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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho, I'm Daniel Henderson, and

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Speaker 2: that's right.

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Speaker 1: We're here to talk about movies again with you and

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Speaker 1: Danielle We I'm looking at the watch. We got no

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Speaker 1: time to dilly dellly because we have done quite an

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Speaker 1: exciting guest today.

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Speaker 3: I have not been this excited and this is no

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Speaker 3: slight to us. I have not been this excited to

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Speaker 3: record since we started this podcast.

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Speaker 1: Oh, met neither. Let's just get that out of the way,

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Speaker 1: like we are. This is a this is an epic,

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Speaker 1: epic episode, and we're both super excited. Oh my god,

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Speaker 1: I truly cannot believe that this day is here. I'm

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Speaker 1: so excited because here's the thing. Okay, we did an

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Speaker 1: episode a few weeks ago about a little movie called

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Speaker 1: Grease Too, And I remember texting you the morning that

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Speaker 1: the episode dropped, and I was like, already we have

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Speaker 1: like a shit ton of comments about an emails yes,

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Speaker 1: And I was like, it hasn't even been out for

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Speaker 1: more than like a couple hours, Like it dropped in

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Speaker 1: the middle of the night and suddenly in the morning

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Speaker 1: it was like so many comments. I mean to the

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Speaker 1: point where I was like, wow, I had no idea

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Speaker 1: like this it's a holiday. Yes, oh my god, it's

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Speaker 1: We have activated so many people, and it made me

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Speaker 1: really happy because, as people heard in that episode, I

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Speaker 1: go embarrassingly hard on my love for Grease Too, like

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Speaker 1: in a like I listened back to it and was like,

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Speaker 1: I sound like a maniac, and I hope that I'm

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Speaker 1: not scaring people. But then I realized that everybody kind

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Speaker 1: of feels similarly, which actually made me feel very validated.

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Speaker 2: So yes, yeah, and.

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Speaker 1: You know, because the whole thing was my argument was

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Speaker 1: that Grease Too was better than Greece one, and I

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Speaker 1: was like, everyone's gonna come at me, but actually.

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Speaker 3: The opposite happened, is better than most of the movies

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Speaker 3: that came out that year. Yeah, like I'll say it,

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Speaker 3: and I instantly said, like, I don't like the first

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Speaker 3: Grease come at me.

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Speaker 2: I don't care.

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Speaker 1: There's a lot of people that actually that that said

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Speaker 1: that too, which I was like, wow, that that went

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Speaker 1: the opposite of how I thought it was going to go.

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Speaker 3: You should feel validated across the board, but especially for today, because.

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Speaker 2: Today's just a joy and it's someone who is.

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Speaker 3: Strongly tied to Grease too, but who we've also mentioned

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Speaker 3: on the podcast before because we've loved this person's work.

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Speaker 3: We have a guest today, and we love this person's

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Speaker 3: work for a very long time. So we've mentioned him

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Speaker 3: before in discussing the Inside Man or Inside Man, and

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Speaker 3: you know other movies and you know films that he's

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Speaker 3: part of. Thought, why not just get him on the pod?

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Speaker 3: Why keep why keep this love siloed to ourselves?

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Speaker 1: Yes, let's force the person that we love to sit

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Speaker 1: here and bear witness to our intensity.

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Speaker 2: That's my whole brand exactly. I'm a passionate person.

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Speaker 1: Well, yes, so you know, let's just without further ado,

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Speaker 1: let's just introduce our very special guest for this episode.

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Speaker 1: You will know him probably as Demuci from Greece too.

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Speaker 1: It's the dreamy Peter for.

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Speaker 3: Shit, Hello, Hi, Hello, And you can't see this video,

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Speaker 3: but the dreaminess just continues like just like a fine

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Speaker 3: wine because we're yeah, you're you're sitting in front of

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Speaker 3: this beautiful bookshelfes but we're so so excited to have

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Speaker 3: you on the pod.

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Speaker 2: Thank you for agreeing to be on our podcast.

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Speaker 4: Oh, I'm excited to be honest, I love listening to

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Speaker 4: you too. I think it's because I'm you know, I'm

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Speaker 4: nutty about movies anyway, so I you know, I want

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Speaker 4: to go deeply, granularly into hearing people's takes on movies

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Speaker 4: and talk about movies. But you're also like your friendship

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Speaker 4: and and.

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Speaker 5: You're like speaking of a movie.

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Speaker 4: It's like you're a fantastic like just the goal of

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Speaker 4: the best kind of buddy picture because you're salty, filthy,

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Speaker 4: sometimes hilarious, really really smart and really like there's a

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Speaker 4: finishing each other's thoughts and sentences.

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Speaker 5: It's great.

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Speaker 4: It's it's great to listen to because you know, you're

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Speaker 4: listening to a great kind of friendship.

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Speaker 2: Oh my god, thank you so much. I'm not a quick.

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Speaker 5: To go ahead and try. That's because that's my that's

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Speaker 5: my Bailey Wick. I love all of crime. I love dramas.

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Speaker 4: Okay, I mean, I'm sure I'm sure most of your

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Speaker 4: listeners think that too.

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Speaker 3: We do get a lot of comments that say something

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Speaker 3: to that effect. But that was just so eloquent and beautiful,

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Speaker 3: and I know, try, oh yeah, like just you're this

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Speaker 3: is just who you are as a person, just an

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Speaker 3: eloquent beautiful person. Uh, but I definitely we're This is

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Speaker 3: all a bruise to get us to hang out in

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Speaker 3: person one day, and I don't do small talk anymore.

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Speaker 3: So the minute we meet, I'm just gonna like weep

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Speaker 3: all over you.

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Speaker 4: Now.

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Speaker 3: The first thing I want to ask you before we

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Speaker 3: get into your stunning career is there are conflicting reports,

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Speaker 3: but I believe you were born and raised in Rhode Island.

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Speaker 3: I'm not sure if it was Warwick or Coventry.

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Speaker 4: Born in Warwick because that's where the hospital was, that's

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Speaker 4: where our family lived, and we moved. We moved to

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Speaker 4: Coventry where our fam I was the last kid born.

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Speaker 4: How many child five?

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Speaker 1: Wow.

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Speaker 4: We had like a little we had like a little

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Speaker 4: summer shock in Coventry on a lake. And when I

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Speaker 4: was a teeny infant, the family sold the Warwick house.

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Speaker 5: And we moved to the little shack in Coffentry. So

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Speaker 5: I grew up in a little shock.

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Speaker 4: But then when I was around three four years old,

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Speaker 4: they added on to so my whole year of my

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Speaker 4: life was all these people coming and building the house,

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Speaker 4: making the house more than twice at size.

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Speaker 3: So from birth, you're like, I'm seeing different types of people.

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Speaker 3: I'm noticing personalities. And the reason I ask is because

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Speaker 3: I lived in Rhode Island for four years. Oh my god,

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Speaker 3: I lived in Wakefield.

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Speaker 5: I did, did you well?

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Speaker 2: Because Uri? Right? You went to Uri?

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Speaker 5: Yeah? Igans Mary South County.

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Speaker 3: Yeah, South County is so pretty and cool and like, oh,

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Speaker 3: just the the food down there is amazing and walking

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Speaker 3: the beach wall is amazing. But I, before moving there,

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Speaker 3: didn't know much about Rhode Island, and it is definitely

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Speaker 3: a small place, but there's things that are so specific

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Speaker 3: to it that I'm wondering if you if you miss

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Speaker 3: things about Rhode Island, like the big blue for Dell's or.

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Speaker 5: Like, oh, yeah, I have I have. I miss Dell's

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Speaker 5: so much, just out of the blue.

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Speaker 4: This usually happens in the middle of the night, if

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Speaker 4: I'm awake and I'm on the iPad and just following

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Speaker 4: so many like how did I get down this rabbit?

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Speaker 5: Oh?

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Speaker 4: I ended up looking at Dell's lemonade T shirts and

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Speaker 4: sweatshirts and I ordered some and now I have.

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Speaker 2: Of course you do.

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Speaker 6: You have to.

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Speaker 2: It's like ingrain. Dell's is a frozen lemonade that is

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Speaker 2: like no other and it is a corner of the.

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Speaker 4: Taste of it, and you wouldn't find it outside rude. Now,

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Speaker 4: I wore my Dell's Lemonade T shirt one day. I

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Speaker 4: live in Atlanta, and I was in the Trader Joe's

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Speaker 4: in Atlanta, and we'll be kind.

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Speaker 5: She was pushing your basket and I said, do you

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Speaker 5: know and she said, my husband. Whenever we got do

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Speaker 5: we talked. I was like, you don't sound like yeah exactly.

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Speaker 3: It is such a specific and weird and wonderful little place.

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Speaker 3: So I just I love that we have that in common,

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Speaker 3: because it is the weirdest and wildest place that produces

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Speaker 3: the best people and clearly the best actress. It's Peter

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Speaker 3: forche Ola Davis.

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Speaker 2: What more do you want?

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Speaker 3: But yes, thank you for running down memory Lane with

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Speaker 3: me for that, for that brief moment. But it's I

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Speaker 3: think Rhode Island is a very special place.

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Speaker 5: Me too.

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Speaker 1: No, well, I just have to say I also live

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Speaker 1: in Atlanta, and I'm pretty sure I met that same

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Speaker 1: woman at Trader shows talking about something not just lemonade.

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Speaker 1: But I we really are excited to have you, because,

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Speaker 1: I mean, besides the fact that we just done this

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Speaker 1: Grease two episode which was such a barn burner. But

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Speaker 1: we first got yeah, yeah, oh thank you.

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Speaker 5: It was good because I hadn't seen Superman Too since

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Speaker 5: it came out, and so I was like, oh my god,

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Speaker 5: I got I'm gonna I was. I loved listening to that.

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Speaker 5: I was like, I need to see this now.

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Speaker 2: I still have a whole different tang now as an adult,

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Speaker 2: but it's better. It's better. Yeah.

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Speaker 1: No, we that was like such a popular episode for us,

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Speaker 1: and so I you know, uh, but but I want

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Speaker 1: to ask you because that was Greece too. Was technically

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Speaker 1: your first film?

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Speaker 4: Is that right?

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Speaker 5: Yeah? Yeah, it's my first time ever, Yeah, in front

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Speaker 5: of a camera or anything.

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Speaker 4: Yeah.

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Speaker 1: Wow, but you had done theater.

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Speaker 4: Yeah in New York, I was sort of struggling along

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Speaker 4: and yeah, trying to scrape together a career and working

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Speaker 4: in the restaurants and yeah.

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Speaker 1: Do you remember, like how like how did you get

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Speaker 1: involved with it? Was it something that you were making

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Speaker 1: a conscious decision to be like, oh I want to

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Speaker 1: be in movies or you know, I'm I'm going to

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Speaker 1: try to show her or something.

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Speaker 4: Almost almost every actor I knew wanted to be in movies.

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Speaker 4: We were all in New York, and we were all

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Speaker 4: I came up with. We don't even need to get

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Speaker 4: into it now, but I came up with just a

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Speaker 4: ton of people who all exploded in their own time.

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Speaker 4: It was kind of amazing that we all started as

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Speaker 4: this little group. But no, I had an agent who

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Speaker 4: had seen me in some stuff and would submit me

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Speaker 4: for stuff. And I got submitted for Greece too. Luckily

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Speaker 4: I didn't, and I went and I auditioned in New York.

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Speaker 4: Because in those that this we're talking more than forty

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Speaker 4: years ago now talking eighty one, Summer of eighty one,

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Speaker 4: I think, and I was a kid.

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Speaker 5: I was a child.

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Speaker 4: I didn't know anything about anything. I knew what I

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Speaker 4: was doing, and I knew I also had a good

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Speaker 4: background in improv and sketch comedy and besides all the

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Speaker 4: other stuff. So there was I think I had some

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Speaker 4: kind of I had like a callback with all the

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Speaker 4: producers and director because they would back in those days,

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Speaker 4: they would fly in everywhere. Nobody goes anywhere. Now all

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Speaker 4: actors are just on their little iPhones, ring lights.

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Speaker 5: It's awful.

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Speaker 4: But I was I think I was doing I was doing.

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Speaker 4: They asked us to improv. There was a group of us,

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Speaker 4: and they'd all read the script.

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Speaker 5: I hadn't read the script.

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Speaker 4: I only had my sides, and I had learned some

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Speaker 4: song from the fifties, and they were they were improving

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Speaker 4: off the script, the circumstances in the script, and I

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Speaker 4: just thought, my god, these people are amazing. They're the

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Speaker 4: bar is high. And so I started making shit up too,

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Speaker 4: and it was good. And the other people were like,

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Speaker 4: what's he talking about? And so I think my audition

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Speaker 4: was good because I thought I was just keeping up

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Speaker 4: with how creative and clever they were.

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Speaker 5: But I was just making facts and story points.

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Speaker 3: Like you said, you're you're naturally gifted, but also you

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Speaker 3: have this You're saying that you that you had this

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Speaker 3: background in improv. I'm saying, yeah, you're naturally gifted. Like

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Speaker 3: you definitely wanted to be part of it in a

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Speaker 3: way that was this still felt like you. It sounds like,

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Speaker 3: which is perfect for an audition. That's all I ever

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Speaker 3: want when I see auditions, it's like.

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Speaker 4: Yeah, I just thought what Once I read the script,

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Speaker 4: I thought, my god, this is every boy, every dufiss hilarious,

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Speaker 4: over sexed boy I ever knew in Rhode Island in

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Speaker 4: Rhode Island A lot to draw from.

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Speaker 2: Rhode Island is the horniest place I've ever lived.

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Speaker 4: You had a lot and they all could have been

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Speaker 4: named Lewis to Mucci. They might as well that I

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Speaker 4: went to high school with just every Lewis to Mucci.

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Speaker 5: In this day. Yeah, So I was like, oh, I

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Speaker 5: want to bring that and I want to honor. I

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Speaker 5: want to be my own. I mean, I made him me,

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Speaker 5: but I also made him.

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Speaker 4: I enhanced my own innerdufice and innerw over sext.

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Speaker 3: And that is literally the story of my life and

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Speaker 3: hance my innerdufiture.

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Speaker 5: It has stood me. Well.

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Speaker 3: So you're on this you get cast in this film

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Speaker 3: and this is your first experience and you're filming and

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Speaker 3: you're like forming these relationships with people, and then again

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Speaker 3: like you have this background clearly in theater and and

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Speaker 3: improv and and singing, Like when did you start singing?

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Speaker 2: And thinking of that could be part of your professional

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Speaker 2: life as well.

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Speaker 5: I always sang. I always didn't. I didn't sae.

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Speaker 4: Like when I I loved, I was Oh, my ear

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Speaker 4: was glued to the radio all through my childhood and

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Speaker 4: I always knew I can always tell you what you

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Speaker 4: know I knew all the lyrics to every song that

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Speaker 4: came over the AM Providence radio station, knew at all,

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Speaker 4: and I just sang. I walked around singing all the time,

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Speaker 4: and I didn't have any shame about it. I would

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Speaker 4: sing loud, and then I sang every once in a while.

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Speaker 4: You know, in school there would be a musical and

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Speaker 4: I would never In high school, I wasn't very involved

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Speaker 4: in theater because it just didn't I thought, no, I'm

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Speaker 4: gonna go to college for it. My parents didn't understand,

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Speaker 4: why are you going to college. Why do you want

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Speaker 4: a major in theater. You didn't even do it in

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Speaker 4: high school? And I was like, because I didn't liked them.

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Speaker 5: I didn't like those kids.

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Speaker 1: Oh my god, thank you for saying that, because I

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Speaker 1: think I have said that too. I was in drama club,

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Speaker 1: but I did I kind of resented the drama club

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Speaker 1: kids in a weird way. So it just warms my

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Speaker 1: heart that you've said that.

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Speaker 4: I did a play in the ninth grade. I did

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Speaker 4: Arsenake and o'lace, and I played one of the cops,

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Speaker 4: Officer Brophy.

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Speaker 5: Oh wow, yeah, yeah, And I think my bigline was, Colonel,

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Speaker 5: you promise not to do that, and I just I

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Speaker 5: said it all the time.

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Speaker 4: My brothers and sisters go sayline, sayline, colonel, you promise

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Speaker 4: not to do that. And I had great fun, but

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Speaker 4: I didn't. I started not being cast in the tenth

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Speaker 4: grade and I thought, hell with them all.

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Speaker 5: Yeah, but I went to college. I would I would sing,

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Speaker 5: you know, I sat.

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Speaker 4: I had great teacher there who's kind of a mentor

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Speaker 4: to me, and she had us singing all the time.

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Speaker 5: Yeah. So I just I, yeah, I sang. I'm terrible dancer.

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Speaker 5: But it doesn't matter, you don't, you know.

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Speaker 2: I always tell me I'm like MILLI. I do not

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Speaker 2: have that kind of joy in my heart. I cannot dance.

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Speaker 4: I love to dance and still dance, but it's not

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Speaker 4: like in organized choography. Whenever I've accidentally landed in something

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Speaker 4: where there's choreography, it's I earnestly work really hard on it,

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Speaker 4: and the choreographer always says, almost exactly verbating I'm almost

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Speaker 4: always says, oh, well, that's interesting too, what you're doing.

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Speaker 3: You're having a real, uh all that jazz experience that's

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Speaker 3: in the opening of all that jazz, and they're like,

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Speaker 3: I guess, so I guess so beautiful. Well, Billy, do

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Speaker 3: you want to go into the letter or anything?

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Speaker 2: We have something now.

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Speaker 3: I'm sure this person who wrote in never thought we'd

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Speaker 3: be reading this letter to you.

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Speaker 1: I understand because that's only that you're here after we

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Speaker 1: said everything we said about you on this podcast multiple episodes,

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Speaker 1: so I understand.

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Speaker 2: But it's a lovely letter and it brings up a

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Speaker 2: question that I wanted to ask you. Anyway. So we

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Speaker 2: have a letter from Leslie C. And the subject is

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Speaker 2: thank you for the Grease too, Love ladies. I love

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Speaker 2: love that you also love Grease too. I am planning

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Speaker 2: to buy a home in the next couple of months,

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Speaker 2: so my parents said, don't waste money on rent. Live here.

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Speaker 2: So nice, But lord do they hate Grease too, and

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Speaker 2: so I can't watch it while they're around.

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Speaker 3: I love it so much, so much, I have a

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Speaker 3: biker Heaven tote bag. I have loved it since getting

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Speaker 3: the cassette tape soundtrack and played it with a walkman

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Speaker 3: while my parents blasted Phantom of the Opera in the

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Speaker 3: car for what seemed like five years. My parents were

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Speaker 3: singing along while I'm listening to reproduction like a little weirdo.

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Speaker 2: However, why I wanted.

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Speaker 3: To write this specifically is Millie's comment on Dreamy de Mucci.

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Speaker 2: We are one in the same. I'll break in.

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Speaker 3: We are so low rent here, just break it. He

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Speaker 3: was a fashion icon with those chloral shirts. That lace

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Speaker 3: item was amazing. I like that he helps his girlfriend's

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Speaker 3: weird talent show. He is hilarious. His face acting is

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Speaker 3: wild and has the.

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Speaker 5: Best mugging.

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Speaker 6: Call it.

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Speaker 2: And he has the best voice of the Tea Birds.

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Speaker 3: Although I love all of the Tea Birds as examples

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Speaker 3: of how not to act in high school, I can

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Speaker 3: honestly say his performance and do it for our country.

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Speaker 2: It was my sexual awakening.

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Speaker 3: It was my Kevin Klein moment Leslie c As you

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Speaker 3: know as a listener of the podcast, Kevin Klein was

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Speaker 3: bisexual awakening where I was like, oh yeah, guys, I

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Speaker 3: get it now. So Leslie had this experience with you. Now,

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Speaker 3: I want to know how you feel about this. I

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Speaker 3: want to know how often this comes up in your life,

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Speaker 3: and how does your husband feel about it? How does

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Speaker 3: he know that he's married to like a sex icon.

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Speaker 4: Yes, I love First of all, don't let me forget

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Speaker 4: uh don't what was it? A mean biker having tote bag,

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Speaker 4: which she get that was that.

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Speaker 5: Some para swag er, is it?

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Speaker 4: I love that she had anyway, because the whole I know,

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Speaker 4: I know that you both have a whole thing about

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Speaker 4: the biker heaven in the end of the movie and.

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Speaker 5: Like, whoa, the movie just went into the into the

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Speaker 5: upper something. Yeah, yeah, which completely that's exactly what the

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00:19:19,960 --> 00:19:25,040
Speaker 5: they did. That's that's exactly what they was. Yeah, this

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Speaker 5: is a thing. No, I'm just me. I'm just me,

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Speaker 5: But no, I do I do hear there was somebody. Yeah,

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Speaker 5: I've I heard it from time to time.

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Speaker 2: I really I love that for you. I love that.

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Speaker 5: That's I get a lot of d ms.

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00:19:49,960 --> 00:19:52,720
Speaker 4: Yeah, because I'm easy to find on Instagram. You can't

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Speaker 4: find me on Facebook, and on Twitter you can't find.

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Speaker 5: Me at all.

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Speaker 4: And my entire Twitter account is about uh American ninja.

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00:20:04,600 --> 00:20:08,960
Speaker 4: It's all like silly at some point, but just sillions

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Speaker 4: of tweets about yeah.

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Speaker 5: Escaped, he scaled the wall.

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Speaker 3: Listen, so you need to come hang out with me

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Speaker 3: and my grandma. That is her favorite fucking show. I

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Speaker 3: know all about those freaks. They are scaling while when

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Speaker 3: they are on the roly thing and I'm like, are

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Speaker 3: they gonna make it.

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Speaker 5: Right there with you and you're yelling and you're crying.

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00:20:29,240 --> 00:20:31,480
Speaker 3: Yeah, it's they always tell the story of like this

378
00:20:31,600 --> 00:20:33,639
Speaker 3: person was born with spinef A, and now we can

379
00:20:33,720 --> 00:20:34,920
Speaker 3: lift a car, and you're like, holy.

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Speaker 4: Shit, exactly see how we can see how we can

381
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Speaker 4: get We went way sideways.

382
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Speaker 5: I think it's because you want me to talk about

383
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Speaker 5: me and sex or something.

384
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Speaker 2: No, I'm bringing it back.

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Speaker 4: I get it, I got I got a lot of

386
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Speaker 4: d ms. Yes, I would say it's fifty to fifty

387
00:20:55,640 --> 00:20:58,320
Speaker 4: women and men like oh, and it's and I look

388
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Speaker 4: at their phonto when to go, oh, that's an old person.

389
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Speaker 4: Then they go, well I was a child. Oh I'm

390
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Speaker 4: then that makes me an old old you know. But

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Speaker 4: even young people, young people I guess who discover the

392
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Speaker 4: women now.

393
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Speaker 5: Go hey, man, you're cool and you're sexy and you

394
00:21:16,840 --> 00:21:19,720
Speaker 5: still got it. I saw your picture like, oh god whatever,

395
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Speaker 5: but that makes.

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Speaker 2: Me feel old people like you still got It'm like

397
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Speaker 2: still I lost it at some point.

398
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Speaker 5: Great, Yes, your time there.

399
00:21:27,520 --> 00:21:29,760
Speaker 2: But I love that you get d ms that are

400
00:21:29,880 --> 00:21:32,680
Speaker 2: just like, we have no boundaries. We're just gonna tell

401
00:21:32,680 --> 00:21:33,520
Speaker 2: you that we think you're hot.

