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Speaker 1: What kind of a show you guys.

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Speaker 2: Putting on here today?

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Speaker 1: You're not interested in art?

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Speaker 3: Now?

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Speaker 1: No, look, we're going to do this thing. We're going

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Speaker 1: to have a conversation.

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

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Speaker 1: I'm Adam Kempenar and I'm Josh Larson.

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Speaker 2: To me, being a gangster was better than being President

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Speaker 2: of the United States.

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Speaker 1: Never right on your friends, and always keep in mind

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Speaker 1: shut go by.

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Speaker 2: I meant being somebody in the neighborhood that was full

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Speaker 2: of nobody's Jimmy, Tommy, Henry Pauley, the whole gang is

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Speaker 2: here for our Pantheon Project review of Goodfellas, which came

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Speaker 2: to theaters thirty five years ago.

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Speaker 4: This month, plus I caught up with the Roses and

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Speaker 4: the intriguing new indie Lurker. All that and a new

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Speaker 4: deeply flawed Film Spotting Paul Ahead on Film Spotting, you.

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Speaker 2: Were treated like movie stars with muscle.

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Speaker 1: We had it all just for the asking else on

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Speaker 1: I belong.

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Speaker 2: Welcome to Film Spotting, the first international edition of the show. Josh.

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Speaker 2: You are coming to us from the City of Saint Andrew's, County, Fife, Scotland.

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Speaker 2: Have you ever felt less like a gangster.

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Speaker 4: I have not run into any gangsters. There's got to

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Speaker 4: be a CD underbelly to this place, though, Adam. I mean,

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Speaker 4: for one thing, there's way too much golf going on here,

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Speaker 4: and that is that's never a good sign.

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Speaker 2: You got to pick up the sticks.

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Speaker 4: Yeah, I don't think that's going to happen. I'll try

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Speaker 4: to investigate and see if I can find that underbelly,

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Speaker 4: because right now I got to tell you this is

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Speaker 4: ridiculously picturesque here on the coast of the North Sea.

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Speaker 4: So it can't always be like this. I hope it is,

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Speaker 4: but probably not.

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Speaker 2: This week you played catch up on some new Ish

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Speaker 2: releases Olivia Coleman and Benedict Cumberbatch in The Roses. Also

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Speaker 2: lurker at Dark Tale about pop music fandom. We've also

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Speaker 2: got results from the Pixar versus studio Jubilip and a

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Speaker 2: new deeply flawed film spotting Pool, asking you to choose

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Speaker 2: one musical from the nineteen sixties. The Hills are Alive,

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Speaker 2: or so I've been told.

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Speaker 4: But first Goodfellas at thirty five. Goodfellas came to theatres

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Speaker 4: September twenty one, nineteen ninety. It ended up making forty

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Speaker 4: six million dollars in change at the box office. That

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Speaker 4: was enough to put it ahead of the Stevens Sagal

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Speaker 4: starring Marked for Death. I don't know if you remember

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Speaker 4: that one.

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Speaker 2: Adam robbed of the Best Picture nomination.

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Speaker 4: However, Goodfellows was just behind the Sagal starring Hard to

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Speaker 4: Kill Now Hard to Sounds familiar. I completely blanked on

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Speaker 4: Marked for Death.

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Speaker 1: I'm afraid.

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Speaker 4: Goodfellows was nominated for six Oscars, including Best Picture and Director.

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Speaker 4: Also nominated that year gangster movie Royalty, Brancis Ford Coppola's

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Speaker 4: Godfather Part three, also the De Niro starring Awakenings and Ghost.

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Speaker 4: The Best Picture went, however, to Kevin Hostner's Dances with Wolves.

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Speaker 1: Thirty five years later.

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Speaker 4: We're not going to be talking about any of those films.

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Speaker 4: We are talking about Goodfellas.

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Speaker 1: Here's a scene. Take it away, Mama Scarcese.

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Speaker 2: And he's mad.

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Speaker 5: You don't talk too much.

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Speaker 1: Quiet for me.

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Speaker 5: You don't eat much, you don't talk much.

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Speaker 1: I'm just listening tomorrow.

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Speaker 5: You remind me of when we were kids, com paris

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Speaker 5: just to visit one another, and there was this man.

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Speaker 5: He would never talk. He would just sit there all

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Speaker 5: night and not say a word. So they says to him,

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Speaker 5: what's American Paris? Don't you talk? Don't you say anything?

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Speaker 5: He says, what am I going to say that? My

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Speaker 5: wife two times me, so she says to him, shut up,

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Speaker 5: you're always talking. But in Italian it sounds much nice.

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Speaker 2: Josh. One thing I don't remind you of enough is

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Speaker 2: that you're a year and a half older than me.

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Speaker 1: It's true.

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Speaker 2: Why is that relevant? We've never really parsed the details,

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Speaker 2: but I think we may have had our cinephile awakenings

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Speaker 2: at roughly the same ages, just not at the same times.

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Speaker 2: Let's jump into the DeLorean destination circa September twenty first,

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Speaker 2: nineteen ninety. I'm going to run through a quick list.

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Speaker 2: You tell me how many boxes you check off. Number one,

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Speaker 2: saw Goodfellas in the theater, number two, number two, I'm

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Speaker 2: gonna get through all of them.

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Speaker 1: Here.

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Speaker 2: You tell me your account. Number two watched at the movies,

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Speaker 2: double thumbs up review. Number three Red ciskeles you were

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Speaker 2: a trib house after all, and or Ebert's review where

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Speaker 2: you would have scanned this high praise. No finer film

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Speaker 2: has ever been made about organized crime, not even The Godfather.

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Speaker 2: Although the two works are not really comparable, both critics

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Speaker 2: would name it their number one film of the year.

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Speaker 2: Number four understood that after opening the eighties with a

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Speaker 2: masterpiece in Raging Bowl, Scorsese looked to be starting the

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Speaker 2: nineties with another. I'll also accept in some sense that

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Speaker 2: there was prestige attached to a Martin Scorsese film. Where

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Speaker 2: are you at with those four?

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Speaker 1: Yeah?

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Speaker 4: I definitely hit all of those your The last question

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Speaker 4: made me think, had I seen Raging Bowl yet at

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Speaker 4: that point?

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Speaker 1: Right?

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Speaker 4: Possibly I have, but definitely aware of its.

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Speaker 1: Stature for sure.

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Speaker 2: Okay, Well, I needed another eighteen to twenty four months.

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Speaker 2: I went, oh for four. It's entirely possible. Goodfellows played

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Speaker 2: at my hometown cinema, the one i'd eventually be a

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Speaker 2: projectionist and usher at, But it wouldn't have mattered because

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Speaker 2: it wasn't on my radar at all. I didn't catch

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Speaker 2: Ciskel and Eberts at the movies takes, nor was I

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Speaker 2: reading the Sun Times or Tribune in Iowa in print,

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Speaker 2: nor could I contemplate Scorsese's legacy. I didn't finally see

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Speaker 2: Goodfellows until a full year later, after renting it from

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Speaker 2: one of my local video stores, I distinctly remember being

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Speaker 2: drawn to that VHS case, or the top half of it. Anyway,

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Speaker 2: I still don't know what's happening in the bottom half.

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Speaker 2: De Niro's prominence may have had something to do with it.

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Speaker 2: I was familiar with him, but I think it's how

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Speaker 2: he's position as the centerpiece of that sinister besuited triumvirate,

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Speaker 2: with Leoda and Peshi angled to the sides, all three

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Speaker 2: emerging evocatively out of the pure darkness. It felt timeless, somehow,

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Speaker 2: already a classic, which was appropriate since I'm almost certain

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Speaker 2: I was under the impression that it was several years old.

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Speaker 2: The box alone suggested the movie was momentous, and when

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Speaker 2: I watched it, despite not being equipped with the vocabulary

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Speaker 2: to articulate it, I recognized that it was. Was it

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Speaker 2: the kinetic dynamism of Michael Balhaus's camera, combined with Thelma

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Speaker 2: Shoemaker's cutting, the intoxicating allure of the gangster life as

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Speaker 2: Henry sees it, welcome back to that, the sweep of

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Speaker 2: it covering parts of four decades, and Henry's rags to

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Speaker 2: to housecoat and egg noodles with ketchup tail. Maybe there

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Speaker 2: was a guy at school who I thought deserved a

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Speaker 2: good pistol whipping. You know, this really isn't about me,

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Speaker 2: It's about you, Josh. What made Goodfellas feel momentous back

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Speaker 2: in ninety and what makes it feel momentous still?

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Speaker 4: Well, not only at that point had I caught the movie,

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Speaker 4: bug I was passing it on and inflicting it on Debbie,

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Speaker 4: who we had probably just started dating, maybe six ten

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Speaker 4: months before Goodfella's Fall nineteen ninety release. And thankfully, maybe

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Speaker 4: this is one of the reasons we started dating. Found

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Speaker 4: out she loved mob movies, and what a year. Maybe

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Speaker 4: this is what brought us together, Adam, we've already talked

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Speaker 4: about a few of these, Godfather Part three and Goodfellas.

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Speaker 4: You realize Miller's Crossing came out in October, so we

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Speaker 4: were averaging if you consider Godfather Part three was a

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Speaker 4: December release, we were averaging almost a let's say, key

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Speaker 4: mobster movie, if not a masterful mobster movie a month

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Speaker 4: one a month in that fall and early winter.

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Speaker 1: And yeah, what.

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Speaker 4: A time to be alive, What a time to be

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Speaker 4: coming into love with films? So it was the thrill

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Speaker 4: of it. That's what was momentous for me that first

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Speaker 4: time I saw it. Your phrase kinetic dynamism, Yeah, that's

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Speaker 4: what it was. Just we've talked about this in terms

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Speaker 4: of Miller's Crossing, is coming to realize the choices that

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Speaker 4: filmmakers are making in terms of the camera movement or

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Speaker 4: the editing and all the things we're going to dig into.

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Speaker 4: Goodfellas had that right there for you to eat up

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Speaker 4: on the screen, like I would argue something like Miller's

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Speaker 4: Crossing does, And so yeah, that's that's what it was.

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Speaker 1: Then.

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Speaker 4: Now what feels momentous about it. I think for me

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Speaker 4: it's the movie's moral weight. And I had a little

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Speaker 4: advance work done on this film because I saw it

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Speaker 4: maybe a couple of years ago.

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Speaker 1: Now.

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Speaker 4: I wrote a piece for Think Christian looking at Martin

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Speaker 4: Scorsese's mob movies in particular, with the thesis that they

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Speaker 4: were just as religious as something like Last Temptation of

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Speaker 4: Christ or Silence. Maybe not explicitly so, but if you

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Speaker 4: take them all together, from Mean Streets to the Irishmen

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Speaker 4: and everything in between, including Goodfellas, you see that these

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Speaker 4: movies depict organized crime as a religion that is full

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Speaker 4: of these laws you must follow ritual, yeah, that's it,

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Speaker 4: but key devoid of mercy and grace. And so when

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Speaker 4: I looked at Goodfellas through this lens, it was fascinating

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Speaker 4: to me how it fitted to a tea as all

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Speaker 4: of his did, and depicted these guys who are beholden

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Speaker 4: to this code. That is, they think they're above the law,

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Speaker 4: but they've chosen adherence to a code that is more

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Speaker 4: unforgiving than any legal system could be. And it's also

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Speaker 4: a world that has no benevolence again, no mercy to it.

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Speaker 4: They're subject to greater suffering than the schnooks, as Henry

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Speaker 4: Hill would.

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Speaker 1: Say in the end.

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Speaker 4: And so it's just these movies and Goodfellas particularly, I

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Speaker 4: think they're sinners who freed themselves from the law, but

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Speaker 4: they've only shackled themselves into chains of their own making.

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Speaker 4: And to bring this to Goodfellas, And a particular scene

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Speaker 4: where this clarifies for me, both when I watched a

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Speaker 4: few years ago and just now, I think in his

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Speaker 4: Mob movie canon the Christmas party scene after the heist

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Speaker 4: that has gone down successfully and Jimmy is throwing a

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Speaker 4: party at the bar to celebrate. I think it's the

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Speaker 4: defining scene theologically speaking, because yes, it's Christmas, right, But

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Speaker 4: what do you have here? You have Jimmy making all

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Speaker 4: of these rules, and when they're broken, there is hell

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Speaker 4: to pay.

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Speaker 3: Am I say?

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Speaker 4: Enough to go buy anything for a while.

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Speaker 1: It's a wedding gift, Jimmy, it's.

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Speaker 5: From my mother.

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Speaker 1: It's on the name. I just gone out.

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Speaker 3: I loved that car.

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Speaker 1: I'm sure's being valued for just a second. I just

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Speaker 1: gone out. Johnny, you got your nuts?

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Speaker 5: What are you get excited for?

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Speaker 3: Jay?

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Speaker 4: What am I get excited for?

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Speaker 2: You?

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Speaker 1: Are you stupid?

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Speaker 6: We've got a million feebles out there, everybody's watching this,

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Speaker 6: and you get a called I love this name.

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Speaker 1: It's a wedding gift, a fool's name. It's so now,

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Speaker 1: you stupid? O'd What did you hear what I said?

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Speaker 6: Don't buy anything, don't get anything, nothing big than you?

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Speaker 1: What I said? What's the matter with you? What are

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Speaker 1: you getting excited for? Am I get excited about? Because

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Speaker 1: you're gonna get us all fur pinched? That's why?

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Speaker 4: What are you stupid?

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Speaker 1: It's matter with you? I apologize? What's the matter with you?

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Speaker 2: Sorry?

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Speaker 1: The is the matter with you?

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Speaker 4: This should be a celebration of victory, of triumph, of

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Speaker 4: beating the Schnooks, but instead with we get these guys

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Speaker 4: who are under the burden of a law that is

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Speaker 4: even heavy. And the great irony of this taking place

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Speaker 4: in a Christmas setting. You know, if theologically you think

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Speaker 4: about the Christmas gift and and this gift gift of

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Speaker 4: grace and forgiveness and freedom from the law, good laws

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Speaker 4: and bad laws. I'll stop there and save the rest

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Speaker 4: for that. This isn't the thing Christian podcast. So but yeah,

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Speaker 4: that is the thing that struck me watching Goodfellas this

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Speaker 4: last time, which was just you know, of course kicked

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Speaker 4: off by that deeper study I did a few years ago.

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Speaker 2: I'm smiling and kind of laughing to myself, even just

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Speaker 2: because I love de Niro. How could you not love

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Speaker 2: d Naro throughout this entire film as Jimmy Conway, but

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Speaker 2: especially in that sequence, just starting with the camee you,

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Speaker 2: and he's so happy, he's so excited to see Henry,

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Speaker 2: to see ray Leota, and then it just goes downhill

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Speaker 2: once that pink Cadillac shows up outside, right, And what

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Speaker 2: I keep thinking about, I wasn't going to initially start

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Speaker 2: with this. I had this like third on my list,

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Speaker 2: and I wasn't very familiar with what you had previously

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Speaker 2: written about this, but I knew or had a feeling

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Speaker 2: we would go here. And I was a little bit hesitant, Josh,

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Speaker 2: because this is this is your corner, and we're talking

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Speaker 2: about a mob movie. So if I if I go

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Speaker 2: to quickly down this path, or I spend too long

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Speaker 2: on this corner, I mean, I might get whacked right,

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Speaker 2: And I don't know if I if I should tread

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Speaker 2: into your your territory.

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Speaker 1: It's all.

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Speaker 2: Especially when you think about a movie like Mean Streets,

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Speaker 2: where we meet de Niro as an actor in a

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Speaker 2: Scorsese film, and there's there's a fair amount of crossover

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Speaker 2: between the two films. When I think about those movies,

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Speaker 2: and we're going to talk a little bit about even

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Speaker 2: the use of color red. When I think about the

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Speaker 2: two movies, and I think they're used in a very

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Speaker 2: pointed and similar way, there is a key to diference

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Speaker 2: for me. And there's a key difference here for me

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Speaker 2: between a lot of other Scorsese films, not just the

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Speaker 2: gangster films, and that is this is not a revelation

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Speaker 2: to anyone. Obviously, a lot of Scorsese's films are preoccupied

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Speaker 2: with the notion of sin and the notion of redemption,

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Speaker 2: and you have characters who are very torn and conflicted

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Speaker 2: between these two worlds, the moral world and the world

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Speaker 2: of the flesh, and their corporeal desires and money and

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Speaker 2: the worldly things that they want to occupy themselves with,

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Speaker 2: and and again they often are seeking some kind of

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Speaker 2: absolution for their sins. And there is nothing like that

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Speaker 2: whatsoever in our hero here.

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Speaker 3: Now.

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Speaker 2: It's simply completely absent. And why that strikes me is

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Speaker 2: because it feels to me this is based on true material.

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Speaker 2: Henry Hill is a real character. I've never read the book.

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Speaker 2: I don't know, and I don't care for the purposes

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Speaker 2: of our conversation how true it is to that story.

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Speaker 2: But it's interesting to me that it feels like Scorsese

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Speaker 2: wasn't concerned in this case with imposing that absolution storyline

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Speaker 2: onto Henry Hill, and he was content to have a

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Speaker 2: character who from the very beginning, as we meet him,

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Speaker 2: and actually as we meet him and we're going to

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Speaker 2: talk about the prolog, I'm definitely going to talk about

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Speaker 2: the prolog as we meet him later in the story,

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Speaker 2: and then as we meet him as a teenage boy

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Speaker 2: making his decision, he has decided what path he's going

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Speaker 2: to take. He has chosen the path of sin, and

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Speaker 2: he stays on that path completely until the very end,

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Speaker 2: and he never has any doubt about that path. Unlike

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Speaker 2: most of the Scorsese heroes that we might think about

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Speaker 2: the Scorsese conflicted protagonist, he never has any doubt about that.

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Speaker 2: He constantly chooses what serves his worldly desires at every turn.

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Speaker 2: He never is thinking about redemption. He is in the hell,

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Speaker 2: the hell of his making from the very beginning of

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Speaker 2: this film, and he's happy to be there. And when

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Speaker 2: you look at Henry Hill as a character, he is, yes, less.

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Speaker 2: I don't want to use a technical term because I

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Speaker 2: don't really necessarily know all the distinctions in terms of

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Speaker 2: the actual scientific definitions or psychological definitions. But he's less

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Speaker 2: psychopathic than Tommy, and he's not as crazy as Jimmy, right,

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Speaker 2: But that doesn't mean he's a better guy. I mean,

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Speaker 2: maybe he's a slightly better guy. He doesn't want Maury

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Speaker 2: to die, but I think that's just because it kind

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Speaker 2: of just means a little more stress for him because

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Speaker 2: Maury's wife is going to be hanging around the house.

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Speaker 2: He doesn't actually really care that much more about Maury.

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Speaker 2: He's not actually a more compassionate human being. He is

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Speaker 2: always just looking out for himself. So it's it. I'll

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Speaker 2: just use the word interesting again. It's interesting to me

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Speaker 2: that in this movie, and in this gangster movie Milieu,

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Speaker 2: where we've seen him so many other times, have characters

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Speaker 2: that are really struggling with this notion of sin. We

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Speaker 2: have a character here who is not struggling at all.

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Speaker 4: Yeah, completely agree, and that is a distinction of something

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Speaker 4: like Goodfellas. Think about even The Irishman, where, to my mind,

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Speaker 4: where we end up in that nursing home with the

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Speaker 4: DeNiro character, and he is at least if he's not

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Speaker 4: sorry or regretful, he's pondering the weight of his actions.

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Speaker 4: And I don't think Henry Hill ever does that. He

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Speaker 4: is completely the way you were talking about him, psychologically,

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Speaker 4: he is a moral right, there's just a disinterest in

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Speaker 4: the morality.

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Speaker 1: Of any situation, good way to put it.

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Speaker 4: And this connects with Leota's performance, which you know, it's

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Speaker 4: that box, the VHS box. When you're describing it. It instantly

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Speaker 4: comes back to me, and my first thought as you

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Speaker 4: started describing it is how bizarre. I get the marketing reason,

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Speaker 4: but how bizarre that Leota isn't in the center right

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Speaker 4: instead of because the way he drives this entire film.

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Speaker 4: And the one thing that stood out to me that

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Speaker 4: was completely fresh on this most recent viewing Adam, was

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Speaker 4: the quality of his The definitive quality of Leota's performance,

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Speaker 4: to me, connects with what we're talking about. Eagerness. Henry

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Speaker 4: is so eager to be a part of this lifestyle.

