357
01:04:29,960 --> 01:04:31,960
Speaker 2: extra surprise. We be like that.

1358
01:04:32,320 --> 01:04:34,760
Speaker 1: All right, Well, you know what, Thanks again daniel for

1359
01:04:34,800 --> 01:04:38,160
Speaker 1: picking great movies, for talking with us, for being with

1360
01:04:38,240 --> 01:04:39,520
Speaker 1: me again.

1361
01:04:39,400 --> 01:04:41,160
Speaker 2: On this podcast. I really appreciate it.

1362
01:04:41,240 --> 01:04:47,000
Speaker 3: So excited. I can't wait until you move in. He's

1363
01:04:47,040 --> 01:04:49,680
Speaker 3: feeding those birds and I'll see you soon.

1364
01:04:51,440 --> 01:04:57,360
Speaker 2: Bye bye.

1365
01:04:59,520 --> 01:05:02,200
Speaker 3: This has been exactly right production. Our producer is Alexis

1366
01:05:02,200 --> 01:05:05,360
Speaker 3: sam Rosi. Our engineer is Ryo Baum. Our theme song

1367
01:05:05,440 --> 01:05:08,520
Speaker 3: is by Tom bry Fogel, artwork by Garrett Ross. Our

1368
01:05:08,600 --> 01:05:12,240
Speaker 3: executive producers are Georgia Hardstar, Karen Kilgareth and Danielle Kramer.

1369
01:05:12,480 --> 01:05:14,840
Speaker 3: You can follow us on Instagram and Twitter at I

1370
01:05:14,960 --> 01:05:17,320
Speaker 3: Saw Pod. You can email us at I Saw What

1371
01:05:17,400 --> 01:05:20,280
Speaker 3: You Did Pod at Gmail, And please don't forget to listen,

1372
01:05:20,360 --> 01:05:23,800
Speaker 3: Subscribe and leave us a review on Apple Podcast, Stitcher,

1373
01:05:24,000 --> 01:05:25,320
Speaker 3: or wherever you listen