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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.

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Speaker 3: I'm Daniel Henderson and.

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Speaker 1: We're doing some film stuff today.

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Speaker 2: What is happening, Danielle Henderson?

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Speaker 4: Well, the oil truck is leaving my house right now

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Speaker 4: and if you can hear that rumbling. But I just

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Speaker 4: had my oil field up, which hopefully soon in the

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Speaker 4: next coming years, I'll be able to get away from

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Speaker 4: fossil fuels.

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Speaker 1: Wait, let me let me ask you this. I've been

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Speaker 1: to your house now, so I know where shit is.

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Speaker 1: Where was the oil stuff in the garage? That Big

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Speaker 1: Ta completely missed that when we did the tour.

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Speaker 4: You might have because you were so focused on which

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Speaker 4: bathroom was the diva cut bathroom.

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Speaker 3: But I also was.

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Speaker 1: I think when I was in the garage, I was

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Speaker 1: mostly thinking about the fact that there used to be

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Speaker 1: cows in there, right.

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Speaker 4: Yeah, because there's a carve out still on the on

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Speaker 4: the ground where the cow troughs used to be and

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Speaker 4: now it's just filled in with gravel, but you could

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Speaker 4: still see the outline of where they used to water

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Speaker 4: the cows and feed the cows.

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Speaker 1: So where was the oil tank? Was it in the

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Speaker 1: middle of the room and I just didn't notice it

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Speaker 1: or something.

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Speaker 3: No, it was back against the wall.

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Speaker 4: Okay, so when you first if you were to walk

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Speaker 4: into the garage from the front, like from the barn doors,

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Speaker 4: it would be off.

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Speaker 3: To your left.

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Speaker 2: I see, I see, we'll come.

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Speaker 3: In through the house. It was off to the right. Oh,

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Speaker 3: a big old tank.

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Speaker 1: Nobody will know except for me that all these details.

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Speaker 1: That excites me very much when I have insider info

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Speaker 1: that nobody else has.

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Speaker 4: To take a video the next time they're filling it up.

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Speaker 4: But yeah, they have to come and fill it up

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Speaker 4: from this big old truck and they have to basically

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Speaker 4: break into my garage every time.

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Speaker 2: And that's what hehets your entire house.

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Speaker 3: Yeah, wow, wow, Yeah, this oil.

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Speaker 4: And I was very excited because this is the kind

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Speaker 4: of thing that excites me now. So I was on

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Speaker 4: this program last year because oil is very fucking expensive,

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Speaker 4: very fucking expensive, which is yet another reason why I

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Speaker 4: want to move away from it, but also just an

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Speaker 4: environmental sense, I want to move away from it. So

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Speaker 4: I was on this program. The oil company that I

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Speaker 4: use is like, look, we know oil is expensive.

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Speaker 3: If you give us it was like eleven hundred dollars

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Speaker 3: a month through the winter. We'll make sure that you

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Speaker 3: never have to pay more than that.

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Speaker 4: So even if the gas prices go up, yeah, oil

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Speaker 4: prices go up, you will never pay more than eleven

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Speaker 4: hundred dollars eleven hundred dollars a month to heat this house.

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Speaker 3: Okay.

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Speaker 1: First of all, that's a lot of money. Yes, yes, oh,

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Speaker 1: that's a lot of money. But also yeah, they do

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Speaker 1: that with the power here where it's that you just

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Speaker 1: pay a steady bill so that you're never paying like,

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Speaker 1: you know, two hundred dollars one month and then like

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Speaker 1: eleven hundred dollars another month or something.

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Speaker 3: So exactly, and that I prefer that.

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Speaker 4: That's why I'm like, all right, eleven hundred is a lot,

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Speaker 4: but if I don't do this, I could be surprised

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Speaker 4: with a bill for like three thousand dollars one month,

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Speaker 4: and I'm not about to do that.

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Speaker 1: So that's just your gas bill. Like do you pay

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Speaker 1: power there?

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Speaker 3: Yeah?

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Speaker 4: I pay power, okay, oil pro Paine. I have a well,

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Speaker 4: so I don't pay water. Oh but because I have

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Speaker 4: a well, and because I'm not on the city septic,

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Speaker 4: I have to pay every year to have the septic

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Speaker 4: emptied and treated right, and then I pay for like

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Speaker 4: you know, internet and shit like that.

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Speaker 3: So you pay.

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Speaker 2: And those are two separate bills.

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Speaker 4: Yeah, because propain is what heats my oven and my dryer. Wow, dude, Yeah,

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Speaker 4: so eleven hundred bucks a month, which is a lot,

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Speaker 4: but I'm like, all right, I'm not going to get

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Speaker 4: that surprise bill. So this year I was like, fuck, like,

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Speaker 4: I haven't worked all year. This is going to be

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Speaker 4: so hard. So I called the gas company or the

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Speaker 4: oiled people, and I was like, hey, you had this

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Speaker 4: program last year.

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Speaker 3: I'm wondering if I could sign up for it again.

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Speaker 4: And this is in September and they're like, oh yeah,

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Speaker 4: we sent the paperwork out in July. And I'm like,

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Speaker 4: I didn't get it or I didn't open it. You know,

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Speaker 4: I'm very relax with my mail. Can I still do it?

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Speaker 4: And they're like, yeah, totally, no problem. And then she

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Speaker 4: looked it up and she was like, well, because you

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Speaker 4: were on this program last year where you're paying eleven

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Speaker 4: hundred dollars a month, you didn't.

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Speaker 3: Actually use that much oil and you have a credit.

