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

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Speaker 3: You're not interested in art?

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Speaker 4: Now?

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Speaker 3: No, Look, we're going to do this thing. We're going

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Speaker 3: to have a conversation from Chicago. This is Film Spotting

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Speaker 3: celebrating our twentieth year. I'm Josh Larson and I'm Adam Kempinar.

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Speaker 3: Could you answer the next series of questions about blinking

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Speaker 3: your eyes? It was out fear and hesitation. Answers quickly

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Speaker 3: as you can sure. This week, our Best of the

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Speaker 3: Centre Conversation continues with our favorite actors and actresses of

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Speaker 3: the last twenty five years, and.

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Speaker 2: We're going to do it master style, Josh, no fear,

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Speaker 2: no hesitation, and no blinking. Also, it's a draft plus.

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Speaker 3: Our Andre Tarkowski Marathon continues with nineteen seventy nine Stalker.

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Speaker 3: It's all ahead starting now. If you blink, we go

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Speaker 3: back to the start on Film Spotting.

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Speaker 4: This episode is brought to you by Peloton break through

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Speaker 4: at one peloton dot com.

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Speaker 2: Welcome to Film Spotting narrowing down the films of the

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Speaker 2: century to twenty five, which we did last week. Josh

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Speaker 2: was a chore picking five only five of our favorite

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Speaker 2: actors and actresses of the century. This is only going

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Speaker 2: to end in failure and disappointment.

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Speaker 3: Right, failure is a strong word disappointment. I have a

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Speaker 3: theory that there's a path where we can both come

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Speaker 3: away pretty happy. Okay, there may be there may be

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Speaker 3: two names we're going to be tussling over, but I

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Speaker 3: don't know. I think we could come away not too disappointed.

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Speaker 3: We'll have to see.

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Speaker 2: We will see. I'm guessing we won't tussle too much

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Speaker 2: over nineteen seventy nine Stalker the Fourth film and our

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Speaker 2: Andre Tarkowski Marathon. We start with our draft. We're going

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Speaker 2: to make this more concise and call it the Actors

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Speaker 2: of the Century Draft. Josh actors, actresses all eligible. Producer

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Speaker 2: Sam hates it when I say Performers of the Century.

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Speaker 3: Now.

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Speaker 2: Definitely. The only real rule here is we only get

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Speaker 2: to choose one Chris each.

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Speaker 3: Was the Chris is our first draft ever? Or was

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Speaker 3: that just a ranking?

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Speaker 2: It was just a ranking? Yeah, not a draft? Okay,

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Speaker 2: that would have been a pretty short draft, right.

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Speaker 3: A two person draft.

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Speaker 2: How this is going to work, and really why we're

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Speaker 2: even doing it? Is a draft? Is pretty simple? Are

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Speaker 2: we trying to sports of all?

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Speaker 3: This thing?

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Speaker 2: Not really one? It ensures ten unique choices, no overlap,

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Speaker 2: that's the main thing. And then it's film spotting the stakes.

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Speaker 2: When I don't know if I'm going to get my

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Speaker 2: next pick, it really does change everything. That's why we're

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Speaker 2: doing it that way. Now, did you have any criteria

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Speaker 2: as you set about to prepare for this draft?

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Speaker 3: Josh, I did use, as has been mentioned, our best

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Speaker 3: of the twenty tens list as a starting point, But

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Speaker 3: the more I got into it, it wasn't entirely helpful

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Speaker 3: because a lot of the actors on that list. I

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Speaker 3: wouldn't say it was recency bias, but just working with

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Speaker 3: only those ten years we did that in twenty twenty,

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Speaker 3: you know, it did obviously weigh heavily on people who

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Speaker 3: we were excited about then and are excited about moving forward,

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Speaker 3: or were in twenty twenty. So here I had to

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Speaker 3: think about an entire body of work, not looking ahead

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Speaker 3: so much. Okay, it's this particular period, and I thought

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Speaker 3: about this, thinking of speaking of sports bawling. In the NBA,

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Speaker 3: you have the MVP Most Valuable Player Award, and that

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Speaker 3: is a regular season award. It's announced will be announced

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Speaker 3: I think within this week during the playoffs. But really

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Speaker 3: the idea is to look at what the players have

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Speaker 3: done during that season, not their playoff potential or even

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Speaker 3: how they've performed in the first week or so of

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Speaker 3: the playoffs. So I had to think about it similarly,

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Speaker 3: is that body of work from two thousand to twenty

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Speaker 3: twenty five, and then this length of time twenty five

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Speaker 3: years I found for me absolutely benefited the vets, you know,

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Speaker 3: those who had been doing it pretty much right from

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Speaker 3: two thousand and sustained it up through the last couple

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Speaker 3: of years. That narrowed things down pretty quickly for me

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Speaker 3: for the actors and actresses who I needed to have

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Speaker 3: on my team in this draft.

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Speaker 2: So I also look back at my list of the

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Speaker 2: top ten actors of the Decade from twenty twenty. Of course,

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Speaker 2: I also had the actors of the decade or whatever

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Speaker 2: we called it from the two thousands, the first part

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Speaker 2: of this twenty first century. We did that in twenty

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Speaker 2: ten on film Spotting, just before you joined the show

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Speaker 2: back in twenty twenty. My criteria was these actors and

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Speaker 2: actresses had to have at least three great performances. I

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Speaker 2: approached it this time as a mount rushmore. I needed

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Speaker 2: to envision four characters' faces that would define the period,

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Speaker 2: this entire twenty five year period for that performer, and

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Speaker 2: then I had to consider to extent that quartette of

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Speaker 2: faces might define the period itself. I get to have

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Speaker 2: the first choice. We didn't do anything convoluted here. We

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Speaker 2: didn't have any ping pong balls or bring in Ernst

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Speaker 2: and Young or Price Waterhouse. We just alternated. The last

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Speaker 2: time we had a draft, I think it was our

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Speaker 2: twenty twenty five movie preview, and You've got to go first.

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Speaker 3: Yeah, yep, so.

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Speaker 2: Now so I get to go.

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Speaker 3: I think it's fair. I think it's fair. I do

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Speaker 3: think for our next draft we got to shake it up, though.

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Speaker 3: I do like the suspense of seeing who's gonna get

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Speaker 3: especially again seeing what happened in the NBA, the chaos

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Speaker 3: that was unleashed. We always want more chaos on this show, Adam,

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Speaker 3: so moving forward, we'll have to go back to that.

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Speaker 3: But yeah, for tonight, first pick goes to you. It's

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Speaker 3: only fair. I think I know where you're gonna go.

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Speaker 3: But again, here's where the strategy comes into play, because

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Speaker 3: I honestly think there are only two or maybe three

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Speaker 3: names we both would love to have on our team,

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Speaker 3: and are you going to try to snatch one of

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Speaker 3: those or are you just gonna claim who you absolutely

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Speaker 3: have to have? Not taken any.

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Speaker 2: Risks here, I ended up going the latter route because

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Speaker 2: I really couldn't figure you out, Josh, I didn't have

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Speaker 2: enough intel to go on. As you noted, yes, that

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Speaker 2: list back in twenty twenty is somewhat helpful, but once

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Speaker 2: you add in not only the past four years, you

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Speaker 2: add in the first part of this quarter century, it

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Speaker 2: really does change the game. And I guess I didn't

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Speaker 2: feel like I had a really strong sense of who

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Speaker 2: your top one, two three performers of the past twenty

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Speaker 2: five years were, and so I stopped overthinking it and

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Speaker 2: decided to go with my heart. I'm picking who is

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Speaker 2: genuinely my number one choice, even though I feel like

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Speaker 2: he wouldn't have been your number one choice, and from

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Speaker 2: a strategic standpoint, I'm probably misplaying it. You mention that

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Speaker 2: you look back and you didn't really consider at all

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Speaker 2: moving forward whether or not these performers would be in

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Speaker 2: our lives, what kind of performances they might give us

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Speaker 2: in the future. Sadly, that's very much the case with

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Speaker 2: my number one choice. I am going with Philip Seymour

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Speaker 2: oh oh. Recently, just a day or two ago, Josh

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Speaker 2: got an email from a listener, Nate Dean, who said, Adam,

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Speaker 2: I can't believe you have William Miller as your profile

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Speaker 2: pick on Letterboxed, but failed to put Almost Famous in

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Speaker 2: your top twenty five films of the century. Almost Famous

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Speaker 2: is my favorite film of all time, So I'm kind

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Speaker 2: of offended. Please change your profile pick, Nate. I hear you,

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Speaker 2: I feel you. I will not change my profile pick.

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Speaker 2: It has been my profile pick since profile picks existed,

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Speaker 2: really in the wake of me seeing Almost Famous originally

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Speaker 2: in theaters back in two thousand and one. To try

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Speaker 2: to make up for it a little bit here, Philip

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Speaker 2: Seymour Hoffman was my number two actor of the two

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Speaker 2: thousands on that list in twenty ten. And Josh, even

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Speaker 2: though this is how great Philip Seymore Hoffman is, even

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Speaker 2: though we lost him in twenty fourteen, I do believe

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Speaker 2: he's still worthy of the number one choice. Here's the

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Speaker 2: Mount Rushmore Lancaster Dodd the Master in twenty twenty, I

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Speaker 2: suggested that that processing scene which we heard at the

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Speaker 2: top of the show was maybe the scene of the

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Speaker 2: decade him and jauquein in Phoenix, number two, Capodi in Capodi,

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Speaker 2: for which he won the Oscar. Nate. Here it is

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Speaker 2: number three on the Mount Rushmore. A supporting turn Lester

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Speaker 2: Bangs and Almost Famous, and then rounding out the mount Rushmore,

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Speaker 2: I'm gonna go with Caden Coutard from Sinec to Key,

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Speaker 2: New York. And if you want more lead performances, Josh, great,

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Speaker 2: how about Lamette's Before the Devil Knows You're Dead? Opposite

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Speaker 2: Ethan Hawk A Most Wanted Man is a really good film.

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Speaker 2: I don't love this Savages or Doubt, but I have

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Speaker 2: nothing against Philip Seymore Hoffman's performances in either. And the

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Speaker 2: thing about Philip Seamore Hoffman, and we talked about this

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Speaker 2: back when we paid tribute to him after his passing.

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Speaker 2: You can talk about those lead performances, but it's so

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Speaker 2: much fun to talk about how good he is in

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Speaker 2: his supporting turns like Spike Lee's twenty fifth Hour, Your Beloved, Punch,

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Speaker 2: Drunk Love, mattress Man, Dean Trumpele. How memorable is he there?

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Speaker 2: How much of a memorable scoundrel is he even in

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Speaker 2: something like Red Dragon as Freddie Lownds gust In Charlie

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Speaker 2: Wilson's War. I mean, it's a mostly forgettable movie, but

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Speaker 2: he's not forgettable. I still get served scenes from that

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Speaker 2: movie occasionally on Instagram, and I watch them every time

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Speaker 2: if they're a scene that Philip Seymour Hoffman is in,

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Speaker 2: and then he even brings the heat to something like

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Speaker 2: the Hunger Games franchise or another franchise, The Baddie in

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Speaker 2: Mission Impossible three, it.

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Speaker 5: Was you in the bathroom, and you're gonna tell us everything,

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Speaker 5: every buyer, you've worked with, every organization, What the hell

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Speaker 5: is your name?

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Speaker 3: Names? Contacts, and Victory listens.

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Speaker 6: My wife, girlfriend, it's up.

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Speaker 3: To you had his ghost, he does, you know what

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Speaker 3: I'm gonna do next. I'm gonna find her, whoever she is.

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Speaker 3: I'm gonna find her, and I'm gonna hurt her.

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Speaker 2: I'm gonna hurt her. Josh, I watched that scene again today,

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Speaker 2: just trying to put my finger on what Hoffman is

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Speaker 2: doing there that makes it so special, that makes it

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Speaker 2: something you do remember that exact line reading. It's it's

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Speaker 2: something about the nonchalance. It's something about even a hint

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Speaker 2: of petulance. It's like he can't believe this guy. He

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Speaker 2: keeps asking Tom Cruise, Tom Cruise is Ethan hunt. What's

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Speaker 2: your name? It's like he just can't believe this guy

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Speaker 2: has the audacity to question him to capture him, to

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Speaker 2: tie him up like this, and he is sure he

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Speaker 2: is going to pay him back for this. It's not

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Speaker 2: the performance or the movie that will define Filtzeymour Hoffman's

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Speaker 2: career or this period, but it is one I love.

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Speaker 3: I'm gonna ask you all more time. What's your name?

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Speaker 3: What is your rats?

219
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Speaker 7: Who are you?

220
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Speaker 3: Who's the Meyer? You don't have any idea what that

221
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Speaker 3: was going on here? And he saw what I did.

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Speaker 6: You a little blond friend at the factory, right, Oh

223
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Speaker 6: that was nothing.

224
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Speaker 5: That was fun.

225
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Speaker 6: Fun.

226
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Speaker 3: I'm glad you got who you really wanted. He was

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Speaker 3: not at risk, however, I did.

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Speaker 2: I had a feeling.

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Speaker 3: I did look at his filmography quite closely. Definitely an

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Speaker 3: honorable mention. I understand the pick. For me, it all

231
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Speaker 3: came down to the pre twenty ten work because as

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Speaker 3: much as I admire what he does in The Master

233
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Speaker 3: and yeah, yeah, like you said, very good in Hunger Games,

234
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Speaker 3: that just wasn't enough for me to have him on

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Speaker 3: my previous list. So the titles that gave me pause

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Speaker 3: among the ones you mentioned where I thought, ooh, I've

237
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Speaker 3: really got to think about this. Ah yes, almost famous,

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Speaker 3: absolutely punched drunk love, and probably oh before the devil

239
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Speaker 3: knows your dead for sure. Those three are the ones

240
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Speaker 3: that almost pushed him into my consideration to be on

241
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Speaker 3: my board, but decided I had other performers I preferred.

242
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Speaker 3: And you've now put me in a difficult but enviable

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Speaker 3: position because you're first to the opportunity to take my

244
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Speaker 3: first choice as you did, or really grab the person.

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Speaker 3: There's one person who I think we both want. Okay,

246
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Speaker 3: I do not have this person in the first slot

247
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Speaker 3: on my draft board.

248
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Speaker 2: Uh huh.

249
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Speaker 3: So I realize if I take the person I need,

250
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Speaker 3: I'm going to give you your one and two.

251
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Speaker 2: And I don't know quite frankly which option i'd rather

252
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Speaker 2: have you choose at this point.

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Speaker 3: You know what I'm I'm going to follow you following

254
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Speaker 3: your heart, Adam.

255
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Speaker 2: Okay, and I'm going to go put a sweet episode

256
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Speaker 2: with the actor who.

257
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Speaker 3: I have ranked first. It was the person who when

258
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Speaker 3: I realized we were doing this expanse this twenty five years,

259
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Speaker 3: I thought, I've got to check out the filmography because

260
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Speaker 3: I bet it is packed. And though it wasn't necessarily

261
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Speaker 3: someone I had on the previous list or very high,

262
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Speaker 3: I don't think I had on the list. I just

263
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Speaker 3: had a feeling that if you add those ten years

264
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Speaker 3: to what has been done in the past fifteen, you're

265
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Speaker 3: going to have a powerhouse. And you do. You have

266
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Speaker 3: Kate Blanchett, had to have Kate Blanchett. Again. It was

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Speaker 3: the research that confirmed it. This is not black bag

268
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Speaker 3: recency bias. Look at this track record and look at

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Speaker 3: this range. This is the thing with her tour to

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Speaker 3: fourth dramas that I would argue she carried on her

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Speaker 3: back like she made the movie Blue Jasmine. Where do

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Speaker 3: you Go, Bernadette. People probably forget that one, but she

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Speaker 3: is a force in that one. And then Tar, she

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Speaker 3: is Tar, so you have that category also. I think

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Speaker 3: this is how she came to be known as this

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Speaker 3: arresting figure in historical dramas or period pieces. I think

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Speaker 3: you could put Carol in this category. The Aviator, The

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Speaker 3: Good German, speaking of Sodaberg, The Curious Case of Benjamin Button,

279
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Speaker 3: which I like more than most people, Nightmare Alley Falls here,

280
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Speaker 3: and Elizabeth her breakout doesn't fit our timeframe, but Elizabeth

281
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Speaker 3: the Golden Age does, and she is different in that film,

282
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Speaker 3: but equally impressive. Kate Blanchett can also do sci fi

283
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Speaker 3: and fantasy. She can be Galadriel in Lord of the Rings.

284
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Speaker 3: She can be the step mother in Cinderella. I love

285
00:16:01,680 --> 00:16:05,880
Speaker 3: that performance. And of course Hella in Thor Ragnarok phsy

286
00:16:05,960 --> 00:16:08,600
Speaker 3: fun you could put Thor Ragnarok in that category. But

287
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Speaker 3: I'm thinking more here about Ocean's Eight, The Life Aquatic

288
00:16:12,720 --> 00:16:15,720
Speaker 3: with Steve Zazou, Indiana Jones and the Kingdom of the

289
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Speaker 3: Crystal Skull. Sure, why not? I like that movie more

290
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Speaker 3: than most people, and she's amusing it, she is. And

291
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Speaker 3: then here's the topper. Is all of that are things

292
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Speaker 3: you can envision that is what a great actor would

293
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Speaker 3: do performances like these, Maybe not one that'd be a

294
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Speaker 3: lot task of one. She does that, then she gives

295
00:16:35,600 --> 00:16:38,920
Speaker 3: us something that I can only call experimental her Bob Dylan,

296
00:16:39,080 --> 00:16:39,840
Speaker 3: and I'm not there.

297
00:16:40,040 --> 00:16:42,080
Speaker 8: Well, is it your belief then that folk music has

298
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Speaker 8: a chance failed to achieve its goals with the Negro

299
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Speaker 8: calls or the cause of peace?

300
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Speaker 9: You know, saying cause of peace, it's just like saying

301
00:16:52,440 --> 00:16:55,680
Speaker 9: it's like a hunk of butter. You know, I don't

302
00:16:55,680 --> 00:16:57,400
Speaker 9: know how you can listen to anybody who wants you

303
00:16:57,480 --> 00:16:59,320
Speaker 9: to believe is dedicated to the hunk and.

304
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Speaker 6: Not the butter.

305
00:17:00,280 --> 00:17:01,360
Speaker 3: I'm not sure I thought that.

306
00:17:02,720 --> 00:17:05,879
Speaker 9: You know, I didn't come out of some cereal box.

307
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Speaker 3: This is like, I mean, irreproachable, and the range, the

308
00:17:12,280 --> 00:17:15,399
Speaker 3: vastness of it, the consistency of it, the fact that

309
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Speaker 3: she was doing this in the first couple of years

310
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Speaker 3: of this century. An just dropped black bag on us.

311
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Speaker 3: I had to take her at number one.

312
00:17:24,119 --> 00:17:26,159
Speaker 2: Yeah, I had her at number five, and depending on

313
00:17:26,200 --> 00:17:28,520
Speaker 2: how this shook out, it wasn't a lock that I

314
00:17:28,520 --> 00:17:31,800
Speaker 2: would take her if she was still there, because I've

315
00:17:31,840 --> 00:17:35,080
Speaker 2: got some amazing choices right behind her. But the Mount

316
00:17:35,160 --> 00:17:39,840
Speaker 2: rushmore Tar, of course, Carol, and I was wondering when

317
00:17:39,880 --> 00:17:41,960
Speaker 2: you were going to get to it. Jude Quinn, I'm

318
00:17:42,000 --> 00:17:44,400
Speaker 2: not there. I'm not sure if you said this one

319
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Speaker 2: or not. I don't love this Woody Allen film. But Jasmine,

320
00:17:48,400 --> 00:17:49,760
Speaker 2: did you say Blue Jasmine?

321
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Speaker 3: She's in that category where she carries the movie, she

322
00:17:52,480 --> 00:17:53,880
Speaker 3: makes the movie, right, she does.

323
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Speaker 2: That's the top four right there. But I also seriously

324
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Speaker 2: considered putting in her performance as Daisy in the Curious

325
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Speaker 2: Case of Benjamin Button as Lilith Ritter in Nightmare. Ali.

326
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Speaker 2: I love that movie. I think it made my top

327
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Speaker 2: ten of that year, and you mentioned a few others,

328
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Speaker 2: like the Life of Quatack, like Lord of the Rings,

329
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Speaker 2: Where'd you go? Bernadette? And I'm not sure if you

330
00:18:12,200 --> 00:18:15,240
Speaker 2: mentioned this one either, but she's really good in notes

331
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Speaker 2: on a scandal as well.

332
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Speaker 3: What I don't think I've seen.

333
00:18:19,200 --> 00:18:24,600
Speaker 2: Yeah, so Kate Blanchette is a fantastic choice. She is

334
00:18:24,760 --> 00:18:28,439
Speaker 2: off the board. The pick does come back to me.

335
00:18:29,320 --> 00:18:31,920
Speaker 2: Now I have to decide whether or not to take

336
00:18:33,160 --> 00:18:35,159
Speaker 2: the person that I have at number two? Do we

337
00:18:35,400 --> 00:18:38,399
Speaker 2: do we keep the sweet sentiment going here, Josh? Do

338
00:18:38,520 --> 00:18:41,360
Speaker 2: we continue to play nice? Or do I take the

339
00:18:41,400 --> 00:18:46,000
Speaker 2: person that I think you think that we both want.

340
00:18:47,080 --> 00:18:49,960
Speaker 2: And you're about to speak, go ahead.

341
00:18:50,960 --> 00:18:52,680
Speaker 3: I'm not going to say anything, Okay, I don't want to.

342
00:18:52,760 --> 00:18:54,199
Speaker 3: I don't want to. I don't want to nudge you

343
00:18:54,280 --> 00:18:54,800
Speaker 3: either way.

344
00:18:55,840 --> 00:18:59,720
Speaker 2: So here's the thing. The person that right now I

345
00:18:59,800 --> 00:19:04,520
Speaker 2: have at number two is just ahead of the person

346
00:19:04,880 --> 00:19:08,560
Speaker 2: I think you think we think we want, and that

347
00:19:08,600 --> 00:19:12,520
Speaker 2: person at number three I had at number one at

348
00:19:12,640 --> 00:19:16,800
Speaker 2: various points throughout my day. So I really don't feel

349
00:19:16,800 --> 00:19:21,560
Speaker 2: like I'm being that rude if I take this person

350
00:19:22,200 --> 00:19:25,280
Speaker 2: at number two instead, and I'm going to add to

351
00:19:25,320 --> 00:19:29,080
Speaker 2: my reasoning that I kind of have a feeling that

352
00:19:29,200 --> 00:19:31,600
Speaker 2: my number two choice may not be in your top five,

353
00:19:32,400 --> 00:19:38,560
Speaker 2: So I have to go with my number two pick

354
00:19:39,480 --> 00:19:45,639
Speaker 2: someone I called back in twenty twenty, the Chameleon Collaborator

355
00:19:46,600 --> 00:19:48,080
Speaker 2: till the Swinton.

356
00:19:48,359 --> 00:19:55,639
Speaker 3: Ahah proceed, not the pick I have till the I

357
00:19:55,680 --> 00:19:57,760
Speaker 3: also had her on my top tip okay, but not

358
00:19:57,760 --> 00:20:01,440
Speaker 3: the one. But here she is an honorable mention. Wow,

359
00:20:01,520 --> 00:20:05,160
Speaker 3: and I can explain why, but definitely gave her consideration.

360
00:20:05,760 --> 00:20:08,960
Speaker 3: Go ahead. I think it's a completely reasonable pick. How

361
00:20:09,040 --> 00:20:10,200
Speaker 3: did she stick around for you?

362
00:20:10,359 --> 00:20:10,479
Speaker 10: So?

363
00:20:10,680 --> 00:20:13,640
Speaker 2: The Mount Rushmore is so hard because there's so many

364
00:20:13,680 --> 00:20:16,720
Speaker 2: movies and so many good performances. You almost have to

365
00:20:16,760 --> 00:20:21,360
Speaker 2: break it up. In terms of directors collaborators that she's

366
00:20:21,400 --> 00:20:24,560
Speaker 2: worked with. You've got the Wes Anderson Side, Asteroid City,

367
00:20:24,600 --> 00:20:28,680
Speaker 2: French Dispatch, Grand Budapest, Moonrise, Kingdom, Isle of Dogs. You've

368
00:20:28,720 --> 00:20:31,600
Speaker 2: got the Luca Guardanino movies like I Am Love and

369
00:20:31,640 --> 00:20:35,240
Speaker 2: a Bigger Splash Suspiria. Not a huge fan, really like

370
00:20:35,440 --> 00:20:39,000
Speaker 2: her in that film, the Jim Jarmish films like Limits

371
00:20:39,000 --> 00:20:41,920
Speaker 2: of Control, The Dead Don't Die, only Lovers Left Alive.

372
00:20:42,359 --> 00:20:45,360
Speaker 2: As I say, those three titles. I'm not totally sure.

373
00:20:45,400 --> 00:20:47,399
Speaker 2: I actually have seen the limits of Control, so we

374
00:20:47,440 --> 00:20:49,640
Speaker 2: can strike that. But I have seen only Lovers Left

375
00:20:49,680 --> 00:20:53,320
Speaker 2: Alive and the Dead Don't Die. And they're both wonderful films.