402
00:21:34,200 --> 00:21:36,080
Speaker 4: They well, I won't go too into it, but there

403
00:21:36,119 --> 00:21:39,840
Speaker 4: are no boundaries because I get photos and videos. Wow.

404
00:21:40,400 --> 00:21:42,400
Speaker 2: Okay, so at the end of this, I'm gonna teach

405
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Speaker 2: you how to turn that off.

406
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Speaker 1: Although these people are too horny.

407
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Speaker 2: What the hell you're accessibly horny? That is wild?

408
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Speaker 1: Are you like generally surprised though, by the cold I

409
00:21:55,960 --> 00:21:58,560
Speaker 1: mean because I I think Greece Too was kind of

410
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Speaker 1: like the ultimate cult thing, right, And this is my wheelhouse,

411
00:22:04,520 --> 00:22:07,560
Speaker 1: so you know, in my estimation, Greece Too was like

412
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Speaker 1: Citizen Kane right for me and people of my ilk right.

413
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Speaker 1: But are you surprised by like the passion behind it?

414
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Speaker 6: Right?

415
00:22:17,080 --> 00:22:17,879
Speaker 5: Are you sued?

416
00:22:18,040 --> 00:22:22,800
Speaker 4: Because no, because it happened pretty quickly after the famous

417
00:22:22,880 --> 00:22:26,000
Speaker 4: flopdom of it All. I mean, it came out in

418
00:22:26,160 --> 00:22:28,920
Speaker 4: eighty two, came out in June of eighty two, and

419
00:22:29,640 --> 00:22:36,120
Speaker 4: was either sneered at or just dismissed. And people didn't

420
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Speaker 4: buy a lot of tickets to it either. You know,

421
00:22:38,160 --> 00:22:41,000
Speaker 4: it was competing with things like et and Poltergeist, and

422
00:22:42,040 --> 00:22:44,320
Speaker 4: it should have been. I think it was expected to

423
00:22:44,400 --> 00:22:46,959
Speaker 4: be a gigantic kid. I didn't know anything.

424
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Speaker 5: I didn't know. I wasn't disappointed or let down.

425
00:22:51,359 --> 00:22:54,959
Speaker 4: I didn't know what that world was at that time anyway,

426
00:22:55,000 --> 00:22:57,680
Speaker 4: so it just seemed like, oh, okay, well move on

427
00:22:57,760 --> 00:22:59,720
Speaker 4: to the next thing. I thought it was good, it's cool,

428
00:23:00,920 --> 00:23:04,560
Speaker 4: and it really did. It made no difference at all.

429
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Speaker 4: For about a year in my life. Nobody knew about it, nobody.

430
00:23:12,160 --> 00:23:16,080
Speaker 4: It had nothing to do with, you know what, my

431
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Speaker 4: auditioning for a Strindberg play or a check Off play.

432
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Speaker 5: Let's get the Kids from Greece too.

433
00:23:21,400 --> 00:23:25,119
Speaker 4: And but the following it was pretty quickly, the following

434
00:23:25,119 --> 00:23:29,399
Speaker 4: summer of eighty three, it started sneaking in on the

435
00:23:29,520 --> 00:23:33,359
Speaker 4: cable and I think it got they must have seen

436
00:23:33,440 --> 00:23:37,040
Speaker 4: the numbers of uh they and they started putting it

437
00:23:37,160 --> 00:23:40,200
Speaker 4: on all the time. And so really a year after

438
00:23:40,320 --> 00:23:44,919
Speaker 4: it came out, people of all ages, including little teeny children,

439
00:23:45,000 --> 00:23:47,960
Speaker 4: knew all the songs. And I remember walking walking down

440
00:23:48,000 --> 00:23:51,960
Speaker 4: the street in Los Angeles and hearing a bunch of

441
00:23:52,240 --> 00:23:57,159
Speaker 4: teeny teeny little children singing repro Dot John Reaper, and.

442
00:23:57,160 --> 00:24:02,560
Speaker 5: I was like, is that even right? But I was,

443
00:24:02,840 --> 00:24:04,600
Speaker 5: and I was like, how do they know? Do they

444
00:24:04,640 --> 00:24:06,679
Speaker 5: have the recognized? Like, no, they're watching it right now

445
00:24:06,760 --> 00:24:08,240
Speaker 5: on TV. It's on TV.

446
00:24:08,520 --> 00:24:12,800
Speaker 4: And I was aware, and then I started that a

447
00:24:12,880 --> 00:24:15,080
Speaker 4: full year after the movie came out, just as an

448
00:24:15,080 --> 00:24:19,600
Speaker 4: anonymous person walking around. I started getting recognized everywhere I Wentchi.

449
00:24:20,280 --> 00:24:27,320
Speaker 5: Yeah, and it actually never went away. I still I'm

450
00:24:27,359 --> 00:24:29,639
Speaker 5: in my sixties, Hi, but I.

451
00:24:29,800 --> 00:24:34,160
Speaker 4: Still believe I get recognized at least once a week.

452
00:24:34,440 --> 00:24:38,879
Speaker 5: I would say out in public, increase to me, not

453
00:24:39,000 --> 00:24:40,280
Speaker 5: for anything else.

454
00:24:41,440 --> 00:24:44,040
Speaker 3: Truly, I think I think that your your your career

455
00:24:44,200 --> 00:24:48,120
Speaker 3: is so impressive in that like you're you stand out

456
00:24:48,200 --> 00:24:50,720
Speaker 3: in everything I see you in, Like I always recognize

457
00:24:50,880 --> 00:24:52,840
Speaker 3: you in everything that you do.

458
00:24:53,000 --> 00:24:53,920
Speaker 2: So when we were we were.

459
00:24:53,800 --> 00:24:55,760
Speaker 3: Talking about Inside Man and I was like, oh my god,

460
00:24:55,880 --> 00:24:58,919
Speaker 3: and it was it's really specific to you. I think

461
00:24:58,960 --> 00:25:00,639
Speaker 3: that you I want to give you that credit that

462
00:25:00,800 --> 00:25:03,640
Speaker 3: like it's it's like that you're recognized from Greece too.

463
00:25:03,720 --> 00:25:05,680
Speaker 3: But I think that in terms of your work, you

464
00:25:05,760 --> 00:25:07,200
Speaker 3: are always a standout for me.

465
00:25:07,640 --> 00:25:10,080
Speaker 4: Yeah, thanks, You know what I wanted to say about

466
00:25:10,119 --> 00:25:15,680
Speaker 4: the fashion icon yet and the laser I actually I

467
00:25:16,840 --> 00:25:17,720
Speaker 4: some of those shirts.

468
00:25:17,560 --> 00:25:21,879
Speaker 5: Were mine, were Beaters shirts I went to.

469
00:25:22,200 --> 00:25:25,240
Speaker 4: I went to one of my first fittings for the

470
00:25:25,359 --> 00:25:33,160
Speaker 4: movie wearing well, wearing a pink with black diamonds shirt.

471
00:25:33,240 --> 00:25:36,240
Speaker 4: It's the shirt that Domoji wears in the reproduction number.

472
00:25:36,600 --> 00:25:39,639
Speaker 4: And the costume designer was like, what is that? And

473
00:25:39,720 --> 00:25:41,960
Speaker 4: I said, well, I don't know. It's from a thrift

474
00:25:42,200 --> 00:25:46,359
Speaker 4: store because I bought I was a habitua of the

475
00:25:46,440 --> 00:25:50,760
Speaker 4: thrift chop. And he said that's perfect, perfect, you need

476
00:25:50,800 --> 00:25:52,760
Speaker 4: to wear that, And so they what else do you have?

477
00:25:53,160 --> 00:25:56,480
Speaker 4: And so I brote like three or four other shirts,

478
00:25:56,520 --> 00:25:59,760
Speaker 4: and they rented from me. It was an amazing thing

479
00:25:59,760 --> 00:26:02,280
Speaker 4: because I was coming from a world where I had

480
00:26:02,720 --> 00:26:05,680
Speaker 4: no money at all, and I was, you know, making

481
00:26:06,000 --> 00:26:08,359
Speaker 4: I thought I was making a gigantic salary and my

482
00:26:08,440 --> 00:26:10,080
Speaker 4: agentsy like, you're making nothing.

483
00:26:10,640 --> 00:26:12,959
Speaker 5: But still I was like, this's crazy.

484
00:26:13,080 --> 00:26:16,200
Speaker 4: The money's pouring in every week from the you know,

485
00:26:16,720 --> 00:26:18,680
Speaker 4: it's a hundreds of dollars.

486
00:26:20,359 --> 00:26:21,040
Speaker 5: But they rent.

487
00:26:21,320 --> 00:26:23,840
Speaker 4: I think they give they in those days, they would

488
00:26:23,880 --> 00:26:28,320
Speaker 4: give you fifteen dollars a week if they were rent

489
00:26:28,440 --> 00:26:30,239
Speaker 4: for the entire run of the thing, if they were

490
00:26:30,280 --> 00:26:33,080
Speaker 4: renting your shirt, and theoretically they were supposed to get back.

491
00:26:32,960 --> 00:26:35,800
Speaker 5: To you, but I never got that.

492
00:26:36,440 --> 00:26:37,560
Speaker 2: They went back that stuff.

493
00:26:38,040 --> 00:26:40,480
Speaker 5: So the black lace thing she mentioned.

494
00:26:40,640 --> 00:26:44,200
Speaker 2: Musshirt, oh Leslie Brilliants.

495
00:26:43,960 --> 00:26:47,480
Speaker 4: But I gave I was like, fine, I give it

496
00:26:47,560 --> 00:26:51,400
Speaker 4: up to the universe. They went into the system somehow.

497
00:26:51,560 --> 00:26:57,160
Speaker 4: But several months later, I go to see the Ron

498
00:26:57,280 --> 00:26:59,240
Speaker 4: Howard directed film Night.

499
00:26:59,200 --> 00:27:00,159
Speaker 5: Shift with.

500
00:27:01,880 --> 00:27:05,320
Speaker 4: Michael, which Michael Keaton's bursting onto the scene in like

501
00:27:05,400 --> 00:27:09,760
Speaker 4: an amazing supporting role, and I'm thinking, this guy's great

502
00:27:09,840 --> 00:27:14,520
Speaker 4: and he's got fantastic shirts. Shows up in my shirt.

503
00:27:17,320 --> 00:27:22,399
Speaker 4: Two of those paint with the black triangle shit shows

504
00:27:22,480 --> 00:27:27,080
Speaker 4: up in my shirt when no, but it was the

505
00:27:27,160 --> 00:27:30,280
Speaker 4: same studio, so it must have gone into some guy

506
00:27:31,000 --> 00:27:33,480
Speaker 4: some and the racks and I'm like, well, at least

507
00:27:34,960 --> 00:27:38,080
Speaker 4: at least the shirt is like having a whole career

508
00:27:38,200 --> 00:27:38,800
Speaker 4: in movies.

509
00:27:39,200 --> 00:27:44,440
Speaker 2: Wow, this is the kind of movie history that I love.

510
00:27:44,600 --> 00:27:45,159
Speaker 2: I live for.

511
00:27:45,440 --> 00:27:48,360
Speaker 5: Yeah, it's like a teeny weeny trivia.

512
00:27:49,119 --> 00:27:50,800
Speaker 3: We're gonna see that shirt come up in like the

513
00:27:50,920 --> 00:27:52,600
Speaker 3: Last of Us next season or something.

514
00:27:52,800 --> 00:27:54,119
Speaker 2: I'm going to track that shirt now.

515
00:27:54,280 --> 00:27:58,800
Speaker 5: It could, well, it shouldn't. It would look so good

516
00:27:58,840 --> 00:27:59,880
Speaker 5: on Pedro Pascal.

517
00:28:00,000 --> 00:28:03,360
Speaker 2: Well everything that's gone on that dude, my goodness.

518
00:28:03,840 --> 00:28:06,040
Speaker 3: But yeah, I love and I love that that the

519
00:28:06,080 --> 00:28:09,720
Speaker 3: way that les Bleslie is talking about how ingrained this

520
00:28:09,920 --> 00:28:11,359
Speaker 3: was in her childhood, because I think a lot of

521
00:28:11,440 --> 00:28:13,639
Speaker 3: us have had that experience as well, probably because it

522
00:28:13,760 --> 00:28:16,399
Speaker 3: was on cable all the time. Yeah, but it was

523
00:28:16,600 --> 00:28:21,080
Speaker 3: just I would find myself singing songs from from this

524
00:28:21,280 --> 00:28:25,679
Speaker 3: movie just wildly in my life out in the playground

525
00:28:25,720 --> 00:28:27,440
Speaker 3: and is walking down the street, and it just really

526
00:28:27,560 --> 00:28:30,520
Speaker 3: it gets into it's the better, It's the better Grease

527
00:28:30,520 --> 00:28:32,880
Speaker 3: for a reason. It gets into your DNA, gets into

528
00:28:32,920 --> 00:28:33,320
Speaker 3: your bone.

529
00:28:33,400 --> 00:28:36,840
Speaker 4: It's yeah, it's a whole another movie from It's a

530
00:28:36,880 --> 00:28:39,680
Speaker 4: whole other kind of movie, which is what you basically

531
00:28:40,240 --> 00:28:43,320
Speaker 4: said in your in your episode on your podcast that

532
00:28:43,520 --> 00:28:47,280
Speaker 4: from the first Grace it's a whole nother movie. And

533
00:28:47,360 --> 00:28:51,920
Speaker 4: also the songs the first Grease, everything seems it's like

534
00:28:52,000 --> 00:28:54,600
Speaker 4: it's all of a piece, and all the songs seem

535
00:28:54,720 --> 00:28:57,320
Speaker 4: like they came from the same mind and the same

536
00:28:58,560 --> 00:29:01,480
Speaker 4: just the same reason they said they all have this,

537
00:29:01,680 --> 00:29:05,360
Speaker 4: they're they're all different. They're great songs, but Grease too,

538
00:29:05,760 --> 00:29:09,000
Speaker 4: is all separate songwriters. What they did, here's another little

539
00:29:09,040 --> 00:29:13,760
Speaker 4: piece of trivia for you. They wrote the screenplay. The

540
00:29:14,040 --> 00:29:18,120
Speaker 4: screenwriter wrote the screenplay, and it was determined. And obviously

541
00:29:18,200 --> 00:29:22,040
Speaker 4: all these scripts are always there's always a million people

542
00:29:22,120 --> 00:29:23,520
Speaker 4: that have a hand in shaping it.

543
00:29:23,600 --> 00:29:24,400
Speaker 5: Because I think they.

544
00:29:24,400 --> 00:29:27,160
Speaker 4: Thought, we've got a huge head on our hand, a

545
00:29:27,280 --> 00:29:32,440
Speaker 4: big money maker, which they didn't have any They structured

546
00:29:32,560 --> 00:29:36,480
Speaker 4: the script with little slots for here's where a song

547
00:29:36,640 --> 00:29:40,800
Speaker 4: will go, a song about bowling, or a song about

548
00:29:41,720 --> 00:29:46,400
Speaker 4: the the the Bomb Shelter said they and they formed it.

549
00:29:46,600 --> 00:29:49,560
Speaker 5: They they beat They had.

550
00:29:49,480 --> 00:29:53,720
Speaker 4: Songwriters sort of did to like submit songs, here's my

551
00:29:54,120 --> 00:29:55,680
Speaker 4: like they would read the script and they go, here's

552
00:29:55,680 --> 00:29:58,920
Speaker 4: my Bomb Shelter song, here's my bowling song, here's my

553
00:29:59,680 --> 00:30:02,320
Speaker 4: lou song, and they yeah, they.

554
00:30:03,280 --> 00:30:04,400
Speaker 5: It's all different.

555
00:30:05,360 --> 00:30:07,480
Speaker 2: Like I would need an all soundtrack of all of those.

556
00:30:08,160 --> 00:30:12,400
Speaker 4: And so they're all they're all distinctive on their own,

557
00:30:12,720 --> 00:30:15,280
Speaker 4: and they don't all sound like they were written by

558
00:30:15,360 --> 00:30:20,360
Speaker 4: the same team or writer or ear or voice. Yeah.

559
00:30:20,760 --> 00:30:22,920
Speaker 1: See, that's interesting to me because now because I think

560
00:30:22,960 --> 00:30:25,400
Speaker 1: I said, you know what I like about Grist two,

561
00:30:25,480 --> 00:30:30,080
Speaker 1: among many things, is the idea that those those musical

562
00:30:30,240 --> 00:30:34,280
Speaker 1: numbers feel like almost like music videos, like it was

563
00:30:34,360 --> 00:30:37,160
Speaker 1: almost like a kind of separate, like you know, you're

564
00:30:37,280 --> 00:30:39,240
Speaker 1: just kind of washing. So now that you're telling me

565
00:30:39,400 --> 00:30:41,920
Speaker 1: that they were written by like separate people and people

566
00:30:41,960 --> 00:30:45,840
Speaker 1: were sort of pitching their song for the movie, this

567
00:30:46,120 --> 00:30:46,640
Speaker 1: makes sense.

568
00:30:46,880 --> 00:30:49,959
Speaker 5: Now to me, now I see it your idea.

569
00:30:50,120 --> 00:30:53,320
Speaker 4: You're looking at it as like as you know with

570
00:30:53,480 --> 00:30:55,720
Speaker 4: the movie was shot in eight end of eighty one

571
00:30:55,840 --> 00:31:03,280
Speaker 4: and into eighty two, totally formative, really crude times for

572
00:31:03,480 --> 00:31:06,880
Speaker 4: music videos, like like the Tubes and all. You know,

573
00:31:07,080 --> 00:31:08,920
Speaker 4: like you look at them now and you go, oh wow,

574
00:31:09,000 --> 00:31:13,520
Speaker 4: it's basically backman, you know, really like they didn't quite

575
00:31:13,560 --> 00:31:14,200
Speaker 4: know what they were doing.

576
00:31:14,280 --> 00:31:19,120
Speaker 5: But it's Patricia Birch. Pat Birch her sensibility.

577
00:31:19,520 --> 00:31:23,080
Speaker 4: She I mean, she was a huge Broadway choreographer and

578
00:31:23,440 --> 00:31:25,600
Speaker 4: director and had done.

579
00:31:27,080 --> 00:31:27,680
Speaker 5: For years.

580
00:31:27,800 --> 00:31:31,880
Speaker 4: Anytime anybody did any dancing on SNL, for example, she

581
00:31:32,080 --> 00:31:32,360
Speaker 4: did it.

582
00:31:33,400 --> 00:31:35,240
Speaker 5: And anytime Steve Martin danced.

583
00:31:35,000 --> 00:31:38,080
Speaker 4: On Saturday Night, if she did, she did the first scree.

584
00:31:38,200 --> 00:31:41,520
Speaker 4: She'd done other movies and now was directing and choreographing,

585
00:31:41,600 --> 00:31:47,280
Speaker 4: so she was she was utterly in charge of her

586
00:31:47,720 --> 00:31:51,760
Speaker 4: sensibility and what like that really long you know, who's

587
00:31:51,840 --> 00:31:55,640
Speaker 4: that guy right now we're getting inside baseball. If somebody's listening,

588
00:31:55,800 --> 00:31:57,320
Speaker 4: If somebody's still listening.

589
00:31:59,120 --> 00:32:01,400
Speaker 5: And not fast for the truck, it's because they know

590
00:32:01,560 --> 00:32:04,719
Speaker 5: the movie. But it's like that when we were shooting

591
00:32:05,800 --> 00:32:06,840
Speaker 5: I think we shot that.

592
00:32:07,760 --> 00:32:10,000
Speaker 4: We shot that number for probably a whole week, maybe

593
00:32:10,040 --> 00:32:14,240
Speaker 4: even more, because it's it's all these different parking lot

594
00:32:14,320 --> 00:32:14,840
Speaker 4: and bowling.

595
00:32:14,880 --> 00:32:16,920
Speaker 5: It's just all this stuff, and.

596
00:32:16,960 --> 00:32:18,000
Speaker 2: We were like, what is this?

597
00:32:18,320 --> 00:32:19,400
Speaker 5: What is this gonna be?

598
00:32:20,480 --> 00:32:23,240
Speaker 4: Like her assistance would be don't worry about it. No,

599
00:32:23,360 --> 00:32:27,560
Speaker 4: but her like people would her assistance and producing stuff,

600
00:32:27,600 --> 00:32:28,760
Speaker 4: we don't worry about it.

601
00:32:28,800 --> 00:32:30,160
Speaker 5: There's a plant. We know what we're doing.

602
00:32:30,320 --> 00:32:34,160
Speaker 4: And I loved doing what they did because she had

603
00:32:34,440 --> 00:32:37,800
Speaker 4: that sense of she had a total eye. Her eye

604
00:32:38,440 --> 00:32:43,040
Speaker 4: and dance were in her mind were all connected. She

605
00:32:43,160 --> 00:32:47,880
Speaker 4: had that early sort of music video sensibility. Wow, and

606
00:32:48,040 --> 00:32:51,320
Speaker 4: some of those are like gorgeous, they stand alone as

607
00:32:51,360 --> 00:32:52,560
Speaker 4: gorgeous music videos.

608
00:32:53,240 --> 00:32:54,600
Speaker 2: Oh, I completely agree.

609
00:32:54,640 --> 00:32:56,800
Speaker 3: That makes so much sense now because it did have

610
00:32:56,920 --> 00:33:00,760
Speaker 3: a very modern sensibility about it. It had more punk

611
00:33:00,880 --> 00:33:04,520
Speaker 3: rock sensibility about it. It makes complete sense now. And

612
00:33:04,600 --> 00:33:07,360
Speaker 3: I love that she had such control over that, not

613
00:33:07,600 --> 00:33:09,360
Speaker 3: just because you know, she's a woman and because of

614
00:33:09,400 --> 00:33:12,200
Speaker 3: the time, but because I think that it's it's probably

615
00:33:12,280 --> 00:33:15,560
Speaker 3: difficult to to do a sequel or to do something

616
00:33:15,640 --> 00:33:17,680
Speaker 3: based on a popular property and make it your own.

617
00:33:17,760 --> 00:33:19,680
Speaker 2: Yes, So I think that shed with you.

618
00:33:19,760 --> 00:33:21,000
Speaker 5: She carried over.

619
00:33:21,400 --> 00:33:24,360
Speaker 4: Yeah, she carried over from the First Grace as the Wrangel.

620
00:33:24,440 --> 00:33:26,600
Speaker 4: Kleaiser had directed it, but I think they probably worked

621
00:33:26,680 --> 00:33:30,240
Speaker 4: really closely together. Yeah. No, And also because she wasn't

622
00:33:30,280 --> 00:33:35,720
Speaker 4: afraid of She'd done giant scale Broadway musical stuff, so

623
00:33:36,720 --> 00:33:39,800
Speaker 4: she wasn't afraid of the giant scale of stuff. And

624
00:33:40,080 --> 00:33:42,360
Speaker 4: I think she loves movies, and I think she was like,

625
00:33:42,440 --> 00:33:44,080
Speaker 4: oh my god, I get to play with cameras and

626
00:33:44,160 --> 00:33:49,080
Speaker 4: lenses and so, and loves movie musicals obviously, so I

627
00:33:49,160 --> 00:33:52,960
Speaker 4: think she I think she was not cowed by it,

628
00:33:53,120 --> 00:33:54,360
Speaker 4: like I don't know what I'm doing.

629
00:33:54,440 --> 00:33:57,960
Speaker 5: I think she was like, I'm making what my eye

630
00:33:59,240 --> 00:34:04,320
Speaker 5: sees in. Oh my god. So that's about and about

631
00:34:04,400 --> 00:34:06,000
Speaker 5: what is it? Leslie?