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Speaker 4: So this year, if you want to sign up for

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Speaker 4: the program, it'll be three hundred dollars a month because

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Speaker 4: of this credit, and I was like, fuck, yes, I

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Speaker 4: could not have been timed better, but that's the kind

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Speaker 4: of thing that excites me now. I was like, I'm

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Speaker 4: saving over seven hundred dollars a month on my heat

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Speaker 4: for my house.

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Speaker 2: Dude, that is an absolute win.

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Speaker 3: Take that shit. That's awesome. But she's like, why are

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Speaker 3: you using that much fucking oil?

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Speaker 4: And I was like, oh, because I close off every

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Speaker 4: room like I live in a castle, Like I only

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Speaker 4: heat the rooms I use.

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Speaker 3: And I'm very very on point.

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Speaker 4: With that, like I got these nests thermostats that are

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Speaker 4: on schedule, so like if I'm not in that room,

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Speaker 4: that room was cold, Like I keep my shit tight.

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Speaker 4: So she's like, yeah, you're doing great, like you're not

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Speaker 4: using that much, and I was like, fucking great, because

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Speaker 4: I don't want them have to break.

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Speaker 3: It into my house every goddamn month.

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Speaker 4: I had a certain lock on the inside of the

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Speaker 4: garage door because they're barn doors, so I'm like, oh,

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Speaker 4: I have to have like a different lock, and they

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Speaker 4: just couldn't get in because they're like, well, the person

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Speaker 4: who lived here for the last thirty years just left

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Speaker 4: it open.

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Speaker 3: And I was like, I ain't doing that. Yeah, I

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Speaker 3: ain't doing that. I'm about that motherfucker. We talked about it.

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Speaker 2: You're like, yeah, that's some other lady, not me.

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Speaker 4: That's a whole other motherfucker. I Am not leaving my

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Speaker 4: house unlocked in any sense. So I had to put

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Speaker 4: this certain latch and I think I'm gonna get like

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Speaker 4: a doorbell for that side of the house so they

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Speaker 4: can just instead of breaking and just like ring the

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Speaker 4: doorbell and I'll come down and unlock it. Yeah, and

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Speaker 4: put my other lock back on because I'm always here.

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Speaker 4: It's not like I'm going to miss them. Yeah. But yeah,

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Speaker 4: so that was very, very fucking exciting for me as

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Speaker 4: a homeowner that I'm saving over seven hundred dollars a

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Speaker 4: fucking month this winter, and it.

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Speaker 3: Could not have come at a better time. Yeah. Oh,

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Speaker 3: I hear you.

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Speaker 2: I hear you were Uh.

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Speaker 3: Was it was it warm when you were here?

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Speaker 4: Like?

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Speaker 3: Were you comfortable? Dude? Yes?

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Speaker 2: I was like, this is the most comfortable environment to sleep.

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Speaker 3: As all good, like good, and you know me, like I.

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Speaker 2: Don't sleep naked.

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Speaker 1: I sleep with pajamas and you know, so even in

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Speaker 1: spite of all that stuff, I was like, yeah, this

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Speaker 1: is super cozy.

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Speaker 3: Oh that makes me so happy. Yeah.

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Speaker 4: And I also I put plastic on the windows like

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Speaker 4: I used to watch my grandma do that in the

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Speaker 4: winter and be like, this is the most old lady

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Speaker 4: shit I've ever seen.

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Speaker 3: Yeah, but it fucking works.

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Speaker 4: Like I would feel a draft on my neck when

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Speaker 4: I was sitting watching TV in the living room, like

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Speaker 4: a ghost was trying to like get my attention, And

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Speaker 4: so I put the plastic up, And now I'm not

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Speaker 4: feeling those drafts because again, it's gonna be years so

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Speaker 4: I can get all these fucking windows replaced. I have

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Speaker 4: twenty seven windows in my house.

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Speaker 3: Yeah.

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Speaker 1: I think for me, the thing that was so the

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Speaker 1: you know, because I had all obviously had visions of

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Speaker 1: what I thought your house would be like, and then

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Speaker 1: when I went there, it was so much.

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Speaker 2: Bigger than I thought it was gonna be, Like I

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Speaker 2: really did.

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Speaker 1: And like you saying, like you have twenty seven windows,

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Speaker 1: you gotta like have different places in the house that

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Speaker 1: are sealed off when you're not in them, that was real.

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Speaker 1: Like the whole upstairs is this is this whole other ecosystem.

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Speaker 4: Completely downstairs is normal? Like, oh, you have a kitchen

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Speaker 4: and a bedroom and a couple of bathrooms, and like

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Speaker 4: my laundry is down there. I lived downstairs, yeah, for

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Speaker 4: the most part, but then I sleep upstairs and it's

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Speaker 4: like this barren wasteland where I refuse to buy furniture

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Speaker 4: until I actually renovate, and I try to make it

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Speaker 4: comfortable enough for me to sleep and occasionally work, but

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Speaker 4: it is it's like twenty five hundred more square feet

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Speaker 4: upstairs that I just don't right now, can't use.

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Speaker 1: And I mean again, this is the information that only

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Speaker 1: I know, only a celection some people know.

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Speaker 2: But you have this entire.

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Speaker 1: Area of the upstairs that literally looks like I mean,

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Speaker 1: it looks like either where somebody like father John Misty

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Speaker 1: would record his album meets fucking yoga sound bath like

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Speaker 1: integratron shit meets like a hereditary esque waiste meeting like

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Speaker 1: it's this giant, vaulted, gorgeous.

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Speaker 3: Area.

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Speaker 1: I don't know what what you would even call it.

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Speaker 1: It looks like an auditorium. It really feels like an auditorium.