376
00:20:53,840 --> 00:20:57,240
Speaker 2: The Coen Brothers Hail Caesar, a movie we both like,

377
00:20:57,320 --> 00:21:01,080
Speaker 2: You love. I like quite a bit, really appreciate her

378
00:21:01,200 --> 00:21:04,080
Speaker 2: in Burn after reading. Add to that the Bong June

379
00:21:04,160 --> 00:21:08,800
Speaker 2: Hoe performances in Oakja Snow Piercer, her collaborations with Joanna

380
00:21:08,840 --> 00:21:12,080
Speaker 2: Hogg in Eternal Daughter and The Souvenir Parts one and two.

381
00:21:12,520 --> 00:21:14,720
Speaker 2: And then, of course, if she hasn't made enough of

382
00:21:14,760 --> 00:21:18,439
Speaker 2: a mark on the last twenty five years, you have

383
00:21:18,520 --> 00:21:24,560
Speaker 2: her appearing and performing quite well in various MCU installments.

384
00:21:24,960 --> 00:21:27,560
Speaker 2: She's also so great. And how about these titles, Josh,

385
00:21:27,560 --> 00:21:30,399
Speaker 2: I haven't even said yet. The David Fincher film The Killer.

386
00:21:31,000 --> 00:21:34,520
Speaker 2: We need to talk about Kevin the Deep End from

387
00:21:34,520 --> 00:21:37,119
Speaker 2: two thousand and one, the movie she won an Oscar

388
00:21:37,160 --> 00:21:41,600
Speaker 2: for Best Supporting Actress. Michael Clayton. So I'm gonna have

389
00:21:41,640 --> 00:21:44,520
Speaker 2: a little bit of a Maya culpa here. Michael Clayton

390
00:21:44,840 --> 00:21:49,040
Speaker 2: didn't make Madness, didn't even make the shortlists for Madness

391
00:21:49,080 --> 00:21:51,359
Speaker 2: probably should have. It's a movie that a lot of

392
00:21:51,400 --> 00:21:56,639
Speaker 2: people really revere, and I do love her performance in

393
00:21:56,640 --> 00:21:59,000
Speaker 2: that film. I don't think it's a matter of going

394
00:21:59,040 --> 00:22:02,520
Speaker 2: against type necessarily because I don't think Tilda Swinton has

395
00:22:03,000 --> 00:22:05,680
Speaker 2: a title. You can you can look at a movie

396
00:22:05,720 --> 00:22:08,280
Speaker 2: like The Deep End, where she plays a mom, an

397
00:22:08,320 --> 00:22:11,840
Speaker 2: everyday mom trying to protect her son. In something like

398
00:22:11,880 --> 00:22:15,200
Speaker 2: We Need to Talk About Kevin, she's a mom trying

399
00:22:15,200 --> 00:22:17,160
Speaker 2: to figure out how to live with her son. She

400
00:22:17,200 --> 00:22:23,600
Speaker 2: does play quote unquote normal characters in both of those cases,

401
00:22:23,640 --> 00:22:25,680
Speaker 2: and I just picked two where I can recall her

402
00:22:25,720 --> 00:22:29,359
Speaker 2: playing those kind of everyday characters. She is playing different

403
00:22:29,400 --> 00:22:33,400
Speaker 2: forms of desperation, but there's something entirely different about her.

404
00:22:33,480 --> 00:22:37,520
Speaker 2: Karen Crowder and Michael Clayton a woman who is herself,

405
00:22:37,760 --> 00:22:42,320
Speaker 2: always performing, always projecting an image of control in a

406
00:22:42,359 --> 00:22:46,280
Speaker 2: corporate world that seems to demand it. And that big

407
00:22:46,359 --> 00:22:50,160
Speaker 2: scene with Clooney at the end, I love the moment

408
00:22:50,400 --> 00:22:54,840
Speaker 2: just before it she's putting this proposal before the board.

409
00:22:55,800 --> 00:22:58,399
Speaker 2: She walks out the door and there's nothing really smug

410
00:22:58,400 --> 00:23:01,520
Speaker 2: about it, but there's just kind of a little bit

411
00:23:01,560 --> 00:23:05,720
Speaker 2: of self satisfaction on her face, like I geared myself

412
00:23:05,800 --> 00:23:08,919
Speaker 2: up for this moment, and I did it. I delivered.

413
00:23:09,960 --> 00:23:13,840
Speaker 2: And she's walking with a precision, and she brushes kind

414
00:23:13,840 --> 00:23:15,600
Speaker 2: of at her jacket, you know, kind of you pull

415
00:23:15,640 --> 00:23:18,760
Speaker 2: it down behind you, just making sure you're prim and

416
00:23:18,840 --> 00:23:24,160
Speaker 2: proper and everything is perfect. And then you watch her

417
00:23:24,480 --> 00:23:29,159
Speaker 2: get confronted by Clooney and the way she throughout that

418
00:23:29,359 --> 00:23:34,879
Speaker 2: entire exchange tries to calculate the right next move. I'd

419
00:23:34,960 --> 00:23:39,560
Speaker 2: say it's like a robot short circuiting, except Swinton makes

420
00:23:39,680 --> 00:23:41,520
Speaker 2: Karen all two humans.

421
00:23:41,840 --> 00:23:43,439
Speaker 11: It's a drag. I got a thousand of these things.

422
00:23:43,480 --> 00:23:44,560
Speaker 11: What the hell am I going to do with them?

423
00:23:45,160 --> 00:23:46,320
Speaker 4: I'm calling Marty.

424
00:23:46,240 --> 00:23:47,719
Speaker 3: Good Good do it.

425
00:23:48,400 --> 00:23:50,160
Speaker 11: That's a great place to start. Let's find out who

426
00:23:50,160 --> 00:23:52,920
Speaker 11: told him that Arthur was calling Anakaiserson. Let's find out

427
00:23:52,920 --> 00:23:54,720
Speaker 11: who tapped those phones.

428
00:23:54,520 --> 00:23:57,720
Speaker 2: This this memorandum, even if it's authentic, who chied out?

429
00:23:57,760 --> 00:24:00,720
Speaker 2: I highly I know what you did to Arthur's protected

430
00:24:00,800 --> 00:24:01,639
Speaker 2: It belongs to you.

431
00:24:01,720 --> 00:24:01,960
Speaker 7: North.

432
00:24:02,000 --> 00:24:02,600
Speaker 11: I know you're killed.

433
00:24:02,640 --> 00:24:04,679
Speaker 6: It's a cot and dry case of attorney clients.

434
00:24:05,040 --> 00:24:07,480
Speaker 11: Now, that's just not the way to go here, Karen,

435
00:24:08,400 --> 00:24:10,720
Speaker 11: For such a smart person, you really are lost, aren't you.

436
00:24:11,680 --> 00:24:14,560
Speaker 2: This conversation is over, and I love that line for

437
00:24:14,600 --> 00:24:17,280
Speaker 2: such a smart person. You really are lost, aren't you?

438
00:24:17,359 --> 00:24:22,840
Speaker 2: And man' That's what Swinton plays when she's playing Karen Crowder.

439
00:24:23,000 --> 00:24:27,720
Speaker 2: That last scene really is as rewatchable a scene as

440
00:24:27,760 --> 00:24:31,600
Speaker 2: there is from the two thousands, thanks to both Tilda

441
00:24:31,640 --> 00:24:34,520
Speaker 2: Swinton and George Clooney. Oh you know what else I

442
00:24:34,560 --> 00:24:37,480
Speaker 2: haven't mentioned. She's in three Thousand Years of Longing, The

443
00:24:37,560 --> 00:24:42,800
Speaker 2: Curious Case of Benjamin Button adaptation, wonderfully funny. In train Wreck.

444
00:24:43,040 --> 00:24:47,600
Speaker 2: She's in Vanilla Sky, Memoria, and Mike Mills Thumbsucker. There

445
00:24:47,600 --> 00:24:49,639
Speaker 2: are others. Those are just all movies I like.

446
00:24:50,080 --> 00:24:54,520
Speaker 3: Yeah, the filmography is incredible. Michael Clayton is the title

447
00:24:55,200 --> 00:24:58,560
Speaker 3: that almost pushed her onto the board for me because

448
00:24:58,600 --> 00:25:02,280
Speaker 3: it was all about the pre twenty ten work. As

449
00:25:02,320 --> 00:25:04,399
Speaker 3: I said, you know, she was my number eight in

450
00:25:04,440 --> 00:25:07,320
Speaker 3: the Best of the twenty tens, so there's nothing to

451
00:25:07,359 --> 00:25:11,080
Speaker 3: complain about her work. She's been doing since Michael Clayton

452
00:25:11,280 --> 00:25:14,160
Speaker 3: Burn after reading I think you mentioned prior to twenty

453
00:25:14,200 --> 00:25:16,480
Speaker 3: ten adaptation. These are the ones that stood out to me.

454
00:25:17,080 --> 00:25:20,000
Speaker 3: Broken Flowers, The White Witch, and Narnia.

455
00:25:20,000 --> 00:25:22,040
Speaker 2: Oh yeah, Broken Flowers. I didn't say that another good.

456
00:25:22,160 --> 00:25:26,840
Speaker 3: Yeah, Jarmush very good. And you know, I don't know

457
00:25:26,880 --> 00:25:29,439
Speaker 3: if this is fair. It probably isn't because I have

458
00:25:29,480 --> 00:25:34,240
Speaker 3: another person I hope I get who also does you know,

459
00:25:34,280 --> 00:25:38,840
Speaker 3: works often in smaller parts. But that's something that sort

460
00:25:38,880 --> 00:25:41,119
Speaker 3: of held me back for this list. And then I

461
00:25:41,200 --> 00:25:43,120
Speaker 3: just have in my notes here may have hit her

462
00:25:43,160 --> 00:25:47,040
Speaker 3: stride post twenty ten question mark, which I know applies

463
00:25:47,200 --> 00:25:50,080
Speaker 3: post twenty ten applies, and that's quite a stride. So

464
00:25:50,280 --> 00:25:52,280
Speaker 3: as you were going through all those titles, the regret

465
00:25:52,400 --> 00:25:56,480
Speaker 3: was definitely seeping in. But hey, I came here with

466
00:25:56,520 --> 00:26:00,439
Speaker 3: her as an honorable mention, so I'm not gonna regret

467
00:26:00,520 --> 00:26:03,320
Speaker 3: it all that much. Okay, I'm gonna grab him. I

468
00:26:03,359 --> 00:26:06,120
Speaker 3: can't believe you didn't grab him. Yeah, how is how

469
00:26:06,200 --> 00:26:07,240
Speaker 3: is Joaquin Phoenix here?

470
00:26:08,800 --> 00:26:13,320
Speaker 2: So woking Phoenix? Somehow is it? Let me be clear,

471
00:26:13,560 --> 00:26:15,639
Speaker 2: He's not here off my board.

472
00:26:16,320 --> 00:26:18,919
Speaker 3: He's off everybody's board because I just took him. He

473
00:26:19,000 --> 00:26:19,520
Speaker 3: just took him.

474
00:26:20,240 --> 00:26:22,560
Speaker 2: It's crazy because he was my number one, and that

475
00:26:22,680 --> 00:26:26,679
Speaker 2: was a slam dunk number one back in twenty twenty. Yeah,

476
00:26:26,240 --> 00:26:28,879
Speaker 2: and and nothing's really changed either as far as my

477
00:26:29,000 --> 00:26:30,800
Speaker 2: perception of him, to be honest.

478
00:26:30,760 --> 00:26:34,040
Speaker 3: Oh, of course, yeah, of course. And as I'm as

479
00:26:34,040 --> 00:26:36,439
Speaker 3: I was describing how I thought about Tilda Swinton, it

480
00:26:36,480 --> 00:26:41,520
Speaker 3: was very similar for him. Unimpeachable in the section the

481
00:26:41,600 --> 00:26:44,840
Speaker 3: work where we considered last time, the period we considered

482
00:26:44,920 --> 00:26:46,239
Speaker 3: last time, I don't even know if we talked much

483
00:26:46,240 --> 00:26:50,119
Speaker 3: about Coman. Come on, I love him as joker. I

484
00:26:50,160 --> 00:26:53,919
Speaker 3: think that only adds to his credibility for me. But

485
00:26:54,040 --> 00:26:57,600
Speaker 3: let's look at prior to twenty ten. I feel like

486
00:26:57,680 --> 00:27:00,760
Speaker 3: that period. Not only there's not only a lot of

487
00:27:00,760 --> 00:27:04,360
Speaker 3: films here that show his promise, obviously much younger than

488
00:27:05,160 --> 00:27:08,000
Speaker 3: I think, he has films that delivered on that promise already.

489
00:27:08,200 --> 00:27:10,840
Speaker 3: To die For, I mean this is where everyone came

490
00:27:11,280 --> 00:27:15,919
Speaker 3: to recognize that there was something special here Gladiator. You know,

491
00:27:16,040 --> 00:27:20,000
Speaker 3: maybe not an amusing performance. I don't know if you

492
00:27:20,000 --> 00:27:22,119
Speaker 3: would put it on that rushmore you've been talking about,

493
00:27:22,280 --> 00:27:23,919
Speaker 3: but I do like it as a pivot from to

494
00:27:24,000 --> 00:27:26,520
Speaker 3: Die For and just you know, kind of jumping into

495
00:27:26,560 --> 00:27:30,080
Speaker 3: a big blockbuster and kind of grabbing it in a way,

496
00:27:30,160 --> 00:27:31,640
Speaker 3: making his scenes his own.

497
00:27:31,680 --> 00:27:33,560
Speaker 2: For sure, now the just would just want to be

498
00:27:33,600 --> 00:27:36,080
Speaker 2: sure you're not counting to die for in the two thousands.

499
00:27:36,480 --> 00:27:38,919
Speaker 3: Today, for is oh, remind me what it's in your nineties.

500
00:27:38,920 --> 00:27:39,880
Speaker 2: It's like ninety five.

501
00:27:40,600 --> 00:27:42,879
Speaker 3: Oh, never mind, Okay, strike that from the record.

502
00:27:43,800 --> 00:27:45,680
Speaker 2: Everything you said still stands, but.

503
00:27:45,800 --> 00:27:48,040
Speaker 3: Yeah, yeah, but that, But yeah, I don't know if

504
00:27:48,080 --> 00:27:50,960
Speaker 3: that would would that have eh No, I don't think

505
00:27:50,960 --> 00:27:53,080
Speaker 3: that would have swayed me because I also really like

506
00:27:53,160 --> 00:27:55,439
Speaker 3: his work with James Gray. So we're talking about the Yards,

507
00:27:55,480 --> 00:27:58,800
Speaker 3: we on the Night, two Lovers, and then you know,

508
00:27:59,000 --> 00:28:01,760
Speaker 3: it was it was brief, but his collaborations with m

509
00:28:01,840 --> 00:28:06,360
Speaker 3: Night Shamalan in Signs and The Village probably some of

510
00:28:06,440 --> 00:28:08,359
Speaker 3: the if you set aside the sixth Sons, some of

511
00:28:08,400 --> 00:28:12,080
Speaker 3: the best acting done in a Shamalan film. I really

512
00:28:12,119 --> 00:28:14,800
Speaker 3: think he's quite strong in Walk the Line, even though

513
00:28:14,840 --> 00:28:18,000
Speaker 3: that's not my favorite genre of film. You can usually

514
00:28:18,040 --> 00:28:21,320
Speaker 3: get really strong performances from it. And Phoenix gave one

515
00:28:21,359 --> 00:28:24,679
Speaker 3: and Walk the Line, So yeah, for me, you know,

516
00:28:24,720 --> 00:28:27,240
Speaker 3: you add that to stuff like I'm Still here, the Master,

517
00:28:27,400 --> 00:28:30,960
Speaker 3: Her in Her and Vice Joker and come on, come on, yeah,

518
00:28:31,160 --> 00:28:32,200
Speaker 3: gotta have him glad.

519
00:28:32,240 --> 00:28:32,439
Speaker 1: I do.

520
00:28:33,600 --> 00:28:35,159
Speaker 3: I've got a couple songs I were wrote in the

521
00:28:35,200 --> 00:28:35,720
Speaker 3: Air Force.

522
00:28:37,440 --> 00:28:38,800
Speaker 6: You got anything in the Air Force?

523
00:28:39,760 --> 00:28:41,520
Speaker 3: Nope, I do.

524
00:28:45,680 --> 00:28:52,320
Speaker 10: I hear the train coming, it's rolling around the Bend

525
00:28:53,920 --> 00:29:02,160
Speaker 10: and nine seen the Sunshine scenes. I don't know, I'm

526
00:29:02,240 --> 00:29:04,880
Speaker 10: stuck in fullsome prison.

527
00:29:05,240 --> 00:29:08,560
Speaker 2: Yeah, fantastic choice. And he was one in that mix

528
00:29:08,600 --> 00:29:11,040
Speaker 2: when I said that Kate Blanchett I had at number five,

529
00:29:11,080 --> 00:29:13,800
Speaker 2: but I had kind of two other choices that when

530
00:29:13,800 --> 00:29:16,000
Speaker 2: it got there, would I really pull the trigger or

531
00:29:16,000 --> 00:29:18,280
Speaker 2: would I go in a different direction. He was one

532
00:29:18,320 --> 00:29:22,080
Speaker 2: of those names. The Mount Rushmore is pretty clear, Freddie

533
00:29:22,120 --> 00:29:25,320
Speaker 2: Quell the Master, I think Dox Sportello and Haron Vice

534
00:29:25,880 --> 00:29:28,960
Speaker 2: obviously his character in Her. And then it gets really

535
00:29:28,960 --> 00:29:31,840
Speaker 2: difficult because you've got a character like Joe and Lynn

536
00:29:31,920 --> 00:29:34,640
Speaker 2: Ramsey's you were never really here. I love him as

537
00:29:34,760 --> 00:29:37,680
Speaker 2: Leonard and James Gray's two Lovers, which you mentioned. I

538
00:29:37,720 --> 00:29:40,680
Speaker 2: know a lot of people would put Joker probably in

539
00:29:40,760 --> 00:29:43,800
Speaker 2: the mix or perhaps in come On, Come On. The

540
00:29:43,840 --> 00:29:46,640
Speaker 2: fact is there are a lot of good choices, maybe

541
00:29:46,720 --> 00:29:50,840
Speaker 2: Josh since twenty twenty when I look at the titles,

542
00:29:51,320 --> 00:29:55,280
Speaker 2: other than come On, come On, it's Joker, Joker too,

543
00:29:56,560 --> 00:29:59,240
Speaker 2: Bo was afraid. Joker might have been twenty nineteen, so

544
00:29:59,400 --> 00:30:02,320
Speaker 2: just before twenty twenty, but Joker to Bo is afraid.

545
00:30:02,360 --> 00:30:06,080
Speaker 2: In Napoleon, I guess didn't do a ton to raise

546
00:30:06,240 --> 00:30:08,960
Speaker 2: Phoenix in my estimation, but then he really didn't need

547
00:30:09,000 --> 00:30:10,040
Speaker 2: to be raised.

548
00:30:09,920 --> 00:30:12,000
Speaker 3: And I probably like some of those performances more than

549
00:30:12,040 --> 00:30:12,800
Speaker 3: you exactly.

550
00:30:13,040 --> 00:30:21,760
Speaker 2: Okay, I am going to go with my third choice.

551
00:30:22,320 --> 00:30:26,560
Speaker 3: If I can get past this pick, I will have

552
00:30:26,640 --> 00:30:27,600
Speaker 3: everyone I want to have.

553
00:30:27,800 --> 00:30:32,800
Speaker 2: Okay, So here's the one that either is someone you

554
00:30:33,000 --> 00:30:37,760
Speaker 2: of course have on your list, because when you think

555
00:30:37,800 --> 00:30:45,120
Speaker 2: about the mount Rushmore of actors period, certainly living but

556
00:30:45,440 --> 00:30:48,280
Speaker 2: living or dead, this is a name that's going to

557
00:30:48,320 --> 00:30:50,320
Speaker 2: come up. This is a name that's going to come

558
00:30:50,360 --> 00:30:53,280
Speaker 2: up in the conversation in the top five or ten.

559
00:30:54,800 --> 00:31:00,360
Speaker 2: But I think you like to look at body of work,

560
00:31:01,200 --> 00:31:05,000
Speaker 2: and quantity seems to matter to you, Josh, in addition

561
00:31:05,280 --> 00:31:08,040
Speaker 2: to the quality, and I think that might rule this

562
00:31:08,120 --> 00:31:10,480
Speaker 2: person out, but it's not going to rule him out.

563
00:31:10,560 --> 00:31:11,800
Speaker 3: I know where you're going for me.

564
00:31:12,960 --> 00:31:16,560
Speaker 2: I am going with Daniel day Lewis.

565
00:31:17,080 --> 00:31:20,680
Speaker 3: Yes, yes, I love the pick. You're considered the pick

566
00:31:21,000 --> 00:31:23,320
Speaker 3: an honorable mention, not who I was thinking of. Actually

567
00:31:23,320 --> 00:31:26,840
Speaker 3: my first, my first honorable mention, so I would have

568
00:31:26,840 --> 00:31:31,800
Speaker 3: gone there. I definitely gave the limited body of work consideration,

569
00:31:31,960 --> 00:31:35,040
Speaker 3: and then said I don't care. I don't care that

570
00:31:35,080 --> 00:31:38,280
Speaker 3: he only made what six six films in this period,

571
00:31:38,320 --> 00:31:40,600
Speaker 3: two of which I haven't seen. I still don't care.

572
00:31:41,400 --> 00:31:45,360
Speaker 3: I would I would have easily taken him if I

573
00:31:45,400 --> 00:31:48,240
Speaker 3: had to go that direction, and happily so I can see.

574
00:31:48,480 --> 00:31:51,880
Speaker 2: You can see those chiseled faces in the rock now,

575
00:31:52,440 --> 00:31:58,560
Speaker 2: Daniel Plainview, there will be blood. Reynald Woodcock Phantom Thread Build,

576
00:31:58,600 --> 00:32:01,840
Speaker 2: the Butcher Gang of New York, still one of the

577
00:32:02,000 --> 00:32:08,120
Speaker 2: scariest non horror movie characters ever put on screen. And

578
00:32:08,720 --> 00:32:13,960
Speaker 2: Abraham Lincoln Steven Spielberg's Lincoln. If we were just doing

579
00:32:14,000 --> 00:32:16,760
Speaker 2: an actor's draft, as I was alluding to earlier, like

580
00:32:16,840 --> 00:32:19,000
Speaker 2: you're drafting a team. You don't know what movie you're

581
00:32:19,040 --> 00:32:21,600
Speaker 2: going to make, but you know you're gonna need talent.

582
00:32:22,240 --> 00:32:25,480
Speaker 2: Dandrew day Lewis is probably your number one pick, right,

583
00:32:25,760 --> 00:32:30,080
Speaker 2: And when you think about those four characters, it's hard

584
00:32:30,080 --> 00:32:33,800
Speaker 2: to come up with more disparate but equally compelling characters

585
00:32:34,240 --> 00:32:38,800
Speaker 2: than those four. He is, as I said back when

586
00:32:38,840 --> 00:32:41,480
Speaker 2: we revisited, there will be Blood, and I'm sure many

587
00:32:41,520 --> 00:32:44,880
Speaker 2: others have said about him, to use a cliche, he's

588
00:32:44,880 --> 00:32:48,000
Speaker 2: a force of nature on screen, and yet he is

589
00:32:48,040 --> 00:32:52,400
Speaker 2: someone who can do and who does such subtle work,

590
00:32:52,440 --> 00:32:57,080
Speaker 2: and he's someone who, with every expression and with every

591
00:32:57,200 --> 00:33:02,280
Speaker 2: line reading, seems to be given you three or four

592
00:33:02,320 --> 00:33:05,880
Speaker 2: different ways to interpret what might be going on in

593
00:33:05,920 --> 00:33:08,120
Speaker 2: his head. And I think it's such a feat Josh,

594
00:33:08,160 --> 00:33:13,520
Speaker 2: to be inscrutable, to inhabit characters that in their own

595
00:33:13,560 --> 00:33:19,680
Speaker 2: way are inscrutable without being alienating or distancing, and also

596
00:33:20,000 --> 00:33:24,720
Speaker 2: to be that big as his characters are without being

597
00:33:25,120 --> 00:33:29,080
Speaker 2: alienating or distancing. You do still have to be drawn

598
00:33:30,080 --> 00:33:35,320
Speaker 2: to these characters, and he can be distancing. My first

599
00:33:35,400 --> 00:33:38,800
Speaker 2: time with There Will Be Blood, the calibration was off

600
00:33:38,800 --> 00:33:42,280
Speaker 2: for me, But it has never been off with that

601
00:33:42,400 --> 00:33:45,000
Speaker 2: character in that movie since it's never been off with

602
00:33:45,120 --> 00:33:48,160
Speaker 2: Daniel day Lewis, since I think that is a film,

603
00:33:48,200 --> 00:33:52,440
Speaker 2: and that's a performance that you can recalibrate yourself around.