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Speaker 4: He doesn't give a second thought to the repercussions for

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Speaker 4: his family, for his education, for anything when he's a boy,

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Speaker 4: when he's a teenager, this is Think about the smile

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Speaker 4: on and I think it's Christopher Cerone playing the young

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Speaker 4: Henry at this point. What a great match for Lioda

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Speaker 4: as an adult too, just physically, but also the way

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Speaker 4: he carries himself, the way he has that eagerness. He

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Speaker 4: has this beaming smile while he's watching these guys get

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Speaker 4: away with this, and it just gets bigger once they

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Speaker 4: bring him into the fold, and.

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Speaker 1: That carries through every scene.

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Speaker 4: I think that Liota is in even the famous Joe

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Speaker 4: peshe you think I'm a clown scene. Notice how hard

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Speaker 4: Henry Hill is laughing at those jokes.

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Speaker 2: He says, no, you're going to tell me something today,

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Speaker 2: tough guy.

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Speaker 5: I said, all right, I'll tell you something.

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Speaker 7: Give mother.

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Speaker 6: To pay for a.

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Speaker 2: Now I'm coming around, you know, I start to come

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Speaker 2: out of it.

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Speaker 6: Oh, I see in front of me this big brick again.

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Speaker 2: He says, Oh, what do you want to tell me now?

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Speaker 1: Tough guy?

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Speaker 5: I said, dang, what do I thought to tell you?

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Speaker 5: To go?

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Speaker 2: Mother?

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Speaker 4: He is so eager to be in that group laughing

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Speaker 4: at him in a in a supportive way, you know,

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Speaker 4: I know that's what they get to an argument about.

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Speaker 4: He's also he's eager for the violence too. You brought

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Speaker 4: up Maury that moment when Jimmy wraps the cord around

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Speaker 4: Maury's neck. Henry's there laughing.

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Speaker 1: You know.

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Speaker 4: He does, eventually, I think, try to count things down,

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Speaker 4: but his immediate instinct is to laugh. He's eager for

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Speaker 4: the violence. He even takes a slap in the face

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Speaker 4: from Polly, one of those affectionate slaps. He receives that eagerly.

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Speaker 4: It's like, slap me again, Polly, because that means I'm

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Speaker 4: in and so that was a distinctive quality to this

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Speaker 4: great Rali out of performance that stood out to me

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Speaker 4: that I think connects exactly with what you're talking about,

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Speaker 4: this amorality of the character.

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Speaker 2: And it could have something to do with the fact,

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Speaker 2: like Jimmy, he is Irish, he is not Italian, so

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Speaker 2: he's an outsider. He is someone who may have to exhibit,

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Speaker 2: or at least early on exhibited some of that eagerness

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Speaker 2: and it just sort of stuck. He has to ingratiate

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Speaker 2: himself into this world because he is not the same

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Speaker 2: as everyone else around him. I'm gonna go back. Let's

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Speaker 2: see if i can say it twice. We can say

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Speaker 2: it for a third time in the show Kinetic Dynamism.

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Speaker 2: The pantheon may need a pantheon for the movies that

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Speaker 2: seem to scene, moment to moment deliver the most thrilling filmmaking.

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Speaker 2: I didn't go through the list, but do the right

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Speaker 2: Thing would be in it, and Goodfellas, goodfellas would be

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Speaker 2: in it. That's how good every scene is and how

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Speaker 2: good every choice is. And unlike some of our recent revisits,

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Speaker 2: we've had a bunch of sacred cows and Pantheon Project

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Speaker 2: reviews recently. It hasn't been twenty or thirty years since

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Speaker 2: I've seen Goodfellas, so I really was a little nervous,

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Speaker 2: and I didn't know what to expect from this conversation.

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Speaker 2: I don't know the last time I watched it in

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Speaker 2: one sitting, but I'll borrow a phrase from Billy Bean

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Speaker 2: and Moneyball the movie. Anyway, I've certainly recreated it in

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Speaker 2: the aggregate. I don't know how many countless times I've

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Speaker 2: watched scenes from it or picked up, you know where,

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Speaker 2: whatever it was on TV. I know this movie well.

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Speaker 2: But even if there weren't going to be or I

409
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Speaker 2: didn't expect there to be any Capital R revelations, there

410
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Speaker 2: did still end up being aspects to discuss that I

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Speaker 2: hadn't strongly considered before. And you used a word earlier,

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Speaker 2: just a short time ago, talking about Liota. You said, watching,

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Speaker 2: and I said, in my setup, the intoxicating allure of

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Speaker 2: the gangster life as Henry sees it. And there's two

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Speaker 2: parts there. We may talk about the intoxicating allure of

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Speaker 2: the gangster life part, but for me, the more important

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Speaker 2: part is is as Henry sees it. Because if we

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Speaker 2: go back to and we consider the opening with Billy

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Speaker 2: Bats in the trunk as a sort of prologue, and

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Speaker 2: that's how I'm going to refer to it. How does

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Speaker 2: that culminate? It culminates with that incredible it feels to

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Speaker 2: me just like John Wayne in Stage Coach like introduction,

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Speaker 2: the rushing tracking shot that stops in a freeze frame

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Speaker 2: on Leota's face in close up, his eyes looking past

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Speaker 2: the camera, and that's where we get the famous line

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Speaker 2: as far back as I can remember, right, And if

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Speaker 2: it wasn't for the credits in between, it would be

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Speaker 2: almost a match cut from that close up on his eyes,

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Speaker 2: those piercing Rayliota eyes two Henry Young, Henry's eyes looking

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Speaker 2: at the gangsters across the way from from his apartment,

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Speaker 2: looking at them down on the stoop, and that great shot,

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Speaker 2: the cinematography, the beam, the reflection beaming in the iris

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Speaker 2: of his eye.

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Speaker 1: Right.

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Speaker 2: So, yes, of course he's the narrator. This is his

436
00:23:47,200 --> 00:23:50,920
Speaker 2: telling his tale, the retelling of events. But I had

437
00:23:50,960 --> 00:23:55,760
Speaker 2: never fully paid attention to just how much Scorsese leans

438
00:23:55,840 --> 00:24:00,640
Speaker 2: into that point of view. How often we watch Henry, who,

439
00:24:00,720 --> 00:24:03,400
Speaker 2: as I said, is an Italian, isn't born into the mob.

440
00:24:03,440 --> 00:24:06,919
Speaker 2: How often we watch him watching, like when he's worried

441
00:24:06,960 --> 00:24:11,800
Speaker 2: about Maury getting whacked, He's watching the dynamic the entire time.

442
00:24:12,080 --> 00:24:15,400
Speaker 2: A bunch of examples of that, right, or more directly,

443
00:24:16,440 --> 00:24:21,159
Speaker 2: you take a shot like the steady Kim introductions the

444
00:24:21,240 --> 00:24:23,280
Speaker 2: classic you know, I'm gonna go get the papers, Get

445
00:24:23,320 --> 00:24:26,920
Speaker 2: the papers, when he introduces us at the restaurant to everybody,

446
00:24:27,119 --> 00:24:30,480
Speaker 2: and it's amazing. And if you, I guess, if you

447
00:24:30,560 --> 00:24:32,639
Speaker 2: wanted to somehow take a shot at Scorsese for just

448
00:24:32,680 --> 00:24:35,440
Speaker 2: showing off, you'd be like, well, that's what he's doing there,

449
00:24:35,600 --> 00:24:40,240
Speaker 2: But actually that's Henry's point of view, walking through that restaurant,

450
00:24:40,600 --> 00:24:43,439
Speaker 2: introducing us to those characters as if we're seeing it

451
00:24:43,480 --> 00:24:47,560
Speaker 2: through Henry's eyes. Or how about the other great scene

452
00:24:47,960 --> 00:24:50,960
Speaker 2: where he wakes up to find Karen pointing the gun

453
00:24:51,280 --> 00:24:55,280
Speaker 2: right at him slash us. Or one of my new

454
00:24:55,320 --> 00:24:59,600
Speaker 2: favorite shots that I just never appreciated before, which is

455
00:25:00,480 --> 00:25:04,520
Speaker 2: when he gets out of jail. Think about how simple

456
00:25:04,560 --> 00:25:07,760
Speaker 2: this is, Josh, Like, how subtle this is? Because I

457
00:25:07,760 --> 00:25:09,600
Speaker 2: think it's so easy to miss. Again, I don't know

458
00:25:09,600 --> 00:25:11,520
Speaker 2: how many times I've seen Goodfellows, but I just never

459
00:25:11,560 --> 00:25:14,040
Speaker 2: thought about it in these terms before, and it's not

460
00:25:14,119 --> 00:25:17,800
Speaker 2: a bravura camera moment, but I still think it's ingenious

461
00:25:18,720 --> 00:25:21,160
Speaker 2: and it's a choice. It's still a choice that's being made,

462
00:25:21,400 --> 00:25:26,000
Speaker 2: and it's an atypical filmmaking choice. When he gets out

463
00:25:26,040 --> 00:25:32,120
Speaker 2: of jail and he goes back to the apartment or

464
00:25:32,359 --> 00:25:36,000
Speaker 2: whatever space Karen has the kids currently.

465
00:25:35,800 --> 00:25:37,720
Speaker 1: Living there with the bunk beds, and there.

466
00:25:37,560 --> 00:25:41,919
Speaker 2: The bunk beds, and I believe it's it's a single

467
00:25:41,960 --> 00:25:45,800
Speaker 2: shot and you hear a door open, and you hear

468
00:25:45,840 --> 00:25:48,760
Speaker 2: the kids say something like what do you think, Daddy?

469
00:25:48,920 --> 00:25:53,160
Speaker 2: You know I made that picture or something. The camera

470
00:25:54,400 --> 00:25:59,320
Speaker 2: is looking at the room, we are seeing the camera.

471
00:25:59,440 --> 00:26:02,359
Speaker 2: It's almost like it does a three point sixty turn

472
00:26:02,440 --> 00:26:06,880
Speaker 2: about the room, and then as it scans across the room,

473
00:26:07,119 --> 00:26:13,280
Speaker 2: it finally ends ultimately on Henry and he says like, Karen,

474
00:26:13,359 --> 00:26:15,639
Speaker 2: get everything packed. Yeah, we're getting out of here, right.

475
00:26:15,880 --> 00:26:19,200
Speaker 2: So it doesn't it doesn't start on the door. Any

476
00:26:19,200 --> 00:26:21,720
Speaker 2: other filmmaker or a lot of other filmmakers would have

477
00:26:22,400 --> 00:26:26,399
Speaker 2: started that sequence with the door opening and Henry walking

478
00:26:26,440 --> 00:26:28,439
Speaker 2: in and then cut to him seeing the room and

479
00:26:28,480 --> 00:26:31,520
Speaker 2: then cut back to his reaction shot. Scorsese in one

480
00:26:31,600 --> 00:26:34,920
Speaker 2: shot doesn't show us that it's his point of view,

481
00:26:34,920 --> 00:26:37,560
Speaker 2: in fact, allows it to be our point of view,

482
00:26:37,760 --> 00:26:42,400
Speaker 2: the audience's point of view. First, we get to process

483
00:26:42,480 --> 00:26:45,920
Speaker 2: the room almost as if we're seeing it before Henry does.

484
00:26:46,440 --> 00:26:50,240
Speaker 2: We have to take in the relative squalor of the conditions.

485
00:26:50,600 --> 00:26:55,280
Speaker 2: We get to react with our eyes before he even does.

486
00:26:55,320 --> 00:26:57,760
Speaker 2: It's kind of like we're seeing it through his eyes,

487
00:26:57,920 --> 00:26:59,480
Speaker 2: but we're also in a way it feels like we're

488
00:26:59,480 --> 00:27:02,359
Speaker 2: seeing it before he does. So it's it's not just

489
00:27:02,400 --> 00:27:07,000
Speaker 2: a POV shot, it's our perspective in a way, aligning

490
00:27:07,240 --> 00:27:11,320
Speaker 2: or superseding his perspective. And then Josh the capper to that.

491
00:27:11,840 --> 00:27:15,359
Speaker 2: For me from the point of view perspective, here, what

492
00:27:16,040 --> 00:27:19,199
Speaker 2: really just blew me away this time watching it is

493
00:27:19,200 --> 00:27:22,840
Speaker 2: then you get to something like the Kopa, the famous

494
00:27:22,800 --> 00:27:27,159
Speaker 2: steadycam shot there where Scorsese is graciously allowing us to

495
00:27:27,320 --> 00:27:31,240
Speaker 2: experience in real time the rewards of Henry's chosen profession,

496
00:27:31,560 --> 00:27:35,760
Speaker 2: the access, the glamour, though it's mostly what Karen is experiencing,

497
00:27:35,800 --> 00:27:38,680
Speaker 2: because for Henry we have to assume it's old hat,

498
00:27:38,680 --> 00:27:42,919
Speaker 2: but for Karen it's new. It's exhilarating and I always

499
00:27:42,960 --> 00:27:44,760
Speaker 2: just thought about it. In those terms, we get to

500
00:27:44,800 --> 00:27:46,760
Speaker 2: follow them in and we get to follow them in

501
00:27:46,800 --> 00:27:53,600
Speaker 2: real time. It's a literal film school textbook version of

502
00:27:53,640 --> 00:27:56,000
Speaker 2: how to use the steadycam. And I say literal because

503
00:27:56,600 --> 00:28:01,800
Speaker 2: yesterday in class I used it right even before it

504
00:28:01,840 --> 00:28:04,720
Speaker 2: was just coincidence that we were talking about Goodfellows this week.

505
00:28:04,880 --> 00:28:07,920
Speaker 2: I used it last fall too. It's the textbook example

506
00:28:07,920 --> 00:28:10,240
Speaker 2: of how to use the steady cam shot. But until

507
00:28:10,280 --> 00:28:13,399
Speaker 2: I watched it this time for our discussion and was

508
00:28:13,480 --> 00:28:16,320
Speaker 2: really thinking about how he was using point of view,

509
00:28:16,680 --> 00:28:19,000
Speaker 2: I didn't fully pick up on the fact that the

510
00:28:19,000 --> 00:28:22,960
Speaker 2: real genius is in how the sequence ends. We stay

511
00:28:23,040 --> 00:28:25,920
Speaker 2: tethered to them the entire time. We are following them

512
00:28:26,160 --> 00:28:30,239
Speaker 2: the entire time, except at the very end where we

513
00:28:30,280 --> 00:28:33,240
Speaker 2: see the staff bring the table out, and then what happens.

514
00:28:33,440 --> 00:28:37,160
Speaker 2: Henry and Karen actually step slightly to the right out

515
00:28:37,160 --> 00:28:41,200
Speaker 2: of the frame, and the camera I think, moves forward

516
00:28:41,240 --> 00:28:44,240
Speaker 2: a little bit as the table gets placed down, and

517
00:28:44,640 --> 00:28:46,760
Speaker 2: you know, Henry and Karen they're going to take their

518
00:28:46,760 --> 00:28:49,880
Speaker 2: seats in a second, but just for a moment, that

519
00:28:49,960 --> 00:28:53,760
Speaker 2: table has been placed down just for us. So it's

520
00:28:53,800 --> 00:29:00,120
Speaker 2: another moment where our point of view is both aligning

521
00:29:00,160 --> 00:29:04,680
Speaker 2: with but also again for lack of a better word, superseding,

522
00:29:05,400 --> 00:29:08,520
Speaker 2: Henry's point of view. And that's the perspective that we

523
00:29:08,600 --> 00:29:14,800
Speaker 2: feel throughout the entire movie as we relive this, this

524
00:29:14,960 --> 00:29:19,120
Speaker 2: gangster life, this saga that Henry is experienced.

525
00:29:19,840 --> 00:29:22,760
Speaker 4: Yeah, the point of view thing brings up an interesting

526
00:29:22,840 --> 00:29:24,560
Speaker 4: question I'll ask you in just a second. But as

527
00:29:24,600 --> 00:29:27,280
Speaker 4: far as that copa cabana shot, the thing that stood

528
00:29:27,320 --> 00:29:30,800
Speaker 4: out to me on this viewing is related to the

529
00:29:30,840 --> 00:29:35,160
Speaker 4: religious ritual. I had never noticed that table being lifted

530
00:29:35,240 --> 00:29:38,200
Speaker 4: up in the air, and you're right, we suddenly focus

531
00:29:38,280 --> 00:29:40,680
Speaker 4: on it rather than them, and it has a white

532
00:29:40,720 --> 00:29:44,160
Speaker 4: table cloth, and it's moving briskly through the crowd, back

533
00:29:44,200 --> 00:29:47,320
Speaker 4: and forth. It's almost like some sort of robe that

534
00:29:47,520 --> 00:29:51,479
Speaker 4: is flowing, or there's this angelic sense to it that

535
00:29:51,600 --> 00:29:53,760
Speaker 4: is you could you could envision something like that going

536
00:29:53,800 --> 00:29:57,120
Speaker 4: down a church aisle, right and being placed down as

537
00:29:57,160 --> 00:30:00,640
Speaker 4: some sort of sacred object, which is the that the

538
00:30:00,680 --> 00:30:04,200
Speaker 4: camera is giving it. So, yeah, as far as the

539
00:30:04,200 --> 00:30:06,640
Speaker 4: point of view thing goes, you're right, this movie is

540
00:30:06,760 --> 00:30:10,800
Speaker 4: interestingly aligned with Henry Hill's point of view, though not

541
00:30:11,440 --> 00:30:13,840
Speaker 4: technically the same way all the time.

542
00:30:14,480 --> 00:30:16,880
Speaker 1: But it's absolutely his story.

543
00:30:17,960 --> 00:30:21,920
Speaker 4: And so what did you make on this viewing of

544
00:30:22,000 --> 00:30:27,640
Speaker 4: the choice to allow Karen's narration to have some space

545
00:30:27,800 --> 00:30:28,680
Speaker 4: in this narrative.

546
00:30:29,040 --> 00:30:32,239
Speaker 3: We always did everything together and we always were in

547
00:30:32,280 --> 00:30:36,680
Speaker 3: the same crowd. Anniversaries, Christenings, we only went to each

548
00:30:36,680 --> 00:30:41,800
Speaker 3: other's houses. The women played cards, and when the kids

549
00:30:41,800 --> 00:30:44,320
Speaker 3: were born, Mickey and Jimmy were always the first at

550
00:30:44,320 --> 00:30:46,920
Speaker 3: the hospital. And when we went to the Islands of

551
00:30:47,040 --> 00:30:51,440
Speaker 3: Vegas for vacation, we always went together, no outsiders. Ever,

552
00:30:51,880 --> 00:30:54,160
Speaker 3: it got to be normal. It got to where I

553
00:30:54,240 --> 00:30:56,360
Speaker 3: was even proud that I had the kind of husband

554
00:30:56,400 --> 00:30:58,200
Speaker 3: who was willing to go out and risk his neck

555
00:30:58,360 --> 00:30:59,600
Speaker 3: just to get us the little.

556
00:30:59,320 --> 00:31:04,640
Speaker 4: Extras fluring Brocco here as Karen, and I think, oh man,

557
00:31:04,680 --> 00:31:07,400
Speaker 4: I should have marked this down. There are maybe three

558
00:31:07,480 --> 00:31:10,600
Speaker 4: sections dedicated to her in terms of voiceover, but I

559
00:31:10,640 --> 00:31:16,200
Speaker 4: think the performance is dynamic enough that she also brings

560
00:31:16,200 --> 00:31:19,240
Speaker 4: a presence and makes it her story when she's not

561
00:31:19,800 --> 00:31:23,040
Speaker 4: delivering a voiceover. But it is a break from this

562
00:31:23,280 --> 00:31:27,280
Speaker 4: very specific choice to align us in the movie with

563
00:31:27,320 --> 00:31:30,880
Speaker 4: Henry Hill. So how did that play.