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Speaker 4: I call it the Great Room. And it's just like

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Speaker 4: this room with these twenty foot ceilings. It looks like

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Speaker 4: a fucking cathedral in that it is going to be

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Speaker 4: beautiful one day, but right now it is just like

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Speaker 4: this echoing chamber that is massive.

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Speaker 3: It is a massive fucking room.

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Speaker 1: Yes, And it's like it's not like sectioned off into

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Speaker 1: like little tiny rooms.

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Speaker 2: It's just one big Like it looks like a church

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Speaker 2: up there.

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Speaker 1: And I don't know if it's because there was an

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Speaker 1: app I don't know if it was because there was

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Speaker 1: an actual pew up there.

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Speaker 4: I know the people who left this house left me

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Speaker 4: a church pew, and I was like, all right, there's

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Speaker 4: a church pew up.

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Speaker 3: Here as a bench. Great.

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Speaker 1: I mean, listen, hey, I live in Georgia. I have

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Speaker 1: seen churches that are around the size of this room,

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Speaker 1: like tucked into neighborhoods right like.

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Speaker 4: Just and that's just a fraction as a corner of

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Speaker 4: my house. It's a fraction of this fucking house.

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Speaker 3: I know. Oh and I was.

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Speaker 2: I was so in awe of that space.

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Speaker 1: But then now that you're telling me about it in

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Speaker 1: like financial terms to like heat and cool these types

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Speaker 1: of areas, I'm like.

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Speaker 3: Oh, damn, exactly so.

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Speaker 4: And that room, for example, I do have a thermostat

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Speaker 4: in there, and I keep it on the eco setting

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Speaker 4: so the pipes won't freeze. But I do not hang

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Speaker 4: out in that room in the in the winter, and

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Speaker 4: I also to hang out there in the summer because

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Speaker 4: it's boiling ass hot, So that room is unusable to

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Speaker 4: me for the most part most of the year until

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Speaker 4: I get this renovation going. But yeah, I keep it

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Speaker 4: on just like a low setting so the pipes don't freeze.

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Speaker 2: Yeah.

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Speaker 1: I mean, I know I was being so obnoxious when

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Speaker 1: I was at your place because I was walking around.

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Speaker 1: I was walking around being like, oh, here's what you

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Speaker 1: should do with this part. I mean, I was just

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Speaker 1: like trying to envision your place as this like public

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Speaker 1: Airbnb meets retreats, and you're like, do you know me?

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Speaker 1: Do you think I'm gonna like let strangers come over

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Speaker 1: all willy nilly.

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Speaker 4: I fucking loved it because that is the goal of

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Speaker 4: this house, Like it will be a commune one day

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Speaker 4: for all of my friends, wow, are either childless or

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Speaker 4: partnerless or just want to leave their families and leave

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Speaker 4: their partners. Like it won't be a space as I

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Speaker 4: envision it for anyone I know and love to come

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Speaker 4: and live with me as we age, because none of

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Speaker 4: us have a plan, Like, none of us are retiring

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Speaker 4: with any money.

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Speaker 3: None of us have any fucking plan.

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Speaker 4: So the barn I'm eventually going to turn into a

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Speaker 4: three bedroom guesthouse with a kitchenette. And then the top

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Speaker 4: floor which is similar to the top floor of the house,

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Speaker 4: and it's a hayloft because this used to be a barn.

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Speaker 4: That's why it's so big up there. Yeah, so I'm

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Speaker 4: gonna leave in the barn. I'm gonna leave the hayloft

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Speaker 4: open for like general space. So if you're an artist,

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Speaker 4: you can do art. If you just want a place

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Speaker 4: to sit and chill, you can sit and chill. But

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Speaker 4: it's gonna be a nice, big open space and three

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Speaker 4: people can live in there. And then there are there

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Speaker 4: are six bedrooms in the house. That's not even there

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Speaker 4: will be nine bedrooms on this property eventually.

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Speaker 1: I was telling you about. You know, there's this place

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Speaker 1: in northern California that I dream of one day going

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Speaker 1: to called Salmon Creek Farm And it's this kind of,

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Speaker 1: you know, beautiful little retreat in the woods where you know,

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Speaker 1: artists can go and other folks to kind of like

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Speaker 1: I don't know, do art, but also just like tend

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Speaker 1: to the land because everybody's like responsible for contributing. I

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Speaker 1: go to the Instagram a lot and I just look

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Speaker 1: at it because it's so beautiful. But I was like,

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Speaker 1: this is what you should do. You should have a

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Speaker 1: salmon creek farm here.

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Speaker 3: And that would be lovely. I would love that.

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Speaker 4: I would actually love to turn the barn into that

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Speaker 4: kind of space, yeah, where like I can just you know,

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Speaker 4: kind of have people, because I fundamentally don't believe that

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Speaker 4: you should have to pay for a retreat, for a

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Speaker 4: creative retreat, yeah, or really any kind of retreat, but

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Speaker 4: especially when I see writers like, oh, I'm paying to

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Speaker 4: go to this place to write, and I'm like, I

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Speaker 4: live in Like I already live in that.

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Speaker 3: I don't need to pay to.

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Speaker 4: Go somewhere to write, and I'm lucky that I live

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Speaker 4: in that, and I want to share that with people.

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Speaker 3: So it won't be open.

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Speaker 4: It probably won't be open to strangers, but definitely to

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Speaker 4: my friends. And I think eventually what I'd like to

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Speaker 4: do is have just the barn be that kind of

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Speaker 4: retreat for people where they don't have to pay, they

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Speaker 4: just have to show up, and I have to do

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Speaker 4: like if you pass the background check. You can just

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Speaker 4: come and write your book, but you should get I mean,

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Speaker 4: I'm listen, you know me.