632
00:34:06,280 --> 00:34:10,760
Speaker 4: Who wrote what she said about? Would she say Lewis's

633
00:34:10,800 --> 00:34:16,719
Speaker 4: devotion to Sharon or something, Yeah, it's it's because you know,

634
00:34:17,040 --> 00:34:21,359
Speaker 4: it's I. Every once in a while, Pat Birch would say,

635
00:34:21,400 --> 00:34:24,200
Speaker 4: I'm Sharon. I'm the girl who was putting on the show.

636
00:34:24,560 --> 00:34:27,880
Speaker 4: I'm Sharon. And at one point she said to me,

637
00:34:27,960 --> 00:34:30,239
Speaker 4: she said, you know, if I'm Sharon, then you're you're

638
00:34:30,320 --> 00:34:35,000
Speaker 4: my boyfriend. Certa kiddingly, but I was like yes, and

639
00:34:35,160 --> 00:34:42,360
Speaker 4: that and that I was completely sort of weirdly secure

640
00:34:42,760 --> 00:34:45,880
Speaker 4: and in a safe bubble the entire four months we

641
00:34:46,000 --> 00:34:48,839
Speaker 4: made that movie because I thought, I like her, she's

642
00:34:48,960 --> 00:34:54,000
Speaker 4: my girlfriend girl, and and I treated more in TIEFI

643
00:34:54,120 --> 00:34:56,319
Speaker 4: that way too, like I want to just I want

644
00:34:56,360 --> 00:34:59,120
Speaker 4: to please her. I want to please and that's in

645
00:34:59,280 --> 00:35:02,000
Speaker 4: the dynamic. Yet that was in the dynamic between Maureen

646
00:35:02,080 --> 00:35:03,960
Speaker 4: and me anyways, like I want to make her happy.

647
00:35:04,719 --> 00:35:07,279
Speaker 5: She's got a frown on her face today.

648
00:35:07,320 --> 00:35:07,759
Speaker 2: What can I do?

649
00:35:08,520 --> 00:35:08,640
Speaker 5: Then?

650
00:35:09,080 --> 00:35:12,920
Speaker 4: That it was my I mean, an actor looks for

651
00:35:13,160 --> 00:35:15,759
Speaker 4: what do I need? What's my overall thing? I'm going

652
00:35:15,920 --> 00:35:17,960
Speaker 4: That was it, like I want my Sharon happy.

653
00:35:18,280 --> 00:35:18,759
Speaker 2: I love it.

654
00:35:18,840 --> 00:35:22,640
Speaker 3: That kind of generosity translates so well on screen. That's

655
00:35:22,920 --> 00:35:25,239
Speaker 3: wonderful and again inherent to you as a person that

656
00:35:25,280 --> 00:35:26,440
Speaker 3: you could even recognize that.

657
00:35:27,160 --> 00:35:28,520
Speaker 2: But I love that because it does.

658
00:35:28,960 --> 00:35:32,439
Speaker 3: It's very strongly comes through in the lesson in the film,

659
00:35:32,560 --> 00:35:35,439
Speaker 3: So it's wonderful. I also want to know if they're

660
00:35:35,520 --> 00:35:38,560
Speaker 3: and this is I think the statute of limitations is up,

661
00:35:38,640 --> 00:35:40,160
Speaker 3: but if not, totally fine.

662
00:35:40,880 --> 00:35:43,880
Speaker 2: Wild This story is from set. Wildest story from the premiere.

663
00:35:44,080 --> 00:35:47,800
Speaker 3: What was your favorite moment of not just acting in

664
00:35:47,840 --> 00:35:50,719
Speaker 3: the film but like being with this cast, I had so.

665
00:35:50,880 --> 00:35:55,400
Speaker 4: Many that you know, nothing, I don't think anything was

666
00:35:55,640 --> 00:35:57,680
Speaker 4: wild that I experienced.

667
00:35:58,000 --> 00:36:02,520
Speaker 5: Things were low level, bubbling wild all the time.

668
00:36:05,040 --> 00:36:07,360
Speaker 3: Well, there's an excitement because a lot of people like

669
00:36:07,480 --> 00:36:09,480
Speaker 3: this was their first film, right for a lot of people.

670
00:36:09,640 --> 00:36:14,720
Speaker 4: So there was a lot of I recall a lot

671
00:36:15,200 --> 00:36:20,680
Speaker 4: a lot of hilarity and dancing to music in the

672
00:36:20,800 --> 00:36:24,680
Speaker 4: sort of parking lot asphalt between the you know, people

673
00:36:24,840 --> 00:36:26,360
Speaker 4: in and among people's trailers.

674
00:36:26,480 --> 00:36:29,480
Speaker 5: And there were also was like like.

675
00:36:29,600 --> 00:36:35,560
Speaker 4: Happens in any group of dramatic individuals, there was always

676
00:36:35,640 --> 00:36:36,840
Speaker 4: like one tours was.

677
00:36:36,840 --> 00:36:40,000
Speaker 5: Like real fucking I hate you, I'm storming into my tread.

678
00:36:40,080 --> 00:36:41,280
Speaker 5: That was all that stuff.

679
00:36:41,440 --> 00:36:45,359
Speaker 4: Or there was somebody there. In your high school there

680
00:36:45,440 --> 00:36:48,760
Speaker 4: was always or in your teen group there was always

681
00:36:48,880 --> 00:36:51,800
Speaker 4: like two people who were like against everybody else and

682
00:36:51,880 --> 00:36:55,480
Speaker 4: then all of a sudden those loyalties and allegiance has shifted.

683
00:36:55,760 --> 00:36:58,480
Speaker 4: So of course there was that, but it was and

684
00:36:58,840 --> 00:37:01,920
Speaker 4: I found I have found that in every thing I've

685
00:37:02,000 --> 00:37:06,960
Speaker 4: ever done completely But it was really really fun.

686
00:37:07,280 --> 00:37:08,759
Speaker 2: I love that you got to have that experience for

687
00:37:08,880 --> 00:37:09,759
Speaker 2: your first time out.

688
00:37:09,840 --> 00:37:12,880
Speaker 3: And then again like I'm just we could keep you

689
00:37:12,960 --> 00:37:15,160
Speaker 3: here all day, but we're going to We're going to

690
00:37:15,200 --> 00:37:17,719
Speaker 3: pivot to this in person one day. But I just

691
00:37:17,840 --> 00:37:21,560
Speaker 3: am so excited that again, like the person that you

692
00:37:21,719 --> 00:37:25,200
Speaker 3: are in your heart translates into pretty much everything I've

693
00:37:25,200 --> 00:37:28,239
Speaker 3: ever seen you do. So I just kind of want

694
00:37:28,280 --> 00:37:30,239
Speaker 3: to know, like what you're excited about now, because you

695
00:37:30,320 --> 00:37:34,360
Speaker 3: have such a wide range of possibilities, and I just

696
00:37:34,719 --> 00:37:36,799
Speaker 3: want to know what makes you excited now in terms

697
00:37:36,800 --> 00:37:37,480
Speaker 3: of acting.

698
00:37:37,320 --> 00:37:39,680
Speaker 4: Excited about a bunch of stuff. First of all, I

699
00:37:39,880 --> 00:37:44,880
Speaker 4: teach acting here in Atlanta. I've taught in different periods

700
00:37:44,920 --> 00:37:49,680
Speaker 4: of time in my life because about maybe like fifteen

701
00:37:49,760 --> 00:37:55,040
Speaker 4: years ago, I remember I was actulutely Yeah, it was

702
00:37:55,080 --> 00:37:57,400
Speaker 4: in two thousand and eight and I was having breakfast

703
00:37:57,600 --> 00:38:01,000
Speaker 4: with my guy David in New York and he was.

704
00:38:01,000 --> 00:38:04,000
Speaker 5: Like, what's going on? But I was like, I don't know.

705
00:38:04,320 --> 00:38:05,879
Speaker 4: I just I don't know what I should be doing

706
00:38:06,000 --> 00:38:10,359
Speaker 4: right now. I mean, yeah, when I'm older, Yes, I'm

707
00:38:10,400 --> 00:38:12,760
Speaker 4: going to teach. I'm when teach acting. And he was like, Okay,

708
00:38:13,200 --> 00:38:18,319
Speaker 4: don't don't take this the wrong way at all at all,

709
00:38:18,880 --> 00:38:19,719
Speaker 4: because I'm helping you.

710
00:38:20,200 --> 00:38:22,880
Speaker 5: What do you mean older?

711
00:38:28,840 --> 00:38:29,960
Speaker 4: And I was like, what do you well, what do

712
00:38:30,040 --> 00:38:32,719
Speaker 4: you mean, what do you mean older? And it was

713
00:38:32,840 --> 00:38:35,359
Speaker 4: in that conversation that I decided, Okay, I'm gonna yeah,

714
00:38:35,400 --> 00:38:37,239
Speaker 4: I'm gonna call some I'm going to figure out. And

715
00:38:37,640 --> 00:38:42,160
Speaker 4: it wasn't long before boom. I was teaching at NYU

716
00:38:42,480 --> 00:38:46,480
Speaker 4: and teaching like taking over a friend's class when she

717
00:38:46,680 --> 00:38:50,040
Speaker 4: went to, you know, coach somebody on a movie. And

718
00:38:50,320 --> 00:38:52,640
Speaker 4: so I did that for like three years while I

719
00:38:52,760 --> 00:38:55,719
Speaker 4: was acting, and then and have picked it up from

720
00:38:55,800 --> 00:38:58,560
Speaker 4: time to time and coached a lot back in the

721
00:38:58,600 --> 00:39:01,080
Speaker 4: old days, like somebody would hire me to coach them.

722
00:39:01,600 --> 00:39:04,960
Speaker 4: This is as I'm doing jobs too, But I was following.

723
00:39:05,120 --> 00:39:09,000
Speaker 4: I was falling in love with that kind of acting

724
00:39:09,200 --> 00:39:12,040
Speaker 4: work where I didn't have to look fresh.

725
00:39:14,080 --> 00:39:16,200
Speaker 2: Or you know, not number one on the call sheet.

726
00:39:16,200 --> 00:39:16,880
Speaker 2: You could just love it.

727
00:39:18,480 --> 00:39:20,080
Speaker 4: So I would get you know, I would coach people

728
00:39:20,080 --> 00:39:21,680
Speaker 4: who would do you know they would I would go

729
00:39:21,800 --> 00:39:26,600
Speaker 4: and sit there trailer and what. But then I really

730
00:39:26,760 --> 00:39:29,239
Speaker 4: fell back in love with acting in a in a

731
00:39:29,760 --> 00:39:34,399
Speaker 4: because of all that, in a no ego kind of way,

732
00:39:34,520 --> 00:39:36,960
Speaker 4: which I was stuck, I would say to this day.

733
00:39:37,120 --> 00:39:40,480
Speaker 4: And I was offered to go to be in the

734
00:39:40,560 --> 00:39:43,520
Speaker 4: acting company at the Oregon Shakespeare festival, and I thought,

735
00:39:43,640 --> 00:39:48,080
Speaker 4: that's weird. I know nothing about classical acting. I mean,

736
00:39:48,120 --> 00:39:50,440
Speaker 4: I know, I watch it, but I don't do it.

737
00:39:50,640 --> 00:39:54,000
Speaker 4: And I thought, I'll do it. I'll be like grad school.

738
00:39:54,000 --> 00:39:56,799
Speaker 4: I'll have no I'll just learn. And I stayed there

739
00:39:56,840 --> 00:40:02,280
Speaker 4: for five, five full years, and that, Yeah, that brought

740
00:40:02,400 --> 00:40:08,239
Speaker 4: me so much satisfaction because I loved acting and didn't care.

741
00:40:09,120 --> 00:40:13,560
Speaker 4: I wasn't like I need to who cares? I never

742
00:40:13,880 --> 00:40:18,280
Speaker 4: had any indignation about I need to do my shit

743
00:40:18,400 --> 00:40:22,680
Speaker 4: and are you why are you taking a step on

744
00:40:22,880 --> 00:40:23,959
Speaker 4: my laugh line?

745
00:40:25,000 --> 00:40:25,160
Speaker 2: You know?

746
00:40:26,480 --> 00:40:30,520
Speaker 4: So I still sort of love that. And now in

747
00:40:30,960 --> 00:40:34,280
Speaker 4: I teach a scene study a couple of scene study

748
00:40:34,360 --> 00:40:38,040
Speaker 4: classes in Atlanta, and I have great actors in my class.

749
00:40:38,120 --> 00:40:42,760
Speaker 4: They're all working like pro actors, and I'm totally excited

750
00:40:42,840 --> 00:40:45,880
Speaker 4: about that because as people re up in my classes,

751
00:40:46,000 --> 00:40:48,000
Speaker 4: we become a little company and we all know each

752
00:40:48,040 --> 00:40:50,880
Speaker 4: other and we delve deep into stuff.

753
00:40:50,920 --> 00:40:51,840
Speaker 5: So I'm excited about that.

754
00:40:52,040 --> 00:40:55,319
Speaker 4: And every once in a while, somebody, like last year,

755
00:40:55,520 --> 00:40:58,360
Speaker 4: somebody asked me to go do this amazing play, The

756
00:40:58,480 --> 00:41:02,160
Speaker 4: Inheritance by Matthew Lopez in Austin, and I went and

757
00:41:02,239 --> 00:41:04,960
Speaker 4: I did that and it was probably the best.

758
00:41:05,600 --> 00:41:08,760
Speaker 5: Yeah, certainly the best experience I've ever had as an actor.

759
00:41:08,880 --> 00:41:09,360
Speaker 5: I learned.

760
00:41:10,200 --> 00:41:16,120
Speaker 4: I learned so much, not about I learned who I was,

761
00:41:16,560 --> 00:41:18,839
Speaker 4: because you have to catch up with yourself every once

762
00:41:18,880 --> 00:41:22,000
Speaker 4: in a while. And I realized, oh, oh I'm yeah,

763
00:41:22,080 --> 00:41:26,359
Speaker 4: I learned and accepted that I was old.

764
00:41:28,719 --> 00:41:30,920
Speaker 3: Let me say to me what I'm what I'm hearing

765
00:41:31,120 --> 00:41:33,040
Speaker 3: is that you you are and I love this. These

766
00:41:33,080 --> 00:41:34,920
Speaker 3: are my favorite kind of people on the planet. Is

767
00:41:34,960 --> 00:41:39,239
Speaker 3: someone who's committed to lifelong learning and challenging yourself, and

768
00:41:39,320 --> 00:41:41,120
Speaker 3: that's how you get to know yourself, like this is

769
00:41:41,160 --> 00:41:43,840
Speaker 3: who I am now because I'm constantly challenging myself or

770
00:41:44,160 --> 00:41:46,239
Speaker 3: oh wait, I'm meeting myself at a whole different point

771
00:41:46,239 --> 00:41:48,320
Speaker 3: in life and now I'm this person because I just

772
00:41:48,560 --> 00:41:50,000
Speaker 3: took this job or said yes to this.

773
00:41:50,760 --> 00:41:51,320
Speaker 2: I love that.

774
00:41:51,480 --> 00:41:55,719
Speaker 3: And your students are so lucky to have you, and

775
00:41:56,040 --> 00:41:58,840
Speaker 3: it's just it's really impressive that you're like creating, like

776
00:41:59,000 --> 00:42:01,000
Speaker 3: like you said, like your own kind of troop and

777
00:42:01,080 --> 00:42:02,800
Speaker 3: your own kind of group of people.

778
00:42:02,640 --> 00:42:05,920
Speaker 5: Because they work like crazy.

779
00:42:06,280 --> 00:42:08,440
Speaker 2: A big working town like that everything I've ever made.

780
00:42:08,480 --> 00:42:10,920
Speaker 3: We feel we're filming in something in Atlanta, so it's

781
00:42:11,000 --> 00:42:13,840
Speaker 3: wonderful that you get to see that extension of yourself

782
00:42:14,000 --> 00:42:16,960
Speaker 3: through through students. I think it's it's beautiful and it's

783
00:42:17,040 --> 00:42:20,160
Speaker 3: you're just again like so oh so wonderful.

784
00:42:20,400 --> 00:42:24,880
Speaker 4: I in the Inheritance, the play in Austin's It was

785
00:42:24,920 --> 00:42:28,040
Speaker 4: in two parts as well. It's a seven hour astonishing play.

786
00:42:28,960 --> 00:42:34,799
Speaker 4: But as the sort of production photos started coming out

787
00:42:34,880 --> 00:42:37,080
Speaker 4: on social media and people were posting them.

788
00:42:37,520 --> 00:42:38,319
Speaker 5: I would see them.

789
00:42:38,440 --> 00:42:42,040
Speaker 4: I wouldn't I don't go looking for stuff ever at all,

790
00:42:43,080 --> 00:42:45,000
Speaker 4: but I would see them and I go, oh my,

791
00:42:45,200 --> 00:42:50,520
Speaker 4: because this is a play that had about ten or

792
00:42:50,560 --> 00:42:56,080
Speaker 4: eleven beautiful young men in it, and sometimes they were

793
00:42:56,120 --> 00:42:59,080
Speaker 4: in speedos and nothing else, and sometimes you know, and

794
00:42:59,719 --> 00:43:02,560
Speaker 4: so they all went because there was a lot of

795
00:43:02,680 --> 00:43:06,759
Speaker 4: nudity and a lot of sort of love for the

796
00:43:06,880 --> 00:43:08,640
Speaker 4: male body in the play.

797
00:43:08,880 --> 00:43:11,400
Speaker 5: They all looked great and had their shirts off from

798
00:43:11,400 --> 00:43:15,000
Speaker 5: these foots. And there I am. I'm playing the author

799
00:43:15,160 --> 00:43:15,400
Speaker 5: I M.

800
00:43:15,560 --> 00:43:22,680
Speaker 4: Forster, and another character too, who was a very dowdy, introverted.

801
00:43:22,000 --> 00:43:24,960
Speaker 5: Very eccentric man in his fifties.

802
00:43:25,080 --> 00:43:28,040
Speaker 4: And there I am doing what I knew I was doing,

803
00:43:28,160 --> 00:43:31,920
Speaker 4: like looking exactly like what I thought I was doing

804
00:43:32,000 --> 00:43:32,600
Speaker 4: and intending.

805
00:43:32,640 --> 00:43:34,560
Speaker 5: But I was like, holy.

806
00:43:35,800 --> 00:43:42,320
Speaker 4: Fuck, I'm ancient, this wrinkly guy and all these beautiful

807
00:43:42,400 --> 00:43:47,319
Speaker 4: men where I had it. It shifted something in my head.

808
00:43:47,760 --> 00:43:50,160
Speaker 4: For about a day, I was like, oh my god,

809
00:43:50,400 --> 00:43:52,480
Speaker 4: I'm but I turned into that.

810
00:43:52,640 --> 00:43:53,360
Speaker 5: I turned into that.

811
00:43:54,120 --> 00:43:58,560
Speaker 4: And it's okay that I say this, because yes I did.

812
00:43:58,640 --> 00:44:00,640
Speaker 4: I turned into that, and now I own it. But

813
00:44:01,280 --> 00:44:04,560
Speaker 4: I because I thought, oh no, these guys and I

814
00:44:04,680 --> 00:44:06,719
Speaker 4: were all the same thing. We're all actors, we're all

815
00:44:06,800 --> 00:44:09,000
Speaker 4: talking about the play, we're all doing good work. And

816
00:44:09,120 --> 00:44:10,920
Speaker 4: I thought we were all the same thing until I

817
00:44:11,040 --> 00:44:15,879
Speaker 4: saw the photographs as proof of Like, no, the wrinkled,

818
00:44:16,800 --> 00:44:21,680
Speaker 4: creepy skinned, you know under here, I'm playing with the wattle.

819
00:44:23,600 --> 00:44:27,160
Speaker 5: It's like, I'm like, no, that's is that what I am?

820
00:44:27,480 --> 00:44:30,239
Speaker 5: Is that what every was thinking? And then I embraced

821
00:44:30,280 --> 00:44:34,319
Speaker 5: it and it changed my life. Well.

822
00:44:34,640 --> 00:44:39,520
Speaker 4: I was happy in that play to never need to

823
00:44:39,640 --> 00:44:42,560
Speaker 4: bring any freshness that I didn't have to.

824
00:44:42,960 --> 00:44:46,520
Speaker 5: I didn't have to call my inner doiness and freshness up.

825
00:44:46,800 --> 00:44:49,239
Speaker 4: I mainly doing in fresh sort of in our zoom

826
00:44:49,280 --> 00:44:54,120
Speaker 4: window now, But I really my where I was coming from.

827
00:44:54,239 --> 00:44:58,600
Speaker 5: In the seven hours of that play was wrinkly and

828
00:45:00,719 --> 00:45:03,440
Speaker 5: and the embinnments not self away.

829
00:45:03,600 --> 00:45:07,680
Speaker 2: Yeah, yeah, this is again my favorite thing in the world.

830
00:45:07,880 --> 00:45:13,239
Speaker 3: I love, love, love that you are just so enthusiastic

831
00:45:13,280 --> 00:45:17,319
Speaker 3: about your own life and your own work and your

832
00:45:17,320 --> 00:45:19,840
Speaker 3: own wrinkles, and just like, again, the best people on

833
00:45:19,880 --> 00:45:22,440
Speaker 3: the planet are the ones who learn and grow and

834
00:45:22,600 --> 00:45:24,800
Speaker 3: just see It's it's a real treat and it's special

835
00:45:24,920 --> 00:45:26,840
Speaker 3: for us as viewers to be able to be on.

836
00:45:26,920 --> 00:45:28,680
Speaker 2: That journey with you and your work. But I love

837
00:45:28,920 --> 00:45:31,080
Speaker 2: just even talking to you now, like just talking to you.

838
00:45:31,760 --> 00:45:35,200
Speaker 5: I had no idea this conversation would go to this place.

839
00:45:35,800 --> 00:45:36,160
Speaker 2: We love it.

840
00:45:41,600 --> 00:45:45,200
Speaker 1: Oh my gosh, Danielle, what what am I going to

841
00:45:45,440 --> 00:45:47,440
Speaker 1: say about what just happened? I don't know.

842
00:45:47,600 --> 00:45:51,319
Speaker 2: I mean, is Peter Furshett not the most charming person

843
00:45:51,360 --> 00:45:52,319
Speaker 2: you've ever met in your life?

844
00:45:53,520 --> 00:45:56,600
Speaker 1: Like just so charming, quite honestly, one of the most

845
00:45:56,680 --> 00:46:00,920
Speaker 1: charming people ever. Also, the idea that we live in

846
00:46:00,960 --> 00:46:03,640
Speaker 1: the same town is just like so exciting to me.

847
00:46:04,000 --> 00:46:06,160
Speaker 1: The fact that he goes to my Trader Joe's. I'm like,

848
00:46:06,239 --> 00:46:07,920
Speaker 1: I hope I see him at the Trader Joe's.

849
00:46:09,200 --> 00:46:11,439
Speaker 2: We wear a T shirt, wear a Dell's T shirt

850
00:46:11,520 --> 00:46:12,719
Speaker 2: or something like, I'll get you one.

851
00:46:13,160 --> 00:46:17,560
Speaker 1: Yeah, I'm hanging out with me. But he's so wonderful.

852
00:46:17,719 --> 00:46:20,680
Speaker 3: Oh my god, that was an actual, like a dream

853
00:46:20,719 --> 00:46:22,319
Speaker 3: come true. I didn't know it was a dream until

854
00:46:22,320 --> 00:46:24,240
Speaker 3: it was done. Then I'm like, wait, I always wanted

855
00:46:24,280 --> 00:46:24,640
Speaker 3: to do that.