604
00:33:53,240 --> 00:33:56,400
Speaker 2: And I know everyone thinks about I've abandoned my child

605
00:33:56,920 --> 00:34:00,200
Speaker 2: and I drink your milkshake, But when I think about

606
00:34:00,240 --> 00:34:03,920
Speaker 2: Daniel Plainview, I think about the oil rig explosion and

607
00:34:03,960 --> 00:34:08,400
Speaker 2: the urgency to get his son to bring him to safety,

608
00:34:08,840 --> 00:34:11,720
Speaker 2: and then not too long after that, the train scene

609
00:34:12,280 --> 00:34:16,240
Speaker 2: where he does abandon his son and the anguish the silent,

610
00:34:16,840 --> 00:34:21,880
Speaker 2: mostly silent anguish that we see Daniel da Lewis's character

611
00:34:22,440 --> 00:34:23,040
Speaker 2: going through.

612
00:34:23,600 --> 00:34:25,360
Speaker 3: Do you just tell me how to run my family?

613
00:34:26,880 --> 00:34:28,879
Speaker 3: It might be more important now that you've proven the field.

614
00:34:28,920 --> 00:34:31,520
Speaker 3: We're offering to buy you out. One night.

615
00:34:31,520 --> 00:34:33,360
Speaker 12: I'm going to come to you inside of your house

616
00:34:33,400 --> 00:34:35,400
Speaker 12: wherever you're sleeping, and I'm going to cut your throat.

617
00:34:37,920 --> 00:34:41,000
Speaker 2: Okay, So not much in terms of quantity. I think

618
00:34:41,160 --> 00:34:44,000
Speaker 2: with those four movies and four performances, the quality is

619
00:34:44,040 --> 00:34:46,840
Speaker 2: pretty high. Josh, and you said you hadn't seen the

620
00:34:46,880 --> 00:34:52,239
Speaker 2: other two I have. Nine isn't great, but he's still

621
00:34:52,320 --> 00:34:55,880
Speaker 2: Daniel day Lewis, and he's still entirely watchable and magnetic

622
00:34:55,960 --> 00:34:58,280
Speaker 2: in that film. And you know what is a really

623
00:34:58,440 --> 00:35:01,800
Speaker 2: good film that more people should see with another really

624
00:35:01,840 --> 00:35:04,799
Speaker 2: good performance by Daniel day Lewis, The Ballad of Jack

625
00:35:04,840 --> 00:35:07,560
Speaker 2: and Rose. So you do have six movies to go

626
00:35:07,640 --> 00:35:10,440
Speaker 2: off of, all of which I would recommend seeing, and

627
00:35:10,560 --> 00:35:13,960
Speaker 2: recommend seeing for his performances.

628
00:35:14,560 --> 00:35:16,960
Speaker 3: Only fair if you've seen all of his films during

629
00:35:16,960 --> 00:35:18,720
Speaker 3: this period, that you should get him in this draft.

630
00:35:18,800 --> 00:35:24,359
Speaker 3: So that that worked out, okay, which means I can

631
00:35:24,400 --> 00:35:28,080
Speaker 3: take the one person that I thought left at least

632
00:35:28,120 --> 00:35:32,640
Speaker 3: we might both want it's Scarlett Johansson.

633
00:35:32,800 --> 00:35:37,160
Speaker 2: Yeah, after I realized it wasn't Tilda, I knew it

634
00:35:37,200 --> 00:35:39,359
Speaker 2: had to be scar Joe because we both had her

635
00:35:39,480 --> 00:35:41,080
Speaker 2: quite high in twenty twenty.

636
00:35:41,760 --> 00:35:45,120
Speaker 3: We did. And the instinct might be to say, well, sure,

637
00:35:45,280 --> 00:35:48,040
Speaker 3: she's had a great run the last ten fifteen years,

638
00:35:48,200 --> 00:35:52,080
Speaker 3: but has she been around that long? And actually she

639
00:35:52,280 --> 00:35:55,919
Speaker 3: has because she came to the screen as I don't

640
00:35:55,920 --> 00:35:58,520
Speaker 3: know if you'd say a child actor, but a younger

641
00:35:58,600 --> 00:36:01,560
Speaker 3: teen actor, certainly in the horror Swhisper and and I

642
00:36:01,600 --> 00:36:04,520
Speaker 3: remember calling out her performance in that, you know, kind

643
00:36:04,520 --> 00:36:08,320
Speaker 3: of sitting up and like, who is this kid? And

644
00:36:08,360 --> 00:36:11,560
Speaker 3: it's only been proven from there. So if you look

645
00:36:11,719 --> 00:36:17,000
Speaker 3: at her filmography pre twenty ten, she has the prestige

646
00:36:17,920 --> 00:36:20,880
Speaker 3: match point. Here's the big one, here's the one. The

647
00:36:20,880 --> 00:36:24,400
Speaker 3: fact that Lost in Translation came in this period for

648
00:36:24,520 --> 00:36:28,399
Speaker 3: me is probably enough to say, okay, you're still you're

649
00:36:28,440 --> 00:36:32,840
Speaker 3: still ready for this top five in this draft. But yeah,

650
00:36:32,920 --> 00:36:36,360
Speaker 3: the younger performances are strong. Think about something like a

651
00:36:36,400 --> 00:36:39,240
Speaker 3: film I like people have probably forgotten in Good Company,

652
00:36:39,280 --> 00:36:42,840
Speaker 3: but Ghost World, which has become something of a cult film.

653
00:36:43,239 --> 00:36:46,360
Speaker 3: The Cohen's the man who wasn't there. You know, she

654
00:36:46,400 --> 00:36:49,799
Speaker 3: has a smaller part but is good. And you know,

655
00:36:49,880 --> 00:36:52,799
Speaker 3: here's here's what pushed her over the edge. Honestly, it's

656
00:36:52,840 --> 00:36:55,760
Speaker 3: the fact that since twenty twenty, since we did those

657
00:36:56,440 --> 00:36:59,879
Speaker 3: lists and we both had her on ours, she had

658
00:36:59,880 --> 00:37:03,120
Speaker 3: a Asteroid City, which I think we both had is

659
00:37:03,160 --> 00:37:05,560
Speaker 3: like one of the favorite performances of the year of

660
00:37:05,640 --> 00:37:08,680
Speaker 3: the year, and you know what, Hey, she's a lot

661
00:37:08,680 --> 00:37:10,359
Speaker 3: of fun and fly Me to the Moon, so throw

662
00:37:10,400 --> 00:37:13,920
Speaker 3: that in here as well. But I was a little surprised, honestly,

663
00:37:13,960 --> 00:37:17,919
Speaker 3: Adam to see when I sat down and looked at

664
00:37:17,960 --> 00:37:20,760
Speaker 3: the work outside of that twenty ten to twenty twenty

665
00:37:20,800 --> 00:37:25,880
Speaker 3: period and that it resonated held up and I wanted

666
00:37:25,880 --> 00:37:27,439
Speaker 3: to have her on this list too.

667
00:37:28,160 --> 00:37:31,640
Speaker 7: I'm not a good mother. I love my daughter, but

668
00:37:31,680 --> 00:37:33,960
Speaker 7: I'm not a good mother because, unfortunately for her, she's

669
00:37:34,000 --> 00:37:36,719
Speaker 7: not my first priority on account there's always already the

670
00:37:36,719 --> 00:37:38,680
Speaker 7: thing I planned to do next. I love my daughter,

671
00:37:38,680 --> 00:37:42,440
Speaker 7: by the way I love all my children. We have

672
00:37:42,440 --> 00:37:45,840
Speaker 7: a magical time when we're together. I have another girl

673
00:37:45,920 --> 00:37:47,520
Speaker 7: and a boy. They lived with my second ex.

674
00:37:47,440 --> 00:37:49,000
Speaker 6: Husband in Utah.

675
00:37:49,120 --> 00:37:52,000
Speaker 7: He rarely sees them either. I wish I felt guilty

676
00:37:52,000 --> 00:37:55,200
Speaker 7: at least, but I don't experience that emotion. If I

677
00:37:55,280 --> 00:37:56,960
Speaker 7: understand it correctly, I played it.

678
00:37:56,960 --> 00:38:00,520
Speaker 6: Of course, you never feel guilty in real life.

679
00:38:00,800 --> 00:38:03,920
Speaker 2: I'm looking back at my notes now from twenty twenty,

680
00:38:03,960 --> 00:38:07,080
Speaker 2: and I mentioned the three great performances in three great films,

681
00:38:07,120 --> 00:38:11,480
Speaker 2: thing Josh, I have Marriage Story and Under the Skin

682
00:38:12,320 --> 00:38:16,600
Speaker 2: and her Indible Right, I'm not even listing their lost

683
00:38:16,640 --> 00:38:19,759
Speaker 2: in translation. And let's be clear, I may not love

684
00:38:19,800 --> 00:38:21,680
Speaker 2: it as much as you and Sam do, but I'm

685
00:38:21,680 --> 00:38:23,440
Speaker 2: pretty sure I gave it four and a half stars,

686
00:38:23,480 --> 00:38:26,759
Speaker 2: and I think her performance is pretty wonderful, so it

687
00:38:27,160 --> 00:38:30,279
Speaker 2: belongs in that mix. There's a very clear Mount Rushmore there.

688
00:38:30,280 --> 00:38:33,319
Speaker 2: And I forgot the Ghost World was two thousand and one.

689
00:38:33,360 --> 00:38:34,640
Speaker 2: I had to look that up. I thought I was

690
00:38:34,680 --> 00:38:38,040
Speaker 2: going to catch you in another nineties blunder, but no,

691
00:38:38,200 --> 00:38:41,120
Speaker 2: that's two thousand and one. And yeah, you had Asteroid

692
00:38:41,160 --> 00:38:45,000
Speaker 2: City into the mix. You've got Hail Caesar in the mix.

693
00:38:45,800 --> 00:38:48,080
Speaker 2: She is in those MCU turns.

694
00:38:48,080 --> 00:38:50,920
Speaker 3: You did catch me. Horse Whisper was too early, yes,

695
00:38:50,920 --> 00:38:54,680
Speaker 3: of course eight yes, take that one off the board,

696
00:38:54,960 --> 00:38:57,080
Speaker 3: but I'm still putting her hud By less.

697
00:38:57,160 --> 00:39:00,560
Speaker 2: Yeah, it is a wonderful choice, and she was in

698
00:39:00,560 --> 00:39:02,680
Speaker 2: my top ten for this draft. It was certainly possible

699
00:39:03,040 --> 00:39:06,279
Speaker 2: that it would get to her. But you got her

700
00:39:06,520 --> 00:39:09,880
Speaker 2: with your third choice, which brings me to my fourth pick,

701
00:39:10,280 --> 00:39:12,920
Speaker 2: and I am going to take the person I have

702
00:39:13,800 --> 00:39:18,240
Speaker 2: at number four, an actor who's praises I was singing

703
00:39:18,560 --> 00:39:20,960
Speaker 2: just last week when we were doing our top twenty

704
00:39:21,000 --> 00:39:25,080
Speaker 2: five films of the century. The actor is certainly one

705
00:39:25,120 --> 00:39:30,480
Speaker 2: of my favorites. Denzel Washington, Josh the Mount Rushmore, and

706
00:39:30,520 --> 00:39:34,840
Speaker 2: if you'd go here, yeah, The Mount Rushmore is Detective

707
00:39:34,960 --> 00:39:40,600
Speaker 2: Keith Frazier from Inside Man. I don't think Training Day

708
00:39:40,640 --> 00:39:43,040
Speaker 2: is an incredible film. I think it's a good film.

709
00:39:43,960 --> 00:39:48,120
Speaker 2: That performance, of course, is a detective Alonzo Harris is

710
00:39:48,920 --> 00:39:52,880
Speaker 2: charismatic as hell. Flight is a movie I was mixed on,

711
00:39:53,280 --> 00:39:57,560
Speaker 2: but I think that performance as Whip Whittaker is among

712
00:39:57,840 --> 00:40:01,319
Speaker 2: Denzel Washington's best. And then I'll go ahead and throw

713
00:40:01,360 --> 00:40:04,880
Speaker 2: in a movie that is beloved by me and almost

714
00:40:05,200 --> 00:40:09,240
Speaker 2: nobody else. His turn is Creasy in Man on Fire.

715
00:40:09,920 --> 00:40:14,080
Speaker 2: There are much more respectable performances to throw in a

716
00:40:14,160 --> 00:40:18,080
Speaker 2: Mount Rushmore for Denzel, though from this period. Ben Marco

717
00:40:18,320 --> 00:40:20,279
Speaker 2: in what I think is a really good remake by

718
00:40:20,320 --> 00:40:23,920
Speaker 2: Jonathan dem of the Manchurian Candidate. It is Troy Maxon

719
00:40:24,480 --> 00:40:29,200
Speaker 2: in Fences, Frank Lucas an American gangster. His turn is

720
00:40:29,239 --> 00:40:33,480
Speaker 2: Macbeth in the Tragedy of Macbeth. All of those are good,

721
00:40:34,520 --> 00:40:37,799
Speaker 2: great performances. But he is an actor, and I think

722
00:40:37,840 --> 00:40:39,960
Speaker 2: this is the key. And those are good movies for

723
00:40:40,000 --> 00:40:40,520
Speaker 2: the most part.

724
00:40:40,600 --> 00:40:40,799
Speaker 3: Right.

725
00:40:41,080 --> 00:40:46,200
Speaker 2: But the thing about Denzel is he elevates everything he

726
00:40:46,320 --> 00:40:50,680
Speaker 2: is in. When you have material, and he has made films,

727
00:40:50,920 --> 00:40:53,000
Speaker 2: I'm going to give you some titles, Josh. When you

728
00:40:53,040 --> 00:40:58,400
Speaker 2: have material that nobody is going to argue is necessarily

729
00:40:58,440 --> 00:41:05,800
Speaker 2: great cinema, it still delivers legitimate entertainment because of Denzel

730
00:41:05,920 --> 00:41:09,640
Speaker 2: Washington and his commitment to the material and to his character.

731
00:41:10,360 --> 00:41:16,480
Speaker 2: Deja Vu, the Book of Eli, Gladiator too, the Magnificent Seven,

732
00:41:16,920 --> 00:41:21,960
Speaker 2: and yeah, exhibit A would be any slash all of

733
00:41:22,000 --> 00:41:27,439
Speaker 2: the Equalizer movies, which would be otherwise unwatchable. And yet

734
00:41:27,560 --> 00:41:33,120
Speaker 2: something about the earnestness, the sincerity of that character and

735
00:41:33,160 --> 00:41:37,920
Speaker 2: the conviction that Denzel Washington brings to those roles makes

736
00:41:38,320 --> 00:41:42,239
Speaker 2: those movies something Josh, that at minimum, I can watch

737
00:41:42,239 --> 00:41:45,000
Speaker 2: on an airplane, and you know what, at the very

738
00:41:45,160 --> 00:41:48,480
Speaker 2: bottom of this list for an actor I already adore

739
00:41:48,719 --> 00:41:51,759
Speaker 2: who's given me performances like Keith Fraser an inside man

740
00:41:51,800 --> 00:41:55,400
Speaker 2: and like Alonzo Harris. That just rounds out what I

741
00:41:55,440 --> 00:41:57,160
Speaker 2: think makes him so special as an actor.

742
00:41:57,680 --> 00:42:01,680
Speaker 6: I'm still crying out giving me your phone.

743
00:42:02,560 --> 00:42:03,200
Speaker 3: Right or left?

744
00:42:04,520 --> 00:42:05,520
Speaker 6: What you mean and it?

745
00:42:05,600 --> 00:42:07,040
Speaker 3: Are you right or left handed?

746
00:42:07,520 --> 00:42:07,759
Speaker 13: Right?

747
00:42:07,920 --> 00:42:11,080
Speaker 8: Call nine one one, tell them the truth about what

748
00:42:11,200 --> 00:42:12,719
Speaker 8: happened in it, and I get Daddy's money.

749
00:42:12,719 --> 00:42:14,960
Speaker 3: He's not going to save you this time. You understand, Yes, sir,

750
00:42:15,480 --> 00:42:20,799
Speaker 3: you know what I mean. No, her name is Amy. Give

751
00:42:20,800 --> 00:42:26,400
Speaker 3: me your left hand, Give me.

752
00:42:26,719 --> 00:42:30,680
Speaker 2: Your left hand, and yes, I'm leading out. Remember the

753
00:42:30,719 --> 00:42:32,680
Speaker 2: Titans in John Q. Because I don't care for them

754
00:42:32,719 --> 00:42:36,040
Speaker 2: that much. Even though, yes, of course he's Denzel. He's

755
00:42:36,160 --> 00:42:37,240
Speaker 2: very good in those movies.

756
00:42:37,719 --> 00:42:39,799
Speaker 3: Well, that's just it. I'd be tempted to say, you know,

757
00:42:39,880 --> 00:42:42,759
Speaker 3: he's never been bad, except I haven't seen everything he's done,

758
00:42:43,520 --> 00:42:46,200
Speaker 3: and maybe there's a chance he is in something and

759
00:42:46,239 --> 00:42:48,080
Speaker 3: I avoided it because I didn't have a good instinct

760
00:42:48,080 --> 00:42:51,719
Speaker 3: about it. But everything you've mentioned pretty much, he's fantastic

761
00:42:51,760 --> 00:42:54,480
Speaker 3: in Uh. He was number seven on my board, so

762
00:42:55,080 --> 00:42:58,720
Speaker 3: definitely in the mix for me, and you highlighted the ones,

763
00:42:59,120 --> 00:43:00,680
Speaker 3: you know. Yeah, I don't think think it should be

764
00:43:00,760 --> 00:43:03,160
Speaker 3: his best actor win in Training Day, but it was

765
00:43:03,200 --> 00:43:05,960
Speaker 3: really these titles that had him this high for me.

766
00:43:06,080 --> 00:43:10,920
Speaker 3: Manchuri Candidate, Inside Man, Flight Fences, the Tragedy of Macbeth,

767
00:43:11,040 --> 00:43:13,520
Speaker 3: and maybe the poster child for you what you were

768
00:43:13,560 --> 00:43:17,040
Speaker 3: talking about him elevating material Gladiator too, such fun in

769
00:43:17,080 --> 00:43:21,400
Speaker 3: that one. So yeah, definitely in consideration for me. All right,

770
00:43:21,480 --> 00:43:25,680
Speaker 3: So we are up to my fourth pick, which means

771
00:43:25,719 --> 00:43:26,880
Speaker 3: you only have one left.

772
00:43:26,920 --> 00:43:27,359
Speaker 2: That's right.

773
00:43:30,640 --> 00:43:34,360
Speaker 3: This is someone I wanted on my board at number four.

774
00:43:35,280 --> 00:43:37,960
Speaker 3: But I think it could also be a gift for you, Adam,

775
00:43:38,040 --> 00:43:41,520
Speaker 3: because I think this will offer you a chance to

776
00:43:41,520 --> 00:43:43,799
Speaker 3: get someone who might be your last pick. You've been

777
00:43:43,800 --> 00:43:48,960
Speaker 3: surprising me though, so maybe not. I'm taking Tony Leung

778
00:43:49,640 --> 00:43:54,680
Speaker 3: instead of Leonardo DiCaprio. You can have Leo, thank you.

779
00:43:54,840 --> 00:43:56,960
Speaker 3: I'm taking Tony, and I think of them as a pair,

780
00:43:57,680 --> 00:44:00,960
Speaker 3: of course, because Young was just so good in two

781
00:44:00,960 --> 00:44:04,520
Speaker 3: thousand and two's Infernal Affairs, which Martin Scarcese remade in

782
00:44:04,760 --> 00:44:08,520
Speaker 3: six with DiCaprio as the departed. I do think I

783
00:44:08,560 --> 00:44:10,600
Speaker 3: was thinking about this too today. They kind of share

784
00:44:10,680 --> 00:44:14,280
Speaker 3: equality in some of their films, not all their films.

785
00:44:15,200 --> 00:44:18,279
Speaker 3: They can be dreamboat weasels when they want to be,

786
00:44:18,719 --> 00:44:20,400
Speaker 3: and I love that. I mean, those are my favorite

787
00:44:20,400 --> 00:44:23,799
Speaker 3: performance of DiCaprio, and I love when Leung has leaned

788
00:44:23,840 --> 00:44:26,560
Speaker 3: into that as well. Let's focus on him though now,

789
00:44:26,640 --> 00:44:29,600
Speaker 3: because this is one that Yeah, had that instinct of

790
00:44:29,920 --> 00:44:32,359
Speaker 3: don't forget to don't forget to look up what he's

791
00:44:32,360 --> 00:44:37,200
Speaker 3: done in this period and holy smokes, so Tony Deong

792
00:44:37,320 --> 00:44:40,479
Speaker 3: gets this era started with obviously the one everyone thinks

793
00:44:40,480 --> 00:44:43,680
Speaker 3: of in the Mood for Love and his presence opposite

794
00:44:43,680 --> 00:44:47,040
Speaker 3: Maggie Chung there in one carwise masterpiece. I mean, it

795
00:44:47,040 --> 00:44:50,360
Speaker 3: should be enough to put him on this list on

796
00:44:50,480 --> 00:44:52,840
Speaker 3: its own. Then in two thousand and two, he was

797
00:44:52,880 --> 00:44:57,120
Speaker 3: in Zongimo's Hero. This reunited him with Maggie Chung. They

798
00:44:57,160 --> 00:45:00,680
Speaker 3: played dueling assassins. It's a martial arts drama and it's

799
00:45:00,760 --> 00:45:02,520
Speaker 3: kind of the flip of in the Mood for Love

800
00:45:02,600 --> 00:45:05,960
Speaker 3: where they're they're giving in to all this fiery emoting

801
00:45:06,800 --> 00:45:10,040
Speaker 3: compared to the subdued nature they had to have in

802
00:45:10,080 --> 00:45:13,280
Speaker 3: the earlier film. So yeah, two thousand and two Infernal

803
00:45:13,280 --> 00:45:16,280
Speaker 3: Affairs that same year as I mentioned he's the undercover

804
00:45:16,320 --> 00:45:19,040
Speaker 3: cop as was Leo. Now, I wasn't as high on

805
00:45:19,120 --> 00:45:22,000
Speaker 3: Wang Kar Wai's pseudo follow up to Two in the

806
00:45:22,040 --> 00:45:25,160
Speaker 3: Mood for Love twenty forty six, but Leung is still

807
00:45:25,200 --> 00:45:30,279
Speaker 3: mesmerizing in it. On Lee's Lust Caution, which I think

808
00:45:30,320 --> 00:45:35,560
Speaker 3: has been forgotten in Lee's filmography but is an incredibly

809
00:45:35,840 --> 00:45:40,719
Speaker 3: fascinating erotic spy thriller that Leung is incredible in. We

810
00:45:40,840 --> 00:45:43,560
Speaker 3: on the show, Adam reviewed him quite favorably. If I

811
00:45:43,600 --> 00:45:46,440
Speaker 3: remember in another Wan Kar Wai film, The Grand Master,

812
00:45:46,600 --> 00:45:49,680
Speaker 3: that was twenty thirteen, and you know what, he brought

813
00:45:49,760 --> 00:45:52,200
Speaker 3: more gravitas to the MCU than it probably deserved in

814
00:45:52,280 --> 00:45:54,360
Speaker 3: Shang Chi and The Legend of the Ten Rings, which

815
00:45:54,760 --> 00:45:58,000
Speaker 3: I insist is a very good MCU film. So those

816
00:45:58,080 --> 00:46:01,960
Speaker 3: are the list of films Leong films, just the ones

817
00:46:02,000 --> 00:46:04,680
Speaker 3: I've seen, And if you look at his filmography, there's

818
00:46:04,760 --> 00:46:08,520
Speaker 3: clearly a lot of non English language stuff that I

819
00:46:08,600 --> 00:46:10,400
Speaker 3: need to catch up with. I feel good about this

820
00:46:10,440 --> 00:46:12,719
Speaker 3: pick just because there is so much more I need

821
00:46:12,719 --> 00:46:14,879
Speaker 3: to see, and I think anything I choose to watch

822
00:46:15,000 --> 00:46:18,919
Speaker 3: is only going to bolster my choice. So yeah, I'm

823
00:46:18,920 --> 00:46:22,520
Speaker 3: taking Tony Leong with my number four pick.

824
00:46:22,600 --> 00:46:26,320
Speaker 2: Good pick my number three actor of the two thousands,

825
00:46:26,320 --> 00:46:29,800
Speaker 2: and that was largely on the strength of, of course,

826
00:46:29,840 --> 00:46:33,399
Speaker 2: Infernal Affairs, a movie I love and in the mood

827
00:46:33,400 --> 00:46:35,920
Speaker 2: for love. And yes, this is a really nice connection

828
00:46:35,960 --> 00:46:39,960
Speaker 2: you're making between the two movie stars here, and they

829
00:46:40,040 --> 00:46:42,880
Speaker 2: do have that connection in terms of the material between

830
00:46:42,920 --> 00:46:47,080
Speaker 2: Infernal Affairs and The Departed. I am you are correct,

831
00:46:47,120 --> 00:46:51,080
Speaker 2: Josh taking Leo Dicapriaz, and I feel really good about

832
00:46:51,080 --> 00:46:55,080
Speaker 2: it taking him at number five closing out my draft.