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Speaker 2: I love a business idea. The wheels start turning in

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Speaker 2: my head.

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Speaker 3: Get them to pay with labor, like they.

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Speaker 1: Gotta come and they got to like you know, you're

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Speaker 1: trying to like, you know, maybe they have to clear

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Speaker 1: the carpet out of the diva cup bathroom.

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Speaker 2: Maybe that's their big project for you know.

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Speaker 4: They could do some yardwork, some gardening. There will definitely

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Speaker 4: be a big old garden here at some point.

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Speaker 3: Or they could cook.

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Speaker 4: They could cook bear men, yeah, bar men for themselves

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Speaker 4: for sure. For sure to carry yourself. But yeah, I

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Speaker 4: think that someone another friend of mine who to visit,

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Speaker 4: because this is You're not the only one. Like I

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Speaker 4: actually love hearing these ideas because I've had in one month,

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Speaker 4: I had like three friends come to visit. Now that

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Speaker 4: I have this guest room and I'm loving it. And

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Speaker 4: one of my other friends who came to visit, Jessica Hopper. Yeah,

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Speaker 4: he's a great writer. She's working on a bunch of

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Speaker 4: great documentaries and she released a great documentary about female

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Speaker 4: musicians last year.

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Speaker 3: You should definitely look it up. We got to get

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Speaker 3: her on the pod.

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Speaker 4: By the way, one hundred percent. She's just my favorite person.

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Speaker 4: I just I love talking to her. I just love

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Speaker 4: talking to her. And she was like, yeah, you should

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Speaker 4: definitely like do some commune shit here, but you should

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Speaker 4: also She's like, what you should do is have a

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Speaker 4: retreat and market it to like just these like super

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Speaker 4: rich women for like super rich people. She's like, you know,

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Speaker 4: like super rich people are like, I want to learn

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Speaker 4: how to write, and she's like, you should host like

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Speaker 4: a I want I'll teach you how to write retreat

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Speaker 4: and make them pay like five thousand bucks for it,

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Speaker 4: and then you could use that to fund all the

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Speaker 4: free retreats you want to do for the rest of

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Speaker 4: the year.

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Speaker 2: Listen.

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Speaker 1: I love that idea. I love that idea. And I

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Speaker 1: know people. I'm not saying I know them well, but

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Speaker 1: I know people, especially when I was living in LA

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Speaker 1: who do that shit all the time, who don't have jobs.

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Speaker 1: They just go for like a weekend to some fucking

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Speaker 1: weird place in the woods and they get like their

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Speaker 1: chakras aligned and some other shit.

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Speaker 2: Ah, and they pay a lot of money for it.

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Speaker 3: There are people willing to pay for it.

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Speaker 4: I know but I'm like, all right, my friends will

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Speaker 4: never have to pay, but I will find some rich

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Speaker 4: people to fund the rest of the year. Yeah, Like

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Speaker 4: I could put up with some some weird rich people.

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Speaker 4: Like demanding wealthy folks for like a month if it

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Speaker 4: means for the next eleven months of the year, everyone

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Speaker 4: I know can come in chill out for months on

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Speaker 4: end for free.

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Speaker 3: Yeah.

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Speaker 2: I mean you have like maybe two sessions.

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Speaker 1: You'll have like a chill session for your friends and

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Speaker 1: then you have the rich women session, or they will

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Speaker 1: overpay for the pleasure of doing nothing essentially or.

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Speaker 4: Like feel you know, feels anti feminist, feels anti feminist.

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Speaker 4: But you know what, if you got the money, I

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Speaker 4: don't care what fucking gender you are, come pay for

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Speaker 4: this goddamn retreat.

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Speaker 3: You've got to pay that oil bill, girl.

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Speaker 1: Don't think of it like that feminist is that's survival, girl,

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Speaker 1: Like pay that oil bill.

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Speaker 4: Feminism goes out the window when it comes time to

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Speaker 4: paying the oil bill or listening to van Halen both times,

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Speaker 4: I'm like, I don't.

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Speaker 3: Know if I'm a feminist anymore. I fucking love Van Halen.

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Speaker 2: Wait, so are we pivoting to this topic?

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Speaker 1: Because what what happened there? What's going on there? Because

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Speaker 1: you know how I feel about van Halen too.

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Speaker 4: So that is just a thought that I have sometimes

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Speaker 4: when I listen, because I listen to a lot of

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Speaker 4: old metal, old rock, like I love old heavy metal,

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00:16:54,440 --> 00:16:57,240
Speaker 4: and they were not progressive people at all back then.

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00:16:57,320 --> 00:17:00,520
Speaker 4: And van Halen's whole thing once David Lee rang was

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Speaker 4: like in his prime, his whole thing was just like

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Speaker 4: I'm a horny dude who looks like a tiny lion

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Speaker 4: and i just want women in bikinis and I'm going

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Speaker 4: to ogle them and I'm like.

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Speaker 3: This does not feel right, but I fucking love this song.

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Speaker 2: See I want to say we've talked.

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Speaker 1: About this before, and because listen, we know how I

386
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Speaker 1: feel about we are on the same page. That is

387
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Speaker 1: our age, like our demographic, the people our age. We

388
00:17:27,720 --> 00:17:32,520
Speaker 1: were around for that Sunset strip like late eighties, fucking

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Speaker 1: you know, what do you call it?

390
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Speaker 3: Cock rock? Is that? What do you want? Is it

391
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Speaker 3: called cockrock? I've heard it butt rock, cock rock, metal,

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Speaker 3: like whatever it was called.