856
00:46:25,000 --> 00:46:26,040
Speaker 2: That was so cool.

857
00:46:26,800 --> 00:46:30,360
Speaker 3: What an absence and just truly genuine and wonderful and

858
00:46:31,000 --> 00:46:33,520
Speaker 3: smart and funny. And I could I could write a

859
00:46:33,600 --> 00:46:36,000
Speaker 3: million profiles anytime you need a profile.

860
00:46:36,040 --> 00:46:37,400
Speaker 2: Peter come to us where your girls.

861
00:46:37,560 --> 00:46:39,200
Speaker 1: And he was such a he is such a good

862
00:46:39,239 --> 00:46:43,680
Speaker 1: sport about listening to all of us be horny for him,

863
00:46:43,840 --> 00:46:45,640
Speaker 1: and we just really appreciate it.

864
00:46:46,280 --> 00:46:49,200
Speaker 3: The fact that he has not turned off DM's period

865
00:46:49,520 --> 00:46:52,040
Speaker 3: is a testament to him as a person, because the

866
00:46:52,120 --> 00:46:54,239
Speaker 3: first Dick pic I would have been like goodbye.

867
00:46:56,719 --> 00:46:58,520
Speaker 1: Oh, We're just so happy to have had him. And

868
00:46:58,840 --> 00:47:00,880
Speaker 1: I mean, I don't even know. We're gonna take a

869
00:47:00,960 --> 00:47:03,560
Speaker 1: little bit of a tone shift. I feel like talking

870
00:47:03,560 --> 00:47:04,520
Speaker 1: about this week's.

871
00:47:04,280 --> 00:47:07,000
Speaker 2: Episode, right we are, but the theme is still high

872
00:47:07,280 --> 00:47:09,920
Speaker 2: high fun and and but yeah, the subject gets a

873
00:47:09,920 --> 00:47:13,440
Speaker 2: little dark, but that's what we do best, high low,

874
00:47:13,880 --> 00:47:14,520
Speaker 2: dark funny.

875
00:47:14,880 --> 00:47:21,000
Speaker 1: Absolutely. Oh and uh, just so that everybody is aware,

876
00:47:21,400 --> 00:47:25,279
Speaker 1: my dog Sophie is on one right, now, so if

877
00:47:25,280 --> 00:47:29,160
Speaker 1: you hear any barking or any kind of little doggy noises,

878
00:47:30,280 --> 00:47:34,759
Speaker 1: just know that it's there. Do you want to say

879
00:47:34,840 --> 00:47:36,480
Speaker 1: the theme or do you want me to say that.

880
00:47:36,920 --> 00:47:38,800
Speaker 2: I want you to say the theme because it's your idea.

881
00:47:39,480 --> 00:47:48,879
Speaker 1: Okay, So this theme this week is entitled I'm Gonna

882
00:47:48,880 --> 00:47:52,640
Speaker 1: win that Motley Krumerror if it fucking kills me. And

883
00:47:53,120 --> 00:47:58,600
Speaker 1: hopefully you know the reference. If not, it comes from

884
00:47:59,600 --> 00:48:03,600
Speaker 1: my favorite bikini kill song called Carnival, and in the

885
00:48:03,640 --> 00:48:07,719
Speaker 1: middle of the song, Kathleen Hannah says, I'm gonna win

886
00:48:07,800 --> 00:48:10,560
Speaker 1: the Molly Kumier if it fucking kills me.

887
00:48:15,800 --> 00:48:19,960
Speaker 3: And why are we doing a theme with that title?

888
00:48:21,000 --> 00:48:22,440
Speaker 3: What is the theme itself about?

889
00:48:23,200 --> 00:48:28,279
Speaker 1: Well, I think quite obviously, the theme is about carnivals, circuses,

890
00:48:29,360 --> 00:48:33,160
Speaker 1: side shows, things of this nature. And there's a lot

891
00:48:33,280 --> 00:48:38,000
Speaker 1: of movies actually about this. I mean there's there's been

892
00:48:38,160 --> 00:48:43,080
Speaker 1: many since the beginning of Hollywood, and so I think

893
00:48:43,120 --> 00:48:46,200
Speaker 1: it's an interesting way into movies because first of all,

894
00:48:46,280 --> 00:48:50,920
Speaker 1: it's a world that I I think I along with

895
00:48:51,000 --> 00:48:54,560
Speaker 1: a lot of other people are kind of fascinated in, uh,

896
00:48:54,640 --> 00:48:57,239
Speaker 1: because it feels like it's its own thing, with its

897
00:48:57,320 --> 00:49:00,920
Speaker 1: own rules and its own, you know, sort of tempo,

898
00:49:01,239 --> 00:49:03,840
Speaker 1: you know what I mean. And I will say that

899
00:49:04,560 --> 00:49:08,279
Speaker 1: I think that the concept of like the carnival and

900
00:49:08,360 --> 00:49:13,160
Speaker 1: the circus and stuff has changed over time. I think,

901
00:49:13,400 --> 00:49:15,600
Speaker 1: you know, I certainly went to a lot when I

902
00:49:15,719 --> 00:49:16,040
Speaker 1: was a kid.

903
00:49:16,040 --> 00:49:19,160
Speaker 2: I don't know about you not. I only went once.

904
00:49:19,560 --> 00:49:21,719
Speaker 3: I went to Barnum and Bailey in New York City,

905
00:49:22,160 --> 00:49:24,759
Speaker 3: and then there were always kind of like little Most

906
00:49:24,800 --> 00:49:28,320
Speaker 3: of my experience with like circuses and carnivals was like

907
00:49:29,160 --> 00:49:33,920
Speaker 3: small town county fairs where they would have like carnival

908
00:49:34,000 --> 00:49:37,319
Speaker 3: type arrangements, but it wasn't really like the point of going.

909
00:49:37,400 --> 00:49:40,279
Speaker 3: There was other stuff going on behind it, but there

910
00:49:40,360 --> 00:49:43,480
Speaker 3: was kind of like a setup entry point with like

911
00:49:43,560 --> 00:49:47,160
Speaker 3: some animals and some games and like that kind of thing.

912
00:49:47,719 --> 00:49:51,279
Speaker 1: Yeah. I think by the time I had gone to

913
00:49:51,640 --> 00:49:53,520
Speaker 1: i mean a carnival, we called it like a fair.

914
00:49:54,160 --> 00:49:56,400
Speaker 1: Like that was like there used to be this thing

915
00:49:56,440 --> 00:49:58,880
Speaker 1: called North Georgia State Fair and it would happen like

916
00:49:59,080 --> 00:50:03,480
Speaker 1: you know, in the fall. And for me it was

917
00:50:03,680 --> 00:50:06,600
Speaker 1: truly just a place to like wear my cool jean

918
00:50:06,760 --> 00:50:09,120
Speaker 1: jacket and run around with my middle school friends and

919
00:50:09,320 --> 00:50:13,359
Speaker 1: you know, you know, like talk to boys. I could

920
00:50:13,440 --> 00:50:15,960
Speaker 1: care less honestly about the rides. I just wanted to

921
00:50:16,080 --> 00:50:19,560
Speaker 1: like see and be seen type of thing. But I

922
00:50:19,680 --> 00:50:24,239
Speaker 1: think that at that time the carnival the fair was

923
00:50:24,880 --> 00:50:29,000
Speaker 1: more or less just like kind of weird rollercoasters and

924
00:50:29,200 --> 00:50:32,080
Speaker 1: ferris wheels and funnel cakes. It was kind of less

925
00:50:32,120 --> 00:50:35,879
Speaker 1: of like I think the stuff that was in both

926
00:50:35,920 --> 00:50:40,879
Speaker 1: of our movies this week, like that iteration, I think

927
00:50:41,000 --> 00:50:44,200
Speaker 1: had kind of fallen out of fashion, if.

928
00:50:44,040 --> 00:50:44,640
Speaker 5: You know what I mean.

929
00:50:45,040 --> 00:50:48,400
Speaker 3: I mean for people, for sure, they still definitely abused

930
00:50:48,440 --> 00:50:50,920
Speaker 3: animals for a very long time in most circuses, but

931
00:50:51,600 --> 00:50:55,360
Speaker 3: there I think there was a point in time around

932
00:50:55,400 --> 00:50:57,759
Speaker 3: the time that both of our movies are set, where

933
00:50:58,160 --> 00:51:02,240
Speaker 3: there was this real push culture for like the human curiosities.

934
00:51:02,760 --> 00:51:02,920
Speaker 4: Yea.

935
00:51:03,040 --> 00:51:06,080
Speaker 2: So it's like when Sarah Bartman and you know, people

936
00:51:06,200 --> 00:51:08,160
Speaker 2: look like the geeks and the like.

937
00:51:08,239 --> 00:51:11,040
Speaker 3: People would be kind of dragged around for their and

938
00:51:11,200 --> 00:51:14,720
Speaker 3: paraded around because they showed any kind of physical difference.

939
00:51:15,760 --> 00:51:17,640
Speaker 3: So that definitely fell out of fever. But it's weird

940
00:51:17,680 --> 00:51:20,319
Speaker 3: that it was like a cultural trend at some point

941
00:51:20,440 --> 00:51:22,200
Speaker 3: to be like, look at this person, they're not like us.

942
00:51:22,280 --> 00:51:24,520
Speaker 3: Let's put them on the road and make money off

943
00:51:24,560 --> 00:51:26,200
Speaker 3: of them. It is just a very very strange point

944
00:51:26,200 --> 00:51:27,080
Speaker 3: in time for sure.

945
00:51:27,880 --> 00:51:30,000
Speaker 1: Well, and that's that's what I think I mean about

946
00:51:30,040 --> 00:51:33,279
Speaker 1: these movies this week, but also kind of movies in

947
00:51:33,440 --> 00:51:36,440
Speaker 1: this I don't know micro genre. I don't know if

948
00:51:36,480 --> 00:51:39,640
Speaker 1: you'd call, you know, carnival movies a micro genre or not,

949
00:51:39,880 --> 00:51:43,160
Speaker 1: but it's kind of a good conduit to talk about

950
00:51:43,280 --> 00:51:48,080
Speaker 1: things like, you know, differences amongst people and how people

951
00:51:48,160 --> 00:51:51,080
Speaker 1: are treated for being different, but also talking about like

952
00:51:51,200 --> 00:51:55,600
Speaker 1: kind of greed and kind of the dark side of life.

953
00:51:55,640 --> 00:51:58,760
Speaker 1: I would say, I think which is plays really heavily

954
00:51:58,840 --> 00:52:01,840
Speaker 1: into my movie this week. Yeah, I just think that

955
00:52:01,880 --> 00:52:03,840
Speaker 1: those are all topics that seem to come up in

956
00:52:03,920 --> 00:52:05,160
Speaker 1: a lot of these movies, you know what.

957
00:52:05,160 --> 00:52:11,040
Speaker 3: I mean, completely completely, And also the concept of like

958
00:52:11,280 --> 00:52:14,200
Speaker 3: shutting it down, Like there were definitely it didn't work,

959
00:52:14,239 --> 00:52:15,960
Speaker 3: but there were definitely people who were like, this is

960
00:52:16,040 --> 00:52:18,400
Speaker 3: inhumane shut it down in both of our films, and

961
00:52:18,840 --> 00:52:20,480
Speaker 3: people were like, no, we're not doing that.

962
00:52:22,840 --> 00:52:26,600
Speaker 1: Yeah yeah, yeah, and it's for me. I actually don't

963
00:52:26,760 --> 00:52:30,080
Speaker 1: I know that there is actually a lot of literature.

964
00:52:30,360 --> 00:52:32,799
Speaker 1: I mean, I know my movie this week is based

965
00:52:32,840 --> 00:52:36,200
Speaker 1: off of a book, but also sort of like there's

966
00:52:36,239 --> 00:52:40,280
Speaker 1: been a lot of discourse and academic work actually about

967
00:52:41,480 --> 00:52:45,080
Speaker 1: the world of these films and like the carnival world

968
00:52:45,160 --> 00:52:47,759
Speaker 1: and that kind of stuff. Yeah, I don't know a

969
00:52:47,880 --> 00:52:50,160
Speaker 1: ton about it, but like I said, I think it's fascinating.

970
00:52:50,719 --> 00:52:50,880
Speaker 5: You know.

971
00:52:51,040 --> 00:52:53,680
Speaker 1: My kind of entry point into it from that way

972
00:52:54,000 --> 00:52:59,360
Speaker 1: is essentially cult movies, because you know, the origin of

973
00:52:59,480 --> 00:53:04,239
Speaker 1: the kind of you know, cult film sort of is

974
00:53:05,440 --> 00:53:08,160
Speaker 1: you know, it kind of rests in that world of

975
00:53:08,560 --> 00:53:12,520
Speaker 1: the medicine show of the Carnival and a lot of

976
00:53:12,640 --> 00:53:17,200
Speaker 1: like early folks in exploitation movies and cult movies kind

977
00:53:17,239 --> 00:53:20,279
Speaker 1: of came from this world, which I think is really

978
00:53:20,360 --> 00:53:24,360
Speaker 1: interesting because there is you know, I guess it is

979
00:53:24,480 --> 00:53:28,480
Speaker 1: an exploitation to a certain degree generally, you know what

980
00:53:28,520 --> 00:53:28,799
Speaker 1: I mean.

981
00:53:29,360 --> 00:53:29,960
Speaker 2: So I don't know.

982
00:53:30,120 --> 00:53:32,719
Speaker 1: I was first of all, I have not seen your

983
00:53:32,840 --> 00:53:36,680
Speaker 1: movie in so long. I just think it's a masterpiece.

984
00:53:36,840 --> 00:53:40,480
Speaker 1: I mean, I think it's like so well made. I

985
00:53:40,560 --> 00:53:43,239
Speaker 1: think it's by a director that is like I mean,

986
00:53:43,280 --> 00:53:46,080
Speaker 1: it's just like early work by a very famous director,

987
00:53:47,040 --> 00:53:50,520
Speaker 1: and it's the same. It kind of goes in line

988
00:53:50,600 --> 00:53:54,680
Speaker 1: with his subsequent work, but also is totally different, which

989
00:53:54,719 --> 00:53:55,719
Speaker 1: I really appreciated.

990
00:53:56,160 --> 00:53:57,040
Speaker 4: Yeah, and.

991
00:53:58,520 --> 00:54:00,480
Speaker 1: I'm also glad for my movie this we get to

992
00:54:00,480 --> 00:54:02,239
Speaker 1: talk about a movie from the forties, which is like,

993
00:54:02,360 --> 00:54:05,359
Speaker 1: you know, it doesn't happen often, but when it does, yeah,

994
00:54:05,440 --> 00:54:06,120
Speaker 1: it's exciting.

995
00:54:06,360 --> 00:54:12,800
Speaker 3: So one hundred percent I'm going first this week. So

996
00:54:13,080 --> 00:54:16,240
Speaker 3: I will just tell you that my film was released

997
00:54:16,280 --> 00:54:20,680
Speaker 3: in nineteen eighty. The screenplay is by Christopher Devorum, Eric

998
00:54:20,760 --> 00:54:23,959
Speaker 3: Bergren and David Lynch. It is directed by David Lynch,

999
00:54:24,120 --> 00:54:26,279
Speaker 3: and my film is The Elephant Man.

1000
00:54:26,680 --> 00:54:29,480
Speaker 5: He is English, he is twenty one. His name is

1001
00:54:29,520 --> 00:54:30,080
Speaker 5: John Meddick.

1002
00:54:30,200 --> 00:54:32,320
Speaker 4: There's no time have I met with such a perverted

1003
00:54:32,440 --> 00:54:34,600
Speaker 4: or degraded version of a human being as this man.

1004
00:54:35,560 --> 00:54:39,120
Speaker 3: So we are starting with an incredible cast, you know,

1005
00:54:39,239 --> 00:54:43,520
Speaker 3: Anthony Hopkins, John Hurt and Bancroft, John Gielgood, just like

1006
00:54:43,680 --> 00:54:48,480
Speaker 3: really heavy hitters right up front, and like you said,

1007
00:54:48,520 --> 00:54:51,399
Speaker 3: a director who has come to be very well known

1008
00:54:51,920 --> 00:54:55,879
Speaker 3: and respected for focusing on kind of the oddities of life.

1009
00:54:55,960 --> 00:54:58,480
Speaker 3: I think that I don't think we've ever done a

1010
00:54:58,560 --> 00:55:02,840
Speaker 3: David Lynch movie on this pod yet. But we're also

1011
00:55:03,000 --> 00:55:04,239
Speaker 3: not going to go into the it's too much to

1012
00:55:04,280 --> 00:55:06,080
Speaker 3: go into the history of him now. I think we

1013
00:55:06,120 --> 00:55:08,120
Speaker 3: should probably do like a David Lynch episode if we're

1014
00:55:08,160 --> 00:55:12,200
Speaker 3: going to do that. But he definitely is, like you know,

1015
00:55:12,320 --> 00:55:15,920
Speaker 3: most people know him in a mainstream way from Twin Peaks,

1016
00:55:15,960 --> 00:55:19,080
Speaker 3: the TV show that was like revolutionary and freak people out.

1017
00:55:19,600 --> 00:55:24,200
Speaker 3: But he's an incredible filmmaker who is very funny. Like

1018
00:55:24,360 --> 00:55:27,640
Speaker 3: interviews and documentaries that I've seen with him, he's very

1019
00:55:27,719 --> 00:55:31,360
Speaker 3: very funny. But he likes to focus on the oddities

1020
00:55:31,400 --> 00:55:35,960
Speaker 3: of life and the dark underbelly of stories and kind

1021
00:55:35,960 --> 00:55:38,279
Speaker 3: of draw He does a lot of great character work

1022
00:55:38,280 --> 00:55:41,359
Speaker 3: where he draws out that darkness or focuses on an

1023
00:55:41,400 --> 00:55:44,080
Speaker 3: event that is a catalyst for the darkness that he

1024
00:55:44,160 --> 00:55:48,040
Speaker 3: then kind of pulls into a very strange and meandering

1025
00:55:48,200 --> 00:55:52,240
Speaker 3: but disturbing story. So, you know, movies like Mulholland Drive,

1026
00:55:52,640 --> 00:55:55,960
Speaker 3: and he's just done so many things like again, Twin Peaks,

1027
00:55:56,040 --> 00:55:58,800
Speaker 3: the TV series, Blue Velvet, Eraserhead.

1028
00:55:58,840 --> 00:56:02,960
Speaker 1: I mean, like he just he I actually recently, this

1029
00:56:03,120 --> 00:56:07,080
Speaker 1: is so this is embarrassing, But I saw Lost Highway

1030
00:56:07,160 --> 00:56:10,080
Speaker 1: for the first time, like, oh, a couple days ago,

1031
00:56:10,680 --> 00:56:13,160
Speaker 1: and for you know, it was like a movie that

1032
00:56:13,280 --> 00:56:15,560
Speaker 1: came out kind of when we were you know, I

1033
00:56:15,600 --> 00:56:18,000
Speaker 1: guess like in the nineties, in the later nineties and

1034
00:56:18,280 --> 00:56:23,719
Speaker 1: I was like, Wow, this movie, like, you know, I mean,

1035
00:56:23,760 --> 00:56:26,000
Speaker 1: it's totally in line with everything else he's ever done,

1036
00:56:26,040 --> 00:56:29,600
Speaker 1: but it was also very of the era, you know,

1037
00:56:29,960 --> 00:56:33,120
Speaker 1: musically and fashion wise, and I was like, wow, I'm

1038
00:56:33,200 --> 00:56:37,560
Speaker 1: triggered right now by all these colorless, collarless leather jackets

1039
00:56:37,600 --> 00:56:39,000
Speaker 1: and stuff. I was like, oh my god.

1040
00:56:40,280 --> 00:56:43,880
Speaker 3: I know it's very, very specific, and most of his

1041
00:56:44,000 --> 00:56:47,799
Speaker 3: films have specific have a specific look, but that one,

1042
00:56:48,040 --> 00:56:50,560
Speaker 3: you know, I think that in Mulholland Drive also, like

1043
00:56:50,640 --> 00:56:52,759
Speaker 3: Mahland Drive has kind of more of a even though

1044
00:56:52,760 --> 00:56:54,160
Speaker 3: it came out in two thousand and one, has kind

1045
00:56:54,160 --> 00:56:57,239
Speaker 3: of an old Hollywood kind of esthetic to it. But yeah,

1046
00:56:57,360 --> 00:57:00,839
Speaker 3: Lost Highway is specifically nineteen ninety seven, very funny way.

1047
00:57:01,239 --> 00:57:03,799
Speaker 2: Yeah yeah, but he's cool again.

1048
00:57:03,840 --> 00:57:05,440
Speaker 3: We'll probably do an episode where we go more in

1049
00:57:05,520 --> 00:57:08,919
Speaker 3: depth into his life and his work. But he's seventy seven.

1050
00:57:09,000 --> 00:57:12,600
Speaker 3: He's still out there making stuff and he's just incredibly

1051
00:57:13,080 --> 00:57:16,720
Speaker 3: cool and to my knowledge at the time of this recording,

1052
00:57:17,200 --> 00:57:20,320
Speaker 3: not problematic or hasn't said anything fucked up in terms

1053
00:57:20,360 --> 00:57:23,160
Speaker 3: of culturally fucked up, Like he says fucked up things

1054
00:57:23,160 --> 00:57:25,240
Speaker 3: all the time, but that's just because he's a.

1055
00:57:25,240 --> 00:57:28,240
Speaker 2: Weirdo and not because he's like me.

1056
00:57:29,200 --> 00:57:29,439
Speaker 1: Yeah.

1057
00:57:29,640 --> 00:57:29,840
Speaker 2: Yeah.

1058
00:57:31,240 --> 00:57:34,160
Speaker 3: So the important thing to know about this film also

1059
00:57:34,560 --> 00:57:39,440
Speaker 3: is that it's based on a true life story. Joseph

1060
00:57:39,600 --> 00:57:42,760
Speaker 3: Carrie Merrick was born in eighteen sixty two and died

1061
00:57:42,800 --> 00:57:46,000
Speaker 3: in eighteen ninety. He was a real person who lived

1062
00:57:46,040 --> 00:57:50,280
Speaker 3: in England, and he was known for having these severe deformities,

1063
00:57:50,520 --> 00:57:54,640
Speaker 3: which over time we've come to know as proteus syndrome,

1064
00:57:55,280 --> 00:57:59,960
Speaker 3: which causes excessive growth of bones, skin, organs and tissue.

1065
00:58:00,200 --> 00:58:02,680
Speaker 3: Like everything in your body essentially could be affected by this,

1066
00:58:03,240 --> 00:58:06,600
Speaker 3: and it wasn't really named or discovered that until nineteen

1067
00:58:06,640 --> 00:58:09,240
Speaker 3: seventy nine, even though people had suffered from it well

1068
00:58:09,280 --> 00:58:11,640
Speaker 3: before that, it wasn't really studied in a way that

1069
00:58:11,720 --> 00:58:15,440
Speaker 3: it could be diagnosed or explained to the public at

1070
00:58:15,520 --> 00:58:18,320
Speaker 3: large until like nineteen seventy nine. And it only affects

1071
00:58:18,400 --> 00:58:23,240
Speaker 3: one in one million people, so it's incredibly exceedingly rare.

1072
00:58:23,320 --> 00:58:26,080
Speaker 3: It's a very rare and it's a rare genetic condition.