833
00:46:55,120 --> 00:46:57,799
Speaker 2: He was my number one of the two thousands. He

834
00:46:57,920 --> 00:47:01,600
Speaker 2: was my number three of the twenty tens. Picking a

835
00:47:01,640 --> 00:47:07,799
Speaker 2: Mount Rushmore was tough for me. Billy Costigan from The

836
00:47:07,840 --> 00:47:12,399
Speaker 2: Departed is there? I think that's number one, even though

837
00:47:12,520 --> 00:47:15,239
Speaker 2: for a lot of people it would probably be a

838
00:47:15,280 --> 00:47:19,040
Speaker 2: different Martin Scorsese performance. It would be Jordan Belfort and

839
00:47:19,040 --> 00:47:20,600
Speaker 2: the Wolf of Wall Street. Well, he'd be in my

840
00:47:20,680 --> 00:47:24,160
Speaker 2: top three or four. And then it's one of those

841
00:47:24,239 --> 00:47:29,640
Speaker 2: Quentin Tarantino collaborations, Rick Dalton Once upon a Time in Hollywood,

842
00:47:30,520 --> 00:47:35,400
Speaker 2: and it's very tempting to go with another Quentin Tarantino collaboration,

843
00:47:35,960 --> 00:47:43,120
Speaker 2: Calvin Candy in Django. Unchained on that table top.

844
00:47:43,480 --> 00:47:46,240
Speaker 12: If you lift those palms off that tuntal cell tabletop,

845
00:47:46,400 --> 00:47:48,799
Speaker 12: mister pooch is going to lose both fails that sought off.

846
00:47:50,560 --> 00:47:52,400
Speaker 12: There had been a lot of less set around the

847
00:47:52,520 --> 00:47:55,080
Speaker 12: dinner table yet tonight, but that you can't.

848
00:47:54,880 --> 00:47:57,120
Speaker 2: Believe it's the movie.

849
00:47:57,520 --> 00:47:59,439
Speaker 5: Would you be so kind as a collective pistol hanging

850
00:47:59,480 --> 00:48:01,640
Speaker 5: off these boys hipsy.

851
00:48:01,760 --> 00:48:05,799
Speaker 2: I think if I'm rounding out that Rushmore, I would

852
00:48:05,880 --> 00:48:09,400
Speaker 2: go away from Tarantino, I'd go away from Scorsese, and

853
00:48:09,440 --> 00:48:12,160
Speaker 2: I'd go with Frank Abagnail. I'd go with Spielberg's catch

854
00:48:12,200 --> 00:48:15,320
Speaker 2: me if you can. A weasel you're right, and a

855
00:48:15,400 --> 00:48:19,720
Speaker 2: dreamboat too, a pretty dreamy exactly weasel in that film.

856
00:48:19,719 --> 00:48:23,640
Speaker 2: And I do love that relationship, of course, that that

857
00:48:23,760 --> 00:48:29,560
Speaker 2: father son relationship that inevitably builds between him and Tom

858
00:48:29,600 --> 00:48:32,880
Speaker 2: Hanks's character in that film, even though that's not something

859
00:48:32,960 --> 00:48:37,799
Speaker 2: either of them are consciously looking for. Hugh Glass, his

860
00:48:38,080 --> 00:48:41,359
Speaker 2: Oscar winning turn in the Revenant is also very good.

861
00:48:41,600 --> 00:48:43,480
Speaker 2: You know, I'm not a huge fan of that movie.

862
00:48:43,719 --> 00:48:46,520
Speaker 2: But you also have Don Cobb an inception. You have

863
00:48:46,600 --> 00:48:49,680
Speaker 2: his performances in other Martin Scorsese movies like Shutter Island,

864
00:48:50,000 --> 00:48:52,799
Speaker 2: in Gangs of New York with DiCaprio. I think the

865
00:48:52,800 --> 00:48:55,440
Speaker 2: only reason maybe he's not higher for me, Josh, is

866
00:48:55,480 --> 00:48:57,680
Speaker 2: when you look at his filmography. And actually I wanted

867
00:48:57,719 --> 00:48:59,799
Speaker 2: to say this about Leung. I think what's hard for me?

868
00:48:59,880 --> 00:49:02,239
Speaker 2: And you alluded to this a little bit. I just

869
00:49:02,320 --> 00:49:04,719
Speaker 2: haven't seen so many of his films when I look

870
00:49:04,760 --> 00:49:09,960
Speaker 2: at IMDb since twenty ten, and DiCaprio just hasn't made

871
00:49:10,160 --> 00:49:14,040
Speaker 2: very many movies in the last five or seven years.

872
00:49:14,960 --> 00:49:17,879
Speaker 2: But the ones he has made once upon a Time

873
00:49:17,920 --> 00:49:21,200
Speaker 2: in Hollywood stands out. Killers of the Flower Moon stands

874
00:49:21,239 --> 00:49:25,120
Speaker 2: out as another one that I think is a great performance.

875
00:49:25,600 --> 00:49:27,719
Speaker 2: It does all come back to The Departed for me.

876
00:49:27,880 --> 00:49:31,520
Speaker 2: And you may recall, just maybe a month ago or

877
00:49:31,600 --> 00:49:33,640
Speaker 2: so here on the show a little over a month ago,

878
00:49:34,120 --> 00:49:37,440
Speaker 2: I talked about how that's my comfort food. I was

879
00:49:37,440 --> 00:49:40,480
Speaker 2: on a plane coming back from my trip to Italy

880
00:49:40,560 --> 00:49:43,719
Speaker 2: and I threw in that Departed and I said, there

881
00:49:43,760 --> 00:49:46,640
Speaker 2: was that one line reading that scene that I just

882
00:49:46,840 --> 00:49:51,400
Speaker 2: cannot get enough of, that scene with Vera Farmega where

883
00:49:51,840 --> 00:49:56,399
Speaker 2: he is confronting her as a therapist and making her

884
00:49:56,600 --> 00:50:01,120
Speaker 2: very uncomfortable, basically because he just refuses to you allow

885
00:50:01,239 --> 00:50:05,000
Speaker 2: her to get away with her usual bs that she

886
00:50:05,080 --> 00:50:08,919
Speaker 2: probably gets away with with most cops who come into

887
00:50:08,960 --> 00:50:13,920
Speaker 2: her office. And he's very confrontational but also very incisive,

888
00:50:14,320 --> 00:50:16,880
Speaker 2: and I think it's DiCaprio maybe at his best. I

889
00:50:16,880 --> 00:50:19,759
Speaker 2: think it's the best scene in the film and one

890
00:50:19,800 --> 00:50:23,920
Speaker 2: of DiCaprio's best scenes overall. And that line reading about

891
00:50:24,400 --> 00:50:28,359
Speaker 2: what the policeman signed up for, well, let's go ahead

892
00:50:28,360 --> 00:50:28,719
Speaker 2: and hear it.

893
00:50:29,840 --> 00:50:35,480
Speaker 5: So do they all come in here and cry? Your cops?

894
00:50:36,120 --> 00:50:37,040
Speaker 13: Sometimes they do?

895
00:50:37,400 --> 00:50:37,680
Speaker 3: Yeah?

896
00:50:37,719 --> 00:50:39,200
Speaker 5: Sure, Sometimes they cry.

897
00:50:39,080 --> 00:50:41,600
Speaker 4: Yeah, if they've had trouble at home, if they've had

898
00:50:41,640 --> 00:50:42,960
Speaker 4: to use their weapons.

899
00:50:42,640 --> 00:50:47,560
Speaker 5: Use their weapons. Let me tell you something. They signed

900
00:50:47,640 --> 00:50:50,399
Speaker 5: up to use their weapons, most of them, all right,

901
00:50:50,400 --> 00:50:52,680
Speaker 5: but they watch enough TV so they know they have

902
00:50:52,760 --> 00:50:56,000
Speaker 5: to weep after they use their weapons. There is no

903
00:50:56,000 --> 00:50:59,000
Speaker 5: one more fullish than a cop except for a cop

904
00:50:59,080 --> 00:50:59,520
Speaker 5: on TV.

905
00:51:00,360 --> 00:51:04,320
Speaker 2: With your theory, Josh, how about his character in Killers

906
00:51:04,320 --> 00:51:08,400
Speaker 2: of the Flower Moon? Just full blown weasel right?

907
00:51:08,480 --> 00:51:12,640
Speaker 3: Yeah? Yeah, though though you know his his eventual wife

908
00:51:13,040 --> 00:51:15,920
Speaker 3: thinks he's quite the dream That's true. Comments on that,

909
00:51:15,920 --> 00:51:16,640
Speaker 3: that's true.

910
00:51:16,600 --> 00:51:22,560
Speaker 2: But maybe maybe the weaseleest of all of DiCaprio's characters.

911
00:51:22,640 --> 00:51:24,920
Speaker 3: Fair to say fair to say yes for sure.

912
00:51:24,920 --> 00:51:28,120
Speaker 2: Your final choice, Josh, I don't.

913
00:51:27,920 --> 00:51:30,839
Speaker 3: Know if you're ready for this, Adam, I think I

914
00:51:30,840 --> 00:51:33,879
Speaker 3: think you're going to want this to be struck from

915
00:51:33,920 --> 00:51:40,080
Speaker 3: the Film Spotting records, get smirching this whole exercise. I

916
00:51:40,120 --> 00:51:42,640
Speaker 3: don't know if you saw, but for Film Spotting family members,

917
00:51:42,640 --> 00:51:44,600
Speaker 3: we have this discord set up.

918
00:51:44,680 --> 00:51:47,080
Speaker 2: Yeah right, I'm on board.

919
00:51:47,160 --> 00:51:51,120
Speaker 3: Yeah, okay, okay, Yeah. There was an interesting conversation where

920
00:51:52,400 --> 00:51:55,520
Speaker 3: should a comic actor be considered for this list? A

921
00:51:55,560 --> 00:51:57,919
Speaker 3: comic first actor, I think, is how we were talking about.

922
00:51:57,960 --> 00:52:01,000
Speaker 3: It's somebody who's, you know, not a dramatic actor who's

923
00:52:01,040 --> 00:52:05,160
Speaker 3: been funny in occasional roles, or even a comedian who

924
00:52:05,200 --> 00:52:09,640
Speaker 3: eventually went for full drama, but someone who was just

925
00:52:09,760 --> 00:52:12,239
Speaker 3: pure comedy. And a lot of names were thrown out.

926
00:52:12,280 --> 00:52:15,319
Speaker 3: I considered many of them some good choices for me.

927
00:52:15,360 --> 00:52:19,640
Speaker 3: There was only one realistic possibility, and once I added

928
00:52:19,640 --> 00:52:25,160
Speaker 3: these up, I just could not stop myself from wanting

929
00:52:25,719 --> 00:52:27,600
Speaker 3: to draft Will Ferrell.

930
00:52:28,360 --> 00:52:31,000
Speaker 2: Really, Okay, that's not where you were going. I know,

931
00:52:31,280 --> 00:52:33,880
Speaker 2: I know, I thought for sure and I didn't hear

932
00:52:34,000 --> 00:52:37,040
Speaker 2: that discord. I thought for sure or yeah, you were

933
00:52:37,040 --> 00:52:40,680
Speaker 2: going a little bit more respectable with John c Riley

934
00:52:40,800 --> 00:52:43,120
Speaker 2: or Bill Murray. And of course, considering your love for

935
00:52:43,239 --> 00:52:46,400
Speaker 2: Murray and your love for his performances in Wes Anderson films,

936
00:52:46,480 --> 00:52:50,280
Speaker 2: how is it that you're going with Will Ferrell instead, Josh.

937
00:52:50,560 --> 00:52:53,960
Speaker 3: Let me just quickly say about Murray is that you know,

938
00:52:54,120 --> 00:52:56,839
Speaker 3: his golden age, though he's done good stuff since kind

939
00:52:56,840 --> 00:53:00,719
Speaker 3: of ended around twenty fifteen, and in terms of that

940
00:53:00,760 --> 00:53:02,600
Speaker 3: stuff that would really put him at the top. He

941
00:53:02,680 --> 00:53:05,240
Speaker 3: was on my Honorable Mentions list though on my board

942
00:53:05,520 --> 00:53:07,480
Speaker 3: would have taken him if I needed to go in

943
00:53:07,520 --> 00:53:11,400
Speaker 3: that direction. But for Farrell, you know, Murray is also

944
00:53:11,440 --> 00:53:13,560
Speaker 3: someone the movies that we think of him as being

945
00:53:13,600 --> 00:53:17,160
Speaker 3: great and are also great, and Farrell that's not always

946
00:53:17,200 --> 00:53:20,960
Speaker 3: the case. But this is a list about the performances

947
00:53:20,960 --> 00:53:23,360
Speaker 3: at him. It's not necessarily a list about the movies

948
00:53:23,400 --> 00:53:25,480
Speaker 3: as a whole. So even if his comedies tend to

949
00:53:25,560 --> 00:53:28,319
Speaker 3: be uneven on the whole, I'm gonna list some that

950
00:53:28,440 --> 00:53:33,480
Speaker 3: aren't necessarily all that great. Who has had a better

951
00:53:33,560 --> 00:53:39,320
Speaker 3: run of comic characters since two thousand than these names?

952
00:53:39,960 --> 00:53:44,160
Speaker 3: And I'm just picturing listeners, I hope just the smiles

953
00:53:44,239 --> 00:53:50,359
Speaker 3: growing wider and wider with each one. Mugatu in Zulander, Yeah,

954
00:53:50,640 --> 00:53:53,880
Speaker 3: Frank the Tank in Old School, of course, Buddy the

955
00:53:53,960 --> 00:53:59,879
Speaker 3: elf Ron Burgundy in Anchorman, Chazz Wedding Crashers, small part,

956
00:54:00,080 --> 00:54:02,439
Speaker 3: but crucial, crucial to what that movie is all about.

957
00:54:02,440 --> 00:54:05,640
Speaker 3: Adam Ricky, Bobby Talladega Knights. He's in the title for

958
00:54:05,680 --> 00:54:07,760
Speaker 3: goodness sake. As you know, so many of these characters

959
00:54:07,800 --> 00:54:11,880
Speaker 3: are we get another Chas Chas, Michael Michaels Blades of Glory,

960
00:54:12,280 --> 00:54:15,360
Speaker 3: Jackie Moon semi pro. Things are a little sketchy movie

961
00:54:15,360 --> 00:54:20,879
Speaker 3: wise there, but great characters. Brennan and Stepbrothers. I love Stepbrothers.

962
00:54:20,880 --> 00:54:23,920
Speaker 3: I also love the other guys where he's alongside Marley

963
00:54:23,960 --> 00:54:28,680
Speaker 3: Wahlberg as Alan Gamble. You know, I mean I haven't

964
00:54:28,680 --> 00:54:31,400
Speaker 3: brought this up maybe in five years at least. Adam

965
00:54:31,920 --> 00:54:36,120
Speaker 3: Casa Daemi Padre Armando. I mean, I haven't forgotten that

966
00:54:39,040 --> 00:54:42,080
Speaker 3: rest of the world has forgotten. I have not President

967
00:54:42,160 --> 00:54:44,520
Speaker 3: Business among other parts in the Lego movie, and of

968
00:54:44,520 --> 00:54:51,160
Speaker 3: course his counterpart, Lord Business's cousin mattel Ceo in Barbie.

969
00:54:51,560 --> 00:54:53,160
Speaker 2: Are any women in charge?

970
00:54:54,000 --> 00:54:54,400
Speaker 3: Listen?

971
00:54:55,400 --> 00:54:57,680
Speaker 8: I know exactly where you're going with this, and I

972
00:54:57,760 --> 00:55:00,680
Speaker 8: have to say, I really resent it. We are a

973
00:55:00,760 --> 00:55:04,120
Speaker 8: company literally made of women. We had a woman CEO

974
00:55:04,160 --> 00:55:09,560
Speaker 8: in the nineties, and there was another one at some

975
00:55:09,960 --> 00:55:10,680
Speaker 8: other time.

976
00:55:12,840 --> 00:55:15,000
Speaker 3: So that's that's two right there.

977
00:55:15,560 --> 00:55:18,680
Speaker 8: Women are the freaking foundation of this very.

978
00:55:18,680 --> 00:55:22,520
Speaker 3: Long, phallic building. You're my Legit may vary on the ease.

979
00:55:22,640 --> 00:55:24,640
Speaker 3: There might be some of you like better that I

980
00:55:24,920 --> 00:55:27,360
Speaker 3: that I missed. I didn't even mention. That is an

981
00:55:27,400 --> 00:55:29,480
Speaker 3: astonishing run of ridiculousness.

982
00:55:29,520 --> 00:55:32,400
Speaker 2: You forget all the sun contest the story of.

983
00:55:33,080 --> 00:55:36,480
Speaker 3: Good one another good one, Thank you, thank you. I

984
00:55:36,520 --> 00:55:40,959
Speaker 3: mean think about that for an snl alum to keep

985
00:55:41,040 --> 00:55:45,440
Speaker 3: this up in all these different ways for over twenty

986
00:55:45,480 --> 00:55:47,600
Speaker 3: five years. Okay, you need some drama in the mix.

987
00:55:48,040 --> 00:55:50,120
Speaker 3: You need to not feel terrible about this being on

988
00:55:50,160 --> 00:55:53,840
Speaker 3: the film spotting web page. Be a little bit respectable.

989
00:55:53,880 --> 00:55:55,360
Speaker 3: He's very good in Stranger than Fiction.

990
00:55:56,000 --> 00:55:58,360
Speaker 2: And I've got no apologies, Josh, I'm.

991
00:55:58,320 --> 00:56:00,440
Speaker 3: Okay, good good and Will and Harper. Let's just throw

992
00:56:00,480 --> 00:56:03,040
Speaker 3: Will in Harper. Sure, I know it's a documentaries playing itself,

993
00:56:04,040 --> 00:56:06,200
Speaker 3: but but yeah, just just for being a part of

994
00:56:06,200 --> 00:56:10,279
Speaker 3: that project, maybe that'll help swing a few folks over

995
00:56:10,320 --> 00:56:12,200
Speaker 3: to my side. And I won't be entirely public.

996
00:56:13,400 --> 00:56:18,040
Speaker 8: That's nice way to go, nay boy oh Man. That

997
00:56:18,200 --> 00:56:22,160
Speaker 8: is good news, good news.

998
00:56:22,440 --> 00:56:27,480
Speaker 2: That is our actors and actresses of the century so far. Draft.

999
00:56:27,760 --> 00:56:30,480
Speaker 2: You can find our complete list anytime you would like

1000
00:56:30,520 --> 00:56:33,320
Speaker 2: at film spotting dot net slash list to quickly review

1001
00:56:33,400 --> 00:56:35,440
Speaker 2: Josh hit him with your five picks.

1002
00:56:36,040 --> 00:56:42,400
Speaker 3: Kate Blanchett, Joaquin Phoenix, Scarlett Johansson, Tony Leung, Will Ferrell.

1003
00:56:42,880 --> 00:56:45,200
Speaker 3: And that was my board. I thought we might both

1004
00:56:45,239 --> 00:56:47,279
Speaker 3: come away happy. I think you are too right.

1005
00:56:47,560 --> 00:56:50,600
Speaker 2: Philip Seymour Hoffman is my number one, till the Swinton,

1006
00:56:51,080 --> 00:56:56,680
Speaker 2: Daniel Day, Lewis, Denzel Washington, Leonardo DiCaprio. That's my board.

1007
00:56:56,840 --> 00:56:59,920
Speaker 2: Other than the fact that I had Blanchett at five

1008
00:57:00,040 --> 00:57:03,000
Speaker 2: DiCaprio at six, and I was gonna make a final

1009
00:57:03,120 --> 00:57:06,640
Speaker 2: call between them at the last minute if that choice

1010
00:57:06,680 --> 00:57:09,880
Speaker 2: was there, that choice was not. I have no complaints

1011
00:57:09,920 --> 00:57:15,360
Speaker 2: about my board. We hope you enjoyed this frivolous little exercise.

1012
00:57:15,400 --> 00:57:17,920
Speaker 2: We would love to hear your picks. You can email

1013
00:57:18,000 --> 00:57:20,720
Speaker 2: us feedback at filmspotting dot net.

1014
00:57:21,000 --> 00:57:22,920
Speaker 3: Listening is the number one thing you can do to

1015
00:57:22,920 --> 00:57:26,200
Speaker 3: support an independently produced show like film Spotting. There are

1016
00:57:26,200 --> 00:57:27,920
Speaker 3: a couple more things you can do. You could take

1017
00:57:27,960 --> 00:57:30,280
Speaker 3: a minute to give us a rating or review on

1018
00:57:30,320 --> 00:57:33,439
Speaker 3: Apple Podcasts or Spotify. Doesn't matter if you're a first

1019
00:57:33,440 --> 00:57:36,360
Speaker 3: time listener or you've been listening for twenty years. Every

1020
00:57:36,400 --> 00:57:39,800
Speaker 3: new review helps us reach new listeners. Here's another great

1021
00:57:39,800 --> 00:57:42,320
Speaker 3: way to support us, join the Film Spotting Family at

1022
00:57:42,360 --> 00:57:45,640
Speaker 3: film spottingfamily dot com. We want to thank family member

1023
00:57:45,840 --> 00:57:50,920
Speaker 3: Adam Graff in Portland, Maine. Adam's letterbox handle is Linus

1024
00:57:50,960 --> 00:57:55,240
Speaker 3: calledwell seventy five. Went to check today and yep, I

1025
00:57:55,280 --> 00:57:59,400
Speaker 3: am following Adam, speaking of the discord, the Film Spotting

1026
00:57:59,400 --> 00:58:03,040
Speaker 3: Family discord, I went through a flurry. I had been

1027
00:58:03,120 --> 00:58:08,080
Speaker 3: behind on people sharing their letterbox profiles. Finally some time

1028
00:58:08,120 --> 00:58:11,080
Speaker 3: opened up. I just went on there and went through

1029
00:58:11,080 --> 00:58:14,280
Speaker 3: a burst of following. So apologies if you're a family

1030
00:58:14,280 --> 00:58:16,560
Speaker 3: member and I haven't followed you there yet. Hopefully I'll

1031
00:58:16,560 --> 00:58:19,280
Speaker 3: catch up at some point. But yeah, good to follow

1032
00:58:19,560 --> 00:58:22,760
Speaker 3: Adam there as well. Linus caledwell seventy five.

1033
00:58:22,960 --> 00:58:26,040
Speaker 2: A reference to Ocean's eleven, so we must have a

1034
00:58:26,120 --> 00:58:29,680
Speaker 2: Soderberg fan in our midst. Adam writes about how he

1035
00:58:29,680 --> 00:58:31,680
Speaker 2: found us. I think it was a simple Google search

1036
00:58:31,720 --> 00:58:33,720
Speaker 2: back in twenty fifteen, when I was first getting into

1037
00:58:33,760 --> 00:58:37,439
Speaker 2: podcasts and looking for something about movies. His letterbox top

1038
00:58:37,480 --> 00:58:40,840
Speaker 2: four Into the Wild, the Assassination of Jesse James by

1039
00:58:40,840 --> 00:58:44,720
Speaker 2: the coward Robert Ford in Bruges, and The Tree of Life.

1040
00:58:45,000 --> 00:58:49,040
Speaker 2: Not bad, a favorite movie he revisited recently, but Bett's

1041
00:58:49,280 --> 00:58:52,200
Speaker 2: Feast a random film or filmmaker that you love.

1042
00:58:52,280 --> 00:58:52,520
Speaker 3: Now.

1043
00:58:52,760 --> 00:58:57,280
Speaker 2: This submission came in before the Oscars. Filmmaker Sean Baker

1044
00:58:57,840 --> 00:59:01,520
Speaker 2: film Cutter's Way. He says, I think the filmmaker and

1045
00:59:01,600 --> 00:59:04,680
Speaker 2: the movie are terribly underrated, but maybe not now with

1046
00:59:04,760 --> 00:59:07,760
Speaker 2: the Palm Door Win. Yeah, and maybe not now.

1047
00:59:07,560 --> 00:59:09,480
Speaker 3: With that us just getting started.

1048
00:59:09,560 --> 00:59:12,760
Speaker 2: Actually a movie you credit with becoming a sinophile, The

1049
00:59:12,800 --> 00:59:15,600
Speaker 2: Lord of the Rings trilogy, especially watching every second of

1050
00:59:15,640 --> 00:59:18,800
Speaker 2: the bonus features of all three extended edition DVDs and

1051
00:59:18,840 --> 00:59:21,120
Speaker 2: getting a sense of how much work and collaboration goes

1052
00:59:21,120 --> 00:59:24,200
Speaker 2: into the craft of filmmaking. Finally, a book about movies

1053
00:59:24,280 --> 00:59:27,680
Speaker 2: or movie making. This was Hollywood for Gotten Stars and

1054
00:59:27,720 --> 00:59:31,040
Speaker 2: Stories by Clara Valderrama, which helped teach me about some

1055
00:59:31,080 --> 00:59:33,440
Speaker 2: of the unknown aspects of the beginning of Hollywood and

1056
00:59:33,520 --> 00:59:35,840
Speaker 2: let me to watch the greatest dance sequence in all

1057
00:59:35,880 --> 00:59:38,560
Speaker 2: of Cinema, which is the performance by the Nicholas Brothers

1058
00:59:38,560 --> 00:59:41,680
Speaker 2: with Cab Callaway at the end of Stormy Weather. We

1059
00:59:41,760 --> 00:59:44,680
Speaker 2: thank Adam for being a part of the Film Spotting

1060
00:59:44,680 --> 00:59:47,120
Speaker 2: Family and for all of the years of listening. In

1061
00:59:47,160 --> 00:59:49,920
Speaker 2: addition to keeping us doing what we're doing. Your support

1062
00:59:50,000 --> 00:59:52,680
Speaker 2: comes with perps. You get to listen early in ad free,

1063
00:59:52,720 --> 00:59:55,880
Speaker 2: You get a weekly newsletter, You get exclusive opportunities like

1064
00:59:56,000 --> 00:59:59,439
Speaker 2: being part of the Film Spotting Family discord. You get

1065
00:59:59,480 --> 01:00:03,840
Speaker 2: our monthly bonus shows like the quarterly Film Spotting Advisory

1066
01:00:03,840 --> 01:00:07,640
Speaker 2: Board meeting. We just dropped audio of that into our

1067
01:00:07,640 --> 01:00:11,400
Speaker 2: family members' feeds, and we are just under a week

1068
01:00:11,440 --> 01:00:16,240
Speaker 2: away from recording our main bonus draft with our Film

1069
01:00:16,240 --> 01:00:20,840
Speaker 2: Spotting Madness Bracket contest winner Ricky Kendall. We are doing

1070
01:00:21,640 --> 01:00:22,920
Speaker 2: dead directors.