564
00:31:30,640 --> 00:31:32,600
Speaker 2: Out for you on this viewing, Well, it made sense

565
00:31:32,640 --> 00:31:36,560
Speaker 2: because there are certain things that obviously only Henry can

566
00:31:36,640 --> 00:31:39,400
Speaker 2: know and have seen and experienced, and those are the

567
00:31:39,440 --> 00:31:42,880
Speaker 2: things we see only through his point of view. But

568
00:31:42,920 --> 00:31:45,720
Speaker 2: there are things that she was witnessed to, and those

569
00:31:45,760 --> 00:31:48,080
Speaker 2: are the things that she gets to articulate that she

570
00:31:48,240 --> 00:31:51,920
Speaker 2: was part of. It worked for me, Josh, because not

571
00:31:51,960 --> 00:31:57,160
Speaker 2: only that, but this whole sense that it is a memory,

572
00:31:57,440 --> 00:32:01,840
Speaker 2: that is something he is retelling it. It feels like

573
00:32:02,520 --> 00:32:05,200
Speaker 2: it's going back into the past until we get caught

574
00:32:05,280 --> 00:32:07,680
Speaker 2: up to the quote unquote present day, and where we

575
00:32:07,800 --> 00:32:11,120
Speaker 2: know we're in the present day officially, I think anyway,

576
00:32:11,840 --> 00:32:15,640
Speaker 2: is when they're having the conversation with the FBI guy

577
00:32:15,840 --> 00:32:18,040
Speaker 2: about whether or not they're going to go into the

578
00:32:18,080 --> 00:32:21,480
Speaker 2: witness protection program. That for me is the moment where

579
00:32:21,920 --> 00:32:26,880
Speaker 2: the story has now caught up. And so I I

580
00:32:26,920 --> 00:32:31,080
Speaker 2: think that the dual voiceovers, how I reconcile that is

581
00:32:31,400 --> 00:32:35,440
Speaker 2: it's as if they are both putting their stories on

582
00:32:35,560 --> 00:32:38,920
Speaker 2: the page. Rather they're on the record, whether it's for

583
00:32:38,960 --> 00:32:43,480
Speaker 2: the FBI or it's for some other some of the storyteller. Nevertheless,

584
00:32:43,480 --> 00:32:46,120
Speaker 2: it's it's in the present day. It's it's officially on

585
00:32:46,240 --> 00:32:49,280
Speaker 2: the record. And and then and she now is is

586
00:32:49,440 --> 00:32:52,040
Speaker 2: entering that part of the story officially through that through

587
00:32:52,080 --> 00:32:54,200
Speaker 2: that route. So I love that we get her perspective.

588
00:32:54,240 --> 00:32:55,880
Speaker 2: And I love the rain Brocos performance.

589
00:32:56,080 --> 00:32:57,160
Speaker 1: Oh my gosh. Yeah.

590
00:32:57,160 --> 00:33:00,040
Speaker 4: I mean I've always I've always been favorable on it.

591
00:33:00,040 --> 00:33:02,040
Speaker 4: It's just interesting to think about it as the years

592
00:33:02,080 --> 00:33:04,680
Speaker 4: go by, and in Contexte what you were talking about.

593
00:33:04,960 --> 00:33:08,560
Speaker 4: I think for me, it's definitely justified practically in the

594
00:33:08,600 --> 00:33:11,840
Speaker 4: ways you describe, but also it is I mean, the

595
00:33:11,960 --> 00:33:16,640
Speaker 4: performance justifies it, the way it's written, the material that

596
00:33:16,720 --> 00:33:20,680
Speaker 4: she's given justifies it. And right from the first instance

597
00:33:20,880 --> 00:33:23,640
Speaker 4: we see her. How about the line she delivers this

598
00:33:23,720 --> 00:33:25,920
Speaker 4: is on their double date, the first thing she says

599
00:33:25,960 --> 00:33:29,400
Speaker 4: to them, have some coffee, it'll wake you up. She

600
00:33:29,600 --> 00:33:31,880
Speaker 4: is not no matter she doesn't really know who this

601
00:33:31,920 --> 00:33:34,640
Speaker 4: guy is yet. But still, you know, you have to

602
00:33:34,680 --> 00:33:38,960
Speaker 4: imagine that is that's not the demure way to approach

603
00:33:39,000 --> 00:33:41,960
Speaker 4: a first date, even if it's you know, someone who

604
00:33:42,280 --> 00:33:43,640
Speaker 4: you're not really that interested in.

605
00:33:44,040 --> 00:33:46,040
Speaker 1: And what is really interesting.

606
00:33:45,760 --> 00:33:49,000
Speaker 4: About Karen I think, and this again has been you know,

607
00:33:49,080 --> 00:33:52,640
Speaker 4: it wasn't necessarily a revelation, but how entirely complicit she

608
00:33:52,760 --> 00:33:56,040
Speaker 4: is in all this. I think that's fascinating and more

609
00:33:56,160 --> 00:34:00,720
Speaker 4: interesting than making her a victim. This clarified eyes and

610
00:34:00,760 --> 00:34:03,240
Speaker 4: to me in a new way, perhaps with the scene

611
00:34:03,840 --> 00:34:06,040
Speaker 4: where he does take his gun and with the butt

612
00:34:06,080 --> 00:34:11,040
Speaker 4: of it beat her neighbor nearly to death. For from

613
00:34:11,040 --> 00:34:16,200
Speaker 4: what we understand, the neighbor has assaulted Karen and he

614
00:34:16,320 --> 00:34:19,400
Speaker 4: just says hide this. We get an insert shot, so

615
00:34:19,480 --> 00:34:22,319
Speaker 4: many crucial key insert shots in this movie, close ups

616
00:34:22,320 --> 00:34:24,719
Speaker 4: of the bloody gun and she grabs it.

617
00:34:25,320 --> 00:34:28,440
Speaker 3: I know there are women like my best friends who

618
00:34:28,440 --> 00:34:30,680
Speaker 3: would have gotten out of there the minute their boyfriend

619
00:34:30,760 --> 00:34:35,120
Speaker 3: gave them a gun to hide. Well, I didn't. I

620
00:34:35,160 --> 00:34:37,120
Speaker 3: gotta admit the truth. It turned me on.

621
00:34:38,080 --> 00:34:40,799
Speaker 4: And I think what that moment shows to me is

622
00:34:40,840 --> 00:34:43,160
Speaker 4: that in that voiceover, I think once or twice she

623
00:34:43,160 --> 00:34:48,960
Speaker 4: talks about how sexy he is and turn, which is

624
00:34:48,960 --> 00:34:53,160
Speaker 4: one ingredient. Sure, that's that's interesting, But this scene with

625
00:34:53,239 --> 00:34:56,120
Speaker 4: the hide this and the gun shows that it's not

626
00:34:56,200 --> 00:35:00,200
Speaker 4: just his sexiness. It's not even necessarily his connections for

627
00:35:00,360 --> 00:35:03,799
Speaker 4: the you know, the favors they can get. It's that

628
00:35:03,880 --> 00:35:07,040
Speaker 4: he can be a protector. That's part of what appeals

629
00:35:07,480 --> 00:35:12,600
Speaker 4: to her about Henry. And in a way, Henry offers

630
00:35:12,719 --> 00:35:16,760
Speaker 4: Karen the same sort of quote unquote protection that Paul

631
00:35:16,920 --> 00:35:18,359
Speaker 4: offering the neighborhood, right.

632
00:35:18,400 --> 00:35:21,520
Speaker 2: He describes that that's that's what the mom's really doing, right.

633
00:35:21,440 --> 00:35:23,680
Speaker 4: Yes, Yeah, and he describes it as, you know, a

634
00:35:23,719 --> 00:35:26,719
Speaker 4: positive thing, right, yes, but all we see are the

635
00:35:26,760 --> 00:35:27,520
Speaker 4: costs of that.

636
00:35:27,640 --> 00:35:27,920
Speaker 2: Yeah.

637
00:35:28,000 --> 00:35:30,440
Speaker 4: And and Karen is in a similar position to where

638
00:35:31,520 --> 00:35:35,280
Speaker 4: she makes a deal and is in some ways coerced,

639
00:35:35,320 --> 00:35:39,239
Speaker 4: but she makes the choice to pursue that protection and

640
00:35:39,360 --> 00:35:43,040
Speaker 4: it costs her as well. And yeah, and Broco just

641
00:35:43,920 --> 00:35:47,080
Speaker 4: you know, with the dynamism and the ferocity that she

642
00:35:47,239 --> 00:35:52,879
Speaker 4: has from beginning to end, is the performance earns this

643
00:35:53,080 --> 00:35:55,320
Speaker 4: diversion from the single point.

644
00:35:55,120 --> 00:35:57,480
Speaker 2: Of view that we otherwise we're getting, and she is

645
00:35:57,560 --> 00:36:00,360
Speaker 2: all those things you describe, And then to show the

646
00:36:00,400 --> 00:36:04,280
Speaker 2: complexity of the character in Broco's range, maybe my favorite

647
00:36:04,920 --> 00:36:08,319
Speaker 2: single word reading of hers watching it this time is

648
00:36:08,719 --> 00:36:12,320
Speaker 2: that night where right after they're just married, Henry stays

649
00:36:12,360 --> 00:36:15,960
Speaker 2: out too late and she's sticking up, She's standing up

650
00:36:16,000 --> 00:36:19,560
Speaker 2: for herself and Henry to her mom right, sounding like

651
00:36:19,600 --> 00:36:22,840
Speaker 2: the independent woman, I don't care what Henry does, stay

652
00:36:22,840 --> 00:36:26,480
Speaker 2: out of it, mom, all those things. But then after

653
00:36:26,560 --> 00:36:28,879
Speaker 2: he comes back and then turns around and goes back out.

654
00:36:29,400 --> 00:36:33,600
Speaker 2: She says Dad, like she sounds just like a child,

655
00:36:33,800 --> 00:36:37,200
Speaker 2: like she needs dad's help with mom. But also maybe

656
00:36:37,280 --> 00:36:40,400
Speaker 2: Dad can give some advice about Henry. And it's just

657
00:36:40,520 --> 00:36:43,960
Speaker 2: perfect that little that little girl is still inside her

658
00:36:44,000 --> 00:36:46,200
Speaker 2: at the same time. Right, even though she is all

659
00:36:46,239 --> 00:36:49,520
Speaker 2: those things, she's not this demurror girl, but she also

660
00:36:49,600 --> 00:36:53,319
Speaker 2: still kind of is. And I wanted to talk about

661
00:36:53,320 --> 00:36:56,040
Speaker 2: this because I think you set this up nicely, and

662
00:36:56,080 --> 00:36:58,799
Speaker 2: I don't want to create any straw men here, so

663
00:36:58,840 --> 00:37:02,360
Speaker 2: you can tell me if I'm heading down the wrong path.

664
00:37:02,719 --> 00:37:06,920
Speaker 2: I haven't read any detailed arguments along these lines, but

665
00:37:07,000 --> 00:37:10,600
Speaker 2: you like me, and I'm sure most people listening have

666
00:37:10,719 --> 00:37:14,800
Speaker 2: certainly seen tweets and different arguments come up on social

667
00:37:14,800 --> 00:37:18,880
Speaker 2: media here and there about people taking shots of Scorsese

668
00:37:19,080 --> 00:37:22,719
Speaker 2: for romanticizing. This goes back to the intoxicating a lower

669
00:37:22,760 --> 00:37:27,440
Speaker 2: part romanticizing this type of lifestyle, or at least romanticizing

670
00:37:27,520 --> 00:37:31,600
Speaker 2: or glorifying a certain type of toxic masculinity that we

671
00:37:31,760 --> 00:37:36,520
Speaker 2: often see in these types of gangster characters. And I

672
00:37:36,560 --> 00:37:41,160
Speaker 2: have to imagine that Goodfellas is an exhibit in that case.

673
00:37:41,719 --> 00:37:47,120
Speaker 2: And I here, Josh, I don't want to this isn't

674
00:37:47,160 --> 00:37:51,280
Speaker 2: just me disagreeing with it. I honestly, watching it this time,

675
00:37:51,800 --> 00:37:54,399
Speaker 2: I really don't see any basis for it at all.

676
00:37:54,440 --> 00:37:57,320
Speaker 2: And I'm not trying to be obtuse about it, because

677
00:37:58,200 --> 00:38:01,360
Speaker 2: I've seen this movie enough. As I said that, I

678
00:38:01,360 --> 00:38:05,040
Speaker 2: didn't expect any major surprises, and I would say overall,

679
00:38:05,160 --> 00:38:07,640
Speaker 2: I didn't have any huge shocks. But if you had

680
00:38:07,719 --> 00:38:12,640
Speaker 2: asked me before rewatching it, how Goodfellas began? How does

681
00:38:12,680 --> 00:38:17,200
Speaker 2: a Goodfellows start? I think I would have mistakenly said, well,

682
00:38:17,239 --> 00:38:19,480
Speaker 2: it starts as far back as I can remember. I

683
00:38:19,480 --> 00:38:22,400
Speaker 2: always wanted to be a gangster. It starts with Henry

684
00:38:22,400 --> 00:38:24,680
Speaker 2: in the past saying I wanted to be a gangster,

685
00:38:24,800 --> 00:38:27,320
Speaker 2: and it starts in the fifties. I would have bypassed

686
00:38:27,360 --> 00:38:31,239
Speaker 2: the prolog. I forgot about the prolog. But you can't

687
00:38:31,280 --> 00:38:35,879
Speaker 2: bypass the prolog. Scorsese doesn't bypass the prolog. Why does

688
00:38:35,920 --> 00:38:38,879
Speaker 2: he open the film the way he does, with the

689
00:38:38,920 --> 00:38:41,680
Speaker 2: first sound we're hearing and the first images we're hearing

690
00:38:42,000 --> 00:38:46,000
Speaker 2: being the car rolling down the road, the highway, the

691
00:38:46,080 --> 00:38:51,200
Speaker 2: early hours of the morning, two guys, two mobsters sleeping

692
00:38:51,280 --> 00:38:55,480
Speaker 2: in the car, Henry barely awake, right they've just done

693
00:38:55,560 --> 00:38:59,719
Speaker 2: something really wrong, really bad. We don't know that yet,

694
00:39:00,160 --> 00:39:02,200
Speaker 2: Viewers don't know that yet, but the guy's in the

695
00:39:02,239 --> 00:39:05,879
Speaker 2: car do certainly the driver knows. And what's happening. We're

696
00:39:05,880 --> 00:39:08,560
Speaker 2: about to find out that there's a guy who should

697
00:39:08,640 --> 00:39:12,400
Speaker 2: be dead, bleeding profusely in the trunk of the car.

698
00:39:12,960 --> 00:39:16,520
Speaker 2: And when they open it, that's when we get That's

699
00:39:16,560 --> 00:39:18,880
Speaker 2: when we get the hellscape. That's when we get that

700
00:39:18,960 --> 00:39:22,759
Speaker 2: color red coming out from the trunk. And so this

701
00:39:22,800 --> 00:39:25,600
Speaker 2: is all within like the first ninety seconds of the movie, Josh,

702
00:39:25,680 --> 00:39:29,520
Speaker 2: We're going to watch Joe Peshy take a gigantic knife

703
00:39:30,640 --> 00:39:33,799
Speaker 2: and stab into Billy Batts and the blood is going

704
00:39:33,800 --> 00:39:39,280
Speaker 2: to start gurgling out of him right so, right away,

705
00:39:40,320 --> 00:39:44,440
Speaker 2: right away, we get a sense of what this life

706
00:39:44,600 --> 00:39:48,000
Speaker 2: is like. And even though even though we're going to

707
00:39:48,080 --> 00:39:51,040
Speaker 2: then get that shot, we're going to get that wonderful,

708
00:39:51,200 --> 00:39:54,759
Speaker 2: editing moment of him closing the trunk and on that

709
00:39:54,880 --> 00:39:58,799
Speaker 2: action and sound that heroic. It is heroic. I think

710
00:39:58,920 --> 00:40:02,400
Speaker 2: Scorsese he is being deliberately ironic here. It's a heroic

711
00:40:02,719 --> 00:40:06,320
Speaker 2: stagecoach Ringo like shot where it tracks forward in a

712
00:40:06,400 --> 00:40:10,200
Speaker 2: hurry and it stops on him. But it's ironic because

713
00:40:10,680 --> 00:40:14,320
Speaker 2: nothing we've seen up to that tracking shot is heroic,

714
00:40:14,920 --> 00:40:17,680
Speaker 2: and the look on Raleiota's face that it freezes on,

715
00:40:18,480 --> 00:40:21,879
Speaker 2: nothing about his face suggests heroism. He looks scared as

716
00:40:21,920 --> 00:40:25,680
Speaker 2: hell actually in that moment, right, And everything about the

717
00:40:25,719 --> 00:40:28,399
Speaker 2: red is telling us whether we know anything about Martin

718
00:40:28,400 --> 00:40:31,000
Speaker 2: Scorsese these other films or not, the color red is

719
00:40:31,000 --> 00:40:33,960
Speaker 2: making us very very uneasy. I actually think I was

720
00:40:33,960 --> 00:40:35,400
Speaker 2: looking at this Josh, and I don't know if he

721
00:40:35,480 --> 00:40:39,239
Speaker 2: did something technique wise or superimposing it over it, But

722
00:40:39,280 --> 00:40:42,920
Speaker 2: there's a moment when that trunk opens where it actually

723
00:40:42,960 --> 00:40:47,480
Speaker 2: looks like they do something almost like a technique out

724
00:40:47,480 --> 00:40:51,040
Speaker 2: of Vertigo, where the color red seems to impose over

725
00:40:51,120 --> 00:40:54,880
Speaker 2: the white sheet. It feels for a second like red

726
00:40:55,040 --> 00:40:59,520
Speaker 2: just kind of starts to absorb over the body. It

727
00:40:59,520 --> 00:41:03,040
Speaker 2: gets even bloodier for a second. And everything about that

728
00:41:03,080 --> 00:41:06,239
Speaker 2: suggests that there's nothing heroic going on. So when he

729
00:41:06,280 --> 00:41:09,000
Speaker 2: actually says, as far back as I can remember, I

730
00:41:09,000 --> 00:41:13,160
Speaker 2: always wanted to be a gangster, and the music and

731
00:41:13,360 --> 00:41:17,520
Speaker 2: the horn start, you could actually you could you could

732
00:41:17,560 --> 00:41:22,520
Speaker 2: just immediately burst out laughing. It's that it's that funny, right,

733
00:41:22,760 --> 00:41:27,040
Speaker 2: so I think that's intended to be that hilarious, and

734
00:41:27,080 --> 00:41:30,200
Speaker 2: he is saying, and as we watch the film, even

735
00:41:30,280 --> 00:41:33,120
Speaker 2: if you take the even if you take the Kopa,

736
00:41:33,239 --> 00:41:35,680
Speaker 2: that might be the only real moment, and even that's

737
00:41:35,719 --> 00:41:39,440
Speaker 2: a performance, Even that's a performance for Karen. Ask yourself,

738
00:41:39,440 --> 00:41:43,120
Speaker 2: how many moments in the film you genuinely feel like

739
00:41:44,080 --> 00:41:46,479
Speaker 2: you would want to trade places with Henry Hill, even

740
00:41:46,520 --> 00:41:49,520
Speaker 2: for a moment or even that you feel a vicarious,

741
00:41:50,239 --> 00:41:53,520
Speaker 2: a rush of adrenaline. I don't know that I could

742
00:41:53,520 --> 00:41:56,080
Speaker 2: come up with with one or two. And look, I'm

743
00:41:56,160 --> 00:41:58,600
Speaker 2: not a saint. I think you have to acknowledge, and

744
00:41:58,719 --> 00:42:01,280
Speaker 2: I think Martin Scorsese understands that there is an element

745
00:42:01,600 --> 00:42:06,279
Speaker 2: within all of us where we are like Karen, we

746
00:42:06,840 --> 00:42:10,120
Speaker 2: can get turned on by bad behavior. I still say

747
00:42:10,200 --> 00:42:14,200
Speaker 2: you can't count the number of moments on maybe more

748
00:42:14,239 --> 00:42:18,040
Speaker 2: than two fingers. If you're lucky where you really feel

749
00:42:18,040 --> 00:42:21,480
Speaker 2: that they mostly have here and you were getting it

750
00:42:21,480 --> 00:42:25,680
Speaker 2: this earlier. Henry and the mob characters there mostly just

751
00:42:25,719 --> 00:42:29,680
Speaker 2: have power and they maintain their power through force, and

752
00:42:29,960 --> 00:42:33,799
Speaker 2: with that comes a lot of ugliness. And it's just

753
00:42:33,840 --> 00:42:36,600
Speaker 2: the power that he's drawn to. But that power isn't

754
00:42:36,719 --> 00:42:39,920
Speaker 2: romantic and it's not sexy really. Ever in this.