1073
00:58:26,600 --> 00:58:29,720
Speaker 3: And the life expectancy because of how aggressively it attacks

1074
00:58:29,800 --> 00:58:32,680
Speaker 3: the body, it's the life expectancy is not more between

1075
00:58:32,720 --> 00:58:35,520
Speaker 3: you know, nine and twenty nine years old. So Joseph

1076
00:58:35,640 --> 00:58:38,360
Speaker 3: Merrick didn't show signs of this illness. In some instances

1077
00:58:38,440 --> 00:58:40,760
Speaker 3: it says he didn't show until he was five years old,

1078
00:58:41,240 --> 00:58:43,160
Speaker 3: and some it says he didn't show he showed it

1079
00:58:43,600 --> 00:58:46,080
Speaker 3: like a few months after being born. And my sources

1080
00:58:46,120 --> 00:58:50,400
Speaker 3: are like you know It'cyclopedia Britannica and biography, but there's

1081
00:58:50,560 --> 00:58:54,080
Speaker 3: just conflicting information in some of these instances.

1082
00:58:54,160 --> 00:58:54,840
Speaker 2: But he was young.

1083
00:58:55,000 --> 00:58:56,680
Speaker 3: Let's just say he was young when he first started

1084
00:58:56,720 --> 00:59:00,840
Speaker 3: to show symptoms. His mom died of bronx pneumonia when

1085
00:59:00,840 --> 00:59:03,680
Speaker 3: he was eleven, and his dad kind of tried to

1086
00:59:03,680 --> 00:59:05,760
Speaker 3: put him to work, like out in the street. He had, like,

1087
00:59:05,840 --> 00:59:08,040
Speaker 3: you know, his own haberdashery business, and he tried to

1088
00:59:08,320 --> 00:59:11,840
Speaker 3: employ his son, but you know, the increase seeing his

1089
00:59:12,240 --> 00:59:15,680
Speaker 3: appearance and his increasing tumors and growths kind of made

1090
00:59:15,680 --> 00:59:17,560
Speaker 3: it impossible for him to be out in the street

1091
00:59:17,720 --> 00:59:21,040
Speaker 3: selling things. So he was confined to a workhouse when

1092
00:59:21,040 --> 00:59:23,959
Speaker 3: he was seventeen and worked there for almost four years.

1093
00:59:24,000 --> 00:59:26,560
Speaker 3: And then he actually ran away to join the circus

1094
00:59:26,680 --> 00:59:28,560
Speaker 3: when he was twenty one because he figured that was

1095
00:59:28,600 --> 00:59:31,600
Speaker 3: where he could find work, and that's where he was

1096
00:59:31,720 --> 00:59:34,520
Speaker 3: discovered by doctor Frederick Treves.

1097
00:59:35,160 --> 00:59:36,040
Speaker 2: So all of that is real.

1098
00:59:36,360 --> 00:59:38,280
Speaker 3: We see that kind of happen in the movie. We

1099
00:59:38,360 --> 00:59:40,880
Speaker 3: don't get much of his backstory. We don't see much

1100
00:59:40,920 --> 00:59:43,640
Speaker 3: of his backstory, but his the way that he meets

1101
00:59:43,680 --> 00:59:44,680
Speaker 3: trees is real.

1102
00:59:44,720 --> 00:59:47,480
Speaker 2: It's how it really happened. And again when it's really sad.

1103
00:59:47,560 --> 00:59:49,720
Speaker 3: But when he was twenty seven years old, he died

1104
00:59:50,320 --> 00:59:54,440
Speaker 3: of a broken vertebra, and other sources again say he

1105
00:59:54,520 --> 00:59:57,040
Speaker 3: died of accidental suffocation, but it seems like it was

1106
00:59:57,080 --> 00:59:59,760
Speaker 3: a mix of both, because his head was three feet

1107
00:59:59,800 --> 01:00:02,160
Speaker 3: in circumference and it was too heavy for him to

1108
01:00:02,280 --> 01:00:06,320
Speaker 3: hold up, so if he laid down to sleep, he

1109
01:00:06,400 --> 01:00:09,600
Speaker 3: would die. And it was again probably a combination of

1110
01:00:09,680 --> 01:00:14,080
Speaker 3: both accidental suffocation and a broken vertebra. But he was

1111
01:00:14,120 --> 01:00:16,200
Speaker 3: only twenty seven years old, which is really sad. So

1112
01:00:17,320 --> 01:00:20,080
Speaker 3: the Elephant Man movie is based on a real case

1113
01:00:20,960 --> 01:00:24,200
Speaker 3: and a real person, and I think that it's something

1114
01:00:24,280 --> 01:00:28,800
Speaker 3: that David Lynch like, he truly does a great job

1115
01:00:29,160 --> 01:00:34,280
Speaker 3: in this movie of focusing on Marrick's humanity. I will

1116
01:00:34,440 --> 01:00:37,120
Speaker 3: just tell you right off the bat that this movie

1117
01:00:38,000 --> 01:00:41,760
Speaker 3: makes me cry like a fucking baby. This is my notebook,

1118
01:00:41,920 --> 01:00:45,240
Speaker 3: this is my steel Magnolias, It's the Elephant man like

1119
01:00:45,320 --> 01:00:47,280
Speaker 3: there are several points of this film where I just

1120
01:00:47,440 --> 01:00:53,360
Speaker 3: break down because I cannot stand to see marginalized people

1121
01:00:53,760 --> 01:00:57,920
Speaker 3: or differently affected people treated poorly. I cannot stand it

1122
01:00:58,000 --> 01:01:00,560
Speaker 3: in my bones. I hate seeing it. I hate it

1123
01:01:00,880 --> 01:01:03,160
Speaker 3: so much. And it's been like that since I was

1124
01:01:03,200 --> 01:01:04,600
Speaker 3: a little kid. The first time I saw this movie,

1125
01:01:04,640 --> 01:01:10,760
Speaker 3: I was, of course way too young. My grandmother loved it,

1126
01:01:10,960 --> 01:01:12,600
Speaker 3: so I watched it whe her and I was like,

1127
01:01:12,800 --> 01:01:16,280
Speaker 3: I don't know, nine, ten eleven, and it just always

1128
01:01:16,360 --> 01:01:19,800
Speaker 3: made me fucking furious and sad that how he was treated.

1129
01:01:19,960 --> 01:01:23,200
Speaker 3: So I will get into my little one sentence synopsis

1130
01:01:23,240 --> 01:01:25,520
Speaker 3: before we start talking about that part of the film,

1131
01:01:25,920 --> 01:01:28,360
Speaker 3: and my one sentence synopsis is that an intelligent and

1132
01:01:28,480 --> 01:01:31,880
Speaker 3: thoughtful man is confined to a life of circus based

1133
01:01:32,000 --> 01:01:34,960
Speaker 3: misery due to his genetic condition that gives him a

1134
01:01:35,000 --> 01:01:40,280
Speaker 3: bumpy and enlarged appearance. So again, like it's because it's

1135
01:01:40,320 --> 01:01:42,440
Speaker 3: the circus you get to kind of first see how

1136
01:01:42,520 --> 01:01:45,520
Speaker 3: he's introduced by Bites, who's the guy who kind of

1137
01:01:46,240 --> 01:01:48,600
Speaker 3: owns him, so to speak, like, you know, there's another

1138
01:01:48,640 --> 01:01:50,640
Speaker 3: way to put it, like he owns this, he owns

1139
01:01:50,640 --> 01:01:54,919
Speaker 3: a human being. He's enslaved him, And of course there's

1140
01:01:54,960 --> 01:01:58,720
Speaker 3: a story about how the reason that John Merrick looks

1141
01:01:58,840 --> 01:02:01,360
Speaker 3: like this is because he was born to a mother

1142
01:02:01,760 --> 01:02:04,640
Speaker 3: who was trampled by elephants in Africa. Because we got

1143
01:02:04,760 --> 01:02:06,520
Speaker 3: to find a way to blame both, We got to

1144
01:02:06,520 --> 01:02:09,280
Speaker 3: find a way to blame moms and Africa whenever possible.

1145
01:02:09,320 --> 01:02:12,880
Speaker 2: In the circus, you said a.

1146
01:02:12,920 --> 01:02:16,920
Speaker 3: Mouthful circuss are fucking relentless when it comes to women

1147
01:02:17,120 --> 01:02:19,520
Speaker 3: and Africa specifically. Yeah.

1148
01:02:19,960 --> 01:02:22,800
Speaker 2: Yeah, So everyone is like, there.

1149
01:02:22,720 --> 01:02:24,400
Speaker 3: Are a few people again like trying to shut this

1150
01:02:24,520 --> 01:02:27,680
Speaker 3: circus down, and it's specifically because of Merrick, where they're like,

1151
01:02:27,760 --> 01:02:30,920
Speaker 3: this is not okay that you're treating this man this way.

1152
01:02:31,000 --> 01:02:33,440
Speaker 3: This is great, and some people are like it doesn't

1153
01:02:33,480 --> 01:02:36,720
Speaker 3: You would think it comes from a place of like humanity,

1154
01:02:37,080 --> 01:02:39,920
Speaker 3: But I think the way it's presented by Lynch is

1155
01:02:40,000 --> 01:02:42,040
Speaker 3: kind of like this is too gross for us to

1156
01:02:42,120 --> 01:02:43,840
Speaker 3: even look at, Like this is not even like this

1157
01:02:44,040 --> 01:02:46,160
Speaker 3: goes too far even in the spectacle of like the

1158
01:02:46,280 --> 01:02:47,200
Speaker 3: human curiosity.

1159
01:02:47,800 --> 01:02:48,360
Speaker 2: So there's this.

1160
01:02:48,720 --> 01:02:51,800
Speaker 3: Instant like before you even meet or see Mereck, you're

1161
01:02:51,840 --> 01:02:55,680
Speaker 3: instantly aware of how uncomfortable his presence makes people and

1162
01:02:55,840 --> 01:02:58,040
Speaker 3: treats comes along and again he's a doctor and he's

1163
01:02:58,120 --> 01:03:00,680
Speaker 3: kind of curious and he wants to meet Marya. So

1164
01:03:00,800 --> 01:03:03,760
Speaker 3: he sets up this private meeting with Bites, and then

1165
01:03:03,800 --> 01:03:07,120
Speaker 3: you get to really see not only what he looks like,

1166
01:03:07,360 --> 01:03:09,480
Speaker 3: but how he lives because he is treated like an

1167
01:03:09,560 --> 01:03:13,000
Speaker 3: actually like an absolute animal. So Bites kind of keeps

1168
01:03:13,040 --> 01:03:17,360
Speaker 3: him in this dank basement dwelling or in a crate

1169
01:03:17,920 --> 01:03:21,200
Speaker 3: with monkeys, and he kind of, you know, he's he

1170
01:03:21,320 --> 01:03:24,760
Speaker 3: eats potatoes, he eats like, he just eats nothing, and

1171
01:03:25,840 --> 01:03:28,400
Speaker 3: Bites beats him all the time for anything. If he

1172
01:03:28,480 --> 01:03:30,960
Speaker 3: makes a noise, he gets beaten. If he he just

1173
01:03:31,200 --> 01:03:36,400
Speaker 3: is in a miserable situation. And so when Trees first

1174
01:03:37,000 --> 01:03:39,760
Speaker 3: meets him and he wants to treat him in a

1175
01:03:39,920 --> 01:03:44,080
Speaker 3: medical sense, so you know what, the little boy that

1176
01:03:44,160 --> 01:03:45,960
Speaker 3: works with Bites kind of runs and is like, hey,

1177
01:03:46,920 --> 01:03:49,040
Speaker 3: Marek's not doing so well because Bites beat the shit

1178
01:03:49,040 --> 01:03:51,520
Speaker 3: out of him again. So the first time they meet

1179
01:03:51,560 --> 01:03:53,400
Speaker 3: their kind of or the first time he kind of

1180
01:03:53,440 --> 01:03:54,880
Speaker 3: comes in contact with him, he treats him as like

1181
01:03:54,880 --> 01:03:57,760
Speaker 3: a medical curiosity himself, and he kind of shows him

1182
01:03:57,800 --> 01:04:00,280
Speaker 3: off to his other doctor friends and his like you know,

1183
01:04:00,360 --> 01:04:03,760
Speaker 3: working on something big here. But then because of this beating,

1184
01:04:03,880 --> 01:04:07,680
Speaker 3: he's actually falls into Trees' care. And what's interesting to

1185
01:04:07,760 --> 01:04:10,800
Speaker 3: me is that like Treves when he's talking to car Goam,

1186
01:04:10,920 --> 01:04:14,200
Speaker 3: which is the John gielg Good character who's the governor

1187
01:04:14,240 --> 01:04:18,280
Speaker 3: of the hospital, he says, you know, he basically assumes

1188
01:04:18,320 --> 01:04:20,800
Speaker 3: that he's unintelligent, and then he says, or I hope

1189
01:04:20,840 --> 01:04:23,480
Speaker 3: he is, because he's kind of realizing that, like, if

1190
01:04:23,520 --> 01:04:27,560
Speaker 3: this guy is like a fully sentient human being, then

1191
01:04:29,080 --> 01:04:30,959
Speaker 3: I don't know how he has survived his own life

1192
01:04:31,520 --> 01:04:33,840
Speaker 3: to this point. So it's so sad to see that

1193
01:04:33,920 --> 01:04:35,400
Speaker 3: moment where he's like, I kind of hope he is.

1194
01:04:36,040 --> 01:04:37,880
Speaker 3: So he moves him into the hospital and he's kind

1195
01:04:37,920 --> 01:04:40,040
Speaker 3: of trying to keep it secret, but everybody knows that

1196
01:04:40,160 --> 01:04:42,840
Speaker 3: he's there because nurses are screaming and people are freaking

1197
01:04:42,880 --> 01:04:44,560
Speaker 3: out every time I have to bring him a cup

1198
01:04:44,560 --> 01:04:44,840
Speaker 3: of tea.

1199
01:04:45,320 --> 01:04:46,320
Speaker 2: And then we also meet this.

1200
01:04:46,480 --> 01:04:49,880
Speaker 3: This night guard who flat out says he's going to

1201
01:04:49,920 --> 01:04:51,520
Speaker 3: make money off of him, Like he just walks in

1202
01:04:51,680 --> 01:04:54,000
Speaker 3: first night and is like treats him like a spectacle

1203
01:04:54,640 --> 01:04:57,640
Speaker 3: and just makes him feel makes Marreck feel so deeply

1204
01:04:57,880 --> 01:05:01,280
Speaker 3: unsafe in a place where he's supposed to find and

1205
01:05:01,720 --> 01:05:06,000
Speaker 3: since he's incurable, nobody thinks he should be there anyway, So,

1206
01:05:06,520 --> 01:05:09,520
Speaker 3: you know, Treves is trying to do his best to

1207
01:05:11,280 --> 01:05:15,280
Speaker 3: like encourage people to think that Marek should stay, and

1208
01:05:15,440 --> 01:05:17,800
Speaker 3: Kargom's like, oh no, man, this is weird, Like you're

1209
01:05:17,800 --> 01:05:19,760
Speaker 3: prepared for this interview and he can only say like

1210
01:05:19,840 --> 01:05:21,400
Speaker 3: three words and like, this is weird.

1211
01:05:21,960 --> 01:05:23,240
Speaker 2: And then after when they.

1212
01:05:23,320 --> 01:05:27,440
Speaker 3: Leave again a scene that makes me cry, Marek just

1213
01:05:27,520 --> 01:05:30,880
Speaker 3: starts reciting a verse from the Bible and they come

1214
01:05:30,960 --> 01:05:32,680
Speaker 3: back and he's like, what the fuck You can talk?

1215
01:05:33,000 --> 01:05:36,200
Speaker 3: And he's like, yeah, I can talk, and I can read.

1216
01:05:36,360 --> 01:05:39,360
Speaker 3: I'm a very eloquent speaker actually, but we don't hear

1217
01:05:39,440 --> 01:05:43,200
Speaker 3: his voice for forty minutes into the movie because he's scared.

1218
01:05:44,000 --> 01:05:49,080
Speaker 2: He's completely terrified of this situation. Because his whole life.

1219
01:05:48,920 --> 01:05:51,280
Speaker 3: He's essentially you know again, since his mother dies, since

1220
01:05:51,320 --> 01:05:54,120
Speaker 3: his father wasn't able to help him, he's been treated

1221
01:05:54,720 --> 01:05:57,160
Speaker 3: you know, and again, as his body continues to grow

1222
01:05:57,520 --> 01:06:01,840
Speaker 3: these you know, fibrous and tumorous growths, he's treated increasingly

1223
01:06:02,240 --> 01:06:05,560
Speaker 3: more like an outcast. So he doesn't trust anybody, and

1224
01:06:06,480 --> 01:06:08,560
Speaker 3: he's but when he starts talking and he's like, yeah,

1225
01:06:08,560 --> 01:06:10,440
Speaker 3: I used to read the Bible every morning, and like,

1226
01:06:11,200 --> 01:06:13,120
Speaker 3: there's just something about this. I think what makes me

1227
01:06:13,200 --> 01:06:15,720
Speaker 3: cry about that scene is that there's this notion that

1228
01:06:16,480 --> 01:06:18,840
Speaker 3: at one point in his life he had love and

1229
01:06:19,000 --> 01:06:22,600
Speaker 3: care and then he lost that, and so he's aware

1230
01:06:22,880 --> 01:06:26,240
Speaker 3: of what he has lost, not just the situation he's

1231
01:06:26,280 --> 01:06:28,440
Speaker 3: currently in, but he's aware of what he That just

1232
01:06:28,600 --> 01:06:31,919
Speaker 3: breaks me down every fucking time. Yeah, every fucking time.

1233
01:06:32,640 --> 01:06:37,160
Speaker 3: So Trees kind of just like takes over Merrick's life

1234
01:06:37,160 --> 01:06:39,560
Speaker 3: and Bites like, yo, I want my fucking money maker back,

1235
01:06:39,800 --> 01:06:41,840
Speaker 3: and Trees is like, Nope, all you do is profit

1236
01:06:41,920 --> 01:06:44,520
Speaker 3: from this man's misery. And in a very interesting turn,

1237
01:06:45,160 --> 01:06:48,200
Speaker 3: Bites turns to Trees and he's like, yo, Doc, you

1238
01:06:48,360 --> 01:06:50,560
Speaker 3: do too, because he's like, did you not just like

1239
01:06:51,600 --> 01:06:55,520
Speaker 3: have him up in front of your whole medical board? Yeah,

1240
01:06:55,800 --> 01:06:58,440
Speaker 3: He's like, did you not just like show him off

1241
01:06:58,520 --> 01:07:00,840
Speaker 3: for your own personal gain, for your studies and the

1242
01:07:00,920 --> 01:07:04,400
Speaker 3: advancement of your own career? And I think maybe it's

1243
01:07:04,400 --> 01:07:07,360
Speaker 3: because Anthony Hopkins is just such a great actor, but

1244
01:07:07,480 --> 01:07:09,920
Speaker 3: there's something you can see in his eyes in that

1245
01:07:10,040 --> 01:07:13,600
Speaker 3: scene where he's like, oh shit, like, if I'm going

1246
01:07:13,640 --> 01:07:17,840
Speaker 3: to keep Merrick here, it has to be purely altruistic,

1247
01:07:18,240 --> 01:07:21,200
Speaker 3: like it can no longer be me writing about him

1248
01:07:21,360 --> 01:07:24,280
Speaker 3: or showing him off. So there's kind of a turn

1249
01:07:24,360 --> 01:07:28,320
Speaker 3: then where Trees becomes more like his friend or like

1250
01:07:28,400 --> 01:07:31,800
Speaker 3: a caretaker and really wants to understand what.

1251
01:07:33,400 --> 01:07:34,480
Speaker 2: Merrick's life has been.

1252
01:07:35,160 --> 01:07:37,800
Speaker 3: So now that he's kind of got everybody on board

1253
01:07:38,800 --> 01:07:41,960
Speaker 3: because you know, they realize that he might not be curable,

1254
01:07:42,040 --> 01:07:45,560
Speaker 3: but he's definitely a human being who can think and

1255
01:07:45,720 --> 01:07:49,080
Speaker 3: talk and deserves some care. The governor of the hospital

1256
01:07:49,080 --> 01:07:51,600
Speaker 3: actually writes a letter to The London Times asking for

1257
01:07:51,760 --> 01:07:55,600
Speaker 3: help to keep Marek and his own secure lodging, and

1258
01:07:55,960 --> 01:08:00,880
Speaker 3: it works. So Trees like invites him to tea and

1259
01:08:01,200 --> 01:08:04,320
Speaker 3: that scene breaks me down because he meets Treves's wife

1260
01:08:04,400 --> 01:08:07,240
Speaker 3: and he cries. He says he's never been treated so

1261
01:08:07,320 --> 01:08:09,840
Speaker 3: well by a beautiful woman, but one would argue that

1262
01:08:09,880 --> 01:08:11,960
Speaker 3: he's never been treated so well by anyone, like he's

1263
01:08:12,040 --> 01:08:15,439
Speaker 3: never been invited into a home, and it's just it's again,

1264
01:08:15,520 --> 01:08:18,680
Speaker 3: it's it's so affecting. The movie is so affecting, and

1265
01:08:18,720 --> 01:08:22,840
Speaker 3: I think it's maybe because Lynch shows us what Merek

1266
01:08:23,000 --> 01:08:26,360
Speaker 3: looked like right away, that that is no longer the

1267
01:08:27,640 --> 01:08:30,600
Speaker 3: the shock of that is gone early on, so you

1268
01:08:30,680 --> 01:08:32,479
Speaker 3: can just focus on the story in the humanity. I

1269
01:08:32,479 --> 01:08:36,479
Speaker 3: think that's a really important directorial move, yes, that they

1270
01:08:36,600 --> 01:08:38,920
Speaker 3: made with the script and with the directing for sure.

1271
01:08:39,520 --> 01:08:42,080
Speaker 3: But yeah, we kind of like get into Merrick's life

1272
01:08:42,120 --> 01:08:44,640
Speaker 3: then at this point and realize that, you know, like

1273
01:08:44,760 --> 01:08:47,640
Speaker 3: he's again he's he's feeling more comfortable. He's got his

1274
01:08:47,720 --> 01:08:50,840
Speaker 3: own little suit. He meets this actress who's played by

1275
01:08:50,840 --> 01:08:55,439
Speaker 3: Anne Bancroft tour names missus Kendall, and she's just she's

1276
01:08:55,479 --> 01:08:58,760
Speaker 3: just such a lovely kind of entry point into the

1277
01:08:58,800 --> 01:09:02,960
Speaker 3: film as well, because she's just kind of enamored of him.

1278
01:09:03,160 --> 01:09:05,160
Speaker 3: But she doesn't treat him like an experiment, Like she

1279
01:09:05,320 --> 01:09:09,200
Speaker 3: just truly is his friend and finds him, you know

1280
01:09:09,280 --> 01:09:12,080
Speaker 3: again thoughtful and intelligent and curious and just wants to

1281
01:09:12,160 --> 01:09:15,400
Speaker 3: kind of dig in to that with him.

1282
01:09:15,800 --> 01:09:15,960
Speaker 4: You know.

1283
01:09:16,040 --> 01:09:18,080
Speaker 3: She gives him her picture and just like wants to

1284
01:09:18,160 --> 01:09:21,080
Speaker 3: make his life comfortable. So they develop like a really

1285
01:09:21,160 --> 01:09:26,559
Speaker 3: interesting friendship, and again the hits just keep on coming.