1071
01:00:23,600 --> 01:00:26,720
Speaker 3: I think there's gonna be some more fighting with that one. Yes,

1072
01:00:26,760 --> 01:00:27,600
Speaker 3: that's my instinct.

1073
01:00:27,800 --> 01:00:31,400
Speaker 2: Yes. And we'll wait to reveal the draft order and

1074
01:00:31,600 --> 01:00:35,440
Speaker 2: how we came upon that draft order when we record

1075
01:00:35,520 --> 01:00:38,200
Speaker 2: the show. But let's just say I won't be getting

1076
01:00:38,240 --> 01:00:40,360
Speaker 2: my number one choice probably.

1077
01:00:40,920 --> 01:00:42,920
Speaker 3: I don't think I will either. We were both way

1078
01:00:42,920 --> 01:00:45,240
Speaker 3: off on our guests. We were way off for that.

1079
01:00:45,640 --> 01:00:49,880
Speaker 2: You can learn more at Film spottingfamily dot com. Did

1080
01:00:49,920 --> 01:00:51,560
Speaker 2: you show up in Vienna that December?

1081
01:00:54,800 --> 01:00:56,120
Speaker 3: Did you?

1082
01:00:56,120 --> 01:00:56,200
Speaker 9: No?

1083
01:00:56,360 --> 01:00:58,400
Speaker 8: I couldn't, But did you?

1084
01:00:58,840 --> 01:00:59,280
Speaker 5: I need to know?

1085
01:00:59,360 --> 01:01:01,840
Speaker 3: It's important why if you didn't?

1086
01:01:02,440 --> 01:01:07,560
Speaker 2: Julie Delpy and Ethan Hawk there in Before Sunset. Next week, Josh,

1087
01:01:07,600 --> 01:01:11,080
Speaker 2: we plan to revisit the second film in Richard Linklater's

1088
01:01:11,120 --> 01:01:15,360
Speaker 2: Before trilogy as part of our ongoing Pantheon project. Yes,

1089
01:01:15,880 --> 01:01:18,960
Speaker 2: all three films in that trilogy are currently in the

1090
01:01:19,000 --> 01:01:23,280
Speaker 2: Film Spotting pantheon. But we have never discussed in depth

1091
01:01:23,880 --> 01:01:28,120
Speaker 2: Before Sunset, and we really hadn't discussed Before Sunrise either

1092
01:01:28,640 --> 01:01:32,200
Speaker 2: until that is our recent Film Spotting Fest. We closed

1093
01:01:32,240 --> 01:01:34,520
Speaker 2: out the fest with a Q and A. Our friend

1094
01:01:34,560 --> 01:01:37,560
Speaker 2: Scott Tobias joined us for that. So next week on

1095
01:01:37,600 --> 01:01:40,720
Speaker 2: the show, you're going to hear that Q and A,

1096
01:01:40,840 --> 01:01:45,440
Speaker 2: but you are also going to hear our conversation about

1097
01:01:45,520 --> 01:01:50,040
Speaker 2: Before Sunset. Now, Before Sunset did not make your top

1098
01:01:50,080 --> 01:01:52,160
Speaker 2: twenty five of the century last week. I think I

1099
01:01:52,240 --> 01:01:54,640
Speaker 2: had it at number two. Should I be worried about

1100
01:01:54,640 --> 01:01:57,720
Speaker 2: your Sunset and a Visor too bold?

1101
01:01:57,800 --> 01:02:00,320
Speaker 3: No, you shouldn't be worried. That's a wonderful movie. And

1102
01:02:00,760 --> 01:02:04,240
Speaker 3: the question I have that I'm curious about I'm eager

1103
01:02:04,280 --> 01:02:07,040
Speaker 3: to watch it again. Is will it bump its way

1104
01:02:07,720 --> 01:02:11,760
Speaker 3: even higher? And maybe, as some people have it, supplant

1105
01:02:11,920 --> 01:02:15,440
Speaker 3: Before Sunrise as my favorite in the series because that

1106
01:02:15,600 --> 01:02:18,680
Speaker 3: seems like a take that for me, at least, it

1107
01:02:18,720 --> 01:02:21,400
Speaker 3: would require some time to get around to. But I

1108
01:02:21,440 --> 01:02:25,120
Speaker 3: can understand after years of not only think about these

1109
01:02:25,120 --> 01:02:28,360
Speaker 3: movies but just living that you could get there. So yeah,

1110
01:02:28,360 --> 01:02:31,040
Speaker 3: I haven't watched Before Sunset and I don't know how

1111
01:02:31,120 --> 01:02:33,760
Speaker 3: long and can't wait to do it. Do it for

1112
01:02:33,800 --> 01:02:35,000
Speaker 3: this conversation.

1113
01:02:34,640 --> 01:02:37,920
Speaker 2: More about the Film Spotting Pantheon, which is effectively our

1114
01:02:38,000 --> 01:02:42,560
Speaker 2: movie hall of Fame at film Spotting dot Net slash Pantheon.

1115
01:02:43,000 --> 01:02:45,760
Speaker 2: Also next week we will wrap up our Andre Tarkowsky

1116
01:02:45,800 --> 01:02:49,640
Speaker 2: Marathon with nineteen eighty three's Nostalgia. For a schedule of

1117
01:02:49,760 --> 01:02:53,360
Speaker 2: future shows film Spotting dot Net slash episodes, we do

1118
01:02:53,440 --> 01:02:56,640
Speaker 2: have some good stuff coming up that unfortunately you won't

1119
01:02:56,680 --> 01:02:59,280
Speaker 2: be here for, Josh, You're going to be off in

1120
01:02:59,360 --> 01:03:01,400
Speaker 2: Japan having meet up with film Spotting listeners.

1121
01:03:01,840 --> 01:03:04,360
Speaker 3: Yeah, I thought I'd just throw it out there see

1122
01:03:04,400 --> 01:03:06,640
Speaker 3: what happens, and there's a good group getting together. The

1123
01:03:06,680 --> 01:03:09,120
Speaker 3: list is growing, I mean we're we might have to

1124
01:03:09,160 --> 01:03:11,320
Speaker 3: find a new place if we're get to be too

1125
01:03:11,360 --> 01:03:13,040
Speaker 3: big for the place. We have plans, So it's great,

1126
01:03:13,080 --> 01:03:15,600
Speaker 3: can't wait to do that. And yeah, just spend a

1127
01:03:15,600 --> 01:03:20,120
Speaker 3: couple of weeks traveling. But unfortunately random and Michael Phillips

1128
01:03:20,360 --> 01:03:23,480
Speaker 3: at a screening last night and he's gonna come in.

1129
01:03:23,520 --> 01:03:25,280
Speaker 3: I'm going to miss a couple of good top fives.

1130
01:03:25,280 --> 01:03:27,880
Speaker 2: It sounds like, yeah, well, we're gonna do Mission Impossible,

1131
01:03:28,280 --> 01:03:30,240
Speaker 2: the Final Reckoning, and we are going to do our

1132
01:03:30,240 --> 01:03:34,120
Speaker 2: top five movie stunts. So if you have any options

1133
01:03:34,120 --> 01:03:36,680
Speaker 2: that you would like us to be sure not to overlook,

1134
01:03:37,320 --> 01:03:39,840
Speaker 2: send us a note feedback at film spotting dot net.

1135
01:03:39,880 --> 01:03:43,240
Speaker 2: And then the week after that, how about this, Aisha

1136
01:03:43,360 --> 01:03:45,680
Speaker 2: Harris is going to sit in for a full show.

1137
01:03:45,760 --> 01:03:48,440
Speaker 2: She's going to guest host and in honor of the

1138
01:03:48,640 --> 01:03:52,720
Speaker 2: thirtieth anniversary of Clueless, we're gonna give that the sacred

1139
01:03:52,720 --> 01:03:55,080
Speaker 2: cow treatment. She wrote about Clueless in her book Wanna

1140
01:03:55,120 --> 01:03:55,720
Speaker 2: Be Fun.

1141
01:03:55,840 --> 01:03:58,600
Speaker 3: Yeah, I can't wait for both of those. You probably wouldn't,

1142
01:03:58,760 --> 01:04:03,240
Speaker 3: but just you know, remember folks like Keaton and Chaplin

1143
01:04:03,280 --> 01:04:05,280
Speaker 3: for your stunts, right, it doesn't have to be the

1144
01:04:06,120 --> 01:04:09,680
Speaker 3: big budget action stuff for those lists. At least that's

1145
01:04:09,680 --> 01:04:10,640
Speaker 3: what I'd want to consider.

1146
01:04:10,760 --> 01:04:13,320
Speaker 2: Sorry, I've already decided that it's all fast and furious.

1147
01:04:13,680 --> 01:04:16,400
Speaker 3: I mean, that is a completely honorable way to go.

1148
01:04:16,440 --> 01:04:20,800
Speaker 2: As well, speaking of the Pantheon, as we just were,

1149
01:04:21,000 --> 01:04:23,160
Speaker 2: we did want to note the passing last week of

1150
01:04:23,200 --> 01:04:26,360
Speaker 2: director James Foley. He has a film in the film

1151
01:04:26,400 --> 01:04:31,320
Speaker 2: Spotting Pantheon. It is nineteen ninety two's Glen Garry Glenn Ross.

1152
01:04:31,360 --> 01:04:35,360
Speaker 2: Fully also directed a couple of Fifty Shades sequels. He

1153
01:04:35,400 --> 01:04:38,479
Speaker 2: directed nineteen eighty six Is at Close Range, starring Sean

1154
01:04:38,520 --> 01:04:43,720
Speaker 2: Penn and Christopher Walking. Somehow, Josh at Close Range remains

1155
01:04:43,760 --> 01:04:46,240
Speaker 2: a blind spot for me. Maybe in honor of James Fully,

1156
01:04:46,320 --> 01:04:47,840
Speaker 2: I'll finally watch it. Have you seen it?

1157
01:04:48,120 --> 01:04:52,840
Speaker 3: I don't think so. If I had it, I shouldn't have.

1158
01:04:52,960 --> 01:04:55,880
Speaker 3: I wasn't supposed to sure, but may may have snuck

1159
01:04:55,920 --> 01:04:57,959
Speaker 3: it on VHS, you know, a year or two later

1160
01:04:58,040 --> 01:04:59,280
Speaker 3: at a neighbor's house. Yeah.

1161
01:04:59,320 --> 01:05:03,640
Speaker 2: Also, he directed the stalker thriller Fear with Mark Wahlberg,

1162
01:05:03,800 --> 01:05:06,680
Speaker 2: and he directed Madonna in Who's That Girl?

1163
01:05:07,120 --> 01:05:11,280
Speaker 3: Rip? James Fully and yeah, you know, speaking to Madonna

1164
01:05:11,320 --> 01:05:13,840
Speaker 3: and looking over some of his work, his filmography. If

1165
01:05:13,880 --> 01:05:17,120
Speaker 3: you grew up on Madonna music videos, a handful of

1166
01:05:17,120 --> 01:05:18,680
Speaker 3: those were fully as well.

1167
01:05:18,760 --> 01:05:19,640
Speaker 2: I wasn't aware of that.

1168
01:05:19,960 --> 01:05:22,320
Speaker 3: This week, on our sister podcast, The Next Picture Show,

1169
01:05:22,360 --> 01:05:25,760
Speaker 3: looking at cinema's present via its past, they have a

1170
01:05:25,920 --> 01:05:30,560
Speaker 3: new pairing. They are diving back into the MCU with Thunderbolts,

1171
01:05:30,600 --> 01:05:33,440
Speaker 3: and they'll be pairing that with nineteen ninety nine's not

1172
01:05:33,600 --> 01:05:38,000
Speaker 3: so super superhero movie mystery Men, which I think has

1173
01:05:38,160 --> 01:05:40,840
Speaker 3: grown in appreciation over the years. I don't know if

1174
01:05:40,840 --> 01:05:43,640
Speaker 3: it's reached cult status yet, but yeah, I like that

1175
01:05:43,680 --> 01:05:45,720
Speaker 3: one a fair amount when it came out. Will be

1176
01:05:45,760 --> 01:05:49,600
Speaker 3: interesting to hear them talk about it in connection with Thunderbolts.

1177
01:05:49,920 --> 01:05:53,520
Speaker 3: Mystery Men had Ben Stiller, Hank Azaria, William H. Macy,

1178
01:05:54,000 --> 01:05:57,840
Speaker 3: Greg kinnear. So pretty solid cast there, pretty fun film.

1179
01:05:58,200 --> 01:06:01,000
Speaker 3: New episodes of The Next Picture Show drop every Tuesday,

1180
01:06:01,280 --> 01:06:03,840
Speaker 3: and you can find them wherever you get your podcasts.

1181
01:06:04,200 --> 01:06:07,920
Speaker 6: Okay, there's not a word or a sentence or a

1182
01:06:08,000 --> 01:06:11,200
Speaker 6: concept that you can illuminate for me. There is one

1183
01:06:11,240 --> 01:06:15,800
Speaker 6: thing of the reason I keep coming here true November fourteenth,

1184
01:06:15,880 --> 01:06:25,240
Speaker 6: nineteen fifteen nine, three years ago, three years that it's

1185
01:06:25,280 --> 01:06:26,320
Speaker 6: all the money here from you.

1186
01:06:27,200 --> 01:06:31,400
Speaker 2: Philip Seymour, Hoffmann Oscar nominated three times for Best Supporting Actor.

1187
01:06:31,480 --> 01:06:34,560
Speaker 2: Josh didn't win for any of those, but he did

1188
01:06:34,600 --> 01:06:39,520
Speaker 2: win Best Actor for that role Capodi back at the

1189
01:06:39,560 --> 01:06:42,880
Speaker 2: two thousand and seven Oscars. He was my first choice

1190
01:06:43,280 --> 01:06:45,960
Speaker 2: in our Actors of the Century draft. Now that we've

1191
01:06:46,000 --> 01:06:48,120
Speaker 2: done the hard work of narrowing down the best actors

1192
01:06:48,120 --> 01:06:50,640
Speaker 2: and actresses of the last twenty five years, it is

1193
01:06:51,040 --> 01:06:54,880
Speaker 2: our listeners turns. It's full time. We got five picks each.

1194
01:06:55,440 --> 01:06:59,440
Speaker 2: They only get one pick, and they've got six options

1195
01:06:59,560 --> 01:07:02,440
Speaker 2: to choose from however they want to do it. The

1196
01:07:02,480 --> 01:07:06,880
Speaker 2: best actor or actress definitive actor or actress of the

1197
01:07:06,920 --> 01:07:11,320
Speaker 2: last twenty five years, their favorite, they can go however

1198
01:07:11,800 --> 01:07:15,240
Speaker 2: their heart leads them. The options are we went with

1199
01:07:15,520 --> 01:07:17,040
Speaker 2: three each from our lists.

1200
01:07:17,280 --> 01:07:20,120
Speaker 3: Yeah, three from each of our lists. And also, you know,

1201
01:07:20,320 --> 01:07:23,640
Speaker 3: if you think we were misguided, there is the other category.

1202
01:07:23,840 --> 01:07:28,080
Speaker 3: But the names are Kate Blanchett, Leonardo DiCaprio, Daniel da Lewis,

1203
01:07:28,440 --> 01:07:34,240
Speaker 3: Philip Seymour, Hoffman, Scarlett Johansson, and Joaquin Phoenix. So give

1204
01:07:34,280 --> 01:07:37,560
Speaker 3: it some thought, look at those filmographies and vote in

1205
01:07:37,640 --> 01:07:40,480
Speaker 3: that poll. Also leave a comment. You can do that

1206
01:07:40,640 --> 01:07:42,160
Speaker 3: at Film spotting dot.

1207
01:07:42,040 --> 01:07:54,680
Speaker 13: Net Sonata, but should slow to This is Tima.

1208
01:07:56,360 --> 01:08:00,000
Speaker 2: That's from Andre Tarkowski's Stalker, which was released in nineteen

1209
01:08:00,200 --> 01:08:03,320
Speaker 2: seventy nine. It's the fourth film in our Tarkovsky Blind

1210
01:08:03,320 --> 01:08:07,360
Speaker 2: Spots Marathon. Our mission with this marathon to complete the

1211
01:08:07,440 --> 01:08:11,720
Speaker 2: Russian Masters filmography. I think, Josh, you're now already there.

1212
01:08:12,320 --> 01:08:14,720
Speaker 3: I'm there. I can say I've seen them all and

1213
01:08:14,760 --> 01:08:16,880
Speaker 3: I only need to see each of them ten more

1214
01:08:16,920 --> 01:08:19,400
Speaker 3: times to feel like I've wrapped my arms around them.

1215
01:08:19,800 --> 01:08:22,799
Speaker 2: I've got one more to go. The film spotting marathons,

1216
01:08:22,840 --> 01:08:25,120
Speaker 2: which we do once or twice a year, are our

1217
01:08:25,160 --> 01:08:28,320
Speaker 2: opportunities to fill in cinematic blind spots. We've done marathons

1218
01:08:28,360 --> 01:08:33,200
Speaker 2: dedicated to directors like Tarkovsky, to genres, to various countries

1219
01:08:33,280 --> 01:08:36,439
Speaker 2: or region specific cinemas. We both had a couple of

1220
01:08:36,439 --> 01:08:39,000
Speaker 2: Tarkowski films we needed to catch up with, including for

1221
01:08:39,120 --> 01:08:42,519
Speaker 2: me this week's film, which is not just my biggest

1222
01:08:42,560 --> 01:08:47,679
Speaker 2: Tarkovski blind spot, but among my biggest cinematic blind spots period.

1223
01:08:48,120 --> 01:08:51,000
Speaker 2: Stalker did come to theaters in seventy nine, but mostly

1224
01:08:51,080 --> 01:08:53,439
Speaker 2: in what was then the USSR. It didn't make it

1225
01:08:53,479 --> 01:08:56,000
Speaker 2: to the US until the early eighties and earn it's

1226
01:08:56,040 --> 01:08:59,320
Speaker 2: reputation thanks to art house screenings throughout the decade when

1227
01:08:59,320 --> 01:09:01,920
Speaker 2: cit sounded spanned its once a decade Greatest Films of

1228
01:09:01,960 --> 01:09:04,000
Speaker 2: All Time lists from a top ten to a top

1229
01:09:04,040 --> 01:09:07,120
Speaker 2: one hundred. In nineteen ninety two, Stalker made the list

1230
01:09:07,120 --> 01:09:10,559
Speaker 2: of forty one, one of three Tarkovski movies to make

1231
01:09:10,600 --> 01:09:13,599
Speaker 2: the cut. Curiously, it missed the list in two thousand

1232
01:09:13,600 --> 01:09:16,639
Speaker 2: and two. Tarkovsky's Solaris made it for the first time instead,

1233
01:09:16,920 --> 01:09:19,040
Speaker 2: but it was back in the top fifty and twenty twelve,

1234
01:09:19,160 --> 01:09:21,400
Speaker 2: and it came in at number forty three on the

1235
01:09:21,400 --> 01:09:23,719
Speaker 2: most recent list in twenty twenty two.

1236
01:09:23,880 --> 01:09:27,200
Speaker 3: Stalker is based loosely on the nineteen seventy two Russian

1237
01:09:27,240 --> 01:09:30,519
Speaker 3: novel Roadside Picnic, which was about the aftermath of an

1238
01:09:30,600 --> 01:09:34,800
Speaker 3: extraterrestrial visit. Here, it follows a may and a guide

1239
01:09:34,960 --> 01:09:39,920
Speaker 3: played by Alexander Kadanovsky, who risks arrest and imprisonment to

1240
01:09:39,960 --> 01:09:42,240
Speaker 3: lead a small group through a dangerous area known as

1241
01:09:42,400 --> 01:09:47,160
Speaker 3: the Zone. Inside the Zone is the Room, this mythical

1242
01:09:47,240 --> 01:09:51,480
Speaker 3: place that has the reputation of being able to fulfill

1243
01:09:51,920 --> 01:09:56,679
Speaker 3: your greatest desires. So adam, yeah, this was the title

1244
01:09:57,040 --> 01:10:01,639
Speaker 3: that I think absolutely drew you to this marathon, and

1245
01:10:02,280 --> 01:10:05,400
Speaker 3: I have already suggested in previous shows that, based on

1246
01:10:05,439 --> 01:10:08,840
Speaker 3: the movie's metaphysical sci fi premise, it's similar to the

1247
01:10:08,880 --> 01:10:13,160
Speaker 3: spirit of Tarkovski's nineteen seventy two Solaris a movie you

1248
01:10:13,360 --> 01:10:17,160
Speaker 3: do love. I cannot wait. This has also been the

1249
01:10:17,200 --> 01:10:20,800
Speaker 3: moment for me of the marathon is getting to hear

1250
01:10:20,880 --> 01:10:24,840
Speaker 3: from someone who just watched Stalker for the first time

1251
01:10:25,560 --> 01:10:27,439
Speaker 3: what they made of it, because I don't think it's

1252
01:10:27,439 --> 01:10:31,759
Speaker 3: as dense as some of the Tarkovski films we've watched

1253
01:10:31,840 --> 01:10:34,599
Speaker 3: or even discussed on this show. Take take Mirror for example.

1254
01:10:34,600 --> 01:10:35,559
Speaker 2: I've got to figure it out.

1255
01:10:35,600 --> 01:10:39,680
Speaker 3: Sure, I'm not saying that. I'm not saying that, but

1256
01:10:40,200 --> 01:10:42,120
Speaker 3: I think I'm just excited because I do think it's

1257
01:10:42,160 --> 01:10:45,120
Speaker 3: one you can come away from a first viewing with

1258
01:10:45,320 --> 01:10:48,200
Speaker 3: and having at least a concrete reaction too.

1259
01:10:48,760 --> 01:10:52,559
Speaker 2: So What's Yours Solaris still carries the mantle as my

1260
01:10:52,680 --> 01:10:58,479
Speaker 2: favorite sci fi Tarkovski and favorite Tarkovsky period. Okay, it's

1261
01:10:58,520 --> 01:11:01,400
Speaker 2: the one that stirs me both in intellectually and emotionally

1262
01:11:01,560 --> 01:11:05,000
Speaker 2: the most. We'll see if that changes with one blind

1263
01:11:05,000 --> 01:11:07,960
Speaker 2: Spot remaining next week here as part of the marathon.

1264
01:11:08,160 --> 01:11:12,439
Speaker 2: But I do understand the reverence for Stalker because I

1265
01:11:12,560 --> 01:11:15,680
Speaker 2: just finished it earlier today, and I still feel like

1266
01:11:15,960 --> 01:11:20,439
Speaker 2: I'm a bit in its trance. Despite its slowness and

1267
01:11:20,880 --> 01:11:27,040
Speaker 2: often its stillness, Tarkotski's tracks pull you and his trio

1268
01:11:27,560 --> 01:11:32,280
Speaker 2: inexorably forward. If we ever do a top five movies

1269
01:11:32,360 --> 01:11:36,000
Speaker 2: that demand you get on their rhythm, Stalker is a

1270
01:11:36,040 --> 01:11:41,080
Speaker 2: lock because not only is it precise in its deliberation,

1271
01:11:41,840 --> 01:11:45,400
Speaker 2: but the sound design features the recurring sound of a

1272
01:11:45,479 --> 01:11:51,880
Speaker 2: train chugging along at a reasonable pace, So there's this

1273
01:11:52,040 --> 01:11:57,720
Speaker 2: near constant thrum just kind of carrying you along. And

1274
01:11:57,800 --> 01:12:01,880
Speaker 2: I said inexorably because there is a sense of inevitability

1275
01:12:01,880 --> 01:12:05,200
Speaker 2: from the opening scene and of obsession, Josh. That reminded

1276
01:12:05,240 --> 01:12:08,639
Speaker 2: me of Close Encounters of the third time.

1277
01:12:08,720 --> 01:12:11,439
Speaker 3: I know it, I know which. I don't know why

1278
01:12:11,479 --> 01:12:12,760
Speaker 3: it never struck me this way?

1279
01:12:12,800 --> 01:12:14,320
Speaker 2: Behuh it did this time though?

1280
01:12:14,760 --> 01:12:17,120
Speaker 3: Yeah? Yeah, for sure, oh right away? Right away.