755
00:42:39,800 --> 00:42:42,800
Speaker 4: Film, by the time we get to the helicopter sequence,

756
00:42:42,800 --> 00:42:45,520
Speaker 4: which I don't think we've touched on yet, now that

757
00:42:45,640 --> 00:42:48,000
Speaker 4: is where it's absolutely clear this guy is living a

758
00:42:48,080 --> 00:42:51,520
Speaker 4: nightmare and he's got it worse off than any schnook

759
00:42:51,560 --> 00:42:54,200
Speaker 4: he's putting in. Forget nine to five, he's putting in

760
00:42:54,239 --> 00:42:56,800
Speaker 4: twenty two hour days, and he's paranoid for every second

761
00:42:56,800 --> 00:42:59,600
Speaker 4: of them. I read the film the same way you do,

762
00:43:01,400 --> 00:43:05,279
Speaker 4: but I will also say this is a conversation that's

763
00:43:05,320 --> 00:43:10,680
Speaker 4: worth having. And I think Scorsese, throughout his career has

764
00:43:11,000 --> 00:43:17,600
Speaker 4: tiptoed along these lines of being deliberately ironic. And you know,

765
00:43:17,680 --> 00:43:19,960
Speaker 4: this is part, not entirely, but part of our split

766
00:43:20,000 --> 00:43:23,480
Speaker 4: on The Wolf of Wall Street. I do question sometimes

767
00:43:23,680 --> 00:43:27,960
Speaker 4: you know, how much fun are are you going to

768
00:43:28,080 --> 00:43:31,680
Speaker 4: have before you tell the audience this isn't fun even

769
00:43:31,680 --> 00:43:35,680
Speaker 4: if you're being deliberately ironic. And in the case of Goodfellas,

770
00:43:35,840 --> 00:43:38,640
Speaker 4: I find him to be walking that line quite convincingly

771
00:43:38,800 --> 00:43:44,840
Speaker 4: and with dexterity and a moral clarity, a tone management.

772
00:43:45,239 --> 00:43:48,919
Speaker 4: You know, this is where he is doing that at

773
00:43:48,960 --> 00:43:50,800
Speaker 4: his best. For me, yes, at least.

774
00:43:51,480 --> 00:43:53,880
Speaker 2: Am saying, if you want to have that argument, I

775
00:43:54,320 --> 00:43:57,680
Speaker 2: think it's tough to include Goodfellas in that argument.

776
00:43:58,440 --> 00:44:01,400
Speaker 4: I mean, it's yeah, I didn't hold it up as

777
00:44:01,440 --> 00:44:04,160
Speaker 4: an exhibit either. But when you use the word heroic

778
00:44:04,719 --> 00:44:09,439
Speaker 4: for that push in to Henry, that's completely apt. It's

779
00:44:09,480 --> 00:44:12,719
Speaker 4: also purposeful. I think that is a clear choice that

780
00:44:12,800 --> 00:44:16,040
Speaker 4: he is making to be deliberately ironic that does not

781
00:44:16,200 --> 00:44:21,120
Speaker 4: negate its heroic effect. And this brings to mind that

782
00:44:21,160 --> 00:44:25,160
Speaker 4: prologue has another kinetic element that I don't think I'd

783
00:44:25,160 --> 00:44:28,680
Speaker 4: noticed before that adds to this sense of excitement and

784
00:44:29,000 --> 00:44:33,880
Speaker 4: counters that shot of them where they're sleeping and bored,

785
00:44:34,360 --> 00:44:37,600
Speaker 4: and it is the way the car when we first

786
00:44:37,719 --> 00:44:40,439
Speaker 4: it might be the first shot of the film, the car,

787
00:44:40,680 --> 00:44:43,680
Speaker 4: the cameras behind the car zooming down the freeway, and

788
00:44:43,800 --> 00:44:47,279
Speaker 4: the camera all of a sudden revs up, swings to

789
00:44:47,320 --> 00:44:51,280
Speaker 4: the next to the car that Henry's driving and almost

790
00:44:51,400 --> 00:44:56,080
Speaker 4: passes it. And it's it's as if Scorsese is saying, let's.

791
00:44:55,760 --> 00:44:56,480
Speaker 1: Go for a ride.

792
00:44:56,600 --> 00:44:59,040
Speaker 2: H I actually and I got a difference.

793
00:44:58,680 --> 00:45:01,600
Speaker 4: Around them and and pulls ahead of them. And this

794
00:45:01,719 --> 00:45:04,359
Speaker 4: is what I loved about it, Adam. The credits that

795
00:45:04,480 --> 00:45:08,040
Speaker 4: come on the screen right they're moving and if I'm

796
00:45:08,280 --> 00:45:11,759
Speaker 4: remember it correctly, they appear they almost rev up and

797
00:45:11,840 --> 00:45:12,480
Speaker 4: move into.

798
00:45:12,480 --> 00:45:14,120
Speaker 1: The same direction across.

799
00:45:13,800 --> 00:45:17,799
Speaker 4: The screen from right to left. All of that is

800
00:45:18,239 --> 00:45:20,960
Speaker 4: it's that word we keep using. It's kinetic, it's exciting,

801
00:45:21,120 --> 00:45:25,880
Speaker 4: it's sexy, it's it's heroic. And so I am not

802
00:45:26,320 --> 00:45:28,560
Speaker 4: saying that I read the movie any differently than you are, right,

803
00:45:28,800 --> 00:45:34,720
Speaker 4: but these are these are the deliberately ironic or how

804
00:45:34,960 --> 00:45:37,120
Speaker 4: how high are we meant to be getting? This is

805
00:45:37,160 --> 00:45:40,920
Speaker 4: always the question with we meant to be getting in

806
00:45:41,000 --> 00:45:43,160
Speaker 4: moments like this. Now I agree with you. I don't

807
00:45:43,160 --> 00:45:46,600
Speaker 4: think Goodfellas is, you know, ultimately a movie that you

808
00:45:46,640 --> 00:45:49,040
Speaker 4: could use as an argument for that. I have others

809
00:45:49,600 --> 00:45:52,800
Speaker 4: that I've used, But it's there. It's there again.

810
00:45:52,920 --> 00:45:55,759
Speaker 2: Just think about most scenes in this film, sitting around

811
00:45:55,760 --> 00:45:59,400
Speaker 2: at a restaurant getting yelled at by Tommy. What, getting

812
00:45:59,440 --> 00:46:01,719
Speaker 2: a few free drinks? Like most of their life is

813
00:46:01,800 --> 00:46:05,560
Speaker 2: pretty banal, right, Like it's not, it's really not alluring.

814
00:46:05,600 --> 00:46:07,160
Speaker 2: They get to they hang out on the corner in

815
00:46:07,200 --> 00:46:10,480
Speaker 2: a pizza joint, like great, they get to take whatever

816
00:46:10,520 --> 00:46:15,200
Speaker 2: they want, Like that's not actually that that exciting? Ultimately,

817
00:46:15,200 --> 00:46:17,480
Speaker 2: what you see in this film. And even I was

818
00:46:17,480 --> 00:46:20,279
Speaker 2: gonna say how nuanced the beginning is. You're right, the

819
00:46:20,320 --> 00:46:23,359
Speaker 2: way the credits move, how it moves in sync, even

820
00:46:23,400 --> 00:46:27,000
Speaker 2: the sound with the car. But my feeling watching the

821
00:46:27,000 --> 00:46:29,759
Speaker 2: car because of how the car is kind of moving

822
00:46:29,800 --> 00:46:32,920
Speaker 2: at a steady speed and you get the sense you

823
00:46:32,960 --> 00:46:34,960
Speaker 2: see the guys and the way they're sleeping, and how

824
00:46:34,960 --> 00:46:37,600
Speaker 2: the car is moving. It's not a very fast pace.

825
00:46:38,080 --> 00:46:42,520
Speaker 2: It suggests to me that everybody's drowsy, and it's almost

826
00:46:42,560 --> 00:46:44,680
Speaker 2: like the car could go off the road at any minute.

827
00:46:44,719 --> 00:46:47,279
Speaker 2: Like it doesn't feel it doesn't feel thrilling to me,

828
00:46:47,560 --> 00:46:50,080
Speaker 2: but the but the way the credits are in sync

829
00:46:50,120 --> 00:46:53,279
Speaker 2: with it almost feels like it is right. So there

830
00:46:53,280 --> 00:46:57,200
Speaker 2: there are these opposing forces at play. But that's that's

831
00:46:57,239 --> 00:46:59,080
Speaker 2: what that's what makes the film making exciting.

832
00:46:59,360 --> 00:47:01,319
Speaker 4: Yeah, he loves a play. He loves to play in

833
00:47:01,320 --> 00:47:03,680
Speaker 4: that tension. And yeah, as you're describing, you know how

834
00:47:03,680 --> 00:47:06,680
Speaker 4: banal their lives are. This comes back to the supposed

835
00:47:07,000 --> 00:47:10,600
Speaker 4: freedom they've found by being above the law, right when

836
00:47:10,640 --> 00:47:15,480
Speaker 4: actually they've trapped themselves in this bubble that constricts them

837
00:47:15,640 --> 00:47:17,680
Speaker 4: more than if they were a schnook.

838
00:47:17,800 --> 00:47:21,319
Speaker 2: Exactly it's a great point. So just a few other things.

839
00:47:21,320 --> 00:47:23,640
Speaker 2: I don't know if you had a list of other

840
00:47:23,680 --> 00:47:26,040
Speaker 2: things or other items that you wanted to touch on,

841
00:47:26,280 --> 00:47:31,400
Speaker 2: But I love what I think is intentional humor anyway

842
00:47:31,480 --> 00:47:33,840
Speaker 2: of We'll go back to Maury, the fact that we

843
00:47:34,000 --> 00:47:38,120
Speaker 2: get the commercial. We see that entire commercial. You know,

844
00:47:38,239 --> 00:47:41,040
Speaker 2: Maury's wigs stay on, right, you can jump in the water,

845
00:47:41,960 --> 00:47:44,640
Speaker 2: the wind, there could be a storm, right, Maury's wigs

846
00:47:44,680 --> 00:47:47,200
Speaker 2: never come off. But what happens then in the very

847
00:47:47,239 --> 00:47:51,080
Speaker 2: next scene, turns out the wigs can handle everything but

848
00:47:51,200 --> 00:47:54,080
Speaker 2: Jimmy Conway. Of course, you know, like that feels like

849
00:47:54,120 --> 00:47:56,480
Speaker 2: a great joke embedded in there, because as soon as

850
00:47:56,560 --> 00:48:00,000
Speaker 2: Jimmy Conway gets his hands on Maury, the whigs are

851
00:48:00,160 --> 00:48:01,320
Speaker 2: to come off, doesn't.

852
00:48:01,440 --> 00:48:04,880
Speaker 4: It isn't it Jimmy watching the commercial, like discuss.

853
00:48:05,200 --> 00:48:08,520
Speaker 2: It's almost like you know, he's been thinking about it.

854
00:48:08,600 --> 00:48:11,040
Speaker 2: I'm gonna get I'm gonna get that.

855
00:48:11,080 --> 00:48:12,960
Speaker 1: Off, Chuck as Maury.

856
00:48:13,000 --> 00:48:18,200
Speaker 2: By the way, those those editing touches, the the the

857
00:48:18,239 --> 00:48:23,080
Speaker 2: way we allied moments the and here, some of them

858
00:48:23,120 --> 00:48:26,120
Speaker 2: are thrilling to But we've already seen the prologue, so

859
00:48:26,239 --> 00:48:31,160
Speaker 2: that we don't have to relive moments and revisit them again.

860
00:48:31,239 --> 00:48:35,719
Speaker 2: When we leave the house, we actually get what is

861
00:48:35,840 --> 00:48:39,840
Speaker 2: essentially a match cut on sound as there as the

862
00:48:39,960 --> 00:48:43,839
Speaker 2: camera is in the house, we see the car in

863
00:48:43,920 --> 00:48:47,440
Speaker 2: the background, we hear bats in the trunk. In the

864
00:48:47,600 --> 00:48:50,960
Speaker 2: very next shot, they're out on the road, and it's

865
00:48:51,000 --> 00:48:54,279
Speaker 2: as if, well, did the did the sound come from

866
00:48:54,320 --> 00:48:57,600
Speaker 2: the previous shot when he was in the driveway, or

867
00:48:57,680 --> 00:49:00,600
Speaker 2: is the shot is the sound from the road. It

868
00:49:00,640 --> 00:49:04,759
Speaker 2: doesn't really matter. They're from the same moment. But that's

869
00:49:04,800 --> 00:49:08,120
Speaker 2: how he bridges that gap in time, right, it brings

870
00:49:08,200 --> 00:49:12,759
Speaker 2: us there. There are such wonderful little moments like that.

871
00:49:13,960 --> 00:49:17,879
Speaker 2: Another example of that is the time where I think

872
00:49:17,880 --> 00:49:22,920
Speaker 2: he's fighting with Karen. Henry's fighting with Karen and she

873
00:49:23,120 --> 00:49:25,000
Speaker 2: I think it's right after she pulls the gun on him,

874
00:49:25,120 --> 00:49:29,560
Speaker 2: and she goes into the closet and she yanks the clothes.

875
00:49:29,560 --> 00:49:32,840
Speaker 2: So again action and sound combined. Right, she yanks and

876
00:49:32,880 --> 00:49:35,720
Speaker 2: at the same time she yanks, you think she's yelling

877
00:49:36,040 --> 00:49:40,000
Speaker 2: in anger, and maybe she is. But on the next frame,

878
00:49:40,080 --> 00:49:43,240
Speaker 2: the next cut, he's out with the guys or something,

879
00:49:43,320 --> 00:49:46,200
Speaker 2: and it's a cut to his face and he's yelling,

880
00:49:46,640 --> 00:49:50,760
Speaker 2: right so is he screaming? Is she screaming? Those cuts

881
00:49:50,760 --> 00:49:53,319
Speaker 2: are cut together in that moment as if they are

882
00:49:53,400 --> 00:49:57,759
Speaker 2: one moment that is happening together. There are so many examples. Oh,

883
00:49:57,760 --> 00:50:00,319
Speaker 2: I got to give you one more. It is the

884
00:50:00,320 --> 00:50:02,640
Speaker 2: same kind of thing here, but not with sound, with

885
00:50:02,640 --> 00:50:05,600
Speaker 2: with movement in editing. It's when Karen is complaining about

886
00:50:05,600 --> 00:50:09,080
Speaker 2: that first date and how the moment he was you know,

887
00:50:09,120 --> 00:50:10,880
Speaker 2: he was pushing me into the car and then he

888
00:50:10,920 --> 00:50:13,000
Speaker 2: was pulling me out, and so then we see that

889
00:50:13,160 --> 00:50:16,919
Speaker 2: enacted in the editing where just with one cut, it's

890
00:50:16,960 --> 00:50:20,719
Speaker 2: as if, in one fluid motion, it's like she was

891
00:50:20,760 --> 00:50:24,040
Speaker 2: pushed in and then literally taken out. It's just that's

892
00:50:24,040 --> 00:50:27,319
Speaker 2: how that's how fluid the editing in this movie.

893
00:50:27,040 --> 00:50:31,080
Speaker 4: Is well, and it creates this cohesive, coherent experience where

894
00:50:31,320 --> 00:50:34,080
Speaker 4: the two and almost two and a half hours, you know, all.

895
00:50:33,960 --> 00:50:34,680
Speaker 1: Feel of a piece.

896
00:50:34,719 --> 00:50:38,000
Speaker 4: They're propulsives, because that's it. There's movements like that from

897
00:50:38,040 --> 00:50:40,560
Speaker 4: one moment to the other. Just yeah, a couple of

898
00:50:40,600 --> 00:50:42,799
Speaker 4: last quick things. I'll say, we probably haven't talked about

899
00:50:42,840 --> 00:50:46,120
Speaker 4: Joe Pesci much at all because it's such an iconic performance.

900
00:50:46,160 --> 00:50:47,040
Speaker 4: What's left to say?

901
00:50:47,640 --> 00:50:48,200
Speaker 1: Real quick?

902
00:50:48,800 --> 00:50:51,880
Speaker 4: When I notice here, You know, the little things you

903
00:50:51,960 --> 00:50:54,600
Speaker 4: notice when it's the umpteenth viewing and everyone's talked about

904
00:50:54,600 --> 00:50:58,360
Speaker 4: this and impersonated it to death. When Billy Bats insults

905
00:50:58,400 --> 00:51:02,839
Speaker 4: him by talking about the shoe shine story, he's it's

906
00:51:02,880 --> 00:51:06,600
Speaker 4: not just that Tommy gets psychotically mad. Peshi gives us

907
00:51:06,640 --> 00:51:09,640
Speaker 4: a few beats where he is genuinely hurt. He can

908
00:51:09,640 --> 00:51:13,120
Speaker 4: tell he's a real human being who is feeling like, Hey,

909
00:51:13,480 --> 00:51:17,280
Speaker 4: I'm here, I'm almost a made guy, and I still

910
00:51:17,440 --> 00:51:18,640
Speaker 4: don't have their respect.

911
00:51:18,719 --> 00:51:20,440
Speaker 6: Hey, Tommy, if I'm gonna break your ball that day,

912
00:51:20,480 --> 00:51:21,680
Speaker 6: to go home and get your shine box.

913
00:51:24,280 --> 00:51:25,759
Speaker 1: This Kidis kid was great.

914
00:51:26,719 --> 00:51:29,240
Speaker 6: I used to call him spit shine Comy. I swear

915
00:51:29,280 --> 00:51:31,560
Speaker 6: to God, how you make your shoes look like mirrors?

916
00:51:31,960 --> 00:51:33,000
Speaker 6: Excuse me my language.

917
00:51:33,239 --> 00:51:34,759
Speaker 1: He was terrific. He was the best.

918
00:51:35,200 --> 00:51:38,280
Speaker 6: He made a lot of money too. So hello Tommy,

919
00:51:38,480 --> 00:51:42,160
Speaker 6: one more shines, Billy, what I said, no more shines?

920
00:51:42,160 --> 00:51:42,960
Speaker 6: Maybe you didn't hear about it.

921
00:51:43,000 --> 00:51:44,480
Speaker 2: You've been away a long time. They didn't go up

922
00:51:44,480 --> 00:51:46,760
Speaker 2: there and tell you I don't shine shoes anymore.

923
00:51:47,800 --> 00:51:50,120
Speaker 6: Relax, Well, your flock crow, what's what's got into you?

924
00:51:50,160 --> 00:51:51,520
Speaker 6: I'm breaking your balls a little bit.

925
00:51:51,600 --> 00:51:51,920
Speaker 5: That's all.

926
00:51:52,000 --> 00:51:53,000
Speaker 1: I'm going to kid with you.

927
00:51:53,360 --> 00:51:54,919
Speaker 2: Sometimes you don't sound like you're kidding.

928
00:51:54,960 --> 00:51:56,440
Speaker 6: You know, there's a lot of people right I mean,

929
00:51:56,440 --> 00:51:58,400
Speaker 6: I'm only kidding with you having a party. I mean

930
00:51:58,440 --> 00:52:00,160
Speaker 6: I just came home. I haven't seen you in a

931
00:52:00,200 --> 00:52:02,200
Speaker 6: long time, and I'm breaking your balls and away you're

932
00:52:02,200 --> 00:52:03,000
Speaker 6: getting fish.

933
00:52:03,120 --> 00:52:03,680
Speaker 1: I'm sorry.

934
00:52:03,719 --> 00:52:04,719
Speaker 6: I don't know my offend you.

935
00:52:05,160 --> 00:52:05,880
Speaker 5: I'm sorry too.

936
00:52:05,880 --> 00:52:14,200
Speaker 6: It's okay, noo, I'll go home and get your shine box.

937
00:52:15,920 --> 00:52:17,880
Speaker 4: And the fact that you know this Pesci isn't just

938
00:52:18,200 --> 00:52:20,320
Speaker 4: doing the you know below your top moments here. This

939
00:52:20,400 --> 00:52:23,719
Speaker 4: is a really good performance de Niro. I love how

940
00:52:23,880 --> 00:52:27,440
Speaker 4: comfortable he is just to be mostly in the background.