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Speaker 1: I was like in middle school when that came out,

394
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Speaker 1: and it was everything, Like everybody in my middle school

395
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Speaker 1: was into like Warrant and def Leppard and guns and

396
00:18:00,720 --> 00:18:04,119
Speaker 1: roses and shit. Yes, So there was that like moment

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00:18:04,280 --> 00:18:08,359
Speaker 1: where I think us as as as young women probably

398
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Speaker 1: internalized some of that shit, being like.

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Speaker 3: Why are there chicks and bikinis? And is David Lee Roth?

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Speaker 1: I would argue that David Lee Roth was sort of

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Speaker 1: playing with gender himself.

402
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Speaker 3: I mean there are times way were Yeah, that's what

403
00:18:22,440 --> 00:18:25,280
Speaker 3: I'm saying. So it's complicated were they were.

404
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Speaker 4: I mean when you watch the kind of Western civilization

405
00:18:28,920 --> 00:18:31,159
Speaker 4: the Metal years, read that book that You Got Me

406
00:18:31,200 --> 00:18:33,640
Speaker 4: Nothing but a Good Time, it's like they were all

407
00:18:33,640 --> 00:18:36,520
Speaker 4: fucking around with like leggings and gender play, and like,

408
00:18:36,560 --> 00:18:38,119
Speaker 4: I think there's an essay in here for us. I

409
00:18:38,160 --> 00:18:39,640
Speaker 4: think we have to write about this and work through

410
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Speaker 4: our thoughts because I agree that there was something about

411
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Speaker 4: the way that I'm specific to Van Halen and David

412
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Speaker 4: Lee Roth here, there was something specific about the way

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Speaker 4: that he talked about women that I felt like he

414
00:18:50,600 --> 00:18:53,720
Speaker 4: was kind of venerating women, like he just fucking loves women,

415
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Speaker 4: like he did it in that eighties way, but he

416
00:18:57,119 --> 00:18:59,439
Speaker 4: was never like look at those piece of shit slut like.

417
00:18:59,480 --> 00:19:02,640
Speaker 4: It was never like that, Like some bands absolutely went there,

418
00:19:03,040 --> 00:19:04,600
Speaker 4: but he was just like, I fucking love women. I

419
00:19:04,640 --> 00:19:09,400
Speaker 4: love fucking what's the problem? Like it was aggressively heterosexual,

420
00:19:09,440 --> 00:19:13,439
Speaker 4: but it didn't feel cruel to me with them, with

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Speaker 4: them specifically.

422
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Speaker 3: But yeah, like I just I think about it.

423
00:19:16,760 --> 00:19:19,400
Speaker 4: Sometimes when I'm just, you know, making my chaotic playlist,

424
00:19:19,480 --> 00:19:23,640
Speaker 4: which include things like back that ass up into Annie DiFranco.

425
00:19:25,320 --> 00:19:27,399
Speaker 3: Like my playlist. You've listened to my playlist now in

426
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Speaker 3: an eight hour car ride. My playlists are insane.

427
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Speaker 4: Yeah, And sometimes a song will come on and I'm

428
00:19:32,280 --> 00:19:35,639
Speaker 4: just like, I do love hot for teacher, but listen

429
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Speaker 4: to these lyrics I'm singing right now.

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Speaker 2: I defend those choices.

431
00:19:42,480 --> 00:19:46,359
Speaker 1: In fact, I mean bear Men's you're a triple fucking

432
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Speaker 1: Gemini and you contain multitudes.

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Speaker 3: We know that. But at the.

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Speaker 1: Same time, yeah, I mean, I I don't know, Like

435
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Speaker 1: I don't. I wouldn't sit there and think that you're

436
00:19:56,320 --> 00:20:01,000
Speaker 1: a bad feminist because a you listen to Van Halen

437
00:20:01,320 --> 00:20:05,919
Speaker 1: and other hair metal bands of the era, or be

438
00:20:06,080 --> 00:20:10,400
Speaker 1: that you want to overcharge rich white women to come

439
00:20:10,440 --> 00:20:11,000
Speaker 1: to your house.

440
00:20:12,040 --> 00:20:15,320
Speaker 3: Just racist. I'm not anti feminists. I'm just racist. I

441
00:20:15,480 --> 00:20:18,080
Speaker 3: just want white women to fund my entire life. What's

442
00:20:18,119 --> 00:20:19,240
Speaker 3: the fucking problem.

443
00:20:19,520 --> 00:20:26,680
Speaker 1: I must like, this's the problem, and maybe I'm wrong

444
00:20:26,760 --> 00:20:27,080
Speaker 1: for that.

445
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Speaker 3: It's called personal reparations. Look it up. Start where you

446
00:20:33,119 --> 00:20:35,080
Speaker 3: are with your reparations journey.

447
00:20:36,400 --> 00:20:38,800
Speaker 2: Listen, you're gonna have to give me a scholarship.

448
00:20:39,359 --> 00:20:42,719
Speaker 1: Like, I'm not in that position to overpay for fucking

449
00:20:43,280 --> 00:20:44,400
Speaker 1: spiritual enlightenment.

450
00:20:45,119 --> 00:20:48,800
Speaker 3: I know that shit. So we'll find someone.

451
00:20:49,080 --> 00:20:51,600
Speaker 4: We'll find someone who has actually been to Salmon Creek

452
00:20:52,359 --> 00:20:54,560
Speaker 4: to also fund. Like, oh, if you come, you have

453
00:20:54,640 --> 00:20:57,200
Speaker 4: to it's like buy one, support one. Like, if you come,

454
00:20:57,200 --> 00:20:58,840
Speaker 4: you have to also buy a scholarship for somebody.