1286
01:09:26,640 --> 01:09:29,360
Speaker 3: I cry again when right when Marek reaches this point

1287
01:09:29,400 --> 01:09:31,800
Speaker 3: of safety where they are so careful with him in

1288
01:09:31,920 --> 01:09:35,160
Speaker 3: his own room, his own apartment, essentially that they won't

1289
01:09:35,160 --> 01:09:38,080
Speaker 3: even hang mirrors. Here comes this fucking night guard with

1290
01:09:38,200 --> 01:09:40,759
Speaker 3: a gang of people from the bar, and they break

1291
01:09:40,840 --> 01:09:47,320
Speaker 3: into his flat and just terrorize him, like absolutely terrorize him,

1292
01:09:47,479 --> 01:09:49,720
Speaker 3: like pouring foos on him and lifting them up in

1293
01:09:49,760 --> 01:09:53,320
Speaker 3: the air and showing him mirrors and like he's just

1294
01:09:54,160 --> 01:09:57,400
Speaker 3: they're just terrorizing, making women kiss him and lay on him,

1295
01:09:57,479 --> 01:10:02,880
Speaker 3: and like it is it. It truly makes me weep

1296
01:10:03,120 --> 01:10:03,920
Speaker 3: every time I see that.

1297
01:10:04,160 --> 01:10:07,680
Speaker 2: I hate that. It just brings up the ire. It

1298
01:10:07,720 --> 01:10:11,160
Speaker 2: makes me so mad. But so again, like so.

1299
01:10:13,000 --> 01:10:16,320
Speaker 3: I think what's the most disturbing is that this was

1300
01:10:16,360 --> 01:10:18,439
Speaker 3: his safe space and he every time he thinks he's

1301
01:10:18,439 --> 01:10:22,320
Speaker 3: comfortable or he thinks he gets a footing, it's demolished

1302
01:10:22,520 --> 01:10:24,000
Speaker 3: by some uncaring person.

1303
01:10:24,680 --> 01:10:27,120
Speaker 1: Yeah, there's that part where he oh my god, this

1304
01:10:27,240 --> 01:10:30,240
Speaker 1: is just bone chilling and makes me feel so sad

1305
01:10:30,280 --> 01:10:32,800
Speaker 1: for him. Is when he talks about he just says,

1306
01:10:33,080 --> 01:10:35,479
Speaker 1: I think this simple thing he says is the nighttime,

1307
01:10:36,800 --> 01:10:40,439
Speaker 1: knowing that the nighttime brings him the most pain because

1308
01:10:40,479 --> 01:10:44,240
Speaker 1: of this like ongoing situation with this guard and it's

1309
01:10:44,280 --> 01:10:47,280
Speaker 1: just like breaks my heart. You know, he doesn't have

1310
01:10:47,400 --> 01:10:48,200
Speaker 1: a moment's.

1311
01:10:47,880 --> 01:10:52,120
Speaker 3: Peace, no peace, and there's again like in the modern sense,

1312
01:10:52,160 --> 01:10:53,840
Speaker 3: there's a point where you might be asking like, well,

1313
01:10:53,880 --> 01:10:56,040
Speaker 3: why doesn't he tell Trees or why doesn't he tell someone?

1314
01:10:56,120 --> 01:10:58,760
Speaker 3: But then you flash back to the earlier part of

1315
01:10:58,800 --> 01:11:01,560
Speaker 3: the film where it's like, well, he's scared. You know,

1316
01:11:01,640 --> 01:11:04,479
Speaker 3: he's always in terror because he doesn't feel that his

1317
01:11:04,560 --> 01:11:07,479
Speaker 3: life is his own, and he relies on people to

1318
01:11:07,520 --> 01:11:09,880
Speaker 3: get by, so he's afraid that if he complains. I'm

1319
01:11:09,960 --> 01:11:13,160
Speaker 3: sure that that something will go wrong for him. He

1320
01:11:13,880 --> 01:11:17,160
Speaker 3: wasn't raised in a world where he could say something

1321
01:11:17,760 --> 01:11:21,400
Speaker 3: and have people hear him or understand him or care

1322
01:11:21,520 --> 01:11:25,400
Speaker 3: for him. So it's just again like this stunning study

1323
01:11:25,680 --> 01:11:29,280
Speaker 3: essentially of the human condition in that way where he's

1324
01:11:29,360 --> 01:11:31,320
Speaker 3: reverting back to what he knows and you know the

1325
01:11:31,400 --> 01:11:35,320
Speaker 3: nighttime is unsafe for him and always has been. But oh,

1326
01:11:35,520 --> 01:11:37,639
Speaker 3: it's just just makes me cry, just breaks me down.

1327
01:11:37,760 --> 01:11:40,720
Speaker 3: So I will say, and I'm i am going to

1328
01:11:40,760 --> 01:11:42,320
Speaker 3: spoil an again this movie because it's based on.

1329
01:11:42,360 --> 01:11:43,200
Speaker 2: A real case.

1330
01:11:43,520 --> 01:11:48,920
Speaker 3: But one night, Trees essentially finds out what's been going

1331
01:11:49,000 --> 01:11:52,760
Speaker 3: on and he fires the night guard and he apologizes

1332
01:11:52,840 --> 01:11:56,360
Speaker 3: to Merek. But there's a little insterstitial in there where

1333
01:11:56,400 --> 01:11:58,640
Speaker 3: Marek actually leaves that night, like where he kind of

1334
01:11:58,680 --> 01:12:03,800
Speaker 3: gets terrorized and goes off on an adventure, goes back

1335
01:12:03,840 --> 01:12:07,000
Speaker 3: to the circus essentially and lands in France, and then

1336
01:12:07,080 --> 01:12:10,040
Speaker 3: ends up coming back again. Another scene that makes me

1337
01:12:10,120 --> 01:12:12,160
Speaker 3: cry when he comes back and these kids in the

1338
01:12:12,240 --> 01:12:14,800
Speaker 3: train station are like pelting him with things and he's,

1339
01:12:15,439 --> 01:12:18,439
Speaker 3: you know, being chased by the police and it's again

1340
01:12:18,520 --> 01:12:20,439
Speaker 3: maybe one of the more famous lines of the film,

1341
01:12:20,520 --> 01:12:23,840
Speaker 3: but they kind of corner him in a restroom and

1342
01:12:24,400 --> 01:12:26,760
Speaker 3: they take off his hood and he just screams at them,

1343
01:12:27,560 --> 01:12:31,799
Speaker 3: you know, I'm a man, I'm not an animal, and again.

1344
01:12:31,680 --> 01:12:33,040
Speaker 2: Breaks me down every fucking time.

1345
01:12:33,479 --> 01:12:36,320
Speaker 3: It just this movie just just makes me cry throughout

1346
01:12:36,880 --> 01:12:39,400
Speaker 3: and it's like a two hour movie, but it's just

1347
01:12:39,720 --> 01:12:42,600
Speaker 3: again like him recognizing his humanity is one thing, but

1348
01:12:42,720 --> 01:12:46,560
Speaker 3: him voicing his humanity is like new to him and

1349
01:12:46,720 --> 01:12:50,280
Speaker 3: new to us as a viewer, and just breaks my

1350
01:12:50,400 --> 01:12:52,639
Speaker 3: heart that he has to even say that, that people

1351
01:12:52,880 --> 01:12:55,840
Speaker 3: around the world who are treated in this way have

1352
01:12:56,000 --> 01:13:01,400
Speaker 3: to say that is heartbreaking, yeah, but it's yeah, it's

1353
01:13:01,800 --> 01:13:04,479
Speaker 3: just he makes his way back to trees, but it's

1354
01:13:04,520 --> 01:13:07,160
Speaker 3: really sad that he has to go through that. And

1355
01:13:07,200 --> 01:13:09,479
Speaker 3: then that's when Treves apologizes and it's like, I had

1356
01:13:09,520 --> 01:13:11,800
Speaker 3: no idea what was going on. And he has some

1357
01:13:12,240 --> 01:13:16,120
Speaker 3: comfort and some joy after that point because he's back

1358
01:13:16,120 --> 01:13:18,240
Speaker 3: with his friends and he likes that he has friends

1359
01:13:18,400 --> 01:13:21,360
Speaker 3: and you know, but it's also revealed at some point

1360
01:13:21,720 --> 01:13:25,680
Speaker 3: when Treves is talking to mother's head, the kind of

1361
01:13:25,760 --> 01:13:29,200
Speaker 3: head nurse, it's revealed that he's dying, and he's dying

1362
01:13:29,240 --> 01:13:32,880
Speaker 3: because of his condition. So they're talking about Miss Kendall,

1363
01:13:32,920 --> 01:13:34,880
Speaker 3: who wants to take him to the theater for an evening,

1364
01:13:35,160 --> 01:13:37,720
Speaker 3: and they're like, does she know he's dying, and he's like,

1365
01:13:38,160 --> 01:13:40,519
Speaker 3: Treves is like, I think so, Like she has to know.

1366
01:13:41,479 --> 01:13:45,519
Speaker 3: But they go to the theater and again another sob

1367
01:13:45,680 --> 01:13:48,280
Speaker 3: moment where at the end of the show, Miss Kendall

1368
01:13:48,360 --> 01:13:51,040
Speaker 3: comes out to the stage and points him out and

1369
01:13:51,120 --> 01:13:54,640
Speaker 3: the audience gives him a standing ovation. I think in

1370
01:13:54,800 --> 01:13:57,560
Speaker 3: real life Marrek did go to the theater quite a

1371
01:13:57,600 --> 01:14:01,160
Speaker 3: few times for most accounting, but I just thought that

1372
01:14:01,280 --> 01:14:05,160
Speaker 3: was a really lovely, lovely moment because then he goes

1373
01:14:05,240 --> 01:14:09,920
Speaker 3: home and he lays down quote like a real person

1374
01:14:10,240 --> 01:14:13,040
Speaker 3: unquote and goes to sleep, which he's never been able

1375
01:14:13,080 --> 01:14:14,760
Speaker 3: to do before because it will kill him.

1376
01:14:15,000 --> 01:14:17,400
Speaker 2: And it does and he dies.

1377
01:14:17,800 --> 01:14:22,679
Speaker 3: So just heartbreaking movie from start to fucking finish because

1378
01:14:22,720 --> 01:14:23,880
Speaker 3: of the goddamn circus.

1379
01:14:24,720 --> 01:14:29,639
Speaker 1: Yeah, yeah, oh my gosh, yeah, I there's so yeah,

1380
01:14:29,880 --> 01:14:33,080
Speaker 1: definitely like such a tear jerker for me. There's so

1381
01:14:33,280 --> 01:14:37,040
Speaker 1: many parts that not just like the parts where he's

1382
01:14:37,120 --> 01:14:41,160
Speaker 1: being treated so poorly and so inhumanely, but the you know,

1383
01:14:41,280 --> 01:14:46,040
Speaker 1: the part where the other I guess, the other employees

1384
01:14:46,120 --> 01:14:51,519
Speaker 1: of this circus, of this you know bites traveling show

1385
01:14:52,439 --> 01:14:55,479
Speaker 1: take him out of the cage and like, I mean,

1386
01:14:55,640 --> 01:15:00,759
Speaker 1: I fucking ball when that happens, like the so gentle

1387
01:15:00,880 --> 01:15:04,200
Speaker 1: with him, and I just you know, it's that moment

1388
01:15:04,240 --> 01:15:06,240
Speaker 1: where you're just like, yeah, I mean this is such

1389
01:15:06,280 --> 01:15:09,080
Speaker 1: a what I mean, what a story? I mean, I

1390
01:15:09,320 --> 01:15:12,080
Speaker 1: honestly like I had to go and like read about

1391
01:15:12,560 --> 01:15:15,400
Speaker 1: him the real person. Yeah, because I did. You know,

1392
01:15:15,520 --> 01:15:17,360
Speaker 1: it's just the thing where you kind of know the

1393
01:15:17,600 --> 01:15:20,240
Speaker 1: general legend, but I kind of wanted to know more

1394
01:15:20,280 --> 01:15:23,560
Speaker 1: about him, and it was just like, it's so fascinating.

1395
01:15:23,640 --> 01:15:26,320
Speaker 1: But this movie, I think is I think it does

1396
01:15:27,960 --> 01:15:31,120
Speaker 1: like it tells the story without it And you think, Okay,

1397
01:15:31,240 --> 01:15:35,000
Speaker 1: there's a director like David Lynch, right, You're thinking well,

1398
01:15:35,640 --> 01:15:38,600
Speaker 1: you know, this could be this very I don't know,

1399
01:15:38,920 --> 01:15:45,240
Speaker 1: like scary, sensationalist thing in the hands of a director

1400
01:15:45,280 --> 01:15:48,240
Speaker 1: who kind of comes from the worlds of like cult

1401
01:15:48,360 --> 01:15:50,560
Speaker 1: film and that kind of stuff. But I think he

1402
01:15:50,720 --> 01:15:53,280
Speaker 1: does like the fact that this feels like his most

1403
01:15:53,360 --> 01:15:58,280
Speaker 1: kind of like commercially popular, you know, straight up narrative,

1404
01:15:58,680 --> 01:16:02,320
Speaker 1: you know film, I think says a lot because it's like,

1405
01:16:03,400 --> 01:16:08,000
Speaker 1: you know, it's the story itself is so sad and

1406
01:16:08,120 --> 01:16:12,880
Speaker 1: so heartbreaking that him playing it straight is the actual

1407
01:16:12,960 --> 01:16:14,120
Speaker 1: way to go, you know what I mean.

1408
01:16:15,320 --> 01:16:18,600
Speaker 3: And it received like eight Academy Award nominations, and it

1409
01:16:18,800 --> 01:16:21,080
Speaker 3: was like his most commercially I think, one of his

1410
01:16:21,160 --> 01:16:25,400
Speaker 3: most commercially successful films. But also the fact that it

1411
01:16:25,520 --> 01:16:28,160
Speaker 3: wasn't nominated or didn't receive any kind of honor for

1412
01:16:28,240 --> 01:16:33,479
Speaker 3: the makeup effects apparently prompted the Academy to create the

1413
01:16:33,560 --> 01:16:34,439
Speaker 3: Award for Best.

1414
01:16:34,240 --> 01:16:36,960
Speaker 2: Makeup the following year. Yeah, which I think is cool.

1415
01:16:37,760 --> 01:16:41,920
Speaker 1: That is cool, but yeah, just I'm so. I watched

1416
01:16:41,960 --> 01:16:45,840
Speaker 1: it on the Criterion collection disc it looked gorgeous. I mean,

1417
01:16:45,880 --> 01:16:49,280
Speaker 1: it's this gorgeous like black and white. I mean, every

1418
01:16:49,360 --> 01:16:52,800
Speaker 1: time I see a movie from the Victorian era. It's

1419
01:16:53,080 --> 01:16:57,160
Speaker 1: just it's fascinating because it feels like, I mean, it's industrial,

1420
01:16:57,200 --> 01:16:59,680
Speaker 1: which I also think is a There are there are

1421
01:16:59,760 --> 01:17:02,200
Speaker 1: some David Lynchyan parts to the film, which is that

1422
01:17:02,560 --> 01:17:06,680
Speaker 1: there's a lot of like industrial sounds and like clanking.

1423
01:17:06,479 --> 01:17:09,160
Speaker 2: And there's you know, you know, like that's like in

1424
01:17:09,240 --> 01:17:10,479
Speaker 2: every one of his movies.

1425
01:17:10,560 --> 01:17:12,840
Speaker 1: But I also feel that like that is also like

1426
01:17:14,479 --> 01:17:17,880
Speaker 1: a part of this era, right of the Victorian era

1427
01:17:18,200 --> 01:17:22,719
Speaker 1: of you know, this dark, murky London kind of world.

1428
01:17:23,479 --> 01:17:25,360
Speaker 1: So I don't know, I just think it's a like

1429
01:17:25,439 --> 01:17:27,240
Speaker 1: I said, I think it's a masterpiece. I think it's

1430
01:17:27,320 --> 01:17:30,519
Speaker 1: like such a great film and very sad and very

1431
01:17:30,640 --> 01:17:34,160
Speaker 1: moving and yeah fits the theme perfectly.

1432
01:17:34,680 --> 01:17:37,519
Speaker 2: So it does, thank you think, and it should be seen.

1433
01:17:37,600 --> 01:17:39,800
Speaker 3: I think that sometimes people who are not familiar with

1434
01:17:39,880 --> 01:17:41,800
Speaker 3: him here David lynch and think that's probably not for

1435
01:17:41,880 --> 01:17:42,960
Speaker 3: me because it's going to be weird.

1436
01:17:43,040 --> 01:17:44,840
Speaker 2: But yeah, that's not always the case.

1437
01:17:44,920 --> 01:17:46,600
Speaker 3: And I think that, you know, even his films that

1438
01:17:46,720 --> 01:17:49,280
Speaker 3: might be a little bit more artistic are still very

1439
01:17:49,600 --> 01:17:52,720
Speaker 3: worthy of watching. But this one in particular is a

1440
01:17:52,760 --> 01:17:55,720
Speaker 3: great entry point to seeing kind of what he does

1441
01:17:55,920 --> 01:17:58,560
Speaker 3: and you know, what he does with a story and

1442
01:17:58,720 --> 01:18:01,000
Speaker 3: it's base. The movie is based on a couple of

1443
01:18:01,040 --> 01:18:03,760
Speaker 3: books if you're interested in reading about Merrick at all,

1444
01:18:05,040 --> 01:18:08,320
Speaker 3: Joseph Kerrey Merrick, John Merrick. One is called The Elephant

1445
01:18:08,400 --> 01:18:14,840
Speaker 3: Man and other remin instances, you know, the Word by

1446
01:18:14,920 --> 01:18:20,599
Speaker 3: Frederick Treves. Trees did end up writing about Merrick after

1447
01:18:20,720 --> 01:18:23,600
Speaker 3: his death, and the other is The Elephant Man, a

1448
01:18:23,680 --> 01:18:28,000
Speaker 3: Study in Human Dignity by Ashley Montague. Yeah, so that's

1449
01:18:28,200 --> 01:18:30,080
Speaker 3: you know, you definitely look those up if you're interested

1450
01:18:30,120 --> 01:18:33,519
Speaker 3: in learning more about this real life case. But yeah,

1451
01:18:33,520 --> 01:18:36,320
Speaker 3: I thought that when I when I was presented with

1452
01:18:36,400 --> 01:18:38,720
Speaker 3: this theme, I thought, there's no other movie for me

1453
01:18:38,840 --> 01:18:41,920
Speaker 3: to choose. This is too important in the scope of

1454
01:18:42,000 --> 01:18:46,320
Speaker 3: my life. And yeah, I just can't can't not choose this.

1455
01:18:46,840 --> 01:18:50,800
Speaker 1: Yeah. Also, mel Brooks produced it. People maybe don't know

1456
01:18:50,920 --> 01:18:54,600
Speaker 1: that because he didn't make that very public and he

1457
01:18:54,760 --> 01:18:57,280
Speaker 1: did it. He didn't make it public because he was like,

1458
01:18:57,280 --> 01:18:58,760
Speaker 1: I don't want people to think this is going to

1459
01:18:58,800 --> 01:19:03,639
Speaker 1: be you know exactly. Yeah, which I think it's smart.

1460
01:19:03,720 --> 01:19:04,639
Speaker 1: I think it's very smart.

1461
01:19:05,040 --> 01:19:05,160
Speaker 4: Right.

1462
01:19:05,200 --> 01:19:06,519
Speaker 6: You did that with a couple of films where he

1463
01:19:06,640 --> 01:19:09,840
Speaker 6: was like, uh, I know what my uber is. Yeah,

1464
01:19:10,080 --> 01:19:14,080
Speaker 6: all to be behind the scenes. Yeah, exactly, and again

1465
01:19:14,160 --> 01:19:15,439
Speaker 6: like married to Anne Bancroft.

1466
01:19:15,600 --> 01:19:20,240
Speaker 3: So yeah, yep, you know, incredible that they get to

1467
01:19:20,360 --> 01:19:22,880
Speaker 3: they get to work together in a variety of ways

1468
01:19:22,920 --> 01:19:24,880
Speaker 3: throughout their lives. But that's again for a story for

1469
01:19:24,920 --> 01:19:27,439
Speaker 3: another episode. Yeah, but yeah, I just I love this.

1470
01:19:28,439 --> 01:19:33,000
Speaker 1: Yeah, great choice. All right, So you ready to talk

1471
01:19:33,040 --> 01:19:35,400
Speaker 1: about my movie for the theme this week?

1472
01:19:35,560 --> 01:19:36,080
Speaker 4: You know it?

1473
01:19:36,560 --> 01:19:40,920
Speaker 1: Okay? So my movie for the theme, I'm gonna win that.

1474
01:19:41,040 --> 01:19:44,120
Speaker 1: Montley Krue Mirror if it fucking kills Me is a

1475
01:19:44,200 --> 01:19:47,960
Speaker 1: movie from nineteen forty seven. It was based on a

1476
01:19:48,240 --> 01:19:54,799
Speaker 1: book by William Lindsay Gresham. Screenplay is by Jules Firthman,

1477
01:19:55,160 --> 01:19:58,240
Speaker 1: directed by Edmund Goulding, and it's called Nightmare Alley.

1478
01:19:58,560 --> 01:20:01,280
Speaker 5: See those les out there give you someone of a

1479
01:20:01,320 --> 01:20:03,800
Speaker 5: superior feeling is because if you were in the know

1480
01:20:03,960 --> 01:20:05,360
Speaker 5: and they were on the outside looking in.

1481
01:20:05,600 --> 01:20:06,800
Speaker 1: Have you ever seen this film before?

1482
01:20:07,920 --> 01:20:10,760
Speaker 3: I have not, and I also didn't see the New

1483
01:20:10,840 --> 01:20:15,040
Speaker 3: one remake. This is my first time going in and

1484
01:20:15,160 --> 01:20:15,960
Speaker 3: I loved it.

1485
01:20:16,400 --> 01:20:19,040
Speaker 1: Yeah, I thank you. I'm glad you liked it because

1486
01:20:19,120 --> 01:20:21,400
Speaker 1: I am really excited to talk about this movie. I'm

1487
01:20:21,520 --> 01:20:23,720
Speaker 1: just such a big fan of it, and you know,

1488
01:20:23,960 --> 01:20:26,519
Speaker 1: it's and it was kind of hard to watch for

1489
01:20:26,680 --> 01:20:30,439
Speaker 1: some folks because it's not streaming, which is something that

1490
01:20:30,479 --> 01:20:33,120
Speaker 1: we talk about a lot on this podcast about physical

1491
01:20:33,160 --> 01:20:35,960
Speaker 1: media and just about the idea that not every movie

1492
01:20:36,000 --> 01:20:38,560
Speaker 1: in the world is like available on streaming, and so

1493
01:20:39,360 --> 01:20:41,640
Speaker 1: you know, as movie fans, you kind of have to

1494
01:20:41,680 --> 01:20:43,720
Speaker 1: do the extra leg work. I know there was a

1495
01:20:44,520 --> 01:20:48,840
Speaker 1: version on Internet archive. Uh, but also Criterion Collection put

1496
01:20:48,880 --> 01:20:51,479
Speaker 1: out a Blu ray of it, which you know, I

1497
01:20:51,560 --> 01:20:54,280
Speaker 1: think is incredible because the special features are really good too.

1498
01:20:54,520 --> 01:20:57,960
Speaker 1: So you know, if it's something that you could afford,

1499
01:20:58,040 --> 01:21:00,439
Speaker 1: I would say get the Blu ray because it's great.