941
00:52:27,560 --> 00:52:29,640
Speaker 4: I know Jimmy comes into the focus a little more

942
00:52:29,680 --> 00:52:32,520
Speaker 4: in the final third, but I almost like the beginning better,

943
00:52:32,600 --> 00:52:37,720
Speaker 4: where you're watching this dynamic scene of violence or yelling

944
00:52:37,920 --> 00:52:40,800
Speaker 4: or talking and and de Niro's kind of like the

945
00:52:40,920 --> 00:52:43,080
Speaker 4: fourth guy in the scene, and he's just kind of

946
00:52:43,280 --> 00:52:46,480
Speaker 4: you know, chuckling or grinning or doing something with his

947
00:52:46,640 --> 00:52:49,960
Speaker 4: hands that's on point and brilliant, and he's so relaxed

948
00:52:50,000 --> 00:52:53,000
Speaker 4: here you can just feel like there's no weight to

949
00:52:53,080 --> 00:52:55,560
Speaker 4: carry this whole movie, and so he's just having as

950
00:52:55,640 --> 00:52:59,080
Speaker 4: much fun as he can in the corners. And then

951
00:52:59,120 --> 00:53:01,000
Speaker 4: the last thing is a little are technical, but that

952
00:53:01,280 --> 00:53:06,000
Speaker 4: famous dolly zoom shot at breakfast the diner, at the

953
00:53:06,080 --> 00:53:10,240
Speaker 4: diner with Jimmy and Henry, where it realizes he's gonna

954
00:53:10,360 --> 00:53:12,520
Speaker 4: set him up. Yeah, it's I think it appears to

955
00:53:12,560 --> 00:53:16,480
Speaker 4: be zooming in on them while dining welling out right,

956
00:53:16,680 --> 00:53:19,880
Speaker 4: So you're so things are a little unsteady. What I

957
00:53:20,000 --> 00:53:22,480
Speaker 4: noticed this time about it. I think that's the first

958
00:53:22,520 --> 00:53:25,920
Speaker 4: time we realize Jimmy, who's older now, has these giant

959
00:53:26,320 --> 00:53:31,279
Speaker 4: the glass nineteen eighties thick glasses which are comical and

960
00:53:31,440 --> 00:53:34,120
Speaker 4: kind of undercut him as a threatening figure. But also

961
00:53:34,640 --> 00:53:37,120
Speaker 4: in that scene they have a similar effect to the

962
00:53:37,239 --> 00:53:40,440
Speaker 4: dolly zoom where you're like, you're a little disoriented by

963
00:53:40,520 --> 00:53:43,520
Speaker 4: the thickness of him and his eyes are a little blurry.

964
00:53:44,280 --> 00:53:47,040
Speaker 4: So that's just, yeah, one of those brilliant little flares

965
00:53:47,120 --> 00:53:49,320
Speaker 4: of techniques. Scar says he puts in here that that

966
00:53:49,440 --> 00:53:51,920
Speaker 4: works thematically as well. They all work thematically. It's not

967
00:53:52,440 --> 00:53:53,520
Speaker 4: none of this is showing off.

968
00:53:54,040 --> 00:53:58,160
Speaker 2: I'll say this about Tommy and the famous scene. You

969
00:53:58,239 --> 00:54:02,120
Speaker 2: think I'm funny is I had never really thought about

970
00:54:02,160 --> 00:54:05,320
Speaker 2: the fact that even though we have met Tommy before,

971
00:54:05,600 --> 00:54:09,040
Speaker 2: we've met that character before, we haven't really gotten to

972
00:54:09,120 --> 00:54:12,719
Speaker 2: know him, and we don't know yet that he's a psychopath.

973
00:54:13,640 --> 00:54:18,000
Speaker 2: So that's our introduction to the real Tommy, And in

974
00:54:18,120 --> 00:54:23,040
Speaker 2: that scene he actually is. He's not playing a psychopath, right,

975
00:54:23,480 --> 00:54:26,680
Speaker 2: or he is acting like a psychopath, but it turns

976
00:54:26,719 --> 00:54:29,880
Speaker 2: out he's being good natured. It's a joke, he's pretending,

977
00:54:30,800 --> 00:54:33,600
Speaker 2: but that is setting up. We get enough of a

978
00:54:33,719 --> 00:54:37,520
Speaker 2: glimpse of how scary he really is in the performance

979
00:54:37,600 --> 00:54:41,640
Speaker 2: within a performance, right that we do know, We do

980
00:54:41,840 --> 00:54:43,680
Speaker 2: know or have enough of a sense of who he

981
00:54:43,800 --> 00:54:47,800
Speaker 2: really is underneath that once we start to see his

982
00:54:47,960 --> 00:54:51,759
Speaker 2: actions later, we see how he really does behave in

983
00:54:51,880 --> 00:54:54,799
Speaker 2: some of these situations. Later, we're not surprised at all

984
00:54:55,239 --> 00:54:58,400
Speaker 2: because we've seen the crazy come out. We've seen the

985
00:54:58,440 --> 00:55:01,160
Speaker 2: crazy come out, even though it was a situation and

986
00:55:01,239 --> 00:55:01,920
Speaker 2: he was performing.

987
00:55:02,239 --> 00:55:03,120
Speaker 7: What do you mean funny?

988
00:55:03,200 --> 00:55:03,480
Speaker 1: Funny?

989
00:55:03,520 --> 00:55:03,640
Speaker 5: How?

990
00:55:03,719 --> 00:55:08,960
Speaker 2: How am I funny? Just do you know how you

991
00:55:09,040 --> 00:55:12,560
Speaker 2: tell a story? No? No, I don't know you said it?

992
00:55:13,040 --> 00:55:14,600
Speaker 7: How do I know you said I'm funny?

993
00:55:14,960 --> 00:55:16,240
Speaker 2: How do my funny?

994
00:55:16,320 --> 00:55:18,160
Speaker 7: What the is so funny about me?

995
00:55:18,440 --> 00:55:19,880
Speaker 6: Tell me, tell me what's funny?

996
00:55:26,120 --> 00:55:27,840
Speaker 1: Get me?

997
00:55:31,440 --> 00:55:34,880
Speaker 4: And I think it's it's the archetype for the you know,

998
00:55:35,040 --> 00:55:38,879
Speaker 4: the gangster, hothead, psychotic. This is a very familiar type.

999
00:55:38,960 --> 00:55:41,879
Speaker 4: But how she gives it all these layers we're talking about,

1000
00:55:41,920 --> 00:55:44,839
Speaker 4: which why it's why it makes it like the piece

1001
00:55:44,880 --> 00:55:47,480
Speaker 4: de resistance of this particular figure.

1002
00:55:48,400 --> 00:55:52,080
Speaker 2: Here's my closing question, the thing I I do. I

1003
00:55:52,200 --> 00:55:54,200
Speaker 2: do want listeners to come in and give me an answer.

1004
00:55:54,280 --> 00:56:01,279
Speaker 2: Maybe it's in the book. Presumably all of the men

1005
00:56:01,400 --> 00:56:06,400
Speaker 2: who were part of the Luftanza heist, like Henry. I

1006
00:56:06,480 --> 00:56:08,879
Speaker 2: don't really know enough about the dynamics to say whether

1007
00:56:08,920 --> 00:56:12,520
Speaker 2: or not Jimmy definitely reports to Paulie or not as

1008
00:56:12,600 --> 00:56:15,920
Speaker 2: part of his crew, but Henry certainly does, don't. All

1009
00:56:16,000 --> 00:56:19,440
Speaker 2: of these guys probably belong to Paully's crew. So when

1010
00:56:19,520 --> 00:56:24,799
Speaker 2: Jimmy just starts whacking everybody doesn't, doesn't Paulie maybe say, Hey,

1011
00:56:25,640 --> 00:56:27,880
Speaker 2: what's what's happening to all my guys all of a sudden,

1012
00:56:27,920 --> 00:56:29,120
Speaker 2: I've got no muscle anymore.

1013
00:56:29,440 --> 00:56:30,719
Speaker 1: Yeah, I'm curious. A good question.

1014
00:56:30,800 --> 00:56:33,520
Speaker 4: Jimmy seems to be operating on his own towards the

1015
00:56:33,719 --> 00:56:36,880
Speaker 4: end there, but even Henry, even says at one point, like,

1016
00:56:37,080 --> 00:56:39,440
Speaker 4: we can't touch those guys. That's part of them not

1017
00:56:39,719 --> 00:56:43,520
Speaker 4: being one hundred percent Italian, right, is that they can't

1018
00:56:45,000 --> 00:56:47,680
Speaker 4: with the wrong guy if but he also kind of

1019
00:56:47,760 --> 00:56:51,320
Speaker 4: says like, you know, we're we're held back. So so

1020
00:56:51,440 --> 00:56:54,440
Speaker 4: it's a good question. It also opens up has like

1021
00:56:54,560 --> 00:56:56,600
Speaker 4: how rogue has Jimmy gone, Like.

1022
00:56:56,840 --> 00:56:58,600
Speaker 2: That's what that's kind of what I'm saying is like

1023
00:56:58,760 --> 00:57:01,719
Speaker 2: at that point, I don't know. Yeah, I'm curious about that.

1024
00:57:01,840 --> 00:57:06,400
Speaker 2: Maybe someone has the answer. It was fun talking about Goodfellas.

1025
00:57:06,640 --> 00:57:10,440
Speaker 2: Goodfellas is currently available vod and via quotes in your

1026
00:57:10,480 --> 00:57:13,400
Speaker 2: group chat. If you agree or disagree with anything we

1027
00:57:13,520 --> 00:57:15,560
Speaker 2: had to say, or you have any other thoughts about

1028
00:57:15,560 --> 00:57:18,560
Speaker 2: our show, you can email us feedback at filmspotting dot net.

1029
00:57:19,600 --> 00:57:22,240
Speaker 7: This episode is brought to you by Peloton. Break through

1030
00:57:22,280 --> 00:57:24,720
Speaker 7: the busiest time of year with the brand new Peloton

1031
00:57:24,800 --> 00:57:28,439
Speaker 7: Cross Training tread Plus powered by Peloton Iq. With real

1032
00:57:28,520 --> 00:57:31,560
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1033
00:57:31,600 --> 00:57:34,800
Speaker 7: your workouts and train with confidence, helping you reach your

1034
00:57:34,840 --> 00:57:38,920
Speaker 7: goals in less time. Let yourself run, lift, sculpt, push

1035
00:57:39,120 --> 00:57:42,360
Speaker 7: and go. Explore the new Peloton Cross Training Tread plus

1036
00:57:42,480 --> 00:57:43,840
Speaker 7: at oneploton dot com.

1037
00:57:44,600 --> 00:57:46,560
Speaker 4: Listening is the number one thing you can do to

1038
00:57:46,640 --> 00:57:50,440
Speaker 4: support an independently produced show like ours. A couple more

1039
00:57:50,480 --> 00:57:52,160
Speaker 4: things you can do. Take a minute to give us

1040
00:57:52,200 --> 00:57:55,160
Speaker 4: a rating or a review on Apple Podcasts or Spotify.

1041
00:57:55,520 --> 00:57:57,320
Speaker 4: It doesn't matter if you're brand new or have been

1042
00:57:57,400 --> 00:57:59,840
Speaker 4: around for twenty years. Every new review helps us reach

1043
00:58:00,000 --> 00:58:03,280
Speaker 4: new listeners. The most substantial way to support us, however,

1044
00:58:03,440 --> 00:58:06,120
Speaker 4: is to join the Film Spotting Family, and you can

1045
00:58:06,200 --> 00:58:09,680
Speaker 4: do that at Film Spottingfamily dot com. Thank you very

1046
00:58:09,760 --> 00:58:14,120
Speaker 4: much to Family plus member Wyatt Espeland from hiawassee Georgia

1047
00:58:14,480 --> 00:58:17,120
Speaker 4: Wyatt's letterbox handle if you want to follow him.

1048
00:58:17,160 --> 00:58:18,360
Speaker 2: There is w E.

1049
00:58:18,720 --> 00:58:21,439
Speaker 1: S p A l i n seventy five.

1050
00:58:22,040 --> 00:58:25,840
Speaker 2: Okay, so it looks like Wes Palin seventy five. Wyatt writes.

1051
00:58:26,160 --> 00:58:28,600
Speaker 2: I toured the country performing as a singer, songwriter and

1052
00:58:28,720 --> 00:58:31,280
Speaker 2: always in a vehicle. I discovered Film Spotting during the

1053
00:58:31,360 --> 00:58:36,240
Speaker 2: Christopher Nolan UVRA View or UVRA Reviews and have been

1054
00:58:36,280 --> 00:58:38,720
Speaker 2: listening ever since. I became a member for the nineteen

1055
00:58:38,840 --> 00:58:41,120
Speaker 2: ninety nine draft as that was the peak of my

1056
00:58:41,280 --> 00:58:44,600
Speaker 2: movie watching years. That was Bonus show number fifty three

1057
00:58:44,800 --> 00:58:46,640
Speaker 2: last July I had to hear if any of you

1058
00:58:46,720 --> 00:58:49,960
Speaker 2: would pick Boys Don't Cry or The Green Mile, two

1059
00:58:50,040 --> 00:58:52,200
Speaker 2: of my favorites from that year, we did not. I'm

1060
00:58:52,200 --> 00:58:55,080
Speaker 2: also happy that I can listen to archive episodes. Currently

1061
00:58:55,160 --> 00:58:57,600
Speaker 2: enjoying your revisit of Silence of the Lambs for its

1062
00:58:57,720 --> 00:59:02,120
Speaker 2: thirtieth a favorite review segment. I love the Year End

1063
00:59:02,280 --> 00:59:04,840
Speaker 2: and Oscar episodes, and I was all in on the

1064
00:59:04,960 --> 00:59:08,640
Speaker 2: Jane Campion Oove review marathon. I love Josh's comments on

1065
00:59:08,680 --> 00:59:10,840
Speaker 2: The Piano, which is one of my favorite movies of

1066
00:59:10,920 --> 00:59:13,720
Speaker 2: all time. I love all the rankings of directors films,

1067
00:59:14,000 --> 00:59:15,720
Speaker 2: and I like it when Josh and Adam catch up

1068
00:59:15,760 --> 00:59:18,080
Speaker 2: on some of their blind spots. I don't like it

1069
00:59:18,160 --> 00:59:21,360
Speaker 2: when they disagree and the tension can be felt. It

1070
00:59:21,480 --> 00:59:23,720
Speaker 2: broke my heart when I found out Siskel and Ebert

1071
00:59:23,800 --> 00:59:27,040
Speaker 2: never really seem to like one another. Lol. Okay, I

1072
00:59:27,160 --> 00:59:30,200
Speaker 2: do confess I like the tension a little bit. Missus Miniver,

1073
00:59:30,360 --> 00:59:33,680
Speaker 2: anyone I hoped to hang out one day at a

1074
00:59:33,720 --> 00:59:40,760
Speaker 2: live event of all the movies? Yeah, Missus Miniver, what

1075
00:59:40,920 --> 00:59:44,240
Speaker 2: a wonderfully entertaining show, most of the time more entertaining

1076
00:59:44,280 --> 00:59:47,800
Speaker 2: than the films being reviewed. Thanks for having me letterbox

1077
00:59:47,880 --> 00:59:51,320
Speaker 2: top four mostly representing my favorite directors, The color Purple,

1078
00:59:51,480 --> 00:59:53,880
Speaker 2: Hannah and Her Sisters, Once upon a Time in Hollywood,

1079
00:59:53,920 --> 00:59:57,640
Speaker 2: and Nixon. That's got to be the first Nixon appearing

1080
00:59:57,760 --> 00:59:58,520
Speaker 2: in a letterbox.

1081
00:59:58,640 --> 01:00:00,320
Speaker 1: I think so more.

1082
01:00:00,360 --> 01:00:04,080
Speaker 2: Oliver Stone favorite movie he revisited recently, Why It's His

1083
01:00:04,240 --> 01:00:07,760
Speaker 2: Natural Born Killers. A random film that he loves is

1084
01:00:07,840 --> 01:00:11,200
Speaker 2: The Butcher Boy from Neil Jordan, a movie he credits

1085
01:00:11,240 --> 01:00:13,919
Speaker 2: with becoming a cinophile. How about this when I watched

1086
01:00:13,960 --> 01:00:16,960
Speaker 2: my first Scorsese at fifteen years old, Goodfellas and The

1087
01:00:17,040 --> 01:00:19,800
Speaker 2: Last Temptation of Christ in the same week. There you go,

1088
01:00:20,520 --> 01:00:22,960
Speaker 2: a book about movies or movie making. I have all

1089
01:00:23,040 --> 01:00:26,959
Speaker 2: of Roger Ebert's review books. We think Wyatt for joining

1090
01:00:27,000 --> 01:00:29,520
Speaker 2: the family and all those years of listening. In addition

1091
01:00:29,560 --> 01:00:31,520
Speaker 2: to keeping us doing what we're doing, your support comes

1092
01:00:31,560 --> 01:00:34,000
Speaker 2: with perks. You get to listen early in ad Free,

1093
01:00:34,080 --> 01:00:37,040
Speaker 2: You get our weekly newsletter. You get exclusive opportunities like

1094
01:00:37,120 --> 01:00:42,360
Speaker 2: being part of the so thoughtful Film Spotting Family Discord,

1095
01:00:42,520 --> 01:00:46,200
Speaker 2: and monthly bonus shows. We did just talk about Akira

1096
01:00:46,320 --> 01:00:51,320
Speaker 2: Kurosawa's Stray Dog. Guess what pretty great movie. This month

1097
01:00:51,600 --> 01:00:54,640
Speaker 2: we will be having another edition of Trivia Spotting and

1098
01:00:55,120 --> 01:00:59,320
Speaker 2: we love playing that fun little game with all of

1099
01:00:59,600 --> 01:01:03,000
Speaker 2: our Film Spotting Family members. There are still slots available.

1100
01:01:03,160 --> 01:01:04,760
Speaker 2: We will put a link in the notes for this

1101
01:01:04,880 --> 01:01:07,840
Speaker 2: show and the Film Spotting Family episode. Anyway, if you

1102
01:01:07,880 --> 01:01:11,560
Speaker 2: would like to sign up and be part of Trivia Spotting,

1103
01:01:11,680 --> 01:01:13,920
Speaker 2: Can I actually can I just brag real quick on

1104
01:01:14,000 --> 01:01:17,600
Speaker 2: the trivia front Josh our discord folks may have seen this,

1105
01:01:17,720 --> 01:01:19,360
Speaker 2: but can I brag for a second?

1106
01:01:19,440 --> 01:01:20,160
Speaker 1: Yeah, go for it.

1107
01:01:20,400 --> 01:01:27,439
Speaker 2: So it was an anniversary for Sarah and me last week,

1108
01:01:27,600 --> 01:01:30,120
Speaker 2: and so we decided it was a Wednesday night, we

1109
01:01:30,200 --> 01:01:33,400
Speaker 2: decided to have a drink, so we went to just

1110
01:01:33,480 --> 01:01:36,560
Speaker 2: the nearest bar to us to sneak out and have

1111
01:01:36,600 --> 01:01:39,959
Speaker 2: a drink. Turns out it was trivia night. We didn't

1112
01:01:39,960 --> 01:01:41,520
Speaker 2: even know this place had a trivia night. It was

1113
01:01:41,560 --> 01:01:46,200
Speaker 2: trivia night, pub trivia night, only like maybe five teams playing,

1114
01:01:46,960 --> 01:01:53,320
Speaker 2: and we show up. Round four is about to start.