1281
01:12:17,240 --> 01:12:21,479
Speaker 2: Coincidentally was released at the end of seventy seven, and

1282
01:12:21,640 --> 01:12:25,400
Speaker 2: Tarkowsky started shooting this film early in seventy seven, so

1283
01:12:25,479 --> 01:12:28,320
Speaker 2: definitely wasn't an influence, right Something was in the air

1284
01:12:29,080 --> 01:12:32,960
Speaker 2: back in seventy seven. What prompted that thought was that opening,

1285
01:12:33,000 --> 01:12:38,160
Speaker 2: that haunted, emotionless look on Stalker's face as he walks

1286
01:12:38,200 --> 01:12:41,040
Speaker 2: out on his wife and child. She's pleading with him

1287
01:12:41,040 --> 01:12:45,120
Speaker 2: to stay, and he is absolutely determined to go, and

1288
01:12:45,720 --> 01:12:48,920
Speaker 2: his line is, I'm imprisoned everywhere. She says, you're going

1289
01:12:49,000 --> 01:12:51,439
Speaker 2: to go back to prison. He says, I'm imprisoned everywhere.

1290
01:12:51,640 --> 01:12:54,679
Speaker 2: At this point, we don't as viewers, know anything really

1291
01:12:54,800 --> 01:12:58,519
Speaker 2: about what the zone is or what his job is,

1292
01:12:58,600 --> 01:13:01,599
Speaker 2: but the implication is is that if he's not doing

1293
01:13:01,640 --> 01:13:04,639
Speaker 2: whatever it is he's setting out to do, if he's

1294
01:13:04,680 --> 01:13:08,880
Speaker 2: not there, then he's in a metaphorical prison, kind of

1295
01:13:08,920 --> 01:13:13,240
Speaker 2: like roy Neiri who has to chase his vision. Ironically,

1296
01:13:13,439 --> 01:13:17,160
Speaker 2: of course, you mentioned the book Roadside Picnic. I learned

1297
01:13:17,240 --> 01:13:22,160
Speaker 2: later that that book does directly address what this film

1298
01:13:22,240 --> 01:13:26,240
Speaker 2: never does, which is that it was this extraterrestrial event.

1299
01:13:26,840 --> 01:13:32,120
Speaker 2: Supposedly it was aliens who caused this dystopian landscape to

1300
01:13:32,160 --> 01:13:36,080
Speaker 2: come about, and presumably the creation of the Zone. There

1301
01:13:36,120 --> 01:13:39,760
Speaker 2: are no aliens or as I recall, mentions of aliens

1302
01:13:39,840 --> 01:13:43,800
Speaker 2: in this film. But how fortuitous, Josh, was it that

1303
01:13:43,880 --> 01:13:49,599
Speaker 2: our Marathon jumped from Andre Rublev thirteen years over the

1304
01:13:49,640 --> 01:13:52,760
Speaker 2: Mirror and Solaris movies we had both seen before to

1305
01:13:52,840 --> 01:13:59,360
Speaker 2: this one where Tarkovsky continues his aggrandizement of holy fools.

1306
01:14:00,080 --> 01:14:01,280
Speaker 3: Yeah, I hope.

1307
01:14:01,400 --> 01:14:03,400
Speaker 2: I hope. I would have processed this on my own,

1308
01:14:03,800 --> 01:14:07,800
Speaker 2: but Tarkovsky did it for us. The writer says to

1309
01:14:07,840 --> 01:14:10,679
Speaker 2: Stalker near the end of the film, you are simply

1310
01:14:10,920 --> 01:14:13,080
Speaker 2: one of God's fools. And at the end of the movie,

1311
01:14:13,400 --> 01:14:16,759
Speaker 2: in that really stunning address to the camera, his wife says,

1312
01:14:17,080 --> 01:14:19,080
Speaker 2: he's one of God's fools. And one of the things

1313
01:14:19,120 --> 01:14:22,320
Speaker 2: that stands out to me about Stalker isn't just that

1314
01:14:22,400 --> 01:14:26,080
Speaker 2: he so clearly is a holy fool someone's society would

1315
01:14:26,080 --> 01:14:31,240
Speaker 2: deem foolish. Andy's someone driven by his faith who unreservedly

1316
01:14:31,439 --> 01:14:35,799
Speaker 2: and unequivocally believes he has a calling to give people

1317
01:14:35,880 --> 01:14:40,120
Speaker 2: hope when they most need it. It's how Tarkovsky asks

1318
01:14:40,240 --> 01:14:44,000
Speaker 2: us to believe along with him, which I want to

1319
01:14:44,000 --> 01:14:46,240
Speaker 2: dig into, but I want to get your thoughts on

1320
01:14:46,479 --> 01:14:47,200
Speaker 2: Stalker first.

1321
01:14:47,520 --> 01:14:51,000
Speaker 3: Yeah, I love all that. The close encounters thing is great, though,

1322
01:14:51,040 --> 01:14:54,800
Speaker 3: I think it's also important to note the distinction, particularly

1323
01:14:54,920 --> 01:14:58,040
Speaker 3: as it applies to the stalker. You know, eventually we

1324
01:14:58,160 --> 01:15:00,920
Speaker 3: discover and you are touching this. I would say roy

1325
01:15:01,000 --> 01:15:04,360
Speaker 3: Neery is more of a seeker. He's in some ways

1326
01:15:04,360 --> 01:15:08,120
Speaker 3: he's more aligned to the writer or the professor on

1327
01:15:08,160 --> 01:15:10,640
Speaker 3: this journey, and where's the stalker is more of a

1328
01:15:10,680 --> 01:15:13,920
Speaker 3: guide and that's where the holy fool, God's fool that

1329
01:15:14,000 --> 01:15:17,920
Speaker 3: all comes in. So yeah, definitely had that on my

1330
01:15:18,040 --> 01:15:21,840
Speaker 3: mind and it was kind of fascinating. I think the

1331
01:15:21,960 --> 01:15:24,760
Speaker 3: sound design, I'm glad you called that out as well.

1332
01:15:24,840 --> 01:15:27,520
Speaker 3: This is a very quiet movie, so it's not necessarily

1333
01:15:27,520 --> 01:15:29,880
Speaker 3: the thing that first comes to mind. There's almost no music,

1334
01:15:30,479 --> 01:15:35,080
Speaker 3: very little music, but those effects you're talking about are

1335
01:15:35,080 --> 01:15:36,960
Speaker 3: so instrumental. And the one thing that stood out to

1336
01:15:37,000 --> 01:15:40,680
Speaker 3: me is note that the first sign we get that

1337
01:15:40,840 --> 01:15:45,280
Speaker 3: something is different in this zone is audible. It's a queue.

1338
01:15:45,800 --> 01:15:49,160
Speaker 3: They're on this rail car on those railroad tracks, and

1339
01:15:49,200 --> 01:15:51,240
Speaker 3: we hear those click of the tracks, right, that sort

1340
01:15:51,240 --> 01:15:54,280
Speaker 3: of monotonous lulling thing. But then you also get, and

1341
01:15:54,280 --> 01:15:57,000
Speaker 3: this is before they've gone very far, this weird metallic

1342
01:15:57,160 --> 01:16:01,240
Speaker 3: echoing that follows them, and it's communicating that this is

1343
01:16:01,280 --> 01:16:04,400
Speaker 3: a different spaces, It has its different rules, different sounds,

1344
01:16:04,400 --> 01:16:08,800
Speaker 3: different feelings and so yeah, the sound design is you know,

1345
01:16:08,920 --> 01:16:12,040
Speaker 3: absolutely key here. And just to go back to this

1346
01:16:12,160 --> 01:16:16,120
Speaker 3: figure of the stalker, I also want to give a

1347
01:16:16,120 --> 01:16:19,640
Speaker 3: little time to something maybe we wouldn't discuss otherwise. The

1348
01:16:19,720 --> 01:16:24,200
Speaker 3: performances and Alexander k. Kaidanowski in this lead role, because

1349
01:16:24,960 --> 01:16:29,240
Speaker 3: I remembered him as this striking figure, very pale. He's

1350
01:16:29,280 --> 01:16:32,280
Speaker 3: got this cropped hair. He's almost like a human, not

1351
01:16:32,400 --> 01:16:35,000
Speaker 3: yet fully formed in some ways, and I was thinking

1352
01:16:35,040 --> 01:16:38,640
Speaker 3: about does this apply to his sort of seeking but

1353
01:16:38,680 --> 01:16:42,360
Speaker 3: also guiding. But I was struck about you know what

1354
01:16:42,680 --> 01:16:45,519
Speaker 3: a charismatic is maybe too strong of a word, but

1355
01:16:45,560 --> 01:16:48,080
Speaker 3: an arresting figure he is in this film because he's

1356
01:16:48,120 --> 01:16:51,839
Speaker 3: not just this stoic guide. He's eager and almost giddy.

1357
01:16:51,960 --> 01:16:54,280
Speaker 3: What does he say when they first arrive in the

1358
01:16:54,400 --> 01:16:58,080
Speaker 3: zone home at last? This speaks to his lays down

1359
01:16:58,160 --> 01:17:01,519
Speaker 3: in the grass. Yes, and the way this is he's

1360
01:17:01,560 --> 01:17:05,600
Speaker 3: following through on what he told his wife. He's feverish

1361
01:17:05,640 --> 01:17:08,400
Speaker 3: to get away from them, but not because of them,

1362
01:17:08,479 --> 01:17:11,080
Speaker 3: but because of where he needs to be. So I

1363
01:17:11,240 --> 01:17:13,840
Speaker 3: liked that quality to the performance. I liked how he

1364
01:17:13,880 --> 01:17:17,000
Speaker 3: gets agitated when the writer and the professor aren't showing

1365
01:17:17,040 --> 01:17:18,360
Speaker 3: the proper commitment.

1366
01:17:18,120 --> 01:17:21,080
Speaker 2: When they don't behave, which is the wordy at least

1367
01:17:21,120 --> 01:17:21,920
Speaker 2: in the subtitles.

1368
01:17:22,120 --> 01:17:26,160
Speaker 3: Yeah, and how irate he is at the end of

1369
01:17:26,200 --> 01:17:29,600
Speaker 3: the film about their lack of belief. And you know,

1370
01:17:29,680 --> 01:17:32,320
Speaker 3: this God's fool thing is interesting because the writer says

1371
01:17:32,360 --> 01:17:36,599
Speaker 3: it with disdain his wife, and that incredible monologue where

1372
01:17:36,640 --> 01:17:39,240
Speaker 3: she's looking directly at the camera, I feel like she's

1373
01:17:39,280 --> 01:17:42,400
Speaker 3: saying it with more of a note of I don't

1374
01:17:42,400 --> 01:17:45,479
Speaker 3: know if it's admiration or it's understanding. I would say

1375
01:17:45,520 --> 01:17:48,600
Speaker 3: it's empathetic understanding more than she showed him in the

1376
01:17:48,640 --> 01:17:51,679
Speaker 3: beginning when he abandoned them. Clearly she was not approving

1377
01:17:51,800 --> 01:17:54,240
Speaker 3: of it then. And then she makes this interesting comment

1378
01:17:54,280 --> 01:17:59,559
Speaker 3: about you know how sorrow, without sorrow there cannot be hope, right.

1379
01:18:00,120 --> 01:18:02,200
Speaker 2: Or happiness she says first, and then no hope.

1380
01:18:02,360 --> 01:18:05,160
Speaker 3: Yeah. Yeah, And that's bringing us to this, you know,

1381
01:18:05,200 --> 01:18:09,360
Speaker 3: this giant idea. Maybe we'll tiptoe towards at some point

1382
01:18:09,600 --> 01:18:13,479
Speaker 3: of what is the room offering? What is the room?

1383
01:18:14,040 --> 01:18:16,400
Speaker 3: You know, what's the room? And that and that is

1384
01:18:17,080 --> 01:18:20,439
Speaker 3: sort of her theory shared with his theory, I think.

1385
01:18:20,800 --> 01:18:23,040
Speaker 3: But yeah, I think the form of this as you

1386
01:18:23,080 --> 01:18:25,479
Speaker 3: were saying, it is one of those you have to

1387
01:18:25,479 --> 01:18:28,479
Speaker 3: be on its rhythm. But for me and why I

1388
01:18:28,520 --> 01:18:31,760
Speaker 3: would recommend it as a entry point, possibly also with

1389
01:18:31,880 --> 01:18:35,559
Speaker 3: Solaris for someone new to Tarkovski, is because it does

1390
01:18:35,720 --> 01:18:41,600
Speaker 3: have this propulsive narrative framework of this fascinating place you

1391
01:18:41,640 --> 01:18:45,439
Speaker 3: want to explore, a goal to get to, and then

1392
01:18:45,680 --> 01:18:48,799
Speaker 3: the aftermath of once you're there, and so that really

1393
01:18:48,840 --> 01:18:52,360
Speaker 3: does carry you through what is a nearly three hour

1394
01:18:52,439 --> 01:18:57,840
Speaker 3: movie with long conversations, an incredibly patient camera, and to

1395
01:18:57,960 --> 01:19:01,880
Speaker 3: me it was more gripping than I had expected. It's

1396
01:19:01,920 --> 01:19:04,120
Speaker 3: been a long time since i'd seen it, and I

1397
01:19:04,200 --> 01:19:08,560
Speaker 3: was settling in for something that was more meditative, perhaps,

1398
01:19:09,080 --> 01:19:13,960
Speaker 3: and I found it. Yeah, just incredibly gripping and yeah,

1399
01:19:14,000 --> 01:19:16,160
Speaker 3: one more thing to throw out there at you before

1400
01:19:16,280 --> 01:19:18,400
Speaker 3: we can go wherever you want to go. But I

1401
01:19:18,520 --> 01:19:22,120
Speaker 3: was struck as well by this. The camera work made

1402
01:19:22,160 --> 01:19:24,920
Speaker 3: me think of this. It is a relatively still camera

1403
01:19:25,040 --> 01:19:28,760
Speaker 3: even for Tarkovski, because production design seems to be at

1404
01:19:28,760 --> 01:19:32,240
Speaker 3: the forefront here it is in so many of his movies,

1405
01:19:32,280 --> 01:19:35,880
Speaker 3: and he's working. Tarkovsky got a production design credit along

1406
01:19:35,880 --> 01:19:40,200
Speaker 3: with Alexander Boim. The interior of these rooms, especially outside

1407
01:19:40,200 --> 01:19:43,680
Speaker 3: of the zone, looking charred. Inside the zone, these spaces

1408
01:19:43,720 --> 01:19:46,920
Speaker 3: are you know, waters everywhere. Of course there's decay, but

1409
01:19:47,080 --> 01:19:50,479
Speaker 3: balanced with growth. And these static shots of the characters

1410
01:19:50,479 --> 01:19:53,720
Speaker 3: in these spaces, it's almost like they're moving through art installations.

1411
01:19:54,560 --> 01:19:59,280
Speaker 3: And this was stage like in some ways made me

1412
01:19:59,280 --> 01:20:02,360
Speaker 3: think of something like you know, Becket's Waiting for Good

1413
01:20:02,439 --> 01:20:05,880
Speaker 3: Oh in sort of the material, but also the staging

1414
01:20:06,280 --> 01:20:09,280
Speaker 3: and the recreation of these spaces. I had forgotten that

1415
01:20:09,360 --> 01:20:13,280
Speaker 3: as well, that it's a very still movie even in

1416
01:20:13,400 --> 01:20:18,200
Speaker 3: terms of the camera work, but not dull for me

1417
01:20:18,400 --> 01:20:18,760
Speaker 3: at all.

1418
01:20:19,320 --> 01:20:20,639
Speaker 2: I want to go back to what I was saying

1419
01:20:20,680 --> 01:20:26,719
Speaker 2: about the faith. I think Tarkovsky demands of us as viewers,

1420
01:20:27,520 --> 01:20:31,400
Speaker 2: and you were talking about the zone, and I think

1421
01:20:31,479 --> 01:20:33,920
Speaker 2: the zone itself is a huge part of it, and

1422
01:20:34,200 --> 01:20:38,559
Speaker 2: the room within it. Until the very end, there's one

1423
01:20:38,640 --> 01:20:43,000
Speaker 2: shot where we don't see the exact room, but we

1424
01:20:43,120 --> 01:20:46,360
Speaker 2: get the idea of the location. It's housed in the

1425
01:20:47,160 --> 01:20:49,800
Speaker 2: Stalker I've been calling of Stoker. I'm probably gonna stick

1426
01:20:49,800 --> 01:20:52,840
Speaker 2: with that Stocker references it it's right over there, but

1427
01:20:52,880 --> 01:20:55,800
Speaker 2: otherwise we don't really see the room. It's withheld from

1428
01:20:55,840 --> 01:20:59,400
Speaker 2: our site. Even when they can turn and look at it.

1429
01:20:59,439 --> 01:21:03,120
Speaker 2: The camera doesn't show us until the very end, of course,

1430
01:21:03,160 --> 01:21:07,439
Speaker 2: when the camera finally goes into the room. But the

1431
01:21:07,560 --> 01:21:10,600
Speaker 2: entire movie, Josh, how do we know? How do we

1432
01:21:10,680 --> 01:21:16,479
Speaker 2: know that the room can actually perform the miracles that

1433
01:21:16,560 --> 01:21:20,320
Speaker 2: Stalker claims it does. We don't know. We can't know.

1434
01:21:20,840 --> 01:21:26,040
Speaker 2: And I mention close encounters. I imagine when Alex Garland's

1435
01:21:26,040 --> 01:21:29,200
Speaker 2: Annihilation came out in twenty eighteen, or when the book

1436
01:21:29,200 --> 01:21:32,040
Speaker 2: it was adapted from came out in twenty fourteen, everyone

1437
01:21:32,080 --> 01:21:35,519
Speaker 2: who had seen Stalker thought, hmm, there's some similarities here.

1438
01:21:35,600 --> 01:21:38,280
Speaker 2: That's neither here nor there for me, except in one regard.

1439
01:21:38,760 --> 01:21:41,559
Speaker 2: It's been a while since I've seen Annihilation. But as

1440
01:21:41,560 --> 01:21:44,439
Speaker 2: I recall, when they go into the Shimmer, as it's

1441
01:21:44,439 --> 01:21:48,479
Speaker 2: called there, a lot of crazy stuff goes down. All

1442
01:21:48,520 --> 01:21:51,840
Speaker 2: of the things that Stalker says about the zone, how

1443
01:21:51,880 --> 01:21:55,599
Speaker 2: it's impossible to navigate because it's constantly shifting. He says,

1444
01:21:55,880 --> 01:21:59,280
Speaker 2: the moment someone shows up, everything comes into motion. Old

1445
01:21:59,320 --> 01:22:03,640
Speaker 2: traps dis and new ones emerge. Safe spots become impassable.

1446
01:22:03,960 --> 01:22:07,280
Speaker 2: Now your path is easy. Now it's hopelessly involved. That's

1447
01:22:07,320 --> 01:22:10,479
Speaker 2: the zone. It may even seem capricious, but it is

1448
01:22:10,520 --> 01:22:13,000
Speaker 2: what we've made it with our condition. He makes it

1449
01:22:13,080 --> 01:22:15,240
Speaker 2: sound like it's a video game, as if the land

1450
01:22:15,320 --> 01:22:18,400
Speaker 2: is literally shape shifting in front of us. That's more

1451
01:22:18,439 --> 01:22:22,519
Speaker 2: applicable to a movie like Annihilation. We don't see any

1452
01:22:22,560 --> 01:22:27,440
Speaker 2: of that happen in this film. There are no bizarre

1453
01:22:27,640 --> 01:22:32,639
Speaker 2: or really supernatural occurring save for possibly two moments right,

1454
01:22:33,120 --> 01:22:37,760
Speaker 2: which is when the writer moves forward even though he's

1455
01:22:37,800 --> 01:22:41,559
Speaker 2: told not to, and he hears a voice, and we're

1456
01:22:41,600 --> 01:22:43,840
Speaker 2: left to wonder is that a voice inside his head

1457
01:22:43,920 --> 01:22:46,960
Speaker 2: or is that actually the zone, the zone talking to him.

1458
01:22:47,120 --> 01:22:50,799
Speaker 2: And then later there's a telephone call. There's a telephone

1459
01:22:50,840 --> 01:22:53,559
Speaker 2: call in a place where I'm guessing no one, no

1460
01:22:53,600 --> 01:22:56,719
Speaker 2: one's actually set up a telephone. But other than that, Joss,

1461
01:22:56,760 --> 01:23:01,759
Speaker 2: there's really no special effects. There's no sense of anything

1462
01:23:01,800 --> 01:23:07,360
Speaker 2: within the landscape that's actually alive or shifting. We're just

1463
01:23:07,520 --> 01:23:11,559
Speaker 2: left to believe what Stalker tells us, even when our

1464
01:23:11,640 --> 01:23:16,840
Speaker 2: own eyes, the camera and other characters eyes say that, look,

1465
01:23:16,840 --> 01:23:19,519
Speaker 2: where we're going is right there, it's straight ahead, but

1466
01:23:19,560 --> 01:23:21,680
Speaker 2: Stalker's telling us, no, you can't go that way. You

1467
01:23:21,760 --> 01:23:25,519
Speaker 2: have to take a different much more convoluted round, so

1468
01:23:26,040 --> 01:23:27,960
Speaker 2: I think that's a big part of it. But also

1469
01:23:28,200 --> 01:23:30,960
Speaker 2: it's how Tarkovsky brings us into the world of the zone.

1470
01:23:30,960 --> 01:23:33,439
Speaker 2: And you reference this with the sound design, but it's

1471
01:23:33,439 --> 01:23:37,519
Speaker 2: that hypnotic ride in the railcar and the close ups

1472
01:23:37,560 --> 01:23:41,040
Speaker 2: of the faces, that long ride on the railcar, the

1473
01:23:41,080 --> 01:23:44,639
Speaker 2: closeups of the faces, the sound along the tracks. Then

1474
01:23:44,680 --> 01:23:50,240
Speaker 2: we get mixed in Edward Artemyev's ambient electronic music clanking

1475
01:23:50,280 --> 01:23:55,160
Speaker 2: around as well. He also did Mirror and Solaris and

1476
01:23:56,680 --> 01:23:59,439
Speaker 2: everything up to this point has been that black and

1477
01:23:59,520 --> 01:24:07,160
Speaker 2: white cinematography that's like a saturated yeah, CPIA tone, it's

1478
01:24:07,200 --> 01:24:12,200
Speaker 2: like a decaying CPIA tone. And suddenly, but still subtly,

1479
01:24:13,040 --> 01:24:17,519
Speaker 2: with one cut, we're in full color, lush greens, the

1480
01:24:17,520 --> 01:24:22,720
Speaker 2: blue sky flowers. It's it's just in that shot, all

1481
01:24:22,760 --> 01:24:27,360
Speaker 2: of a sudden, we believe that the Zone is this enchanted,

1482
01:24:28,640 --> 01:24:32,080
Speaker 2: otherworldly place that stalker claims that it is. And I

1483
01:24:32,080 --> 01:24:33,920
Speaker 2: think it's also Josh in one last thing, how he

1484
01:24:34,040 --> 01:24:38,200
Speaker 2: uses the camera almost like a spectral presence, like when

1485
01:24:38,479 --> 01:24:42,840
Speaker 2: the camera does pull back into the room otherwise unmotivated,

1486
01:24:43,200 --> 01:24:46,720
Speaker 2: when it lurks around corners, like lurks around trees, with

1487
01:24:46,840 --> 01:24:50,680
Speaker 2: the corners of that tunnel, like it's another presence is

1488
01:24:51,080 --> 01:24:53,840
Speaker 2: observing all of this. How about the shot and I

1489
01:24:53,840 --> 01:24:57,679
Speaker 2: think I referenced this before when the writer starts walking

1490
01:24:58,400 --> 01:25:01,479
Speaker 2: and oh, actually this is the professor. Later when the

1491
01:25:01,520 --> 01:25:05,000
Speaker 2: professor's in the lead. It's the shot where we're sure

1492
01:25:05,000 --> 01:25:07,080
Speaker 2: that we're seeing the professor's point of view as he

1493
01:25:07,120 --> 01:25:10,559
Speaker 2: walks along, because in the previous shot he has just

1494
01:25:10,600 --> 01:25:13,640
Speaker 2: started walking along the path. And then we cut to

1495
01:25:13,880 --> 01:25:17,640
Speaker 2: a shot where clearly the camera is moving, it's handheld

1496
01:25:18,439 --> 01:25:21,200
Speaker 2: as it looks like a set of eyes is moving

1497
01:25:21,200 --> 01:25:23,200
Speaker 2: along this path, and then all of a sudden, all

1498
01:25:23,240 --> 01:25:26,519
Speaker 2: three characters are ahead of the camera in the shot.

1499
01:25:26,560 --> 01:25:30,679
Speaker 2: It's the shot that occurs through that burned out car,

1500
01:25:31,000 --> 01:25:33,680
Speaker 2: I think, with some bodies inside of it. Right, So

1501
01:25:33,920 --> 01:25:35,760
Speaker 2: we think it's the professor's point of view, but then

1502
01:25:35,800 --> 01:25:38,080
Speaker 2: the Professor's in front of the camera. It's as if

1503
01:25:38,120 --> 01:25:40,759
Speaker 2: this entire space somehow is alive.