455
00:20:58,920 --> 00:21:01,000
Speaker 2: Yeah, I'm like a pair of bomba socks.

456
00:21:01,119 --> 00:21:07,000
Speaker 1: Okay, Like, if you come, if you're Gwyneth Paltrow and

457
00:21:07,040 --> 00:21:14,879
Speaker 1: you're gooping up to Warwick, then break me off. Scholarship.

458
00:21:15,000 --> 00:21:17,840
Speaker 1: I want to stay in the in the bottom part

459
00:21:17,880 --> 00:21:20,359
Speaker 1: of the barn. You can have the rest of whatever,

460
00:21:20,520 --> 00:21:23,159
Speaker 1: the rest of the grounds, but give me a little something.

461
00:21:23,680 --> 00:21:24,640
Speaker 3: Yeah, there's like three.

462
00:21:24,440 --> 00:21:26,200
Speaker 4: Other acres for you to explore. I'll put a tiny

463
00:21:26,200 --> 00:21:27,800
Speaker 4: house back there for you if that's what you want.

464
00:21:27,840 --> 00:21:29,920
Speaker 4: You want privacy, you can pay a little more for privacy,

465
00:21:31,320 --> 00:21:32,600
Speaker 4: scholarship kids in this house.

466
00:21:32,720 --> 00:21:35,399
Speaker 2: I'll sleep in the father John Misty Recording Studio.

467
00:21:35,480 --> 00:21:35,720
Speaker 3: I'll do.

468
00:21:36,600 --> 00:21:39,200
Speaker 1: They do that at Escellin. They do that at Escellin

469
00:21:39,400 --> 00:21:42,760
Speaker 1: like something. There's a level at Esslin where you literally

470
00:21:42,800 --> 00:21:45,320
Speaker 1: just bring a sleeping bag and sleep in a fucking

471
00:21:45,400 --> 00:21:46,119
Speaker 1: yoga studio.

472
00:21:46,480 --> 00:21:49,680
Speaker 3: So exactly there we go and it's like five. Everybody

473
00:21:49,800 --> 00:21:50,040
Speaker 3: do that?

474
00:21:52,280 --> 00:21:55,600
Speaker 4: Just sleep on the floor in a big old cathedral room. Yes,

475
00:21:55,960 --> 00:21:58,840
Speaker 4: So I are to make it super fucking comfortable. And

476
00:21:59,400 --> 00:22:02,119
Speaker 4: I want people to be able to create without stress

477
00:22:02,160 --> 00:22:04,480
Speaker 4: because and here's the thing, that's all I ever wanted

478
00:22:04,480 --> 00:22:06,920
Speaker 4: when I was younger, Like I would read about people

479
00:22:06,960 --> 00:22:08,919
Speaker 4: paying for writing retreats and I'm like, oh, I can't go,

480
00:22:09,000 --> 00:22:10,600
Speaker 4: but it wouldn't it be great to just focus on

481
00:22:10,640 --> 00:22:12,679
Speaker 4: a book for a month like before you know, I

482
00:22:12,760 --> 00:22:14,840
Speaker 4: kind of set my life up so that I could

483
00:22:14,880 --> 00:22:16,600
Speaker 4: do that. That's all I wanted when I was a

484
00:22:16,640 --> 00:22:19,280
Speaker 4: young creative person. So that's why I want to give

485
00:22:19,320 --> 00:22:21,800
Speaker 4: it back, Like I understand how that can be revolutionary

486
00:22:21,880 --> 00:22:23,040
Speaker 4: to your creativity or.

487
00:22:22,960 --> 00:22:25,920
Speaker 3: To your fucking life, right, So I want to give

488
00:22:25,960 --> 00:22:26,280
Speaker 3: that back.

489
00:22:26,320 --> 00:22:28,280
Speaker 4: Although I will say, you told me a detail about

490
00:22:28,320 --> 00:22:32,640
Speaker 4: Salmon Creek that I will not abide. Ain't nobody composting

491
00:22:32,680 --> 00:22:35,240
Speaker 4: their own shit. Here, I will have plumbing. Listen, I

492
00:22:35,280 --> 00:22:36,600
Speaker 4: will have plumbing.

493
00:22:37,840 --> 00:22:38,119
Speaker 3: That.

494
00:22:38,119 --> 00:22:40,600
Speaker 1: That's the reason why I've actually not pulled the trigger

495
00:22:41,160 --> 00:22:43,120
Speaker 1: on Salmon Creek because I was like, oh, you.

496
00:22:43,160 --> 00:22:45,520
Speaker 3: Have to shovel your your own shit.

497
00:22:46,240 --> 00:22:52,879
Speaker 4: Literally, and then they use it for compost, and then

498
00:22:52,920 --> 00:22:55,919
Speaker 4: you are eating vegetables from a garden that was fertilized

499
00:22:55,920 --> 00:22:57,080
Speaker 4: by other people's shit.

500
00:22:57,720 --> 00:23:00,560
Speaker 1: Well, and like like we talked about I was there

501
00:23:00,600 --> 00:23:06,200
Speaker 1: about I was like, you don't want my my poops

502
00:23:06,240 --> 00:23:09,480
Speaker 1: to go back into the food system because well, no,

503
00:23:10,040 --> 00:23:14,960
Speaker 1: I eat Wendy's and Dunkin Donuts like maybe two or

504
00:23:14,960 --> 00:23:18,600
Speaker 1: three times when we were together in Maine. So don't

505
00:23:18,600 --> 00:23:20,720
Speaker 1: put that back in the food too. That is not

506
00:23:20,760 --> 00:23:22,879
Speaker 1: going to grow crops. I can guarantee it.