1115
01:01:53,440 --> 01:01:55,000
Speaker 2: I don't know how many rounds there are. I just

1116
01:01:55,080 --> 01:01:57,560
Speaker 2: know round four is about to start. So obviously we've

1117
01:01:57,640 --> 01:02:00,320
Speaker 2: missed a good part of the game. But they say

1118
01:02:00,360 --> 01:02:04,320
Speaker 2: it's the entertainment round, and so we're not gonna play

1119
01:02:04,320 --> 01:02:05,920
Speaker 2: because we missed most of the game. But then they

1120
01:02:05,920 --> 01:02:07,800
Speaker 2: asked the first question and I know the answer, so

1121
01:02:07,880 --> 01:02:10,400
Speaker 2: it's like, okay, it's on. I'm gonna go get I'm

1122
01:02:10,400 --> 01:02:12,280
Speaker 2: gonna go get a sheet, and we're gonna play. And

1123
01:02:12,440 --> 01:02:15,720
Speaker 2: so we start playing, and there were nine questions and

1124
01:02:17,080 --> 01:02:20,080
Speaker 2: I think I knew all nine of them. Sarah may

1125
01:02:20,120 --> 01:02:22,360
Speaker 2: not have been a lot of help on entertainment, but

1126
01:02:22,480 --> 01:02:25,200
Speaker 2: I knew all nine of them and we and we

1127
01:02:25,280 --> 01:02:28,280
Speaker 2: got them right. So we had a good round. So

1128
01:02:28,400 --> 01:02:31,400
Speaker 2: then we're in turns out there are seven rounds, right,

1129
01:02:32,520 --> 01:02:35,880
Speaker 2: So between Sarah and I, we have two very different

1130
01:02:36,360 --> 01:02:39,920
Speaker 2: backgrounds educationally in interest. So we end up being a

1131
01:02:39,960 --> 01:02:45,640
Speaker 2: pretty good team. And in the end, with only having

1132
01:02:45,720 --> 01:02:48,920
Speaker 2: played four rounds and missing the first three, we only

1133
01:02:49,000 --> 01:02:52,640
Speaker 2: ended up losing. We ended up finishing second, and we

1134
01:02:52,760 --> 01:02:56,360
Speaker 2: only lost by four points. Hey, I know what you're

1135
01:02:56,400 --> 01:02:59,520
Speaker 2: gonna be doing next Wednesday night exactly. It's penciled into

1136
01:02:59,600 --> 01:03:02,040
Speaker 2: our you're gonna mount here now. And and the thing

1137
01:03:02,200 --> 01:03:05,520
Speaker 2: is the team that the team that won, they were

1138
01:03:05,680 --> 01:03:11,720
Speaker 2: like these like really inebriated bros who I think were

1139
01:03:11,880 --> 01:03:16,480
Speaker 2: totally oblivious to the fact that we joined in round

1140
01:03:16,640 --> 01:03:18,920
Speaker 2: four and only lost by four points and they were

1141
01:03:19,040 --> 01:03:24,000
Speaker 2: like over celebrating and it was just like, so, you

1142
01:03:24,080 --> 01:03:25,520
Speaker 2: know what, We're definitely coming back.

1143
01:03:27,520 --> 01:03:30,240
Speaker 1: This is a rivalry, this is my story.

1144
01:03:31,000 --> 01:03:33,320
Speaker 2: Could be Sharks and Jets. I hope they ask a

1145
01:03:33,440 --> 01:03:36,120
Speaker 2: question about West Side Story. I think we'll get it,

1146
01:03:36,200 --> 01:03:38,960
Speaker 2: and they weren't. I could be wrong. Hey, this is

1147
01:03:39,000 --> 01:03:42,080
Speaker 2: about the film Spotting Family, though not my trivia prowess.

1148
01:03:42,360 --> 01:03:44,520
Speaker 2: You can learn more about the film Spotting Family at

1149
01:03:44,520 --> 01:03:46,200
Speaker 2: film spotting Family dot com.

1150
01:03:52,200 --> 01:03:53,959
Speaker 6: Where you find you at greet or something.

1151
01:03:54,680 --> 01:03:57,760
Speaker 1: No, he came into the store. I work at.

1152
01:04:00,240 --> 01:04:00,560
Speaker 3: Music.

1153
01:04:01,240 --> 01:04:04,120
Speaker 2: See yeah, sometimes, bro, you should come to the show.

1154
01:04:04,160 --> 01:04:04,600
Speaker 1: Tell us.

1155
01:04:07,600 --> 01:04:11,520
Speaker 2: That's from Lurker, a debut feature from director Alex Russell.

1156
01:04:11,880 --> 01:04:15,240
Speaker 2: As the title suggests, the innocuous sounding encounter between a

1157
01:04:15,320 --> 01:04:18,520
Speaker 2: musician and a fan takes a turn for the worse.

1158
01:04:18,640 --> 01:04:21,560
Speaker 2: But just how bad does it get? Josh, you caught

1159
01:04:21,640 --> 01:04:23,840
Speaker 2: up with this one and you are nominating it for

1160
01:04:23,960 --> 01:04:26,959
Speaker 2: the Golden Brick, which we award to our favorite film

1161
01:04:27,000 --> 01:04:30,480
Speaker 2: of the year by a new or emerging filmmaker. Tell

1162
01:04:30,560 --> 01:04:32,360
Speaker 2: us what you liked about Lurker.

1163
01:04:32,960 --> 01:04:36,120
Speaker 4: It does get dark. I think maybe what I liked

1164
01:04:36,280 --> 01:04:38,760
Speaker 4: less was the direction it goes at the end. It

1165
01:04:38,880 --> 01:04:43,120
Speaker 4: kind of spins in different directions, and the darkness is

1166
01:04:43,640 --> 01:04:45,480
Speaker 4: part of that. But man, is this a movie that

1167
01:04:45,560 --> 01:04:47,800
Speaker 4: hooks you with its opening scene. I'm not going to

1168
01:04:47,880 --> 01:04:51,520
Speaker 4: describe it in detail, but this is where the sales

1169
01:04:51,600 --> 01:04:55,840
Speaker 4: clerk Matthew played by Theodor Pellerin encounters this pop star

1170
01:04:56,000 --> 01:05:00,600
Speaker 4: Oliver played by Archie Medekui and and again won't give

1171
01:05:00,600 --> 01:05:02,800
Speaker 4: it away, but the way he entraps him and the

1172
01:05:02,840 --> 01:05:07,120
Speaker 4: way his eyes lock on him like he's prey, you realize, oh,

1173
01:05:07,280 --> 01:05:13,040
Speaker 4: we're dealing with someone really nefarious here. And the performance

1174
01:05:13,320 --> 01:05:17,240
Speaker 4: from Pellerin digs into that and is consistently to the

1175
01:05:17,520 --> 01:05:20,120
Speaker 4: end fascinating and unnerving.

1176
01:05:20,520 --> 01:05:21,040
Speaker 5: He is.

1177
01:05:22,040 --> 01:05:25,960
Speaker 4: There's just a desperation to this, a neediness to the

1178
01:05:26,040 --> 01:05:31,320
Speaker 4: performance that is electric in a strange way. It is

1179
01:05:31,560 --> 01:05:34,080
Speaker 4: very talented mister Ripley. There are definitely shades of that.

1180
01:05:34,320 --> 01:05:38,040
Speaker 4: But I think the writer director here, Alex Russell make

1181
01:05:38,160 --> 01:05:41,800
Speaker 4: their debut, is he's also doing a character study that

1182
01:05:42,520 --> 01:05:46,320
Speaker 4: serves as a meditation on celebrity in some ways that

1183
01:05:46,480 --> 01:05:51,480
Speaker 4: Ripley didn't and authenticity, I think in some interesting ways

1184
01:05:51,520 --> 01:05:55,080
Speaker 4: that's what I really latched into, are the questions where

1185
01:05:55,120 --> 01:05:59,600
Speaker 4: it explores authenticity It's something that comes up in terms

1186
01:05:59,640 --> 01:06:02,000
Speaker 4: of Ouiver's music and who he wants to be as

1187
01:06:02,000 --> 01:06:05,880
Speaker 4: an artist. What is authentic? So it's not just about

1188
01:06:06,360 --> 01:06:09,640
Speaker 4: the Matthew character, the sales clerk character. So there are

1189
01:06:09,640 --> 01:06:12,160
Speaker 4: a lot of interesting layers here. The last thing I'll

1190
01:06:12,200 --> 01:06:15,800
Speaker 4: quickly mention that I think makes it interesting as a

1191
01:06:15,840 --> 01:06:17,840
Speaker 4: golden brick too. You know, we're looking for a strong

1192
01:06:18,000 --> 01:06:23,760
Speaker 4: vision here, interesting choices. It is the music, Oliver's music.

1193
01:06:24,200 --> 01:06:29,440
Speaker 1: What's the difference between love and obsession? I don't know,

1194
01:06:29,640 --> 01:06:31,200
Speaker 1: but I know I want you.

1195
01:06:32,560 --> 01:06:36,040
Speaker 4: Kenneth bloom I Guess also known as Kenny Beats, composed

1196
01:06:36,080 --> 01:06:38,800
Speaker 4: the score but also worked with a variety of artists

1197
01:06:39,040 --> 01:06:43,200
Speaker 4: to bring out these songs. I would say Oliver is

1198
01:06:43,280 --> 01:06:45,800
Speaker 4: kind of a weekend like figure. To me, the music

1199
01:06:45,880 --> 01:06:49,480
Speaker 4: sounded like that. There's these sleepy, seductive songs that he performs.

1200
01:06:50,160 --> 01:06:53,200
Speaker 4: They really grab you and fit the character well and

1201
01:06:53,280 --> 01:06:57,680
Speaker 4: what the character is exploring again this authenticity question, and

1202
01:06:58,440 --> 01:07:02,280
Speaker 4: Medekue perform then brilliantly. You know, this is a really believable,

1203
01:07:02,360 --> 01:07:05,520
Speaker 4: convincing rising pop star you've got here. So the use

1204
01:07:05,560 --> 01:07:09,000
Speaker 4: of music is something that makes Lurker stand out as well.

1205
01:07:09,080 --> 01:07:11,200
Speaker 4: I'll leave it there so I don't spoil anymore.

1206
01:07:11,840 --> 01:07:15,680
Speaker 2: Okay, Lurker is out now. I think just playing in

1207
01:07:16,040 --> 01:07:19,760
Speaker 2: limited release. In wider release you can see the roses

1208
01:07:19,920 --> 01:07:23,280
Speaker 2: which you did. This stars Olivia Coleman and Benedict Cumberbatch

1209
01:07:23,320 --> 01:07:26,439
Speaker 2: as a well off married couple whose marriage goes bad.

1210
01:07:26,520 --> 01:07:30,439
Speaker 2: But it's comedy, so it's either going to go hilariously bad.

1211
01:07:31,040 --> 01:07:33,880
Speaker 2: Well that's the idea. It should go hilariously bad. SNL

1212
01:07:33,920 --> 01:07:36,720
Speaker 2: alums Kate McKinnon Andy Samberg are also in the film.

1213
01:07:37,360 --> 01:07:41,720
Speaker 2: Jay Roach of Austin Powers and Meet the Parents' Fame directs.

1214
01:07:42,080 --> 01:07:42,840
Speaker 1: How was it, Josh?

1215
01:07:44,000 --> 01:07:45,720
Speaker 4: I imagine most folks are going to go see this

1216
01:07:45,880 --> 01:07:50,240
Speaker 4: because they're interested in Coleman and Cumberbatch. That was our situation,

1217
01:07:50,680 --> 01:07:54,640
Speaker 4: and we weren't disappointed. They're brilliant together. I could have

1218
01:07:54,760 --> 01:07:57,720
Speaker 4: just taken a movie of only the two of them together,

1219
01:07:57,880 --> 01:08:00,560
Speaker 4: whether they're you know, deeply in love at the front

1220
01:08:00,800 --> 01:08:03,600
Speaker 4: or you know, deeply into test near the end of

1221
01:08:03,640 --> 01:08:07,360
Speaker 4: the film. The repartee here it's they're just zipping along

1222
01:08:07,600 --> 01:08:11,280
Speaker 4: and you're kind of you're dazzled, even when they're being

1223
01:08:11,360 --> 01:08:12,680
Speaker 4: horrible to each other.

1224
01:08:14,280 --> 01:08:16,880
Speaker 1: One I would rather live with her than a wolf.

1225
01:08:19,920 --> 01:08:21,040
Speaker 2: Did you see Wolf?

1226
01:08:22,000 --> 01:08:22,200
Speaker 1: Yeah?

1227
01:08:22,560 --> 01:08:29,639
Speaker 5: Well one he has arms. Well I saw a documentary

1228
01:08:29,680 --> 01:08:31,640
Speaker 5: Wants about a man without arms, and it looked like

1229
01:08:31,720 --> 01:08:33,639
Speaker 5: a difficult life, particularly for the partner.

1230
01:08:33,760 --> 01:08:35,960
Speaker 1: So I like that he has arms.

1231
01:08:36,360 --> 01:08:41,080
Speaker 4: Yeah, They're almost too good for this movie, because I

1232
01:08:41,200 --> 01:08:43,760
Speaker 4: don't remember much about the War of the Roses the

1233
01:08:43,840 --> 01:08:46,920
Speaker 4: Turner Kathleen Turner and Michael Douglas one, but I remember

1234
01:08:47,040 --> 01:08:49,519
Speaker 4: them pretty much being at each other other's throats the

1235
01:08:49,560 --> 01:08:53,280
Speaker 4: whole time. And a good part of The Roses is

1236
01:08:53,320 --> 01:08:57,400
Speaker 4: about the romance of these two characters, and there's more

1237
01:08:57,479 --> 01:09:01,200
Speaker 4: back and forth from you know, they disappoint each other,

1238
01:09:01,360 --> 01:09:04,760
Speaker 4: they get back together. And Cumberbatch and Coleman are so

1239
01:09:04,880 --> 01:09:08,479
Speaker 4: good at these elements, these dramatic elements, that they make

1240
01:09:08,560 --> 01:09:11,960
Speaker 4: this more serious of a movie than I think Jay

1241
01:09:12,080 --> 01:09:14,880
Speaker 4: Roach possibly wanted it to be. So there is a

1242
01:09:14,960 --> 01:09:18,160
Speaker 4: little bit of tension there that isn't always worked out.

1243
01:09:18,320 --> 01:09:21,920
Speaker 4: But again, Cumberbatch and Coleman are so good that if

1244
01:09:21,960 --> 01:09:23,400
Speaker 4: you're a fan, even if you're just a fan of

1245
01:09:23,439 --> 01:09:25,720
Speaker 4: one of them, I'm probably more of a fan of

1246
01:09:25,800 --> 01:09:27,120
Speaker 4: Coleman than Cumberbatch.

1247
01:09:28,040 --> 01:09:30,839
Speaker 1: You know, you'll still be glad that you saw The Roses.

1248
01:09:31,600 --> 01:09:35,400
Speaker 2: Okay The Roses currently out in wide release again Lurker

1249
01:09:35,520 --> 01:09:38,960
Speaker 2: out limited. If you see either film have thoughts, you

1250
01:09:39,040 --> 01:09:42,559
Speaker 2: can email us feedback at film spotting dot net.

1251
01:09:43,200 --> 01:09:45,920
Speaker 4: Quick note about our sister podcast, The Next Picture Show,

1252
01:09:45,960 --> 01:09:49,759
Speaker 4: looking at cinema's present via its past. Their new pairing

1253
01:09:49,920 --> 01:09:51,760
Speaker 4: is one that yet they had to do. I can't

1254
01:09:51,800 --> 01:09:54,400
Speaker 4: wait to hear this Spike Lee's highest flowest and of

1255
01:09:54,520 --> 01:09:59,160
Speaker 4: course nineteen sixty three's High and Low from as Spike

1256
01:09:59,200 --> 01:10:01,559
Speaker 4: put it in the credit to his movie The Master

1257
01:10:02,040 --> 01:10:05,640
Speaker 4: Filmmaker Akira Kurosawa. So yeah, they'll look at High and

1258
01:10:05,680 --> 01:10:09,200
Speaker 4: Low first, then move on to Spike's film. New episodes

1259
01:10:09,320 --> 01:10:11,720
Speaker 4: of The Next Picture Show drop every Tuesday, and you

1260
01:10:11,760 --> 01:10:14,160
Speaker 4: can find them wherever you get your podcasts.

1261
01:10:15,560 --> 01:10:20,840
Speaker 2: Vultures Movies. Fantasy League is back for season five. Josh

1262
01:10:21,000 --> 01:10:25,280
Speaker 2: Catch the Excitement. Sign Ups are open now through Thursday,

1263
01:10:25,360 --> 01:10:28,200
Speaker 2: September twenty fourth. I mean I am excited. I say

1264
01:10:28,240 --> 01:10:30,840
Speaker 2: that because I know you have no idea what I'm

1265
01:10:30,880 --> 01:10:34,240
Speaker 2: talking about. Here's the deal. You get to draft eight

1266
01:10:34,640 --> 01:10:39,439
Speaker 2: twenty twenty five movies. You earn points based on their

1267
01:10:39,520 --> 01:10:43,960
Speaker 2: box office performance, critical reception, and awards. Season haul Now

1268
01:10:44,040 --> 01:10:48,559
Speaker 2: if that sounds complicated or you think it sounds simple,

1269
01:10:48,600 --> 01:10:50,519
Speaker 2: but you still don't really know how it all works.

1270
01:10:50,640 --> 01:10:53,320
Speaker 2: I don't know either. I just know that if it

1271
01:10:53,400 --> 01:10:56,519
Speaker 2: gets good reviews, if it wins some awards, and if

1272
01:10:56,560 --> 01:10:59,080
Speaker 2: it does well at the box office, whatever the formula is,

1273
01:11:00,080 --> 01:11:03,720
Speaker 2: then the movie did well and you'll do well. But

1274
01:11:04,120 --> 01:11:06,200
Speaker 2: I've played this two years in a row and I

1275
01:11:06,320 --> 01:11:10,960
Speaker 2: have done terribly, so clearly I don't know what I'm doing.

1276
01:11:11,320 --> 01:11:14,240
Speaker 2: It's still fun, though, because we get to have our

1277
01:11:14,280 --> 01:11:17,320
Speaker 2: own film Spotters League, so we get to compete against

1278
01:11:17,320 --> 01:11:20,280
Speaker 2: each other and all the other film spotting listeners who

1279
01:11:20,280 --> 01:11:21,960
Speaker 2: want to be part of our league. But then we're

1280
01:11:22,000 --> 01:11:26,600
Speaker 2: competing against the wider movie loving public as well, and

1281
01:11:26,920 --> 01:11:30,960
Speaker 2: there are prizes involved. So Sam and I are part

1282
01:11:31,000 --> 01:11:33,599
Speaker 2: of it. We're part of the Creators League. And last

1283
01:11:33,680 --> 01:11:36,000
Speaker 2: year Sam, he didn't know what he was doing, but

1284
01:11:36,080 --> 01:11:39,960
Speaker 2: guess what he finished tenth in the Creative Yeah. So,

1285
01:11:41,800 --> 01:11:44,439
Speaker 2: you know, if you've had any experience in fantasy sports,

1286
01:11:44,640 --> 01:11:47,640
Speaker 2: this might make sense to you. If you haven't, maybe not.

1287
01:11:47,880 --> 01:11:50,439
Speaker 2: But if you like movies, just just give it a try.

1288
01:11:50,600 --> 01:11:53,080
Speaker 2: They give you all the films that have come out

1289
01:11:53,120 --> 01:11:54,800
Speaker 2: this year and all the films that are coming out,

1290
01:11:54,880 --> 01:11:57,479
Speaker 2: and obviously if it's already come out, you can pick it,

1291
01:11:57,760 --> 01:12:00,559
Speaker 2: but you're not going to earn points for are how

1292
01:12:00,600 --> 01:12:02,519
Speaker 2: it did at the box office, because you already know

1293
01:12:02,600 --> 01:12:04,320
Speaker 2: how it did at the box office. So you're taking

1294
01:12:04,360 --> 01:12:07,560
Speaker 2: a risk there if you go with that film, but

1295
01:12:07,640 --> 01:12:11,360
Speaker 2: you could still earn points based on the awards season

1296
01:12:11,479 --> 01:12:15,840
Speaker 2: Hall effectively, right, So that's part of your calculation. But

1297
01:12:16,200 --> 01:12:19,720
Speaker 2: the competition is obviously everyone who signs up, and you

1298
01:12:19,800 --> 01:12:22,040
Speaker 2: can compete in our Film Spotting Mini League. All you

1299
01:12:22,120 --> 01:12:25,960
Speaker 2: have to do is enter Film Spotters in the league

1300
01:12:26,240 --> 01:12:29,680
Speaker 2: name field when you sign up. We've got a lot

1301
01:12:29,760 --> 01:12:32,800
Speaker 2: of people already there. It would be fun to have

1302
01:12:33,439 --> 01:12:37,519
Speaker 2: more involved, so we will put the fantasy league's sign

1303
01:12:37,600 --> 01:12:41,120
Speaker 2: up in the notes for this episode. Or you can

1304
01:12:41,200 --> 01:12:45,559
Speaker 2: go to movie Game dot vulture dot com, Movie Game

1305
01:12:46,120 --> 01:12:49,880
Speaker 2: dot vulture dot com, Josh. There are two deadlines to play.