1504
01:25:41,479 --> 01:25:45,880
Speaker 3: Yeah, yeah, we could chart and discuss in detail. I

1505
01:25:45,880 --> 01:25:48,360
Speaker 3: don't think we'll have time for it tonight. The use

1506
01:25:48,400 --> 01:25:52,760
Speaker 3: of that CPA and switching to the full color here

1507
01:25:52,880 --> 01:25:56,200
Speaker 3: because it breaks where you describe. But then later on

1508
01:25:56,600 --> 01:25:59,120
Speaker 3: we'll go back and forth a little bit in snippets

1509
01:25:59,120 --> 01:26:04,840
Speaker 3: that are curious to me. Alexander Kenyazhinsky is the cinematographer here.

1510
01:26:04,840 --> 01:26:06,920
Speaker 3: But let me go back to what you're talking about

1511
01:26:06,920 --> 01:26:10,320
Speaker 3: with this faith element, because I think you're absolutely right.

1512
01:26:10,360 --> 01:26:12,400
Speaker 3: There is a counter. If someone wanted to argue that

1513
01:26:12,520 --> 01:26:14,960
Speaker 3: this is a film about having faith, you know, an

1514
01:26:15,040 --> 01:26:17,960
Speaker 3: argument about having faith of some sort, you could counter

1515
01:26:18,040 --> 01:26:22,200
Speaker 3: that and say, you know, based on largely what we see,

1516
01:26:22,320 --> 01:26:26,120
Speaker 3: as you've been saying, this could all be mythology built

1517
01:26:26,240 --> 01:26:30,840
Speaker 3: around let's say, a devastating nuclear accident. And worth noting

1518
01:26:30,880 --> 01:26:35,719
Speaker 3: as we're placing this in timeframe, Chernobyl wasn't till eighty six,

1519
01:26:36,160 --> 01:26:39,280
Speaker 3: so this is something that maybe, you know, whether it

1520
01:26:39,360 --> 01:26:46,120
Speaker 3: was the novelists or Tarkowsky, are thinking about possibilities in

1521
01:26:46,160 --> 01:26:49,639
Speaker 3: the Soviet Union. It's not like this had happened. But yeah,

1522
01:26:49,720 --> 01:26:51,760
Speaker 3: you could counter and say this is all mythology. This

1523
01:26:52,680 --> 01:26:56,200
Speaker 3: space suffered a devastating nuclear accident, and now to kind

1524
01:26:56,200 --> 01:26:58,920
Speaker 3: of like in the years after this myth has built

1525
01:26:59,000 --> 01:27:01,400
Speaker 3: up around it. Think about one thing. The writer also says,

1526
01:27:01,439 --> 01:27:05,400
Speaker 3: all of this is someone's idiotic invention, and it's the writer.

1527
01:27:05,720 --> 01:27:08,439
Speaker 3: I thought this was interesting who calls out the soccer

1528
01:27:08,479 --> 01:27:13,000
Speaker 3: for enjoying the power that selling this mystery gives him

1529
01:27:13,120 --> 01:27:15,800
Speaker 3: when they really start going at each other near the end.

1530
01:27:16,160 --> 01:27:19,200
Speaker 3: That's exactly how some people see clergy, see the church

1531
01:27:19,720 --> 01:27:24,320
Speaker 3: right as just manipulating religious belief for power. So that's

1532
01:27:24,479 --> 01:27:28,280
Speaker 3: definitely there's enough of that there in this film to

1533
01:27:28,400 --> 01:27:30,600
Speaker 3: allow for that sort of reading. I think that's the

1534
01:27:30,640 --> 01:27:32,320
Speaker 3: part where the writer might also call him one of

1535
01:27:32,320 --> 01:27:35,799
Speaker 3: God's fools, and in his use of it, it's literal fool.

1536
01:27:36,080 --> 01:27:41,479
Speaker 3: It's like you are unintelligent and you know, and in

1537
01:27:41,479 --> 01:27:44,639
Speaker 3: this case also taking advantage of us. All that being said,

1538
01:27:44,840 --> 01:27:48,920
Speaker 3: just based on you know, the other Tarkowski films and

1539
01:27:49,200 --> 01:27:53,000
Speaker 3: especially something like Andrea rubelev I, this strikes me when

1540
01:27:53,000 --> 01:27:57,519
Speaker 3: it comes to the faith question as this apocalyptically eerie

1541
01:27:58,280 --> 01:28:01,439
Speaker 3: argument that there's something, there's just something more than the

1542
01:28:01,439 --> 01:28:06,400
Speaker 3: material world, and we do get hints of this. I

1543
01:28:06,479 --> 01:28:08,800
Speaker 3: think that incredible shot when they're in that room with

1544
01:28:08,840 --> 01:28:13,040
Speaker 3: the piles of dust, the mounds of dust, a bird

1545
01:28:13,120 --> 01:28:16,200
Speaker 3: comes flying through, and that edit where the bird just

1546
01:28:16,240 --> 01:28:19,160
Speaker 3: disappears mid flight. In the next shot the bird comes

1547
01:28:19,200 --> 01:28:21,719
Speaker 3: back and then we see it land. I think that's

1548
01:28:21,760 --> 01:28:23,800
Speaker 3: never explained what the heck is going on there, but

1549
01:28:23,840 --> 01:28:27,840
Speaker 3: it's something unnatural, to be sure. But for me, it's

1550
01:28:27,880 --> 01:28:31,559
Speaker 3: a through line more that's going across this movie. When

1551
01:28:31,560 --> 01:28:33,679
Speaker 3: we meet the writer for the first time, he's talking

1552
01:28:33,760 --> 01:28:36,599
Speaker 3: to this woman, he's waiting to meet the Stalker and

1553
01:28:36,720 --> 01:28:39,479
Speaker 3: lamenting the lack of the metaphysical in the modern world.

1554
01:28:39,560 --> 01:28:41,960
Speaker 3: I think he references ghosts. I think he might even

1555
01:28:41,960 --> 01:28:44,759
Speaker 3: say flying saucers. Doesn't he say something about the Middle

1556
01:28:44,760 --> 01:28:47,600
Speaker 3: Ages life was more interesting because you know, there was

1557
01:28:47,880 --> 01:28:53,160
Speaker 3: the potential for the metaphysical. And of course we could

1558
01:28:53,240 --> 01:28:59,200
Speaker 3: get into the ending here if we want. This is

1559
01:28:59,680 --> 01:29:03,760
Speaker 3: the fire final shot where we're back outside of the

1560
01:29:03,840 --> 01:29:08,439
Speaker 3: zone where I believe in the stalkers home with his daughter,

1561
01:29:08,479 --> 01:29:13,280
Speaker 3: who's been called Monkey and has been described as you know,

1562
01:29:13,400 --> 01:29:17,040
Speaker 3: being a mutant, a zone mutant, something like that that

1563
01:29:17,120 --> 01:29:22,040
Speaker 3: lends towards the nuclear disaster theory. But here, and this

1564
01:29:22,479 --> 01:29:24,920
Speaker 3: is in color, even though we're in the CPIA world. Here,

1565
01:29:24,960 --> 01:29:27,880
Speaker 3: this is in color. This is where she's been reading

1566
01:29:27,920 --> 01:29:31,040
Speaker 3: a book. We hear the poem read by a woman's voice,

1567
01:29:31,360 --> 01:29:33,120
Speaker 3: but then she just turns and looks at the table

1568
01:29:33,439 --> 01:29:35,920
Speaker 3: and there's a glass and dark liquid there. She stares

1569
01:29:35,960 --> 01:29:39,200
Speaker 3: at it and it begins moving, and you get this.

1570
01:29:40,000 --> 01:29:42,559
Speaker 3: It's hard to describe because what's happening is so simple,

1571
01:29:43,200 --> 01:29:45,719
Speaker 3: But at the end of this film, to have this happen,

1572
01:29:45,920 --> 01:29:48,439
Speaker 3: I think it's because it's the revealing of what the

1573
01:29:48,439 --> 01:29:52,200
Speaker 3: film believes reality to be, is that there is something

1574
01:29:52,280 --> 01:29:57,920
Speaker 3: metaphysical and unexplainable. This is the mystery that Tarkowsky's movies

1575
01:29:57,920 --> 01:30:01,240
Speaker 3: are always trying to solve. I feel like is that

1576
01:30:01,360 --> 01:30:05,040
Speaker 3: she somehow is moving these these glasses. She does it

1577
01:30:05,040 --> 01:30:07,920
Speaker 3: three times, one falls off the table, and the music,

1578
01:30:08,080 --> 01:30:10,960
Speaker 3: the rare music we hear faintly in the background is

1579
01:30:11,000 --> 01:30:15,720
Speaker 3: Beethoven's Owed to Joy. So all of that adds up

1580
01:30:15,760 --> 01:30:19,200
Speaker 3: to me to be this argument that there is something

1581
01:30:19,240 --> 01:30:22,120
Speaker 3: going on here in this room. That's the question I

1582
01:30:22,120 --> 01:30:24,640
Speaker 3: want to ask you, how did you read what's in

1583
01:30:24,680 --> 01:30:28,000
Speaker 3: the room, if anything, because there's a counter that there's

1584
01:30:28,040 --> 01:30:28,559
Speaker 3: nothing there.

1585
01:30:29,040 --> 01:30:34,080
Speaker 2: So for me, it goes back to this question of faith.

1586
01:30:35,000 --> 01:30:38,160
Speaker 2: And I don't think it's cop out to say that

1587
01:30:38,200 --> 01:30:42,680
Speaker 2: we're not supposed to know. I think that is entirely

1588
01:30:43,160 --> 01:30:47,400
Speaker 2: the point, and I think it's worth noting that having

1589
01:30:47,479 --> 01:30:50,880
Speaker 2: not read really anything about this film. I don't know

1590
01:30:50,920 --> 01:30:54,439
Speaker 2: what the prevailing sentim it is. I don't know what

1591
01:30:54,479 --> 01:30:57,000
Speaker 2: the conventional wisdom is in terms of how the room

1592
01:30:57,000 --> 01:31:02,800
Speaker 2: itself is interpreted, or what the most provocative questions that

1593
01:31:03,360 --> 01:31:06,439
Speaker 2: this film leaves people with are. What some of the

1594
01:31:06,520 --> 01:31:10,479
Speaker 2: larger philosophical questions are that people have really been wrestling with.

1595
01:31:10,560 --> 01:31:17,040
Speaker 2: But I imagine, Josh that one of those provocations goes

1596
01:31:17,080 --> 01:31:21,720
Speaker 2: back to something the writer says when he decides ultimately

1597
01:31:22,720 --> 01:31:26,320
Speaker 2: that he's not going to go in. He says that

1598
01:31:26,400 --> 01:31:30,200
Speaker 2: the room doesn't grant your wish. What the room does

1599
01:31:30,280 --> 01:31:35,040
Speaker 2: is it reveals to you your true nature and what

1600
01:31:35,120 --> 01:31:41,400
Speaker 2: you truly wish for, essentially revealing who you really are.

1601
01:31:43,040 --> 01:31:47,080
Speaker 2: But what strikes me about that, Josh, is even that

1602
01:31:48,320 --> 01:31:52,800
Speaker 2: is potentially just the writer's interpretation. And he is a

1603
01:31:52,840 --> 01:31:57,120
Speaker 2: writer after all, So that's his interpretation, That is his

1604
01:31:57,280 --> 01:32:01,080
Speaker 2: invention in the moment now that is based on what

1605
01:32:01,240 --> 01:32:04,720
Speaker 2: he knows about what Stalker has told him about his

1606
01:32:05,479 --> 01:32:10,240
Speaker 2: former mentor, a man known as Porcupine. So he's reading

1607
01:32:10,400 --> 01:32:14,639
Speaker 2: into that and determining that this man ultimately killed himself

1608
01:32:14,640 --> 01:32:17,120
Speaker 2: because he went into the room and he learned something

1609
01:32:17,120 --> 01:32:19,280
Speaker 2: about himself that he didn't want to learn, but that's

1610
01:32:19,360 --> 01:32:23,560
Speaker 2: still his interpretation. At the end of the day, Tarkovsky

1611
01:32:23,720 --> 01:32:28,599
Speaker 2: offers no concrete evidence that that room grants any wishes,

1612
01:32:29,280 --> 01:32:34,200
Speaker 2: your true nature, bags of money, whatever it may be.

1613
01:32:34,720 --> 01:32:36,120
Speaker 2: We have no sense of that one way.

1614
01:32:36,040 --> 01:32:40,240
Speaker 3: Or the other. Yeah, yeah, absolutely, this is completely open

1615
01:32:40,280 --> 01:32:43,680
Speaker 3: to many interpretations, including the counter I was discussing. I

1616
01:32:43,800 --> 01:32:46,400
Speaker 3: do think my sense, or at least my reading, I

1617
01:32:46,439 --> 01:32:49,719
Speaker 3: should say, is that the writer is closer to what's

1618
01:32:49,760 --> 01:32:52,919
Speaker 3: possibly the truth than the room being like a genie

1619
01:32:52,960 --> 01:32:53,519
Speaker 3: in a bottle.

1620
01:32:53,680 --> 01:32:56,120
Speaker 2: Right, It's more interesting, sure it.

1621
01:32:56,280 --> 01:32:58,320
Speaker 3: Yeah, and you know that's been the myth that's why

1622
01:32:58,320 --> 01:33:03,240
Speaker 3: people go. But I do think, yes, it's not only

1623
01:33:04,240 --> 01:33:08,040
Speaker 3: revealing what your deepest desire is, but broader than that.

1624
01:33:08,760 --> 01:33:13,160
Speaker 3: I think the movie is suggesting that the Room represents

1625
01:33:13,200 --> 01:33:18,960
Speaker 3: what it means to encounter the divine, and I'm basing

1626
01:33:19,000 --> 01:33:21,360
Speaker 3: that on some other things a stalker says about the Room.

1627
01:33:21,400 --> 01:33:23,639
Speaker 3: He says, I think it lets through all those who've

1628
01:33:23,680 --> 01:33:27,280
Speaker 3: lost hope, not the good or the bad, but the unhappy.

1629
01:33:27,880 --> 01:33:31,360
Speaker 3: And what that led me to think about is those

1630
01:33:31,439 --> 01:33:35,599
Speaker 3: are people who are willing to surrender, to realize they

1631
01:33:35,640 --> 01:33:39,960
Speaker 3: can't save themselves. They're helpless, and part of that surrender

1632
01:33:40,000 --> 01:33:43,200
Speaker 3: is admitting who you are. So if the rumor reveals

1633
01:33:43,200 --> 01:33:46,160
Speaker 3: who you are, your deepest desire is part of that.

1634
01:33:46,280 --> 01:33:49,960
Speaker 3: It's maybe not the entire thing, but it's definitely part

1635
01:33:50,000 --> 01:33:53,479
Speaker 3: of it. That is kind of submitting to the divine

1636
01:33:53,840 --> 01:34:01,000
Speaker 3: is to humbling yourself, exposing yourself, and in that somehow

1637
01:34:01,040 --> 01:34:02,960
Speaker 3: finding hope. I think that's what his wife is talking

1638
01:34:03,000 --> 01:34:06,120
Speaker 3: about when she says, without sorrow, there is no hope.

1639
01:34:06,600 --> 01:34:08,960
Speaker 3: That you have to admit that. There's maybe an element

1640
01:34:09,000 --> 01:34:12,479
Speaker 3: of confession at play here. Stalker says something else like

1641
01:34:12,520 --> 01:34:14,840
Speaker 3: this is the only place to come when all hope

1642
01:34:14,880 --> 01:34:17,760
Speaker 3: is gone. So that's kind of a release and a

1643
01:34:17,880 --> 01:34:24,599
Speaker 3: surrender idea as well. And yeah, I think there are

1644
01:34:24,640 --> 01:34:28,920
Speaker 3: some other sort of details that support this. There's that

1645
01:34:29,000 --> 01:34:31,200
Speaker 3: whole weird sequence where the three of them are falling

1646
01:34:31,200 --> 01:34:34,080
Speaker 3: asleep just before they get to the room, and the

1647
01:34:34,120 --> 01:34:36,559
Speaker 3: movie it's maybe lags a bit because you're like, we

1648
01:34:36,600 --> 01:34:38,760
Speaker 3: want to see what happens and they get drowsy. It's

1649
01:34:38,760 --> 01:34:40,439
Speaker 3: like they're in the field of Poppies and the Wizard

1650
01:34:40,520 --> 01:34:43,200
Speaker 3: of Oz. But we hear a woman quote during that

1651
01:34:43,320 --> 01:34:48,439
Speaker 3: passage from Revelation six, which is this apocalyptic passage about

1652
01:34:48,479 --> 01:34:52,000
Speaker 3: falling before the face of God. Stalker later quotes the

1653
01:34:52,040 --> 01:34:55,120
Speaker 3: story the New Testament story of the disciples encountering the

1654
01:34:55,160 --> 01:34:57,760
Speaker 3: risen Jesus on the road to Amais and they don't

1655
01:34:57,760 --> 01:35:00,560
Speaker 3: recognize him. And I think he says right around that

1656
01:35:00,640 --> 01:35:05,080
Speaker 3: time to the professor and the writer something like do

1657
01:35:05,160 --> 01:35:09,240
Speaker 3: you see or something like that, Like basically, this idea

1658
01:35:09,400 --> 01:35:13,479
Speaker 3: of being open to the divine in some way and

1659
01:35:13,720 --> 01:35:16,960
Speaker 3: the fear and trembling that comes with that is what's

1660
01:35:17,000 --> 01:35:19,040
Speaker 3: in the room. It's not like, you know, I want

1661
01:35:19,080 --> 01:35:21,280
Speaker 3: pizza every day for the rest of my life for free.

1662
01:35:21,400 --> 01:35:24,160
Speaker 3: That's not what the room is giving. It may give freedom,

1663
01:35:24,479 --> 01:35:29,160
Speaker 3: but it's what's going to come first is some sort

1664
01:35:29,200 --> 01:35:35,400
Speaker 3: of honesty, humility, confession, submission, and that's what's terrifying. So yeah,

1665
01:35:35,400 --> 01:35:36,840
Speaker 3: and all that is to say is I don't think

1666
01:35:36,840 --> 01:35:39,919
Speaker 3: this is a tract in any way, but just piecing together,

1667
01:35:40,120 --> 01:35:44,880
Speaker 3: I think that's what the Stalker is suggesting without explicitly

1668
01:35:44,960 --> 01:35:48,439
Speaker 3: explaining to them. And then you throw in you know,

1669
01:35:48,479 --> 01:35:50,360
Speaker 3: so what does it mean that the professor is essentially

1670
01:35:50,400 --> 01:35:53,120
Speaker 3: there to blow the room up? You know, that's a

1671
01:35:53,120 --> 01:35:55,800
Speaker 3: whole nother threat. We could talk about as well, that

1672
01:35:55,840 --> 01:35:58,559
Speaker 3: he sees this as I think his excuse is that

1673
01:35:58,600 --> 01:36:01,040
Speaker 3: this is too powerful for anyone to have, right, so

1674
01:36:01,120 --> 01:36:03,880
Speaker 3: he wants to destroy it. Now, how does that apply

1675
01:36:04,040 --> 01:36:05,720
Speaker 3: to what I've been talking about. I don't know. I

1676
01:36:05,760 --> 01:36:08,479
Speaker 3: still have plenty more questions. But as that was how

1677
01:36:08,520 --> 01:36:10,640
Speaker 3: I sort of started to wrap my mind around.

1678
01:36:10,400 --> 01:36:13,360
Speaker 2: The room, the ending in terms of the glass of

1679
01:36:13,439 --> 01:36:16,600
Speaker 2: water with the daughter, I do want to say a

1680
01:36:16,680 --> 01:36:20,280
Speaker 2: couple things struck me, first of all, entirely appropriate that

1681
01:36:20,479 --> 01:36:22,800
Speaker 2: this key moment the end of the film, that it

1682
01:36:22,840 --> 01:36:27,400
Speaker 2: would culminate with a glass of water being Tarkovski not

1683
01:36:27,439 --> 01:36:31,320
Speaker 2: only because of the place water holds in this movie,

1684
01:36:31,800 --> 01:36:35,160
Speaker 2: but the place water imagery holds in all the films

1685
01:36:35,200 --> 01:36:37,839
Speaker 2: we've seen in this marathon and films we've seen outside

1686
01:36:37,920 --> 01:36:42,160
Speaker 2: of this marathon, but also the beginning of this film

1687
01:36:42,680 --> 01:36:45,559
Speaker 2: is a shot of a glass of water shaking as

1688
01:36:45,560 --> 01:36:49,280
Speaker 2: that train goes by. It's almost as if it's going

1689
01:36:49,320 --> 01:36:52,400
Speaker 2: to tremble enough that it might fall off the edge,

1690
01:36:52,439 --> 01:36:54,640
Speaker 2: and it never does. And then we come around to

1691
01:36:54,680 --> 01:36:57,799
Speaker 2: the end. It feels like a callback to that moment,

1692
01:36:57,880 --> 01:37:01,320
Speaker 2: not a direct callback, but a close enough callback. What

1693
01:37:01,439 --> 01:37:07,960
Speaker 2: I thought of Josh more specifically, more pointedly, is what

1694
01:37:07,960 --> 01:37:10,720
Speaker 2: the writer says earlier in the film. What you're referencing.

1695
01:37:11,080 --> 01:37:15,080
Speaker 2: He's bemoaning. And this is ironic in a way because

1696
01:37:15,120 --> 01:37:18,360
Speaker 2: he's not the scientist, he's not the professor, he's the writer.

1697
01:37:18,920 --> 01:37:21,960
Speaker 2: And I know ultimately he's wishing that there was more

1698
01:37:22,680 --> 01:37:27,400
Speaker 2: metaphysical aspects to the universe and that there was something

1699
01:37:27,439 --> 01:37:31,479
Speaker 2: more profound that we could all experience. But what he's

1700
01:37:31,520 --> 01:37:35,560
Speaker 2: saying is something a scientist would say. The world is absolute,

1701
01:37:35,880 --> 01:37:40,960
Speaker 2: we're governed by laws. Yeah, it's ironclad and law. That's

1702
01:37:41,040 --> 01:37:45,200
Speaker 2: ultimately what he's upset about. And that moment seems like,

1703
01:37:45,280 --> 01:37:47,599
Speaker 2: and I think this supports exactly what you were saying

1704
01:37:47,640 --> 01:37:50,760
Speaker 2: and you're reading, but it's a direct rebuke of that.

1705
01:37:51,400 --> 01:37:55,479
Speaker 2: At the end of this movie, it's Tarkovsky's way of saying,

1706
01:37:56,760 --> 01:38:00,439
Speaker 2: not so fast. We don't live in a world that

1707
01:38:01,120 --> 01:38:03,640
Speaker 2: is as immutable in terms of its laws as you

1708
01:38:03,680 --> 01:38:04,120
Speaker 2: think it is.

1709
01:38:04,560 --> 01:38:07,400
Speaker 3: Yeah, no, I agree. And again it's like, what I

1710
01:38:07,439 --> 01:38:11,080
Speaker 3: love about his films is that it's suggesting that it's

1711
01:38:11,160 --> 01:38:15,200
Speaker 3: more saying, yeah, but what if this, and then showing

1712
01:38:15,320 --> 01:38:21,080
Speaker 3: us something visual that makes us ask that same thing.

1713
01:38:21,479 --> 01:38:23,600
Speaker 3: We've talked about like the wind, the use of the

1714
01:38:23,640 --> 01:38:27,479
Speaker 3: wind and mirror and the water as well. And then

1715
01:38:27,560 --> 01:38:30,080
Speaker 3: here there are a couple of instances. You know, I've

1716
01:38:30,080 --> 01:38:34,360
Speaker 3: talked about Tarkovsky as being more sorcerer or conjuror than

1717
01:38:34,439 --> 01:38:37,760
Speaker 3: film director, and we have a couple of instances of

1718
01:38:37,800 --> 01:38:40,160
Speaker 3: that here with which connect to what you're saying. You know,

1719
01:38:40,200 --> 01:38:43,639
Speaker 3: there are hints of those moving glasses to come. This

1720
01:38:43,680 --> 01:38:46,080
Speaker 3: is again when they first enter the zone and they're

1721
01:38:46,120 --> 01:38:49,080
Speaker 3: on a hill overlooking it. The track, the road track

1722
01:38:49,120 --> 01:38:52,599
Speaker 3: is still there. They're kind of in darkness, it's foggy,

1723
01:38:53,040 --> 01:38:56,479
Speaker 3: and then the sun pierces through the fog and seems

1724
01:38:56,520 --> 01:38:59,799
Speaker 3: to anoint them. There's even a flare on the lens,

1725
01:39:00,439 --> 01:39:03,400
Speaker 3: and then the fog returns and it fades away. Like

1726
01:39:03,800 --> 01:39:06,160
Speaker 3: they couldn't have planned for that. They could not have

1727
01:39:06,240 --> 01:39:08,680
Speaker 3: planned for that. Yeah, Like the camera was just there

1728
01:39:08,720 --> 01:39:12,240
Speaker 3: and it's exquisite. There's a shot when they're closer to

1729
01:39:12,280 --> 01:39:15,960
Speaker 3: the room this well and the camera is looking down

1730
01:39:16,000 --> 01:39:18,960
Speaker 3: on it and there's these ripples of dark water sort

1731
01:39:18,960 --> 01:39:23,799
Speaker 3: of undulating in mesmerizing ways. And how about that shot.