1500
01:21:00,640 --> 01:21:00,840
Speaker 5: Yeah.

1501
01:21:00,920 --> 01:21:04,120
Speaker 1: I you know, there was a remake of it a

1502
01:21:04,240 --> 01:21:06,680
Speaker 1: couple of years ago that was done by Germo del

1503
01:21:06,720 --> 01:21:10,920
Speaker 1: Toro starring Bradley Cooper, and you know, I when I

1504
01:21:11,080 --> 01:21:13,719
Speaker 1: had heard that he was going to do Nightmare Alley,

1505
01:21:14,280 --> 01:21:16,560
Speaker 1: having been such a fan of the original, I was

1506
01:21:16,600 --> 01:21:19,439
Speaker 1: actually kind of excited, which I feel like is kind

1507
01:21:19,479 --> 01:21:23,639
Speaker 1: of rare, at least for me, where you know, it's

1508
01:21:23,720 --> 01:21:26,400
Speaker 1: like sometimes you hear about like remakes and you're like, ugh,

1509
01:21:27,280 --> 01:21:30,400
Speaker 1: just leave it alone. The first is such a masterpiece,

1510
01:21:30,720 --> 01:21:33,200
Speaker 1: But in this way, I was like, this is perfect.

1511
01:21:33,760 --> 01:21:37,040
Speaker 1: And you know, I watched it obviously when it came out.

1512
01:21:37,160 --> 01:21:39,080
Speaker 1: I actually thought it was pretty good. I mean, I

1513
01:21:39,240 --> 01:21:42,600
Speaker 1: really think that Giermal del Toro is like almost a

1514
01:21:42,680 --> 01:21:47,440
Speaker 1: perfect person to capture like the ambiance of the carnival,

1515
01:21:48,040 --> 01:21:51,800
Speaker 1: and you know, he brought this like creepiness to it,

1516
01:21:51,920 --> 01:21:55,320
Speaker 1: which I really appreciated because I do think this movie

1517
01:21:55,680 --> 01:21:58,120
Speaker 1: is dark. I mean, this is the original is dark.

1518
01:21:58,320 --> 01:22:02,519
Speaker 1: The book which I just actually started reading. I barred

1519
01:22:02,560 --> 01:22:04,000
Speaker 1: it from the library and I was like, I'm gonna

1520
01:22:04,000 --> 01:22:06,640
Speaker 1: read Nightmare Alley the book. I haven't gotten too far

1521
01:22:06,760 --> 01:22:11,439
Speaker 1: into it, but it's it's dark. It's actually darker than

1522
01:22:11,760 --> 01:22:14,400
Speaker 1: you know the movies. Oh yeah, yeah, yeah for sure.

1523
01:22:15,160 --> 01:22:17,360
Speaker 1: And we'll, you know, we'll talk about why that is.

1524
01:22:17,479 --> 01:22:20,280
Speaker 1: I mean, I think it's pretty obvious why a movie

1525
01:22:20,320 --> 01:22:23,519
Speaker 1: from nineteen forty seven couldn't talk about certain things, as

1526
01:22:23,600 --> 01:22:28,760
Speaker 1: we know from the Bad Seed. Now, it's like the

1527
01:22:28,840 --> 01:22:32,800
Speaker 1: production of the movies that we are, Yeah exactly. It's like, oh,

1528
01:22:32,840 --> 01:22:35,360
Speaker 1: there's a production code and you couldn't talk about having

1529
01:22:35,479 --> 01:22:36,679
Speaker 1: sex before marriage.

1530
01:22:36,880 --> 01:22:37,120
Speaker 2: Wow.

1531
01:22:37,760 --> 01:22:40,640
Speaker 1: But let me just do like a one sentence synopsis

1532
01:22:40,640 --> 01:22:44,759
Speaker 1: and we'll just you know, dive right in. So Nightmare

1533
01:22:44,840 --> 01:22:49,240
Speaker 1: Alley is about a shrewd carnival worker who seeks fame

1534
01:22:49,479 --> 01:22:56,280
Speaker 1: and fortune experiences a dramatic ascent and descent posing as

1535
01:22:56,360 --> 01:23:01,479
Speaker 1: an all knowing claire voyant Boom. That's what it's about. So,

1536
01:23:02,800 --> 01:23:07,080
Speaker 1: so this movie is ostensibly about this character named Stan Carlisle, Okay,

1537
01:23:07,600 --> 01:23:11,120
Speaker 1: and he is played by the classic film star Tyrone Power.

1538
01:23:12,840 --> 01:23:17,920
Speaker 1: Now I'm not sure if people kind of know Tyrone Power.

1539
01:23:18,160 --> 01:23:21,280
Speaker 1: I mean, you know, we talk about the studio system, right,

1540
01:23:21,560 --> 01:23:24,479
Speaker 1: and you know, he was a twentieth century Fox star,

1541
01:23:25,120 --> 01:23:27,920
Speaker 1: but you know, was probably one of their biggest, if

1542
01:23:28,000 --> 01:23:33,640
Speaker 1: not the biggest star at that studio. Okay, and in

1543
01:23:33,760 --> 01:23:37,840
Speaker 1: the in the forties and even prior prior to you know,

1544
01:23:37,960 --> 01:23:41,280
Speaker 1: like his early career, he was essentially a matinee idol.

1545
01:23:41,320 --> 01:23:45,760
Speaker 1: I mean, he was extremely good looking, which I think

1546
01:23:45,840 --> 01:23:49,120
Speaker 1: comes across a Nightmare Alley really well. I think he's

1547
01:23:49,680 --> 01:23:52,080
Speaker 1: very dreamy in that movie you.

1548
01:23:52,120 --> 01:23:54,240
Speaker 2: Know, What's Wild to Meet. Tyrone Power has never been

1549
01:23:54,280 --> 01:23:56,200
Speaker 2: in my wheelhouse. I feel like, even though I know

1550
01:23:56,320 --> 01:23:58,120
Speaker 2: it didn't exist back then, I feel like he has

1551
01:23:58,160 --> 01:24:04,400
Speaker 2: the face of a porn addict, which.

1552
01:24:04,240 --> 01:24:05,680
Speaker 1: Made me attractive.

1553
01:24:07,040 --> 01:24:08,080
Speaker 2: Their own don't let me yuck.

1554
01:24:08,120 --> 01:24:08,479
Speaker 5: You're young.

1555
01:24:08,600 --> 01:24:11,920
Speaker 3: I'm just saying for me, I'm going Montgomery Cliff every time,

1556
01:24:12,040 --> 01:24:14,080
Speaker 3: because Tyrone Power looks like he could do some damage

1557
01:24:14,120 --> 01:24:14,280
Speaker 3: to me.

1558
01:24:14,520 --> 01:24:17,360
Speaker 1: Oh well, I mean it's those like beautiful eyelashes, but

1559
01:24:17,600 --> 01:24:21,840
Speaker 1: to me, like Tyrone Power, he's he's hunky for me

1560
01:24:22,400 --> 01:24:25,519
Speaker 1: and almost kind of like too hunky for a role

1561
01:24:25,680 --> 01:24:28,840
Speaker 1: like this. But let let me explain. Okay, So he

1562
01:24:28,960 --> 01:24:31,400
Speaker 1: was a matinee idol. He was in he was kind

1563
01:24:31,439 --> 01:24:34,000
Speaker 1: of like in these like adventure kind of like pirate

1564
01:24:34,200 --> 01:24:36,519
Speaker 1: swashbuckler movies, but he was also in a lot of

1565
01:24:36,600 --> 01:24:40,720
Speaker 1: like romances. And by nineteen forty seven, Tyrone Power is

1566
01:24:40,840 --> 01:24:44,000
Speaker 1: like he's basically like where's my dark turn?

1567
01:24:44,760 --> 01:24:44,920
Speaker 5: Right?

1568
01:24:45,360 --> 01:24:47,960
Speaker 1: He wants to change his image. You know, he had

1569
01:24:48,000 --> 01:24:50,240
Speaker 1: just gone back from World War Two. He was like,

1570
01:24:50,520 --> 01:24:53,320
Speaker 1: I saw a lot of shit over there. I'm trying to,

1571
01:24:53,520 --> 01:24:55,840
Speaker 1: you know, do something a little bit meteor, a little

1572
01:24:55,880 --> 01:25:00,599
Speaker 1: bit darker. Okay, So he encourages the studio, like I said,

1573
01:25:00,640 --> 01:25:03,400
Speaker 1: twentieth Century Fox to buy the rights to this book,

1574
01:25:03,640 --> 01:25:07,400
Speaker 1: Nightmare Alley, so he could star in the adaptation, right,

1575
01:25:08,080 --> 01:25:13,280
Speaker 1: and the studio was like okay, well By, but also

1576
01:25:13,920 --> 01:25:17,720
Speaker 1: like we're nervous because this is our biggest star. He

1577
01:25:17,800 --> 01:25:19,360
Speaker 1: makes a lot of money for us, and now he

1578
01:25:19,479 --> 01:25:23,439
Speaker 1: wants to do a movie about a character who's a

1579
01:25:23,520 --> 01:25:24,559
Speaker 1: pretty bad guy.

1580
01:25:25,360 --> 01:25:25,840
Speaker 2: Yeah right.

1581
01:25:26,600 --> 01:25:29,400
Speaker 1: This film is essentially a noir, I mean, it's a

1582
01:25:29,439 --> 01:25:32,000
Speaker 1: film no war movie. It you know, it obviously has

1583
01:25:32,080 --> 01:25:35,040
Speaker 1: a lot of things that borrow from that sort of

1584
01:25:35,439 --> 01:25:39,559
Speaker 1: genre tradition, but it also has like this whole carnival

1585
01:25:39,640 --> 01:25:41,840
Speaker 1: background to it too, which I think was, you know,

1586
01:25:42,000 --> 01:25:46,720
Speaker 1: pretty unique for this time. So the thing about Nightmare Alley,

1587
01:25:46,800 --> 01:25:49,240
Speaker 1: like I said before, the book was that, you know,

1588
01:25:49,400 --> 01:25:54,120
Speaker 1: it is pretty dark. And remember, you know, production code

1589
01:25:54,640 --> 01:25:58,400
Speaker 1: meant that you couldn't do some of the storylines in

1590
01:25:58,520 --> 01:26:02,080
Speaker 1: the book on screen. There was stuff like premarital sex.

1591
01:26:02,120 --> 01:26:05,040
Speaker 1: I mean, at some point, Stan and one of the

1592
01:26:05,120 --> 01:26:08,800
Speaker 1: other carnival employees has like a shotgun wedding and you're

1593
01:26:08,840 --> 01:26:10,880
Speaker 1: kind of like, well, what's up all about? But they

1594
01:26:10,960 --> 01:26:13,160
Speaker 1: doesn't They don't talk about the fact that they might

1595
01:26:13,200 --> 01:26:15,360
Speaker 1: have had sex before marriage. You know, it's just stuff

1596
01:26:15,400 --> 01:26:20,759
Speaker 1: that wasn't discussed in film. There apparently was an abortion

1597
01:26:20,960 --> 01:26:23,519
Speaker 1: storyline in the book that doesn't appear in the film.

1598
01:26:24,080 --> 01:26:26,280
Speaker 1: And then there's just that sort of general bad safe

1599
01:26:26,360 --> 01:26:29,680
Speaker 1: thing which is like bad people have to pay for

1600
01:26:29,800 --> 01:26:32,720
Speaker 1: their crimes, right, And it's like, I mean that is

1601
01:26:32,840 --> 01:26:34,560
Speaker 1: just so crazy if you think about it now. But

1602
01:26:35,320 --> 01:26:39,120
Speaker 1: back in this code era, yeah, you couldn't have yes.

1603
01:26:39,320 --> 01:26:39,479
Speaker 4: Yes.

1604
01:26:39,680 --> 01:26:44,080
Speaker 1: And you know, also I think I might give away

1605
01:26:44,320 --> 01:26:46,839
Speaker 1: spoilers because come on, this movie was made in nineteen

1606
01:26:46,880 --> 01:26:51,439
Speaker 1: forty seven. But the ending of the movie is slightly

1607
01:26:51,520 --> 01:26:55,960
Speaker 1: different than the book. Obviously, I think the book ends

1608
01:26:56,760 --> 01:26:59,160
Speaker 1: exactly where you think it's going to end, but then

1609
01:26:59,240 --> 01:27:03,840
Speaker 1: the movie this extra step of like, you know, a

1610
01:27:04,000 --> 01:27:06,479
Speaker 1: character that comes in and saves stan at the end

1611
01:27:06,520 --> 01:27:08,240
Speaker 1: of it. So you know, think about that. So the

1612
01:27:08,280 --> 01:27:10,560
Speaker 1: production code, you know, had its hands in this in

1613
01:27:10,640 --> 01:27:13,960
Speaker 1: this movie. But I gotta say, even in spite of

1614
01:27:14,040 --> 01:27:17,160
Speaker 1: all this, this is a pretty dark movie. The messaging

1615
01:27:17,280 --> 01:27:21,040
Speaker 1: and the sort of tone of this movie is dark.

1616
01:27:21,160 --> 01:27:24,479
Speaker 1: But you know, it's also like these are dark characters

1617
01:27:24,560 --> 01:27:26,639
Speaker 1: and they're doing some fucked up shit.

1618
01:27:27,040 --> 01:27:27,160
Speaker 2: Right.

1619
01:27:28,520 --> 01:27:30,880
Speaker 1: So here's the thing about Stan So at the very

1620
01:27:30,920 --> 01:27:34,040
Speaker 1: beginning of the film, the film kind of sets up

1621
01:27:34,080 --> 01:27:36,920
Speaker 1: his scenario pretty quickly, okay, which is that he's working

1622
01:27:36,960 --> 01:27:39,240
Speaker 1: at a traveling carnival circuit okay, and he's working with

1623
01:27:39,280 --> 01:27:43,680
Speaker 1: like a bunch of folks, including someone who they call

1624
01:27:43,800 --> 01:27:47,360
Speaker 1: the geek. And I want to read this passage from

1625
01:27:47,400 --> 01:27:50,200
Speaker 1: Wikipedia about it because I actually did not know a lot,

1626
01:27:50,680 --> 01:27:53,439
Speaker 1: if anything about the geek shows, and I just think

1627
01:27:53,479 --> 01:27:57,599
Speaker 1: it's very fascinating. So for those who don't know, I'll

1628
01:27:57,640 --> 01:27:59,080
Speaker 1: just read it for you and for me.

1629
01:27:59,600 --> 01:27:59,920
Speaker 5: Quote.

1630
01:28:00,680 --> 01:28:03,839
Speaker 1: Geek shows were an act in traveling carnivals and circuses

1631
01:28:03,920 --> 01:28:06,760
Speaker 1: of early America, and were often part of a larger

1632
01:28:07,040 --> 01:28:10,880
Speaker 1: side show. The build Performers act consisted of a single

1633
01:28:10,960 --> 01:28:15,160
Speaker 1: geek who stood in the center ring to chase live chickens.

1634
01:28:15,760 --> 01:28:19,360
Speaker 1: It ended with the performer biting the chickens heads off

1635
01:28:19,680 --> 01:28:22,920
Speaker 1: and swallowing them. The geek shows were often used as

1636
01:28:22,960 --> 01:28:26,400
Speaker 1: openers for what are commonly known as freak shows. It

1637
01:28:26,560 --> 01:28:29,880
Speaker 1: was a matter of pride among circus and carnival professionals

1638
01:28:30,240 --> 01:28:33,799
Speaker 1: not to have traveled with a troop that included geeks.

1639
01:28:34,360 --> 01:28:38,320
Speaker 1: Geeks were often alcoholics or drug addicts, and paid with liquor,

1640
01:28:38,760 --> 01:28:41,760
Speaker 1: especially during prohibition, or with narcotics.

1641
01:28:44,040 --> 01:28:47,519
Speaker 2: Beacon all, Beacon, All, Yeah, so you know that.

1642
01:28:47,680 --> 01:28:50,000
Speaker 1: Now about geeks? And you right at the gate in

1643
01:28:50,160 --> 01:28:54,400
Speaker 1: the film Nightmare, ally you see Stan watching these carnival

1644
01:28:54,439 --> 01:28:59,840
Speaker 1: employees handling the geek, and he is both fascinated and

1645
01:29:00,000 --> 01:29:02,920
Speaker 1: fearful of what's happening in front of him. And I

1646
01:29:03,000 --> 01:29:06,040
Speaker 1: think for me, after I read this Wikipedia entry, I

1647
01:29:06,160 --> 01:29:08,920
Speaker 1: got a better sense really of what Stan would think

1648
01:29:09,000 --> 01:29:10,360
Speaker 1: of this job.

1649
01:29:10,800 --> 01:29:10,920
Speaker 5: Right.

1650
01:29:11,720 --> 01:29:13,720
Speaker 1: It is something it's like a fate that he does

1651
01:29:13,840 --> 01:29:15,639
Speaker 1: not want to receive at all.

1652
01:29:16,320 --> 01:29:18,200
Speaker 3: Right, Yeah, and it seems like geeks were kind of

1653
01:29:18,280 --> 01:29:22,080
Speaker 3: like out of fashion even during the time. It wasn't

1654
01:29:22,120 --> 01:29:24,600
Speaker 3: like they you know, contrary to the Elephant Man. It

1655
01:29:24,680 --> 01:29:27,639
Speaker 3: wasn't like people were like, look at our beautiful spectacle.

1656
01:29:27,640 --> 01:29:29,400
Speaker 2: They're like, hey, we got this. This will draw you

1657
01:29:29,520 --> 01:29:31,520
Speaker 2: in because we know it's disgusting.

1658
01:29:31,760 --> 01:29:36,760
Speaker 1: Right, And the idea of it being this this job

1659
01:29:37,720 --> 01:29:42,280
Speaker 1: that was I mean, you know, these are people who

1660
01:29:42,360 --> 01:29:45,519
Speaker 1: were addicts and alcoholics and they were driven to such

1661
01:29:45,600 --> 01:29:48,080
Speaker 1: desperate measures that they were willing to participate in something

1662
01:29:48,160 --> 01:29:49,960
Speaker 1: like this. I mean that is a part of the

1663
01:29:50,040 --> 01:29:54,680
Speaker 1: movie that it's like Stan is just constantly haunted by

1664
01:29:54,800 --> 01:29:58,280
Speaker 1: this notion, right, the geek for him is just rock

1665
01:29:58,360 --> 01:30:01,320
Speaker 1: bottom for anybody working in the world, and he doesn't

1666
01:30:01,400 --> 01:30:05,080
Speaker 1: want to be in that position. And so this is

1667
01:30:05,120 --> 01:30:07,600
Speaker 1: the primary motivation for stand then to kind of do

1668
01:30:07,760 --> 01:30:10,360
Speaker 1: all of his evil bidding, which is that he wants

1669
01:30:10,439 --> 01:30:11,880
Speaker 1: to get to the top of the game, like he

1670
01:30:11,920 --> 01:30:14,679
Speaker 1: wants to leave the Carnival. He wants to be famous

1671
01:30:14,920 --> 01:30:16,560
Speaker 1: and you know, make a lot of money. And so

1672
01:30:16,880 --> 01:30:19,720
Speaker 1: what ends up happening is that he starts working with

1673
01:30:19,960 --> 01:30:24,040
Speaker 1: the psychic of the Carnival and her name is Zena,

1674
01:30:24,720 --> 01:30:28,559
Speaker 1: and she's played by Joe Blondell Okay, and Zena has

1675
01:30:28,640 --> 01:30:31,439
Speaker 1: been working the show for a long time alongside her husband,

1676
01:30:31,520 --> 01:30:38,120
Speaker 1: Pete Okay, and Pete is you know, basically a barely

1677
01:30:38,240 --> 01:30:44,559
Speaker 1: functioning alcoholic himself. And the story is that Zena feels

1678
01:30:44,720 --> 01:30:48,840
Speaker 1: very responsible for his alcoholism because you know, the common

1679
01:30:48,920 --> 01:30:52,880
Speaker 1: perception at the Carnival is that, you know, Pete was

1680
01:30:53,000 --> 01:30:55,680
Speaker 1: driven to drinking because she was getting a ton of

1681
01:30:55,720 --> 01:30:59,120
Speaker 1: attention from you know, men during their show. And uh,

1682
01:30:59,240 --> 01:31:02,280
Speaker 1: you know, so Zena has this responsibility for him and

1683
01:31:02,400 --> 01:31:04,639
Speaker 1: she feels like she's trying to get him sober. Okay.

1684
01:31:05,560 --> 01:31:09,240
Speaker 1: And the thing about Pete and Zena is that their

1685
01:31:09,360 --> 01:31:15,679
Speaker 1: show consisted of this grift basically, where Zena was sort

1686
01:31:15,720 --> 01:31:19,559
Speaker 1: of reading off people like information that people were writing

1687
01:31:19,840 --> 01:31:23,080
Speaker 1: on pieces of paper. She was sort of like psychically

1688
01:31:24,040 --> 01:31:26,280
Speaker 1: knowing what was on the sheet of paper, but of

1689
01:31:26,320 --> 01:31:30,240
Speaker 1: course it was a secret code that her and Pete

1690
01:31:30,400 --> 01:31:34,919
Speaker 1: came up with to signal you know, what the information

1691
01:31:35,120 --> 01:31:38,160
Speaker 1: was going to be beforehand, so you know that she

1692
01:31:38,200 --> 01:31:41,640
Speaker 1: would basically know what everyone was going to say. And

1693
01:31:41,800 --> 01:31:47,439
Speaker 1: obviously this is like some incredible bulletproof grift to the

1694
01:31:47,560 --> 01:31:50,640
Speaker 1: point where Zena's like, I'm not telling anybody about the

1695
01:31:50,720 --> 01:31:53,320
Speaker 1: code because it's gonna be my cash cow. Like, anytime

1696
01:31:53,360 --> 01:31:55,280
Speaker 1: I want to get out of the business, I'm going

1697
01:31:55,360 --> 01:32:00,160
Speaker 1: to use the code and you know, become famous, which

1698
01:32:00,200 --> 01:32:04,760
Speaker 1: is of course incredibly alluring to Stand because that's his moo.

1699
01:32:04,920 --> 01:32:06,720
Speaker 1: He wants to be famous and he wants to leave

1700
01:32:06,760 --> 01:32:11,160
Speaker 1: the carnival. So he does what I think is kind

1701
01:32:11,200 --> 01:32:14,120
Speaker 1: of an interesting reversal on the fem fatal thing, which

1702
01:32:14,160 --> 01:32:17,280
Speaker 1: is that he is kind of an oum fatal in

1703
01:32:17,400 --> 01:32:21,560
Speaker 1: his own ways. Yeah, he's using his you know, his

1704
01:32:22,320 --> 01:32:27,760
Speaker 1: sexual prowess and his you know, attractiveness, being that he

1705
01:32:27,880 --> 01:32:32,360
Speaker 1: has very thick, alluring eyelashes, and he's just trying to,

1706
01:32:32,920 --> 01:32:36,559
Speaker 1: you know, get Zena to fall in love with him

1707
01:32:36,640 --> 01:32:39,400
Speaker 1: so that she'll give him the code, share the code

1708
01:32:39,439 --> 01:32:43,519
Speaker 1: with him, Okay, And you know, Stan is sort of

1709
01:32:43,680 --> 01:32:48,680
Speaker 1: doing this while also being sort of like interested in

1710
01:32:48,800 --> 01:32:51,760
Speaker 1: another one of the women who work the carnival, this

1711
01:32:51,840 --> 01:32:55,880
Speaker 1: woman named Mollie, who is played by Coleen Gray, and

1712
01:32:56,200 --> 01:32:59,000
Speaker 1: Mollie is like a younger woman. She kind of has

1713
01:32:59,120 --> 01:33:02,760
Speaker 1: this amazing which they only show kind of briefly where

1714
01:33:03,360 --> 01:33:06,080
Speaker 1: it almost is like she's sitting between I don't know

1715
01:33:06,120 --> 01:33:09,840
Speaker 1: if it's like a Tesla coil scenario, but she's kind

1716
01:33:09,880 --> 01:33:13,599
Speaker 1: of this like electric woman where first of all, her

1717
01:33:13,680 --> 01:33:17,400
Speaker 1: outfit is so great, this like kind of bra and

1718
01:33:18,040 --> 01:33:20,320
Speaker 1: short set that has like the hands over the.