507
00:23:23,640 --> 00:23:26,040
Speaker 4: Like why is everything withering on the vine and then

508
00:23:26,080 --> 00:23:29,120
Speaker 4: it's just like a little Wendy straw is growing out

509
00:23:29,200 --> 00:23:30,080
Speaker 4: next to the plants.

510
00:23:30,640 --> 00:23:35,520
Speaker 1: Why, somehow, why are our vegetables growing fried apple pies

511
00:23:35,560 --> 00:23:37,600
Speaker 1: from McDonald's instead of.

512
00:23:39,400 --> 00:23:41,040
Speaker 3: Usable fruits.

513
00:23:46,680 --> 00:23:49,800
Speaker 4: This episode is either called I'm a pair of bomba

514
00:23:49,960 --> 00:23:51,960
Speaker 4: sock or you don't want my shit?

515
00:23:54,840 --> 00:23:59,320
Speaker 1: Yeah, and say, like the tomatoes, the beautiful, gorgeous tomatoes

516
00:23:59,320 --> 00:24:05,560
Speaker 1: that would be grown avine are like munchkins, powered munchkins

517
00:24:05,640 --> 00:24:08,160
Speaker 1: and blueberry munchkins.

518
00:24:08,280 --> 00:24:10,760
Speaker 4: I mean, every bloom, it's like, oh my god, does

519
00:24:10,800 --> 00:24:12,200
Speaker 4: that tomato have a cigarette?

520
00:24:12,560 --> 00:24:13,600
Speaker 3: A lit cigarette?

521
00:24:14,040 --> 00:24:17,080
Speaker 4: Like a lit cigarette is inside this tomato as it's growing?

522
00:24:17,119 --> 00:24:20,479
Speaker 4: What the fuck like hanging out of its little tomato step?

523
00:24:23,000 --> 00:24:26,040
Speaker 3: Yeah, so you thank god, you're not making us do that,

524
00:24:26,119 --> 00:24:30,840
Speaker 3: and you're a retreat. No plumbing for sure. The barn

525
00:24:30,960 --> 00:24:32,440
Speaker 3: actually already has plumbing.

526
00:24:32,920 --> 00:24:36,040
Speaker 4: Oh wow, okay, yeah, because they used to like fill

527
00:24:36,080 --> 00:24:40,040
Speaker 4: up the water troughs in there, interest so it has plumbing.

528
00:24:40,040 --> 00:24:41,800
Speaker 4: So I just need to, like, I just need to

529
00:24:41,800 --> 00:24:44,200
Speaker 4: make a shitload of money so I can make these

530
00:24:44,280 --> 00:24:45,080
Speaker 4: dreams come true.

531
00:24:45,280 --> 00:24:46,960
Speaker 3: Yes, but then you can.

532
00:24:47,280 --> 00:24:48,520
Speaker 4: And you know, like I said, you always have a

533
00:24:48,560 --> 00:24:50,200
Speaker 4: bedroom here, You always have a space here.

534
00:24:50,720 --> 00:24:51,520
Speaker 2: Thank you so much.

535
00:24:51,600 --> 00:24:53,400
Speaker 3: I don't care what happens in your life. You bring

536
00:24:53,440 --> 00:24:55,000
Speaker 3: that dog and you come on up here.

537
00:24:55,080 --> 00:24:56,480
Speaker 4: I don't even care if you're just like, look, I

538
00:24:56,520 --> 00:24:58,600
Speaker 4: just want to disappear from society for a year.

539
00:24:58,680 --> 00:25:01,160
Speaker 3: Great, come on up. I won't tell goddamn soul you're here.

540
00:25:01,800 --> 00:25:04,119
Speaker 1: I think my Christmas wish for this year is that

541
00:25:04,160 --> 00:25:08,080
Speaker 1: you and I get rich enough so you can have

542
00:25:08,240 --> 00:25:10,160
Speaker 1: a retreat and I can go to your retreat.

543
00:25:10,359 --> 00:25:13,800
Speaker 2: I think that's a simple Christmas wish this year.

544
00:25:14,520 --> 00:25:15,160
Speaker 3: You could do that.

545
00:25:15,520 --> 00:25:17,600
Speaker 4: You could do that this Christmas, Like I will use

546
00:25:17,640 --> 00:25:21,080
Speaker 4: my miles to buy you a fucking ticket and you

547
00:25:21,080 --> 00:25:24,040
Speaker 4: could stay upstairs for a month.

548
00:25:25,000 --> 00:25:28,040
Speaker 3: You can do that this year. That is a realizable dream.

549
00:25:28,359 --> 00:25:30,960
Speaker 1: Well, let me get my sleeping bag out of the

550
00:25:31,000 --> 00:25:33,560
Speaker 1: closet and i'll I'll meet you there.

551
00:25:35,920 --> 00:25:38,520
Speaker 4: There are bedrooms up here that are just serial killer like,

552
00:25:38,520 --> 00:25:41,160
Speaker 4: like I was showing someone else around the house after

553
00:25:41,320 --> 00:25:43,760
Speaker 4: you visited. I had another friend visit and I kind

554
00:25:43,760 --> 00:25:45,600
Speaker 4: of paused in the middle of a hallway. I think

555
00:25:45,600 --> 00:25:47,560
Speaker 4: I did this with you too, And I kind of paused,

556
00:25:47,600 --> 00:25:50,520
Speaker 4: and there's two bedrooms that are across from each other,

557
00:25:50,560 --> 00:25:52,399
Speaker 4: and I was like, oh, and eventually this will be

558
00:25:52,480 --> 00:25:54,640
Speaker 4: my bedroom like all of this because I'm taking over

559
00:25:54,680 --> 00:25:57,239
Speaker 4: the bedroom next door. And she was like, this is

560
00:25:57,960 --> 00:26:00,040
Speaker 4: this is like the size of my apartment right now

561
00:26:00,080 --> 00:26:00,560
Speaker 4: York City.