1306
01:12:50,520 --> 01:12:52,920
Speaker 2: September twenty fourth, that's the last day to sign up

1307
01:12:52,920 --> 01:12:56,000
Speaker 2: before the contest starts. You can also sign up through

1308
01:12:56,000 --> 01:12:58,560
Speaker 2: the end of December. That catch though, of course, is

1309
01:12:58,600 --> 01:13:00,120
Speaker 2: that you won't be able to draft any films that

1310
01:13:00,160 --> 01:13:02,640
Speaker 2: have already started earning points. I don't know why you

1311
01:13:02,680 --> 01:13:05,639
Speaker 2: would wait until December. I mean the deadline September twenty fourth.

1312
01:13:06,400 --> 01:13:09,000
Speaker 2: Sign up by then and have some fun.

1313
01:13:09,840 --> 01:13:11,519
Speaker 1: All the best to you film spotters.

1314
01:13:11,560 --> 01:13:14,760
Speaker 2: Good luck, But Josh says good luck, he is a

1315
01:13:14,920 --> 01:13:15,160
Speaker 2: no go.

1316
01:13:15,960 --> 01:13:20,559
Speaker 4: My therapist has told me no activities that involve spreadsheets.

1317
01:13:22,000 --> 01:13:24,920
Speaker 2: Next week. Okay, here's what your therapist should be warning

1318
01:13:24,960 --> 01:13:28,800
Speaker 2: you against ideas top fives. They are the brainchild of

1319
01:13:28,880 --> 01:13:29,559
Speaker 2: producers Sam.

1320
01:13:30,760 --> 01:13:33,160
Speaker 1: I came around the house. I came around some house

1321
01:13:33,200 --> 01:13:34,600
Speaker 1: I know you did, and I think I.

1322
01:13:34,680 --> 01:13:37,320
Speaker 4: Realized it didn't involve a spreadsheet. Well, I won't involve one.

1323
01:13:37,880 --> 01:13:38,479
Speaker 1: I don't know about you.

1324
01:13:39,040 --> 01:13:41,400
Speaker 2: Yeah, it might for me. That's the problem. I think

1325
01:13:41,439 --> 01:13:43,200
Speaker 2: I even tried to talk you into it, and now

1326
01:13:43,280 --> 01:13:48,200
Speaker 2: I'm the one who is struggling to actually fulfill it.

1327
01:13:48,840 --> 01:13:51,960
Speaker 2: This is the brainchild of producer Sam. He is calling

1328
01:13:52,080 --> 01:13:54,880
Speaker 2: this top five that's not really a top five, even

1329
01:13:54,920 --> 01:13:57,320
Speaker 2: though it has two fives in it. He's calling it

1330
01:13:58,640 --> 01:14:03,560
Speaker 2: five years movies. So what you have to do is

1331
01:14:04,320 --> 01:14:07,839
Speaker 2: select a five year period. This is a little misleading.

1332
01:14:07,880 --> 01:14:09,960
Speaker 2: Here's how Sam has written it. You have to choose

1333
01:14:10,000 --> 01:14:12,760
Speaker 2: a five year period like say nineteen seventy one, to

1334
01:14:12,840 --> 01:14:16,839
Speaker 2: nineteen seventy five, and it's important to note not nineteen

1335
01:14:17,080 --> 01:14:19,720
Speaker 2: seventy to nineteen seventy five, because that would be his

1336
01:14:19,960 --> 01:14:21,519
Speaker 2: sixth year period.

1337
01:14:22,080 --> 01:14:24,800
Speaker 1: Josh, now you laugh, but I need that.

1338
01:14:24,960 --> 01:14:27,400
Speaker 2: I mean that seems likely that directed comment.

1339
01:14:27,520 --> 01:14:30,439
Speaker 4: Josh, I think, hey, hey, I think it actually came

1340
01:14:30,560 --> 01:14:34,640
Speaker 4: up in the discord for film family members where this

1341
01:14:34,760 --> 01:14:37,560
Speaker 4: has been a trial run, and I was looking at that.

1342
01:14:37,680 --> 01:14:39,880
Speaker 4: I think a family member had a list that was

1343
01:14:39,960 --> 01:14:43,479
Speaker 4: seventy to seventy five, and so I would have done

1344
01:14:43,520 --> 01:14:45,479
Speaker 4: that as well. So I'm just glad we were getting

1345
01:14:45,479 --> 01:14:46,200
Speaker 4: this out of the way.

1346
01:14:46,080 --> 01:14:50,040
Speaker 2: Now, Okay, So then it says, once you have selected

1347
01:14:50,080 --> 01:14:52,759
Speaker 2: your five year period from all possible five year periods

1348
01:14:52,800 --> 01:14:54,720
Speaker 2: in the history of film, you next need to pick

1349
01:14:54,800 --> 01:14:57,519
Speaker 2: five movies that were released during that five year period,

1350
01:14:57,560 --> 01:15:00,519
Speaker 2: and these are the movies you get madness and narrator

1351
01:15:00,600 --> 01:15:04,400
Speaker 2: rules activated. Now that all seems fine, but the instructions

1352
01:15:04,479 --> 01:15:07,120
Speaker 2: don't actually make sense because the goal here is to

1353
01:15:07,280 --> 01:15:12,240
Speaker 2: not randomly pick or even selectively pick a five year

1354
01:15:12,320 --> 01:15:15,360
Speaker 2: period and then pick the five films from that period.

1355
01:15:15,680 --> 01:15:20,360
Speaker 2: The goal is to pick five films. It's actually reversed.

1356
01:15:20,600 --> 01:15:22,880
Speaker 2: You have to pick the films and then and then

1357
01:15:22,960 --> 01:15:26,240
Speaker 2: in reverse land on a five year period. Yeah, I

1358
01:15:26,280 --> 01:15:32,320
Speaker 2: mean I think that's the process. But someone instructions are confusing, Well,

1359
01:15:32,560 --> 01:15:35,760
Speaker 2: I got it. I mean that's because you know what

1360
01:15:35,880 --> 01:15:37,880
Speaker 2: the goal is. I'm just saying, if if you literally

1361
01:15:37,960 --> 01:15:40,040
Speaker 2: put this in front of someone who didn't know, it

1362
01:15:40,080 --> 01:15:42,200
Speaker 2: would be confusing. You're not. You're not starting with a

1363
01:15:42,240 --> 01:15:45,160
Speaker 2: five year period. The goal is to come up with Basically,

1364
01:15:45,920 --> 01:15:49,719
Speaker 2: you're saying that you have to land on five films,

1365
01:15:49,880 --> 01:15:53,800
Speaker 2: like if you would be left with only five films. Ever,

1366
01:15:54,320 --> 01:15:57,720
Speaker 2: these are the five films that you you would only

1367
01:15:57,800 --> 01:16:01,720
Speaker 2: have these five films to watch for the rest of time, right,

1368
01:16:01,840 --> 01:16:04,360
Speaker 2: And the hook is is that they have to come

1369
01:16:04,760 --> 01:16:07,320
Speaker 2: from the same year period, right, Yeah.

1370
01:16:07,200 --> 01:16:09,800
Speaker 1: Now they could two of them could come from the

1371
01:16:09,880 --> 01:16:10,439
Speaker 1: same year.

1372
01:16:11,000 --> 01:16:14,000
Speaker 2: They could. It doesn't have to be all like consecutive years,

1373
01:16:14,280 --> 01:16:17,439
Speaker 2: right exactly. Okay, Yeah, okay, so now we're good.

1374
01:16:17,840 --> 01:16:20,679
Speaker 1: We're on the same Okay.

1375
01:16:21,240 --> 01:16:24,200
Speaker 2: So if you do understand the ground rules as I've

1376
01:16:24,280 --> 01:16:27,400
Speaker 2: explained them, not how Sam has explained them, then we

1377
01:16:27,439 --> 01:16:29,559
Speaker 2: would love for you to submit your picks and your

1378
01:16:29,640 --> 01:16:33,160
Speaker 2: reasoning feedback and film spotting dot net. We may share

1379
01:16:33,240 --> 01:16:35,920
Speaker 2: some of your picks along with ours next week. I

1380
01:16:36,040 --> 01:16:41,800
Speaker 2: think it's diabolical diabra it.

1381
01:16:42,439 --> 01:16:45,880
Speaker 4: Yeah, well, I'll explain next week how I wrap my

1382
01:16:45,920 --> 01:16:47,080
Speaker 4: mind around this grant.

1383
01:16:47,200 --> 01:16:51,160
Speaker 2: What arbitrary criterion did you come up with to get

1384
01:16:51,200 --> 01:16:52,360
Speaker 2: yourself through this? Josh?

1385
01:16:52,760 --> 01:16:54,000
Speaker 1: Next week I will share.

1386
01:16:55,680 --> 01:16:58,000
Speaker 2: So that you could you could spend as minimal amount

1387
01:16:58,040 --> 01:17:01,160
Speaker 2: of time worrying about this. But did you come up right?

1388
01:17:02,360 --> 01:17:05,160
Speaker 1: It's the non spreadsheet strategy. Okay.

1389
01:17:05,960 --> 01:17:08,880
Speaker 2: Also, next week I'm told that we are going to

1390
01:17:08,920 --> 01:17:12,120
Speaker 2: have a report. Michael Phillips will be back on the show.

1391
01:17:12,520 --> 01:17:15,879
Speaker 2: He is going to report on the Venice Film Festival.

1392
01:17:17,080 --> 01:17:20,320
Speaker 2: That should be wonderful. He'll talk to us about the

1393
01:17:20,479 --> 01:17:22,680
Speaker 2: top prize winner, the Golden Lion that went to Jim

1394
01:17:22,760 --> 01:17:27,280
Speaker 2: Jarmish's latest father, mother, sister, brother, Adam Driver, Kate Blanchett,

1395
01:17:27,439 --> 01:17:30,080
Speaker 2: Vicky Creps and Tom Waits in that one that scheduled

1396
01:17:30,080 --> 01:17:32,880
Speaker 2: to come to theaters in December. We'll hear all about

1397
01:17:32,960 --> 01:17:37,400
Speaker 2: what Michael Phillips has been up to for our current

1398
01:17:37,479 --> 01:17:43,439
Speaker 2: show schedule and more. Visit Filmspotting dot Net Slash episodes. Honey, look,

1399
01:17:43,680 --> 01:17:46,320
Speaker 2: I can see daylight. We're gonna be okay.

1400
01:17:49,520 --> 01:17:51,000
Speaker 1: I don't think that's daylight.

1401
01:17:56,120 --> 01:18:00,519
Speaker 2: All right. It is time for deeply flawed Holm spotting

1402
01:18:00,560 --> 01:18:03,479
Speaker 2: poll results and a new poll. A couple of weeks ago,

1403
01:18:03,520 --> 01:18:05,360
Speaker 2: we asked you two is one and only one animation,

1404
01:18:05,560 --> 01:18:12,479
Speaker 2: Studio Pixar or Studio Gibilie. It wasn't daylight for Woody

1405
01:18:12,560 --> 01:18:14,360
Speaker 2: and the Gang and Toy Story three, and there was

1406
01:18:14,439 --> 01:18:18,880
Speaker 2: no daylight for Pixar in this poll either. Josh, how

1407
01:18:18,920 --> 01:18:19,519
Speaker 2: did it come out?

1408
01:18:20,120 --> 01:18:24,439
Speaker 4: Studio Gibili took it, surprisingly to me, with sixty four

1409
01:18:24,600 --> 01:18:28,879
Speaker 4: percent of the vote Adam thirty seven percent going to Pixar.

1410
01:18:29,160 --> 01:18:33,720
Speaker 4: I may have guessed Gibilie would win, but I really

1411
01:18:33,760 --> 01:18:35,400
Speaker 4: would have thought it was going to be closer than this.

1412
01:18:36,280 --> 01:18:38,840
Speaker 2: I'm going to correct the map there slightly. I guess

1413
01:18:38,920 --> 01:18:42,679
Speaker 2: that must be sixty four and thirty six percent. Yeah,

1414
01:18:43,120 --> 01:18:45,040
Speaker 2: work got a little better. Yeah, that work out a

1415
01:18:45,040 --> 01:18:49,200
Speaker 2: little better. But yes, Studio Ghibli handily won the poll.

1416
01:18:49,800 --> 01:18:54,080
Speaker 2: Daniel says, wait, I didn't realize we were talking incinerator here,

1417
01:18:54,479 --> 01:18:57,040
Speaker 2: much like the climax of Toy Story three. I'm going

1418
01:18:57,120 --> 01:18:58,759
Speaker 2: to have to change my mind at the last second

1419
01:18:58,800 --> 01:19:01,519
Speaker 2: and switch my vote from jib Lee to Pixar. Jibili

1420
01:19:01,600 --> 01:19:04,200
Speaker 2: has probably been more consistent. The Pixar movies were literally

1421
01:19:04,280 --> 01:19:06,640
Speaker 2: made for me. I'm gen Z. My first movie I

1422
01:19:06,680 --> 01:19:08,519
Speaker 2: saw in the theater was a Bugs Life, and we

1423
01:19:08,600 --> 01:19:11,560
Speaker 2: had those early Pixar movies on constant replay. Not that

1424
01:19:11,680 --> 01:19:14,040
Speaker 2: we didn't also enjoy Jiblie Castle in the Sky as

1425
01:19:14,040 --> 01:19:16,759
Speaker 2: one of my earliest movie memories as well, But Pixar

1426
01:19:16,880 --> 01:19:19,080
Speaker 2: is just a little closer to the heart for me.

1427
01:19:19,760 --> 01:19:23,519
Speaker 4: Fair enough, Daniel, vote with the heart. Here's Frederick from Norway.

1428
01:19:23,800 --> 01:19:26,280
Speaker 4: First of all, your latest poll question is just cruel.

1429
01:19:26,520 --> 01:19:29,360
Speaker 4: If given the choice between throwing the entire filmography of

1430
01:19:29,439 --> 01:19:32,679
Speaker 4: Pixar or Jiblie into the incinerator, I may just jump

1431
01:19:32,760 --> 01:19:35,840
Speaker 4: in myself. Bit of backstory. I'm a huge animation buff

1432
01:19:36,000 --> 01:19:38,280
Speaker 4: growing up in the nineties. My entry into the world

1433
01:19:38,320 --> 01:19:41,520
Speaker 4: of cinema was in large part through the Disney animated classics.

1434
01:19:41,800 --> 01:19:44,800
Speaker 4: The Little Mermaid, Aladdin, Beauty and the Beast, and particularly

1435
01:19:44,880 --> 01:19:47,479
Speaker 4: The Lion King were my favorites, and they led me

1436
01:19:47,600 --> 01:19:50,479
Speaker 4: to seek out older classics like Snow White, Bambi, Sleeping

1437
01:19:50,520 --> 01:19:53,320
Speaker 4: Beauty and others. That, of course led to a devout

1438
01:19:53,439 --> 01:19:57,080
Speaker 4: following of Pixar. Their streak from finding Nemo through the

1439
01:19:57,160 --> 01:19:59,800
Speaker 4: Incredibles right atue, while the end up was such a

1440
01:20:00,080 --> 01:20:02,720
Speaker 4: sustained period of excellence that it should be enough to

1441
01:20:02,760 --> 01:20:05,639
Speaker 4: make this poll question a no brainer. From two thousand

1442
01:20:05,640 --> 01:20:07,320
Speaker 4: and four to two thousand and seven, I completed a

1443
01:20:07,360 --> 01:20:12,160
Speaker 4: bachelor's degree in animation, and the Pixar versus jibilee was

1444
01:20:12,320 --> 01:20:15,960
Speaker 4: a frequent topic of debate. Things could get heated, and

1445
01:20:16,040 --> 01:20:18,560
Speaker 4: while it never came to fisticuff, some bad language was

1446
01:20:18,640 --> 01:20:20,600
Speaker 4: thrown around, and I usually cowered in the corner, not

1447
01:20:20,680 --> 01:20:22,920
Speaker 4: wanting to take sides while mommy and daddy were fighting.

1448
01:20:23,479 --> 01:20:27,080
Speaker 4: Since then, both studios have only added more masterpieces to

1449
01:20:27,160 --> 01:20:29,600
Speaker 4: their resume. Pitting The wind Rises or The Boy and

1450
01:20:29,600 --> 01:20:33,000
Speaker 4: the Heron against Coco or Inside Out is equally impossible.

1451
01:20:33,600 --> 01:20:36,680
Speaker 4: All that being said, I eventually came down on the

1452
01:20:36,760 --> 01:20:40,200
Speaker 4: side of Pixar. My reasoning Pixar has a movie I

1453
01:20:40,280 --> 01:20:43,800
Speaker 4: could pop on regardless of the mood I'm in. I

1454
01:20:43,880 --> 01:20:46,720
Speaker 4: want to laugh Toy Story two, I want to cry up.

1455
01:20:47,120 --> 01:20:49,840
Speaker 4: I want some great action the Incredibles. I want to

1456
01:20:49,880 --> 01:20:52,639
Speaker 4: be amazed by visual flare and fantastic music.

1457
01:20:52,760 --> 01:20:53,080
Speaker 1: Coco.

1458
01:20:53,439 --> 01:20:55,120
Speaker 4: I want to watch something with my kids that may

1459
01:20:55,160 --> 01:20:58,760
Speaker 4: help them emotionally. Inside Out and perhaps the thing that

1460
01:20:58,920 --> 01:21:01,920
Speaker 4: finally tip the scale for me. Can you name any

1461
01:21:02,000 --> 01:21:05,360
Speaker 4: other studio that could successfully have the climax of their

1462
01:21:05,439 --> 01:21:08,640
Speaker 4: movie center around a fruit critic eating a stew and

1463
01:21:08,760 --> 01:21:13,360
Speaker 4: not only make it work, but also make it emotionally resonant. Man,

1464
01:21:13,520 --> 01:21:15,679
Speaker 4: I don't know if Frederick, Now you're making me second

1465
01:21:15,720 --> 01:21:16,519
Speaker 4: guess my choice.

1466
01:21:17,000 --> 01:21:20,280
Speaker 2: Yeah, here's Bob Mchughe. I watched the most regarded works

1467
01:21:20,320 --> 01:21:23,840
Speaker 2: of each studio as a teenager and thought they were fine.

1468
01:21:24,720 --> 01:21:27,120
Speaker 2: It's only now watching them with fresh eyes as a parent,

1469
01:21:27,200 --> 01:21:29,640
Speaker 2: nearly two decades later, I've realized that I had it

1470
01:21:29,680 --> 01:21:32,040
Speaker 2: all wrong. I was too young to truly understand or

1471
01:21:32,120 --> 01:21:36,800
Speaker 2: appreciate them. Unfortunately, that reevaluation applies wholly to jibli but

1472
01:21:36,920 --> 01:21:39,960
Speaker 2: only for Pixar's golden age. The worst Jiblie films still

1473
01:21:40,000 --> 01:21:42,960
Speaker 2: feel like an artist following their muse. The worst Pixar

1474
01:21:43,040 --> 01:21:46,320
Speaker 2: films barely feel like films at all, their craven products.

1475
01:21:46,720 --> 01:21:49,160
Speaker 2: When a studio's decisions about what stories they tell have

1476
01:21:49,280 --> 01:21:53,040
Speaker 2: more to do with branding and title contingency, what hope

1477
01:21:53,360 --> 01:21:53,760
Speaker 2: is there?

1478
01:21:54,560 --> 01:21:54,760
Speaker 1: See?

1479
01:21:54,800 --> 01:21:56,759
Speaker 4: And this is where I wish I was a Jibili

1480
01:21:56,920 --> 01:21:59,719
Speaker 4: completist as I am for Pixar. You know, I wonder

1481
01:22:00,240 --> 01:22:03,759
Speaker 4: are there titles that are a little that leave viewers

1482
01:22:03,800 --> 01:22:05,400
Speaker 4: wanting from the Jupilee catalog.

1483
01:22:05,439 --> 01:22:07,320
Speaker 1: I don't know. Maybe listeners who are complete.

1484
01:22:07,040 --> 01:22:09,960
Speaker 2: As one can tell us perhaps, But did they feel

1485
01:22:10,040 --> 01:22:11,160
Speaker 2: like craven products? That?

1486
01:22:11,400 --> 01:22:12,400
Speaker 1: Yeah? That was well that too.

1487
01:22:12,560 --> 01:22:15,000
Speaker 4: I mean, I'm just curious, you know, from their vast catalog,

1488
01:22:15,520 --> 01:22:18,120
Speaker 4: you know what sort of what sort of range there is?