1719
01:33:20,439 --> 01:33:21,560
Speaker 2: Boobs or something like.

1720
01:33:21,680 --> 01:33:25,639
Speaker 1: I love it. I love the outfit. But then there's

1721
01:33:25,680 --> 01:33:29,240
Speaker 1: a scene where there she's actually demonstrating like her job,

1722
01:33:29,760 --> 01:33:31,680
Speaker 1: and she's sitting in a chair and there's kind of

1723
01:33:31,800 --> 01:33:35,439
Speaker 1: electric current running through her hands, and it's my favorite

1724
01:33:35,479 --> 01:33:37,120
Speaker 1: part of the movie. I think it's part of the

1725
01:33:37,200 --> 01:33:41,000
Speaker 1: movie that a lot of people visually remember, which is

1726
01:33:41,040 --> 01:33:42,760
Speaker 1: that scene of her kind of you know, with the

1727
01:33:42,800 --> 01:33:44,080
Speaker 1: electric running through her fingers.

1728
01:33:44,120 --> 01:33:44,760
Speaker 2: It's really cool.

1729
01:33:45,520 --> 01:33:46,680
Speaker 1: But so here's the thing.

1730
01:33:46,960 --> 01:33:47,280
Speaker 5: Pete.

1731
01:33:48,000 --> 01:33:51,720
Speaker 1: Pete is basically drying out because Xena is trying to

1732
01:33:52,280 --> 01:33:55,760
Speaker 1: you know, basically get him off the booze, okay, and

1733
01:33:55,960 --> 01:33:59,080
Speaker 1: one night, he comes out of the trailer and he

1734
01:33:59,160 --> 01:34:02,280
Speaker 1: sees stand and Stan has like a bottle of moonshine

1735
01:34:02,320 --> 01:34:04,000
Speaker 1: and stands like, oh shit, let me let me hie

1736
01:34:04,000 --> 01:34:06,400
Speaker 1: this moonshine from Pete because we know that he's drying

1737
01:34:06,479 --> 01:34:09,599
Speaker 1: out right, And then Pete sort of, you know, starts

1738
01:34:09,640 --> 01:34:12,799
Speaker 1: talking about how it's really hard to not be drinking

1739
01:34:12,880 --> 01:34:15,439
Speaker 1: as much, and he's kind of desperate to drink, and

1740
01:34:16,160 --> 01:34:19,240
Speaker 1: at some point Stan feels sorry for him, and you know,

1741
01:34:19,400 --> 01:34:22,240
Speaker 1: goes into the foot locker and like gives him the

1742
01:34:22,360 --> 01:34:27,000
Speaker 1: bottle of what he thinks was moonshine. It's not. Actually

1743
01:34:27,160 --> 01:34:31,519
Speaker 1: it's like lighter fluid essentially, and Pete drinks it. And

1744
01:34:31,960 --> 01:34:34,680
Speaker 1: then the next day is found dead by everybody at

1745
01:34:34,720 --> 01:34:40,600
Speaker 1: the carnival, okay, and Stan is like, oh fuck, I

1746
01:34:40,720 --> 01:34:44,880
Speaker 1: might be responsible for this horrible accident, and also at

1747
01:34:44,880 --> 01:34:49,960
Speaker 1: the same time knowing that he's essentially trying to griff

1748
01:34:50,200 --> 01:34:52,880
Speaker 1: Zena out of this code, so he's in this very

1749
01:34:52,960 --> 01:34:56,439
Speaker 1: precarious position. But he's definitely like, I'm not telling anybody

1750
01:34:56,520 --> 01:34:59,840
Speaker 1: what happened, like it's this is messy and I know it.

1751
01:35:00,360 --> 01:35:02,759
Speaker 1: But he feels very guilty about what happened.

1752
01:35:02,800 --> 01:35:03,160
Speaker 6: To Pete.

1753
01:35:03,280 --> 01:35:07,639
Speaker 1: Okay, So what ends up happening is that Stan ends

1754
01:35:07,720 --> 01:35:10,719
Speaker 1: up like working with Zena and then they start using

1755
01:35:10,800 --> 01:35:15,480
Speaker 1: the code at the carnival and it's becoming very successful

1756
01:35:15,720 --> 01:35:19,439
Speaker 1: and Stan's like really getting it. And then at a

1757
01:35:19,560 --> 01:35:24,599
Speaker 1: certain point Stan and Mollie I guess this isn't said

1758
01:35:24,640 --> 01:35:28,040
Speaker 1: in the film, but they kind of consummate the relationship

1759
01:35:28,120 --> 01:35:31,120
Speaker 1: and then everybody at the carnival is like, well, now

1760
01:35:31,160 --> 01:35:35,120
Speaker 1: you gotta get married, so and we all shunned you

1761
01:35:35,280 --> 01:35:37,360
Speaker 1: for having premaltal sex or something. I don't know why

1762
01:35:37,439 --> 01:35:40,880
Speaker 1: they shun them. I guess it's because they got together.

1763
01:35:41,240 --> 01:35:44,559
Speaker 1: And then we're they basically got kicked out of the carnival,

1764
01:35:44,800 --> 01:35:47,800
Speaker 1: is basically what happens. So Molly and Stan go off

1765
01:35:49,240 --> 01:35:53,679
Speaker 1: leave the carnival and then they start their own act

1766
01:35:54,640 --> 01:35:59,640
Speaker 1: where Stan becomes the Xena character, where he is like

1767
01:36:00,360 --> 01:36:04,360
Speaker 1: got a blindfold on and he's reading out people's secrets

1768
01:36:04,439 --> 01:36:06,360
Speaker 1: and that kind of stuff, and he's called himself the

1769
01:36:06,479 --> 01:36:11,240
Speaker 1: Great Stanton. And they're out there at these like fancy

1770
01:36:11,400 --> 01:36:15,439
Speaker 1: nightclubs and it's like a booming success and everything's going

1771
01:36:15,520 --> 01:36:20,479
Speaker 1: great for them until one night in the audience is

1772
01:36:20,680 --> 01:36:28,280
Speaker 1: this psychiatrist and her name is doctor Lilith Ritter, and

1773
01:36:28,439 --> 01:36:32,360
Speaker 1: if you saw the remake, this character is played by

1774
01:36:32,640 --> 01:36:38,760
Speaker 1: Kate Blanchett. Okay, So this psychiatrist sees the show and

1775
01:36:38,960 --> 01:36:41,719
Speaker 1: is like, what is this? This is clearly a grift,

1776
01:36:42,320 --> 01:36:46,960
Speaker 1: but she's intrigued. And then Stan at the same time

1777
01:36:47,280 --> 01:36:50,800
Speaker 1: notices her, and he decides that he wants to become

1778
01:36:50,880 --> 01:36:53,400
Speaker 1: one of her patients because he's got a lot of

1779
01:36:53,479 --> 01:36:56,200
Speaker 1: guilt from this Pete death, and you know, he's got

1780
01:36:56,240 --> 01:36:58,599
Speaker 1: a lot on his mind. So he goes to see

1781
01:36:58,720 --> 01:37:02,800
Speaker 1: doctor Lilith and she has the habit of recording all

1782
01:37:02,840 --> 01:37:06,120
Speaker 1: of her sessions, okay, which already is like, okay, she's

1783
01:37:06,200 --> 01:37:09,640
Speaker 1: recording sessions, Like, let's hope this doesn't go badly, right,

1784
01:37:10,680 --> 01:37:17,400
Speaker 1: So in the course of their sessions, they decide Lilith

1785
01:37:17,520 --> 01:37:19,400
Speaker 1: and Stand decides to go that they want to go

1786
01:37:19,520 --> 01:37:25,519
Speaker 1: into cahoots with each other because Lilith is like, listen,

1787
01:37:25,600 --> 01:37:29,439
Speaker 1: I got all this evidence of all these secrets from

1788
01:37:29,479 --> 01:37:33,960
Speaker 1: all these rich people, and maybe I can start feeding

1789
01:37:34,080 --> 01:37:37,200
Speaker 1: you some of these things for your act and then

1790
01:37:37,960 --> 01:37:39,760
Speaker 1: you'll make a lot of money. We'll split the money,

1791
01:37:40,640 --> 01:37:44,000
Speaker 1: and that'll be the That'll be the grift. Okay, So

1792
01:37:44,120 --> 01:37:48,000
Speaker 1: they kind of go into this arrangement together and it

1793
01:37:48,120 --> 01:37:52,719
Speaker 1: ends up going pretty well until it doesn't. And there's

1794
01:37:52,760 --> 01:37:57,559
Speaker 1: a patient of doctor Ritters, who is this older rich

1795
01:37:57,680 --> 01:38:00,800
Speaker 1: man who is just obsessed with this like long lost

1796
01:38:00,840 --> 01:38:05,000
Speaker 1: sweetheart of his and you know, Stan is telling these

1797
01:38:05,040 --> 01:38:07,160
Speaker 1: people that he's able to communicate with the dead, so

1798
01:38:07,640 --> 01:38:09,479
Speaker 1: this man is desperate enough to be like, I want

1799
01:38:09,520 --> 01:38:13,040
Speaker 1: to communicate with this old, long lost love of mine.

1800
01:38:13,840 --> 01:38:18,280
Speaker 1: So Stan eventually tries to wrote Molly into this thing

1801
01:38:18,360 --> 01:38:20,720
Speaker 1: where he's like, listen, you got to dress up like

1802
01:38:20,840 --> 01:38:24,960
Speaker 1: this guy's you know, long lost love, will go to cemetery,

1803
01:38:25,120 --> 01:38:27,200
Speaker 1: we'll set this whole thing up and you know it'll

1804
01:38:27,240 --> 01:38:29,840
Speaker 1: be this like you know, he'll pay us tons of

1805
01:38:29,920 --> 01:38:32,320
Speaker 1: money to have this experience and everything. And you know

1806
01:38:32,479 --> 01:38:35,479
Speaker 1: that's when Molly, I think, starts to kind of question

1807
01:38:37,000 --> 01:38:40,680
Speaker 1: the morality of what they're doing, because essentially that's like

1808
01:38:40,760 --> 01:38:43,439
Speaker 1: the biggest part of the film, right, is this idea

1809
01:38:43,560 --> 01:38:49,320
Speaker 1: that there's like this grift going on amongst like all

1810
01:38:49,360 --> 01:38:53,719
Speaker 1: these people where Stan is kind of acting as this medium,

1811
01:38:53,920 --> 01:38:56,719
Speaker 1: but also he's got kind of this like preacher quality

1812
01:38:56,880 --> 01:39:00,800
Speaker 1: to him, and you know he's it's all about that

1813
01:39:01,120 --> 01:39:04,719
Speaker 1: about like blind worship and you know, believing in things

1814
01:39:04,800 --> 01:39:08,040
Speaker 1: and how much you're willing to pay for the experience

1815
01:39:08,400 --> 01:39:11,040
Speaker 1: of maybe somebody giving you something that you really want,

1816
01:39:11,080 --> 01:39:13,760
Speaker 1: but it might be fake, it might be a grift, right,

1817
01:39:14,680 --> 01:39:17,360
Speaker 1: And you know, like I said, I might, I might

1818
01:39:17,439 --> 01:39:20,040
Speaker 1: spoil the movie. I might just do that. But you know,

1819
01:39:20,200 --> 01:39:25,680
Speaker 1: essentially the plan falls apart, and you know, Molly's like

1820
01:39:25,760 --> 01:39:28,559
Speaker 1: walking through the cemetery in this like old Victorian dress

1821
01:39:29,040 --> 01:39:32,200
Speaker 1: and the guy sees it, you know, from far away

1822
01:39:32,280 --> 01:39:34,760
Speaker 1: and freaks out, and then she freaks out and it

1823
01:39:34,960 --> 01:39:39,000
Speaker 1: just kind of goes from there. And what ends up

1824
01:39:39,040 --> 01:39:44,840
Speaker 1: happening is that Stan you know, essentially gets found out

1825
01:39:44,840 --> 01:39:47,960
Speaker 1: as a fake. You know, as it turns out doctor

1826
01:39:48,120 --> 01:39:51,320
Speaker 1: lilleth Ritter, who told him he was gonna make all

1827
01:39:51,360 --> 01:39:55,080
Speaker 1: this money, you know, basically cheats him out of the money.

1828
01:39:55,160 --> 01:39:57,400
Speaker 1: Like he gets the envelope and it's like, you know,

1829
01:39:58,520 --> 01:40:00,880
Speaker 1: one percent of what he thought he was gonna get

1830
01:40:01,280 --> 01:40:04,439
Speaker 1: from her, and you know it's just kind of like,

1831
01:40:05,360 --> 01:40:09,160
Speaker 1: I don't know that kind of the ending of this

1832
01:40:09,360 --> 01:40:15,479
Speaker 1: whole scenario, right, is that he ultimately becomes the thing

1833
01:40:15,720 --> 01:40:17,880
Speaker 1: that he was so afraid of, which is that he

1834
01:40:18,040 --> 01:40:20,400
Speaker 1: turns to the bottle after he's found out his fake

1835
01:40:21,240 --> 01:40:26,920
Speaker 1: and then essentially he becomes the geek, right, And like

1836
01:40:27,000 --> 01:40:31,080
Speaker 1: I said, that book ends it there, right, which is

1837
01:40:31,439 --> 01:40:35,759
Speaker 1: very powerful and very fucking dark. But then the movie

1838
01:40:35,840 --> 01:40:38,800
Speaker 1: I think goes a little bit further where he is

1839
01:40:38,960 --> 01:40:42,200
Speaker 1: essentially saved by Molly at the very end. But you know,

1840
01:40:43,200 --> 01:40:46,040
Speaker 1: to me, I mean this movie, you know, it has

1841
01:40:46,160 --> 01:40:50,040
Speaker 1: a lot of that power. For me, it's like about

1842
01:40:50,080 --> 01:40:53,200
Speaker 1: the messaging of like what the stand character is and

1843
01:40:53,320 --> 01:40:57,320
Speaker 1: about like what he'll do to get what he wants,

1844
01:40:57,360 --> 01:41:01,240
Speaker 1: which is fame and fortune, and it's this greed storyline

1845
01:41:02,080 --> 01:41:05,280
Speaker 1: that ultimately does them in. Yeah, and you know it

1846
01:41:05,360 --> 01:41:07,680
Speaker 1: all takes place around the carnival, which is exactly like

1847
01:41:07,800 --> 01:41:09,560
Speaker 1: what the theme is for this week, which is you know,

1848
01:41:09,600 --> 01:41:15,640
Speaker 1: obviously creates an interesting, fascinating component around that kind of

1849
01:41:15,800 --> 01:41:17,679
Speaker 1: very simple storyline.

1850
01:41:17,200 --> 01:41:18,599
Speaker 2: Right completely.

1851
01:41:18,760 --> 01:41:22,519
Speaker 3: Yeah, it's contributing to the underworld aspect and the you know,

1852
01:41:22,560 --> 01:41:25,360
Speaker 3: somebody who's already starting at the bottom, falling lower in

1853
01:41:26,160 --> 01:41:27,720
Speaker 3: terms of our cultural identities.

1854
01:41:27,840 --> 01:41:29,519
Speaker 2: Like it's really it's really interesting. I thought they did

1855
01:41:29,560 --> 01:41:30,000
Speaker 2: a great job.

1856
01:41:30,040 --> 01:41:30,200
Speaker 4: I was.

1857
01:41:30,320 --> 01:41:33,000
Speaker 3: I was really happy to watch it because it was

1858
01:41:33,560 --> 01:41:38,040
Speaker 3: the kind of dark turning movie like twisting movie that

1859
01:41:38,200 --> 01:41:41,000
Speaker 3: I think I always associate with that time period, but

1860
01:41:41,080 --> 01:41:43,519
Speaker 3: I never really see, so I just I really loved it.

1861
01:41:44,240 --> 01:41:46,960
Speaker 1: Well I'm glad. Yeah, I like I said, I actually

1862
01:41:47,080 --> 01:41:49,360
Speaker 1: like the remake. I think it's pretty pretty good. It's

1863
01:41:49,439 --> 01:41:52,439
Speaker 1: definitely evocative. It has like a really great style to it.

1864
01:41:53,080 --> 01:41:56,679
Speaker 1: But the original was great too, And like I said,

1865
01:41:56,760 --> 01:41:59,880
Speaker 1: there's there's a good, a great blu ray of it.

1866
01:42:00,000 --> 01:42:01,479
Speaker 1: If you want to see a good quality of it,

1867
01:42:02,600 --> 01:42:04,479
Speaker 1: you know, like online, you might be able to find

1868
01:42:04,479 --> 01:42:06,240
Speaker 1: it on the internet archive and that kind of stuff,

1869
01:42:06,240 --> 01:42:08,560
Speaker 1: But I would say watch it if you can in

1870
01:42:08,640 --> 01:42:12,600
Speaker 1: the best quality. And yeah, it's I think it's it

1871
01:42:12,760 --> 01:42:15,080
Speaker 1: really is like one of the most interesting film the

1872
01:42:15,120 --> 01:42:18,280
Speaker 1: WIRs for my money, Like I like it. I like

1873
01:42:18,400 --> 01:42:21,920
Speaker 1: the carnival aspect to it, and just from the time period.

1874
01:42:21,960 --> 01:42:23,720
Speaker 1: Like there's a lot of other things in this movie

1875
01:42:23,760 --> 01:42:27,600
Speaker 1: too that are very interesting. Like there's Terot and it's like,

1876
01:42:27,680 --> 01:42:29,880
Speaker 1: you know, it's about that kind of occult world too,

1877
01:42:30,120 --> 01:42:32,640
Speaker 1: where you know, Xena reads Tarot cards and there's this

1878
01:42:32,720 --> 01:42:37,160
Speaker 1: whole like you know, storyline about her pulling stance terror

1879
01:42:37,320 --> 01:42:39,840
Speaker 1: card and he and she keeps pulling the hanged Man,

1880
01:42:40,080 --> 01:42:42,880
Speaker 1: and that's a very you know, symbolic of what's going

1881
01:42:42,960 --> 01:42:46,559
Speaker 1: to happen to him, and you know, it delves into

1882
01:42:46,640 --> 01:42:49,160
Speaker 1: that world of like psychics and you know that kind

1883
01:42:49,160 --> 01:42:50,920
Speaker 1: of stuff, and it's so to me, it's it's it's

1884
01:42:50,960 --> 01:42:54,320
Speaker 1: a cool movie. Like I said, it's very dark, darker

1885
01:42:54,400 --> 01:42:57,360
Speaker 1: than it probably should be in nineteen forty seven, while

1886
01:42:57,400 --> 01:43:00,439
Speaker 1: also being up to production code standards, which I think

1887
01:43:00,520 --> 01:43:03,960
Speaker 1: was very fascinating. And yeah, that's for me. I was like,

1888
01:43:03,960 --> 01:43:05,559
Speaker 1: we got to talk about this movie for the theme.

1889
01:43:05,800 --> 01:43:08,840
Speaker 2: So I love it. Great, great great pick.

1890
01:43:09,400 --> 01:43:12,280
Speaker 1: Yes, thank you so much. Well, I I had a

1891
01:43:12,520 --> 01:43:13,520
Speaker 1: fucking blast.

1892
01:43:13,280 --> 01:43:14,000
Speaker 2: On this episode.

1893
01:43:14,040 --> 01:43:17,200
Speaker 3: I have to say those so fun, so fun, great theme,

1894
01:43:18,560 --> 01:43:20,920
Speaker 3: love it, great guest, great movies.

1895
01:43:21,080 --> 01:43:22,840
Speaker 1: I mean, this is this is why we do this, folks,

1896
01:43:23,479 --> 01:43:26,960
Speaker 1: exactly well listen, if you want to email us, please

1897
01:43:27,040 --> 01:43:29,600
Speaker 1: do so at I saw what you did pod at gmail.

1898
01:43:29,400 --> 01:43:31,960
Speaker 3: Dot com and you can find us on our social

1899
01:43:32,000 --> 01:43:34,759
Speaker 3: media at I saw pod on Instagram and Twitter.

1900
01:43:35,439 --> 01:43:37,640
Speaker 1: That's right. Plus to be of merch, please go to

1901
01:43:37,720 --> 01:43:39,599
Speaker 1: the I Saw what you Did section of the exactly

1902
01:43:39,720 --> 01:43:40,560
Speaker 1: right shop to find it.

1903
01:43:40,920 --> 01:43:43,200
Speaker 3: And you know, those bonus episodes are rolling out all

1904
01:43:43,240 --> 01:43:46,200
Speaker 3: the time, So just keep checking your feed because the

1905
01:43:46,280 --> 01:43:48,000
Speaker 3: old ones are coming up and the new ones are

1906
01:43:48,040 --> 01:43:49,920
Speaker 3: coming out once a month, so so.

1907
01:43:50,040 --> 01:43:53,439
Speaker 1: Many episodes you can't get rid of us. Well, listen, Danielle,

1908
01:43:53,479 --> 01:43:56,360
Speaker 1: do you want to tell them what the movies are

1909
01:43:56,439 --> 01:43:58,200
Speaker 1: for next week? Yes?

1910
01:43:58,640 --> 01:44:01,799
Speaker 2: So the movies for next week our Birdie from nineteen

1911
01:44:01,840 --> 01:44:05,599
Speaker 2: eighty four and David and Lisa from nineteen sixty two.

1912
01:44:06,080 --> 01:44:09,360
Speaker 1: Oh my god, Peo peo peo, peo, peo, peo peoo.

1913
01:44:10,439 --> 01:44:15,280
Speaker 1: Very exciting. Listen, Danielle. As always a fucking pleasure joining

1914
01:44:15,320 --> 01:44:16,040
Speaker 1: this podcast with me.

1915
01:44:16,560 --> 01:44:19,559
Speaker 2: I love it by Guys Bike.

1916
01:44:26,080 --> 01:44:29,120
Speaker 3: This has been an exactly right production produced by Casey O'Brien,

1917
01:44:29,360 --> 01:44:31,880
Speaker 3: mixed by Edson Choi. Our theme song is by Tom

1918
01:44:31,960 --> 01:44:35,720
Speaker 3: bry Fogel. Artwork by Garrett Ross. Our executive producers are

1919
01:44:35,760 --> 01:44:38,600
Speaker 3: Georgia hart Start, Karen kil Gareff, and Daniel Kramer. You

1920
01:44:38,680 --> 01:44:41,519
Speaker 3: can follow us on Instagram and Twitter at I Saw Pod,

1921
01:44:41,960 --> 01:44:43,920
Speaker 3: and you can email us at I Saw What You

1922
01:44:44,000 --> 01:44:45,160
Speaker 3: Did Pod at gmail