1732
01:39:24,200 --> 01:39:26,600
Speaker 3: I wonder if you caught this, or maybe I was

1733
01:39:26,720 --> 01:39:29,280
Speaker 3: just you know, getting dizzy at this point. There's a

1734
01:39:29,320 --> 01:39:31,400
Speaker 3: shot of a dry river about at one point in

1735
01:39:31,439 --> 01:39:34,760
Speaker 3: the zone, and I could have sworn the lower half

1736
01:39:34,840 --> 01:39:39,080
Speaker 3: of the frame of the dirt was almost undulating in

1737
01:39:39,120 --> 01:39:41,040
Speaker 3: a weird way. And then at the end of this

1738
01:39:41,160 --> 01:39:44,439
Speaker 3: shot again had to be unplanned. This little dust devil

1739
01:39:44,800 --> 01:39:48,599
Speaker 3: just forms and blows around and then disappears. These are

1740
01:39:48,640 --> 01:39:53,040
Speaker 3: like the conjuring sorcerer moments that Tarkovsky seems to somehow

1741
01:39:53,400 --> 01:39:56,479
Speaker 3: either find or create. But I think their hints of

1742
01:39:56,520 --> 01:39:59,519
Speaker 3: what you're talking about. They're just saying, yeah, you know,

1743
01:39:59,640 --> 01:40:02,599
Speaker 3: we know laws of science, and we follow them and

1744
01:40:02,640 --> 01:40:07,240
Speaker 3: believe them. But what's this? What is going What is

1745
01:40:07,280 --> 01:40:08,040
Speaker 3: going on here?

1746
01:40:08,439 --> 01:40:12,400
Speaker 2: So two other quick points, something of a thesis statement

1747
01:40:12,640 --> 01:40:16,479
Speaker 2: I think is said, and it's informed for me by

1748
01:40:16,479 --> 01:40:18,960
Speaker 2: his thesis film, which we saw at the beginning of

1749
01:40:19,000 --> 01:40:21,960
Speaker 2: this marathon, the Steamroller and the Violin. We have here

1750
01:40:22,120 --> 01:40:25,920
Speaker 2: a character called the Professor, a character called the writer.

1751
01:40:26,000 --> 01:40:27,559
Speaker 2: I think it's one of the strengths of this film

1752
01:40:27,600 --> 01:40:31,920
Speaker 2: that they are not reduced to just allegorical figures. They

1753
01:40:31,960 --> 01:40:35,640
Speaker 2: have their own frailties and insecurities, and they are individuals,

1754
01:40:35,680 --> 01:40:39,360
Speaker 2: and I don't think they just represent sort of the

1755
01:40:39,400 --> 01:40:42,840
Speaker 2: fields that they come from. But nevertheless, there is very

1756
01:40:42,880 --> 01:40:46,320
Speaker 2: clearly a major allegorical element at play with this. STU

1757
01:40:46,360 --> 01:40:49,840
Speaker 2: Sure as we're talking about what does the room represent? Right,

1758
01:40:49,880 --> 01:40:54,800
Speaker 2: what does the zone represent? And at one point I

1759
01:40:54,840 --> 01:40:58,320
Speaker 2: think it is the stalker who says, or it's actually

1760
01:40:58,360 --> 01:41:00,160
Speaker 2: in a voiceover, it's him and a voice over where

1761
01:41:00,200 --> 01:41:04,880
Speaker 2: he says, for softness is great and strength is worthless.

1762
01:41:05,080 --> 01:41:08,599
Speaker 2: That which has become hard shall not triumph. And maybe

1763
01:41:08,640 --> 01:41:11,360
Speaker 2: I'm taking it too literally. This is a film that

1764
01:41:11,840 --> 01:41:15,360
Speaker 2: you do that at your own risk. But I go

1765
01:41:15,439 --> 01:41:18,400
Speaker 2: back to a film, another allegorical film like The Steamroller

1766
01:41:18,439 --> 01:41:21,360
Speaker 2: and the Violin, a movie that's very much about saying, yes,

1767
01:41:21,439 --> 01:41:23,760
Speaker 2: we live in a world where we need we need

1768
01:41:23,800 --> 01:41:28,479
Speaker 2: people doing tough jobs like running this steamroller, and there

1769
01:41:28,520 --> 01:41:31,439
Speaker 2: are battles to be fought and soldiers that have to

1770
01:41:31,479 --> 01:41:35,960
Speaker 2: fight them, and it's a brutal, tough experience for all

1771
01:41:35,960 --> 01:41:38,400
Speaker 2: of us. But that's why we need beauty, and we

1772
01:41:38,439 --> 01:41:41,280
Speaker 2: need kids who play the violin. And and this seems

1773
01:41:41,280 --> 01:41:43,799
Speaker 2: to be one of those things that is constantly warring

1774
01:41:43,840 --> 01:41:47,559
Speaker 2: in Tarkovski as well, this recognition of the brutality of

1775
01:41:47,600 --> 01:41:51,600
Speaker 2: the world, but also that need as we've discussed with

1776
01:41:51,720 --> 01:41:55,800
Speaker 2: other films, that need for beauty. And it's almost like

1777
01:41:56,560 --> 01:41:59,440
Speaker 2: with his voice over Josh, it's it's as if Tarkovski

1778
01:41:59,600 --> 01:42:02,960
Speaker 2: is trying to usher it into reality. He wants to

1779
01:42:03,080 --> 01:42:08,120
Speaker 2: make it a reality that everyone understands that we need

1780
01:42:08,160 --> 01:42:12,720
Speaker 2: to embrace softness. We need to abandon the notion that

1781
01:42:12,800 --> 01:42:16,920
Speaker 2: being hard, that strength, that might is the only thing

1782
01:42:17,000 --> 01:42:18,120
Speaker 2: that we should aspire to.

1783
01:42:18,400 --> 01:42:21,080
Speaker 3: Yeah. I love the callback to steamroll learn the violin.

1784
01:42:21,160 --> 01:42:23,680
Speaker 3: That makes sense. I hadn't thought of that. And I

1785
01:42:23,680 --> 01:42:27,679
Speaker 3: think that monologue, which I just love, is also related

1786
01:42:27,720 --> 01:42:30,599
Speaker 3: to this idea of surrender at the foot of the room,

1787
01:42:31,000 --> 01:42:34,160
Speaker 3: because you know you would not do that if you

1788
01:42:34,200 --> 01:42:36,080
Speaker 3: want to be in a position of strength, that is

1789
01:42:36,120 --> 01:42:39,280
Speaker 3: a position of softness. And I think that's yeah, a

1790
01:42:39,320 --> 01:42:42,400
Speaker 3: thesis statement for the film, and also an argument for

1791
01:42:42,479 --> 01:42:44,640
Speaker 3: the professor and the writer, like you're going, if you

1792
01:42:44,720 --> 01:42:48,680
Speaker 3: really want to go and do this, this is the

1793
01:42:48,720 --> 01:42:51,280
Speaker 3: posture you need to it adopt. Not go in there

1794
01:42:51,320 --> 01:42:53,840
Speaker 3: and ask to be the strongest man in the world,

1795
01:42:54,280 --> 01:42:56,240
Speaker 3: but to become the weakest essentially.

1796
01:42:56,320 --> 01:42:58,479
Speaker 2: Right at the end of this film, can I ask

1797
01:42:58,520 --> 01:43:02,559
Speaker 2: you a theological question can we end here? Okay, because

1798
01:43:02,560 --> 01:43:06,000
Speaker 2: this kind of confused me. At the end of the film,

1799
01:43:06,160 --> 01:43:11,479
Speaker 2: when he's returned and he's exhausted and his wife is

1800
01:43:11,560 --> 01:43:15,960
Speaker 2: tending to him, he's talking about the intelligentsia. He's really

1801
01:43:17,120 --> 01:43:21,240
Speaker 2: just being highly critical of modernity.

1802
01:43:21,400 --> 01:43:22,800
Speaker 3: Yeah, he's going off at this point.

1803
01:43:22,920 --> 01:43:28,280
Speaker 2: He's angry at the modern condition, right, everything that everybody

1804
01:43:28,400 --> 01:43:31,920
Speaker 2: day to day is aspiring to their lack of faith.

1805
01:43:32,120 --> 01:43:37,240
Speaker 2: They're putting all of their hopes in materialism, in things

1806
01:43:37,280 --> 01:43:40,000
Speaker 2: that may satisfy them in the short term but not

1807
01:43:40,320 --> 01:43:44,040
Speaker 2: potentially in the long term. And he's saying, really, even

1808
01:43:44,080 --> 01:43:46,160
Speaker 2: though he's not thinking about it in these exact terms,

1809
01:43:46,800 --> 01:43:51,679
Speaker 2: he is talking about it as if without people who

1810
01:43:51,800 --> 01:43:55,360
Speaker 2: have faith, if this continues, he doesn't have a job.

1811
01:43:55,880 --> 01:43:59,559
Speaker 2: There aren't people who are willing then to venture into

1812
01:43:59,560 --> 01:44:02,519
Speaker 2: the zone anymore. People won't be seeking out the room,

1813
01:44:03,040 --> 01:44:06,920
Speaker 2: right because no one will have the faith to go there.

1814
01:44:07,280 --> 01:44:09,600
Speaker 2: They'll need more proof, they'll need more evidence, whatever the

1815
01:44:09,600 --> 01:44:13,840
Speaker 2: case may be. But in that conversation Josh where he

1816
01:44:13,920 --> 01:44:18,680
Speaker 2: talks about the unhappy and why people go there, my

1817
01:44:18,800 --> 01:44:22,799
Speaker 2: thought is, forget faith. As long as there are people

1818
01:44:22,800 --> 01:44:26,439
Speaker 2: who are unhappy, won't there always be a need to

1819
01:44:26,520 --> 01:44:29,840
Speaker 2: go to the room. And won't there always be unhappy people?

1820
01:44:30,400 --> 01:44:32,839
Speaker 3: Yes, So why won't.

1821
01:44:32,640 --> 01:44:33,600
Speaker 2: He have a job?

1822
01:44:33,960 --> 01:44:38,799
Speaker 3: Oh? Okay to tell one, Yeah, I don't know about

1823
01:44:38,840 --> 01:44:41,599
Speaker 3: sort of you know, the logistics of that as you're

1824
01:44:41,640 --> 01:44:47,280
Speaker 3: describing him, though, I think in his mind he's God's fool,

1825
01:44:47,320 --> 01:44:50,320
Speaker 3: He's a holy fool. Those are also terms to describe

1826
01:44:50,360 --> 01:44:53,720
Speaker 3: like prophets, right, So I think he sees himself as

1827
01:44:53,760 --> 01:44:59,200
Speaker 3: a prophet where it's single minded, he's going to seem illogical,

1828
01:44:59,800 --> 01:45:03,719
Speaker 3: but but he is there too in a sense. It's

1829
01:45:03,920 --> 01:45:07,320
Speaker 3: like Old Testament Holy of Holies, and he is this

1830
01:45:07,479 --> 01:45:10,680
Speaker 3: prophet who has access to it, and he's being this

1831
01:45:10,880 --> 01:45:15,479
Speaker 3: conduit between the divine and regular people. And for him,

1832
01:45:15,720 --> 01:45:22,320
Speaker 3: everything else probably is extraneous. Everything else in the world

1833
01:45:22,360 --> 01:45:25,000
Speaker 3: is extraneous. This is his purpose, this is why he's

1834
01:45:25,000 --> 01:45:26,960
Speaker 3: been put on this earth. He and you know, in

1835
01:45:27,040 --> 01:45:30,080
Speaker 3: terms of modernity, yeah, I think that part you're talking about.

1836
01:45:30,320 --> 01:45:33,640
Speaker 3: He says something like their capacity for faith has atrophied,

1837
01:45:34,120 --> 01:45:36,599
Speaker 3: and I think that's you know, that's what concerns him

1838
01:45:36,640 --> 01:45:39,200
Speaker 3: is not so much that whether or not he has

1839
01:45:39,240 --> 01:45:43,160
Speaker 3: a job, but that these are lost people.

1840
01:45:43,280 --> 01:45:45,599
Speaker 2: Yeah, And to be clear, it's not about the job,

1841
01:45:45,760 --> 01:45:48,680
Speaker 2: it's about Yeah, what we were referring to in the

1842
01:45:48,720 --> 01:45:51,560
Speaker 2: opening scene, this is his calling.

1843
01:45:51,479 --> 01:45:53,400
Speaker 3: His calling. Sure, absolutely, if there.

1844
01:45:53,240 --> 01:45:55,960
Speaker 2: Are people who are willing to venture into the zone

1845
01:45:55,960 --> 01:45:58,320
Speaker 2: and go to the room, he can't fulfill his calling,

1846
01:45:58,400 --> 01:45:59,080
Speaker 2: is what I'm saying.

1847
01:45:59,320 --> 01:46:00,959
Speaker 3: Yeah, but won't.

1848
01:46:00,720 --> 01:46:04,519
Speaker 2: There always be people who feel that need to go

1849
01:46:04,680 --> 01:46:08,519
Speaker 2: because there will always be unhappy people, won't there always be.

1850
01:46:08,520 --> 01:46:14,800
Speaker 3: Lost there souls. Maybe he's referring to, you know, the

1851
01:46:14,880 --> 01:46:21,519
Speaker 3: willingness to address that unhappiness by seeking the room, because

1852
01:46:22,600 --> 01:46:24,719
Speaker 3: I mean, Lord knows, there's a million ways to address

1853
01:46:24,760 --> 01:46:28,600
Speaker 3: that unhappiness, which a lot of those ways lead to

1854
01:46:28,640 --> 01:46:31,439
Speaker 3: more unhappiness, and he may feel like, here's here's a

1855
01:46:31,479 --> 01:46:35,000
Speaker 3: difficult way, a challenging way, a surrendering way, but it's

1856
01:46:35,040 --> 01:46:38,479
Speaker 3: a way that can actually bring hope and comfort. And

1857
01:46:38,560 --> 01:46:42,760
Speaker 3: so what he's bemoaning there is that he believes he

1858
01:46:42,920 --> 01:46:46,920
Speaker 3: has a way to address it, and by negating that,

1859
01:46:47,000 --> 01:46:51,479
Speaker 3: denying that it's even a possibility, that's the tragedy. That's

1860
01:46:51,520 --> 01:46:54,760
Speaker 3: the tragedy for him. Maybe I don't know. So wait

1861
01:46:54,760 --> 01:46:56,760
Speaker 3: now I'm gonna throw you a quick question, what's with

1862
01:46:56,800 --> 01:46:59,519
Speaker 3: the dog with that? And well, maybe a listener will

1863
01:46:59,520 --> 01:47:01,519
Speaker 3: help us, because a listener was kind enough to help

1864
01:47:01,600 --> 01:47:04,120
Speaker 3: us with the horses at the end of Andre Rubelev Yeah,

1865
01:47:04,160 --> 01:47:08,480
Speaker 3: I forget their name, but had a very thoughtful, reasonable

1866
01:47:08,560 --> 01:47:12,240
Speaker 3: explanation that, you know, these peaceful horses that are the

1867
01:47:12,320 --> 01:47:15,400
Speaker 3: last shot are a counter to the horses in physical

1868
01:47:15,400 --> 01:47:18,040
Speaker 3: strikeing we saw throughout the film, which I think made

1869
01:47:18,080 --> 01:47:20,439
Speaker 3: a lot of sense. But there's this dog that appears

1870
01:47:20,479 --> 01:47:24,200
Speaker 3: in the zone, and I guess the Stalker takes home, yeah,

1871
01:47:24,200 --> 01:47:26,720
Speaker 3: with him, but he also seems to appear. The dog

1872
01:47:26,760 --> 01:47:29,400
Speaker 3: also seems to appear in visions. Right, I don't know.

1873
01:47:29,600 --> 01:47:30,640
Speaker 3: I got nothing on it.

1874
01:47:30,720 --> 01:47:34,240
Speaker 2: Well, all I got is I like the touch that

1875
01:47:34,920 --> 01:47:39,200
Speaker 2: the dog being there at the end does at least

1876
01:47:39,280 --> 01:47:42,839
Speaker 2: signal that everything we saw before it actually happened.

1877
01:47:43,280 --> 01:47:46,679
Speaker 3: Okay, right, there's a world where there's a link.

1878
01:47:46,800 --> 01:47:49,880
Speaker 2: Yeah, we don't know how much of this is potentially

1879
01:47:50,040 --> 01:47:53,160
Speaker 2: in someone's head. Is it a fever dream? How long

1880
01:47:54,240 --> 01:47:56,680
Speaker 2: has he been gone? We still don't really know how

1881
01:47:56,760 --> 01:47:59,320
Speaker 2: long they've been gone, but we do at least know

1882
01:48:00,040 --> 01:48:02,520
Speaker 2: that they were gone and they somehow got back.

1883
01:48:02,320 --> 01:48:06,000
Speaker 3: Because the dogs there. That helps, right, that helps?

1884
01:48:06,360 --> 01:48:10,840
Speaker 2: Yeah, Well, stalker is currently streaming on the Criterion Channel

1885
01:48:10,880 --> 01:48:14,479
Speaker 2: and on Max. It's also available VOD next week. The

1886
01:48:14,520 --> 01:48:19,040
Speaker 2: final film in our Tarkovsky Marathon, nineteen eighty three's Nostalgia.

1887
01:48:19,160 --> 01:48:22,080
Speaker 2: That one is available VOD on most platforms. More about

1888
01:48:22,120 --> 01:48:25,880
Speaker 2: the marathon at filmspotting dot net slash Marathons. If you

1889
01:48:25,880 --> 01:48:28,680
Speaker 2: have any comments about the show, we'd love to hear

1890
01:48:28,720 --> 01:48:32,000
Speaker 2: from you, feedback at filmspotting dot net. Josh, that is

1891
01:48:32,000 --> 01:48:32,400
Speaker 2: our show.

1892
01:48:32,520 --> 01:48:35,080
Speaker 3: If you'd like to connect on social media, Adam and

1893
01:48:35,160 --> 01:48:39,160
Speaker 3: the show are on Instagram and Facebook and letterboxed. He's

1894
01:48:39,200 --> 01:48:41,799
Speaker 3: at film Spotting. You can find me in those places

1895
01:48:41,840 --> 01:48:45,799
Speaker 3: as Larsen on film. We are independently produced and listeners supported.

1896
01:48:45,920 --> 01:48:48,240
Speaker 3: You can support the show by joining the film Spotting

1897
01:48:48,320 --> 01:48:52,160
Speaker 3: Family at film spottingfamily dot com. You can listen early

1898
01:48:52,240 --> 01:48:56,080
Speaker 3: and ad free. You'll get a weekly newsletter, monthly bonus episodes,

1899
01:48:56,120 --> 01:48:59,360
Speaker 3: and access to the entire show archive. If you're looking

1900
01:48:59,400 --> 01:49:02,000
Speaker 3: for show to shir or other merch go to film

1901
01:49:02,040 --> 01:49:04,360
Speaker 3: spotting dot net slash.

1902
01:49:03,880 --> 01:49:08,559
Speaker 2: Shop available now streaming in VOD. Deaf President Now That's

1903
01:49:08,600 --> 01:49:12,360
Speaker 2: on Apple TV plus a documentary about a nineteen eighty

1904
01:49:12,400 --> 01:49:16,519
Speaker 2: eight protest at a Washington DC university that's the world's

1905
01:49:16,520 --> 01:49:18,840
Speaker 2: only university for the death and heart of hearing. Our

1906
01:49:18,840 --> 01:49:22,519
Speaker 2: friend Maria Gates calls it a firebrand historical documentary that

1907
01:49:22,600 --> 01:49:25,480
Speaker 2: is as crowd pleasing and informative as it is innovative

1908
01:49:25,520 --> 01:49:28,960
Speaker 2: and inclusive. It won the south By Southwest Audience Award

1909
01:49:29,280 --> 01:49:33,519
Speaker 2: out wide. Final Destination Bloodlines the sixth in the series,

1910
01:49:33,560 --> 01:49:37,680
Speaker 2: but the first since twenty eleven's The Not So Final Destination.

1911
01:49:38,360 --> 01:49:41,479
Speaker 2: I added the Not So Josh Hurry Up Tomorrow The

1912
01:49:41,520 --> 01:49:45,400
Speaker 2: Weekend is a musician plagued by insomnia, pulled into an

1913
01:49:45,400 --> 01:49:49,240
Speaker 2: odyssey with a stranger played by Jenna Ortega who begins

1914
01:49:49,240 --> 01:49:52,600
Speaker 2: to unravel the very core of his existence. Sounds like

1915
01:49:52,720 --> 01:49:57,280
Speaker 2: Tarkowski Very Kogan stars. It's directed by Trey Edward Schultz,

1916
01:49:57,439 --> 01:50:00,920
Speaker 2: who made Soavognesha and Waves and It Comes at Night.

1917
01:50:01,479 --> 01:50:04,120
Speaker 2: In limited release, this one seems to be getting some

1918
01:50:04,200 --> 01:50:07,840
Speaker 2: good buzz. Friendship, starring Tim Robinson as a suburban dad

1919
01:50:07,960 --> 01:50:11,160
Speaker 2: who falls hard for his charismatic new neighbor played by

1920
01:50:11,320 --> 01:50:11,920
Speaker 2: Paul Rudd.

1921
01:50:12,240 --> 01:50:15,960
Speaker 3: Just saw this today and can add to the positive reviews,

1922
01:50:16,000 --> 01:50:17,960
Speaker 3: though I also have to give a warning. First off,

1923
01:50:18,000 --> 01:50:20,720
Speaker 3: this thing is really weird. I mean it's I don't

1924
01:50:20,760 --> 01:50:22,599
Speaker 3: know what I still don't know what the tone is,

1925
01:50:22,640 --> 01:50:24,800
Speaker 3: but it's committed to it and it at least has

1926
01:50:24,840 --> 01:50:27,559
Speaker 3: a firm control of it. The one warning I would

1927
01:50:27,560 --> 01:50:30,960
Speaker 3: give folks is it's way more a Tim Robinson movie

1928
01:50:31,040 --> 01:50:33,439
Speaker 3: than a Paul red movie. So I'm sure a fan

1929
01:50:33,920 --> 01:50:36,320
Speaker 3: of the series, I think you should leave with Tim Robinson.

1930
01:50:36,360 --> 01:50:38,639
Speaker 3: You'll probably get a lot out of this if you're

1931
01:50:38,640 --> 01:50:42,240
Speaker 3: going to it for a lighthearted Paul Rudd buddy Rop

1932
01:50:42,840 --> 01:50:43,439
Speaker 3: not so much.

1933
01:50:44,280 --> 01:50:48,599
Speaker 2: In addition to talking about Tarkovsky's Nostalgia, next week, we're

1934
01:50:48,600 --> 01:50:53,000
Speaker 2: going to get nostalgic with Richard Linklater's Before Films. We

1935
01:50:53,040 --> 01:50:56,439
Speaker 2: will talk about Before Sunset as part of our Pantheon project,

1936
01:50:56,439 --> 01:50:59,400
Speaker 2: and we will share our film Spotting fest Q and A.

1937
01:51:00,120 --> 01:51:03,600
Speaker 2: Talking about Before Sunrise. I think we were kind of

1938
01:51:03,640 --> 01:51:06,519
Speaker 2: delirious that Sunday morning at the music Box. Did we

1939
01:51:06,560 --> 01:51:08,120
Speaker 2: actually even capture this audio?

1940
01:51:08,400 --> 01:51:11,439
Speaker 3: We'll have to see, Thank good, as Scott Tobias was

1941
01:51:11,479 --> 01:51:13,000
Speaker 3: there to carry most of the weight.

1942
01:51:13,400 --> 01:51:13,920
Speaker 2: Yeah.

1943
01:51:14,000 --> 01:51:16,640
Speaker 3: Film Spotting is produced by Golden Joe to Soo and

1944
01:51:16,680 --> 01:51:20,000
Speaker 3: Sam van Holgren. Without Sam and Goldenjoe, this show wouldn't go.

1945
01:51:20,439 --> 01:51:24,000
Speaker 3: Our production assistant is Sophie Kempenard special Thanks to everyone

1946
01:51:24,080 --> 01:51:28,360
Speaker 3: at wb eazy Chicago. More information is available at wbeazy

1947
01:51:28,560 --> 01:51:31,440
Speaker 3: dot org. For film Spotting, I'm Josh Larson.

1948
01:51:31,200 --> 01:51:33,320
Speaker 2: And I'm Adam Kempinar. Thanks for listening.

1949
01:51:33,479 --> 01:51:38,000
Speaker 9: This conversation can serve no purpose anymore. The Barn.

1950
01:51:54,360 --> 01:51:57,320
Speaker 2: Film Spotting is listener supported. Join the film Spotting Family

1951
01:51:57,360 --> 01:52:00,280
Speaker 2: at filmspotting family dot com and get access to add

1952
01:52:00,320 --> 01:52:03,720
Speaker 2: free episodes, monthly bonus shows, our weekly newsletter, and, for

1953
01:52:03,760 --> 01:52:06,439
Speaker 2: the first time, all in one place, the entire film

1954
01:52:06,439 --> 01:52:09,120
Speaker 2: spotting archive going back to two thousand and five. That's

1955
01:52:09,160 --> 01:52:14,320
Speaker 2: a film Spotting Family dot com panoply