1489
01:22:18,960 --> 01:22:22,800
Speaker 4: We also heard from Jeffrey Overstreet. You asked a complicated question,

1490
01:22:23,000 --> 01:22:26,080
Speaker 4: Here comes a complicated answer. Pixar's Golden Age was a

1491
01:22:26,160 --> 01:22:30,479
Speaker 4: remarkable run of all ages storytelling with groundbreaking animation. Those

1492
01:22:30,560 --> 01:22:33,600
Speaker 4: films are to cinema what books like Charlotte's Web and

1493
01:22:33,720 --> 01:22:36,400
Speaker 4: the Secret of Nim and The Phantom Tollbooth our, two

1494
01:22:36,520 --> 01:22:39,760
Speaker 4: children's literature works that reward the parents reading to their

1495
01:22:39,840 --> 01:22:43,080
Speaker 4: children as much as they reward the children themselves. Having

1496
01:22:43,160 --> 01:22:46,320
Speaker 4: said that, Pixar films came to seem somewhat formulaic and

1497
01:22:46,439 --> 01:22:49,519
Speaker 4: predictable fairly quickly, I was always bracing for what would

1498
01:22:49,520 --> 01:22:53,679
Speaker 4: become a frenzied action, hysterical finale, probably involving a crazed

1499
01:22:53,760 --> 01:22:57,839
Speaker 4: pursuit Miyazaki. However, isn't even playing the same sport Miyazaki

1500
01:22:58,080 --> 01:23:01,760
Speaker 4: is in Tolkien territory, world building such rich mythologies that

1501
01:23:01,840 --> 01:23:04,479
Speaker 4: I believe all kinds of other stories are unfolding just

1502
01:23:04,640 --> 01:23:07,920
Speaker 4: off screen while showing remarkable restraints, so that the stories

1503
01:23:08,040 --> 01:23:11,680
Speaker 4: and their finales emerge from characters in environments and less

1504
01:23:11,800 --> 01:23:15,120
Speaker 4: from an abvi's drive to provoke emotional responses and stir

1505
01:23:15,240 --> 01:23:18,840
Speaker 4: things into a frantic finale. I encourage everyone to read

1506
01:23:18,840 --> 01:23:22,479
Speaker 4: the essay Towards a True Children's Cinema on My Neighbor

1507
01:23:22,560 --> 01:23:26,120
Speaker 4: Todoro by Lauren Wilford, published by bright Wall dark Room,

1508
01:23:26,520 --> 01:23:28,800
Speaker 4: and then, because it is so great, republished in a

1509
01:23:28,840 --> 01:23:32,760
Speaker 4: booklet that comes with a thirtieth anniversary Disney Blu Ray edition.

1510
01:23:33,280 --> 01:23:36,200
Speaker 4: Wilford writes more insightfully than anyone else I've read about

1511
01:23:36,200 --> 01:23:40,320
Speaker 4: what makes Miyazaki's storytelling for children so distinctive. Almost all

1512
01:23:40,320 --> 01:23:43,479
Speaker 4: of Gible's films, and all of those by Miyazaki himself,

1513
01:23:43,520 --> 01:23:47,040
Speaker 4: are gifts that keep on giving, inviting us into new questions, mysteries,

1514
01:23:47,080 --> 01:23:49,920
Speaker 4: and revelations every single time. And I'm so grateful to

1515
01:23:49,960 --> 01:23:53,439
Speaker 4: the geniuses at Pixar who appreciated studio Ghiblie enough to

1516
01:23:53,520 --> 01:23:56,439
Speaker 4: invest in bringing that work to big screens in America.

1517
01:23:57,080 --> 01:23:59,040
Speaker 4: My life is so much richer for the work of

1518
01:23:59,160 --> 01:23:59,840
Speaker 4: both greats.

1519
01:24:00,800 --> 01:24:05,639
Speaker 2: We are getting some very passionate, very thoughtful responses here.

1520
01:24:06,000 --> 01:24:07,840
Speaker 2: We have a couple more for you, This one from

1521
01:24:07,920 --> 01:24:11,360
Speaker 2: Mark Friedman a testament to the passionate subjectivity of our

1522
01:24:11,439 --> 01:24:14,639
Speaker 2: individual connections with art and entertainment. My slap on forehead

1523
01:24:14,680 --> 01:24:17,479
Speaker 2: response to this pool as Pixar no contest. Now I

1524
01:24:17,560 --> 01:24:20,080
Speaker 2: read these comments from my film spotting family siblings and

1525
01:24:20,120 --> 01:24:23,479
Speaker 2: find the exact opposite sentiments in favor of Jibili.

1526
01:24:24,439 --> 01:24:27,960
Speaker 4: Let's close out with this from Andy Bukti. Sounds like

1527
01:24:28,000 --> 01:24:31,640
Speaker 4: we need an animation march madness to rightfully settle this,

1528
01:24:32,080 --> 01:24:34,479
Speaker 4: not just to determine champion, but to see who's better

1529
01:24:34,560 --> 01:24:37,960
Speaker 4: represented in the Sweet sixteen, Elite eight, et cetera. There

1530
01:24:38,000 --> 01:24:40,640
Speaker 4: could be some amazing and heart wrenching matchups, plus some

1531
01:24:40,720 --> 01:24:44,080
Speaker 4: bonus link later Tim Burton and Wes Anderson. Who wouldn't

1532
01:24:44,400 --> 01:24:47,479
Speaker 4: enjoy that? And that's that's been on the table for

1533
01:24:47,560 --> 01:24:49,080
Speaker 4: film spots on the table.

1534
01:24:49,160 --> 01:24:53,320
Speaker 2: It's been discussed. I think I think that Sam and

1535
01:24:53,439 --> 01:24:56,160
Speaker 2: myself the selection committee might have I don't know if

1536
01:24:56,200 --> 01:24:58,519
Speaker 2: we said this out loud or not, we definitely thought it.

1537
01:24:59,160 --> 01:25:03,720
Speaker 2: We're not the most passionate generally animation fans compared to

1538
01:25:04,320 --> 01:25:07,160
Speaker 2: some of the folks I think, compared to you, Josh,

1539
01:25:07,240 --> 01:25:09,840
Speaker 2: and also compared to all the people who have written

1540
01:25:09,880 --> 01:25:13,880
Speaker 2: into this pole, So it wasn't maybe as inspiring for

1541
01:25:14,320 --> 01:25:16,840
Speaker 2: us as a madness topic. But I think we also

1542
01:25:16,960 --> 01:25:20,000
Speaker 2: just worried about the number of titles and how much

1543
01:25:20,080 --> 01:25:24,440
Speaker 2: passion it would inspire in the largest number of participants.

1544
01:25:24,920 --> 01:25:28,800
Speaker 2: But I'm intrigued and seeing how passionate everybody was about

1545
01:25:28,840 --> 01:25:32,160
Speaker 2: this pole, I wonder if it is something that could

1546
01:25:32,200 --> 01:25:34,920
Speaker 2: be settled with madness. And so I'm going to throw

1547
01:25:35,000 --> 01:25:38,000
Speaker 2: this out to Andy and maybe some of the other

1548
01:25:38,320 --> 01:25:42,680
Speaker 2: commenters put together a bracket. Let me see what your

1549
01:25:42,720 --> 01:25:45,200
Speaker 2: bracket would look like. I will I will take a

1550
01:25:45,240 --> 01:25:47,840
Speaker 2: look at it, Sam, and I will review it. We'll

1551
01:25:47,840 --> 01:25:50,360
Speaker 2: see if you can make your case. Okay. Feedback at

1552
01:25:50,400 --> 01:25:54,400
Speaker 2: filmspotting dot Net. Now a new deeply flawed film spotting pole,

1553
01:25:54,560 --> 01:25:57,840
Speaker 2: A new one. We're asking about sixties musicals because The

1554
01:25:57,920 --> 01:26:00,920
Speaker 2: Sound of Music is back in theaters for its sixtieth anniversary,

1555
01:26:00,960 --> 01:26:03,800
Speaker 2: and of course, Josh, literally everyone in the world has

1556
01:26:03,840 --> 01:26:07,080
Speaker 2: seen this movie literally, so you've you've seen it now

1557
01:26:07,840 --> 01:26:11,360
Speaker 2: literally everyone has seen this movie. Let's let's move on

1558
01:26:11,439 --> 01:26:15,080
Speaker 2: to the options. The options are that Sam is giving

1559
01:26:15,160 --> 01:26:18,720
Speaker 2: you producer Sam Funny Girl and then I'll turn it

1560
01:26:18,760 --> 01:26:21,400
Speaker 2: over to you with Barbis streisand directed by William Wyler.

1561
01:26:21,680 --> 01:26:25,280
Speaker 2: That was part of last year's Wiler Marathon. What else

1562
01:26:25,320 --> 01:26:26,639
Speaker 2: are we letting them consider?

1563
01:26:27,680 --> 01:26:31,639
Speaker 4: Mary Poppins, of course, the other Julie Andrews sixties musical

1564
01:26:31,720 --> 01:26:33,719
Speaker 4: I don't know, Adam, If you know this, Julie Andrews

1565
01:26:33,800 --> 01:26:36,800
Speaker 4: is in the Sound of Music. My Fair Lady is

1566
01:26:36,840 --> 01:26:40,439
Speaker 4: an option. That one with Audrey Hepburn and Rex Harrison

1567
01:26:40,479 --> 01:26:43,720
Speaker 4: directed by George Kuker. The Sound of Music is an option.

1568
01:26:43,920 --> 01:26:47,840
Speaker 4: Jacques Dimese The Umbrellas of Sherbour is another and our

1569
01:26:47,920 --> 01:26:51,800
Speaker 4: last choice West Side Story. Of course, you can also

1570
01:26:51,960 --> 01:26:54,920
Speaker 4: vote other If I don't know, you prefer demis The

1571
01:26:54,960 --> 01:26:59,200
Speaker 4: Young Girls of Rochefort or Best Picture winner Oliver the

1572
01:26:59,320 --> 01:27:02,599
Speaker 4: Music Man, Bye Bye Birdie, Sweet Charity. That's one I'm

1573
01:27:02,680 --> 01:27:06,280
Speaker 4: unfamiliar with. I'm also unfamiliar with Doctor Doolittle, the nineteen

1574
01:27:06,400 --> 01:27:08,360
Speaker 4: sixty eight Best Picture nominee, But.

1575
01:27:08,479 --> 01:27:11,240
Speaker 1: You don't need that worry yourself. I can skip that one.

1576
01:27:11,280 --> 01:27:15,960
Speaker 2: Okay, No one's voting for doctor Doolittle. Well see, you know,

1577
01:27:16,120 --> 01:27:19,439
Speaker 2: I'm an Iowan, so of course the music Man is

1578
01:27:19,520 --> 01:27:22,280
Speaker 2: one I should be considering. And and I of course

1579
01:27:22,360 --> 01:27:24,680
Speaker 2: have seen the sound of music, so I am I

1580
01:27:24,760 --> 01:27:28,439
Speaker 2: am strongly considering that for my Okay, I'm strongly considering

1581
01:27:28,479 --> 01:27:31,839
Speaker 2: it from my pick, Josh, I know the the correct

1582
01:27:32,000 --> 01:27:35,439
Speaker 2: Sinophile answer, the one you're gonna say, the one Sam's

1583
01:27:35,479 --> 01:27:41,120
Speaker 2: gonna say, is the umbrellas of sure Boar. But I'm

1584
01:27:41,200 --> 01:27:43,120
Speaker 2: still in the bag for West Side Story, and it's

1585
01:27:43,160 --> 01:27:43,439
Speaker 2: my pick.

1586
01:27:44,040 --> 01:27:46,280
Speaker 4: Okay, fair enough. I think you'll have plenty of people

1587
01:27:46,360 --> 01:27:49,320
Speaker 4: with you. Yeah, I just think you know, none of

1588
01:27:49,400 --> 01:27:51,200
Speaker 4: these are in the league of Shareboor. When we did

1589
01:27:51,400 --> 01:27:53,599
Speaker 4: our top ten of all time, our Sitan sound lists,

1590
01:27:54,120 --> 01:27:56,560
Speaker 4: I think in twenty twelve I did have it on

1591
01:27:56,720 --> 01:27:59,040
Speaker 4: that list. We did it again in twenty twenty two,

1592
01:27:59,080 --> 01:28:01,280
Speaker 4: and I think it got bummed. But I forget for

1593
01:28:01,439 --> 01:28:04,400
Speaker 4: what but to the you know, eleven to fifteen range,

1594
01:28:04,479 --> 01:28:06,760
Speaker 4: But it's it is an all timer to me, so

1595
01:28:07,280 --> 01:28:11,200
Speaker 4: an easy, easy film spotting poll this time around for me.

1596
01:28:11,880 --> 01:28:15,559
Speaker 2: Okay, we would love to get your pick and possibly

1597
01:28:15,640 --> 01:28:18,680
Speaker 2: read your comments. You can participate in the poll at

1598
01:28:18,800 --> 01:28:21,840
Speaker 2: film spotting dot net. We will share the results and

1599
01:28:22,080 --> 01:28:25,840
Speaker 2: your feedback in a couple of weeks. Josh, that's our show.

1600
01:28:26,080 --> 01:28:29,880
Speaker 4: You can find Adam and the show on Instagram, Facebook, letterbox,

1601
01:28:30,080 --> 01:28:33,599
Speaker 4: and YouTube all at film Spotting. I'm at those places

1602
01:28:33,760 --> 01:28:37,519
Speaker 4: as well as Larsen on film. We are independently produced

1603
01:28:37,560 --> 01:28:40,320
Speaker 4: and listener supported. You can support the show by joining

1604
01:28:40,400 --> 01:28:43,360
Speaker 4: the film Spotting Family at film Spotting family dot com.

1605
01:28:43,760 --> 01:28:45,720
Speaker 4: You can listen early and ad free. You'll get a

1606
01:28:45,760 --> 01:28:49,639
Speaker 4: weekly newsletter, monthly bonus episodes, and access to the entire

1607
01:28:49,800 --> 01:28:53,000
Speaker 4: show archive. For show t shirts and other merch you

1608
01:28:53,080 --> 01:28:55,719
Speaker 4: can go to film spotting dot net slash shop.

1609
01:28:56,720 --> 01:28:59,480
Speaker 2: In that film Spotting archive, you can find our conversations

1610
01:28:59,520 --> 01:29:03,160
Speaker 2: about of the Flower Moon for Martin Scorsese episode nine

1611
01:29:03,280 --> 01:29:06,280
Speaker 2: forty two plus. We did a little Scorsese ranked even

1612
01:29:06,320 --> 01:29:09,400
Speaker 2: though I'm sure we acknowledge that we were not at

1613
01:29:09,439 --> 01:29:14,080
Speaker 2: the time, nor are we both now. Scorsese ight no,

1614
01:29:14,240 --> 01:29:18,439
Speaker 2: and we've we've talked about doing a marathon of our

1615
01:29:18,520 --> 01:29:22,160
Speaker 2: Scorsese blind spots. We share some we don't share some others.

1616
01:29:22,200 --> 01:29:24,439
Speaker 2: It makes it a little tough, but I know, I

1617
01:29:24,520 --> 01:29:27,040
Speaker 2: know some listeners really hope we do that one, and

1618
01:29:27,120 --> 01:29:27,600
Speaker 2: I hope we do.

1619
01:29:27,760 --> 01:29:29,519
Speaker 1: I'd love to do it at some point for sure.

1620
01:29:29,760 --> 01:29:32,600
Speaker 2: Yeah. The Irishman was episode seven to fifty one. The

1621
01:29:32,640 --> 01:29:35,640
Speaker 2: Wolf of Wall Street Boy that was. That was a

1622
01:29:35,720 --> 01:29:37,800
Speaker 2: tense one episode four seventy four US.

1623
01:29:38,280 --> 01:29:38,840
Speaker 1: That's for sure.

1624
01:29:39,840 --> 01:29:43,559
Speaker 2: Shutter Island episode two ninety three, The Stones Concert film,

1625
01:29:43,680 --> 01:29:47,200
Speaker 2: Shine a Light episode two oh five, The Departed episode

1626
01:29:47,280 --> 01:29:52,480
Speaker 2: one twenty nine out in limited release. The Baltim Morons,

1627
01:29:52,520 --> 01:29:57,000
Speaker 2: directed by Jay Duplus in wide release Code three. Rain

1628
01:29:57,080 --> 01:29:59,320
Speaker 2: Wilson is a burned out paramedic trying to survive his

1629
01:29:59,439 --> 01:30:01,720
Speaker 2: last twenty four hours on the job while training a

1630
01:30:01,840 --> 01:30:06,200
Speaker 2: new recruit. Sam. Maybe just catering to you, Josh says,

1631
01:30:06,560 --> 01:30:08,360
Speaker 2: think bringing out the dead but funny.

1632
01:30:08,960 --> 01:30:11,000
Speaker 1: Okay, I don't know if that's gonna sell me on it,

1633
01:30:11,120 --> 01:30:12,080
Speaker 1: but good try.

1634
01:30:12,840 --> 01:30:16,839
Speaker 2: Also Downton Abbey, the Grand Finale. I know you cannot

1635
01:30:16,880 --> 01:30:20,000
Speaker 2: wait for that. The Long Walk, based on the nineteen

1636
01:30:20,040 --> 01:30:24,400
Speaker 2: seventy nine Stephen King novella Walk or Die, Simple Enough

1637
01:30:24,640 --> 01:30:27,960
Speaker 2: with Cooper Hoffman and Charlie Plummer. Good Cast, directed by

1638
01:30:28,000 --> 01:30:32,439
Speaker 2: Francis Lawrence of The Hunger Games, Catching Fire and mocking Jay.

1639
01:30:32,720 --> 01:30:37,160
Speaker 2: How about Spinal Tap two? The end continues the Sound

1640
01:30:37,240 --> 01:30:41,160
Speaker 2: of Music. Yes, sixtieth anniversary re release and Toy Story

1641
01:30:41,760 --> 01:30:46,320
Speaker 2: thirtieth anniversary re release. We are next week hoping to

1642
01:30:46,439 --> 01:30:51,360
Speaker 2: have the Michael Phillips Fest update. I'm hoping I'll get

1643
01:30:51,400 --> 01:30:54,000
Speaker 2: to Spinal Tap two at minimum and be able to

1644
01:30:54,040 --> 01:30:58,720
Speaker 2: talk about that next week. And Yes, the Diabolical five

1645
01:30:58,800 --> 01:31:02,960
Speaker 2: years five movies. I'm somehow going to wrap my head

1646
01:31:03,000 --> 01:31:06,400
Speaker 2: around what that is before our next show.

1647
01:31:06,720 --> 01:31:09,640
Speaker 4: Better start working on it right now. Film Spotting is

1648
01:31:09,680 --> 01:31:12,639
Speaker 4: produced by Golden Joe Desso and Sam van Holgren. Without

1649
01:31:12,680 --> 01:31:15,519
Speaker 4: Sam and Golden Joe, this show wouldn't go. Our production

1650
01:31:15,600 --> 01:31:20,400
Speaker 4: assistant is Sophie Kempinar. Special thanks to everyone at WBEAZ Chicago.

1651
01:31:20,560 --> 01:31:25,240
Speaker 4: More information is available at wbez dot org. For film Spotting,

1652
01:31:25,320 --> 01:31:25,960
Speaker 4: I'm Josh.

1653
01:31:25,880 --> 01:31:28,559
Speaker 1: Larson and I'm Adam Kempinar. Thanks for listening.

1654
01:31:28,880 --> 01:31:31,799
Speaker 5: This conversation can serve no purpose anymore.

1655
01:31:32,720 --> 01:31:33,400
Speaker 3: The burn.

1656
01:31:49,720 --> 01:31:52,679
Speaker 2: Film Spotting is listeners supported. Join the film Spotting Family

1657
01:31:52,760 --> 01:31:55,599
Speaker 2: at film Spottingfamily dot com and get access to ad

1658
01:31:55,680 --> 01:31:59,080
Speaker 2: free episodes, monthly bonus shows, our weekly newsletter, and for

1659
01:31:59,160 --> 01:32:01,800
Speaker 2: the first time, all to one place. The entire film

1660
01:32:01,840 --> 01:32:04,479
Speaker 2: spotting archive going back to two thousand and five. That's

1661
01:32:04,520 --> 01:32:06,280
Speaker 2: a film spotting family dot com

1662
01:32:09,240 --> 01:32:09,719
Speaker 3: Panically