562
00:26:00,680 --> 00:26:02,240
Speaker 3: She's like, so, your bedroom is going to be the.

563
00:26:02,240 --> 00:26:05,240
Speaker 4: Size of my heart one day, and I was like,

564
00:26:06,119 --> 00:26:08,439
Speaker 4: it's also the size of every apartment I've ever lived in.

565
00:26:08,480 --> 00:26:12,000
Speaker 4: So yes, I'm somebody and kept who is raised in captivity,

566
00:26:12,000 --> 00:26:13,280
Speaker 4: and I'm like, I just I know I got all

567
00:26:13,280 --> 00:26:15,400
Speaker 4: this space, but I still just see like my own

568
00:26:15,480 --> 00:26:17,280
Speaker 4: little space in the big space.

569
00:26:18,960 --> 00:26:20,359
Speaker 3: So there will always be space.

570
00:26:20,520 --> 00:26:22,240
Speaker 4: So I feel like other people should use the space

571
00:26:22,280 --> 00:26:24,600
Speaker 4: that I'm not using because I'm just gonna keep getting

572
00:26:24,600 --> 00:26:25,840
Speaker 4: smaller and smaller in here.

573
00:26:26,040 --> 00:26:27,159
Speaker 3: Yeah.

574
00:26:27,240 --> 00:26:30,159
Speaker 4: Well, but it's great. It's great to have the space

575
00:26:30,200 --> 00:26:33,440
Speaker 4: to play around with. And eventually, whether it's two years

576
00:26:33,520 --> 00:26:36,280
Speaker 4: or ten or twenty, eventually it's gonna be a place

577
00:26:36,280 --> 00:26:39,159
Speaker 4: where we can all fucking retire Golden Girls style and

578
00:26:39,200 --> 00:26:41,000
Speaker 4: make our weird art and you could do whatever you

579
00:26:41,040 --> 00:26:41,800
Speaker 4: want to the front yard.

580
00:26:41,800 --> 00:26:43,320
Speaker 3: You can put as many things as you want in

581
00:26:43,359 --> 00:26:43,760
Speaker 3: the yard.

582
00:26:43,920 --> 00:26:44,880
Speaker 2: Thank you for that.

583
00:26:45,040 --> 00:26:48,280
Speaker 4: I'll give you, give you a dedicated, fenced in space.

584
00:26:48,280 --> 00:26:49,720
Speaker 3: We'll call it Millie's Place.

585
00:26:50,280 --> 00:26:53,560
Speaker 1: Don't We're gonna get into the concrete swans out there

586
00:26:53,560 --> 00:26:57,359
Speaker 1: and a trellis where people can get fucking married, and

587
00:26:57,400 --> 00:26:58,000
Speaker 1: shit like.

588
00:26:58,000 --> 00:27:00,760
Speaker 2: It's gonna be don't give don't give me an inch.

589
00:27:00,880 --> 00:27:04,640
Speaker 3: I will take ten miles the row the marriage.

590
00:27:06,520 --> 00:27:09,240
Speaker 4: The marriage row will just be lined with bird feeders

591
00:27:09,520 --> 00:27:10,800
Speaker 4: as they walk down the aisle.

592
00:27:13,119 --> 00:27:15,240
Speaker 3: Holy shit, well, I'm excited for you.

593
00:27:15,400 --> 00:27:20,320
Speaker 1: I'm excited for this, this potential business idea, and otherwise,

594
00:27:20,400 --> 00:27:22,560
Speaker 1: I just you know, I love talking about your house

595
00:27:22,600 --> 00:27:25,439
Speaker 1: now that I've been there, I love talking about it.

596
00:27:25,840 --> 00:27:26,280
Speaker 3: Thank you.

597
00:27:26,440 --> 00:27:28,879
Speaker 4: It makes me so happy, especially because the first thing

598
00:27:28,920 --> 00:27:30,359
Speaker 4: you said when you walked in was like, it smells

599
00:27:30,359 --> 00:27:32,119
Speaker 4: like a yoga studio in here, because I don't know

600
00:27:32,119 --> 00:27:34,439
Speaker 4: what it smells like. I'm so noseblind to this place,

601
00:27:35,320 --> 00:27:37,280
Speaker 4: and I just love that it was cozy and comfortable

602
00:27:37,320 --> 00:27:37,960
Speaker 4: and smelt goold.

603
00:27:38,080 --> 00:27:40,639
Speaker 2: Yeah, you're halfway there to your yoga retreat.

604
00:27:40,320 --> 00:27:43,320
Speaker 4: So halfway there, I could take one of the couches

605
00:27:43,320 --> 00:27:45,120
Speaker 4: out downstairs and do it that and do it there.

606
00:27:45,359 --> 00:27:47,639
Speaker 2: Yeah, that would be awesome.

607
00:27:47,720 --> 00:27:49,560
Speaker 3: Come through. I got plastic on the windows.

608
00:27:49,600 --> 00:27:51,720
Speaker 4: Your hot breath will be all steaming up everything while

609
00:27:51,760 --> 00:27:53,240
Speaker 4: you're huffing and puffing.

610
00:27:52,960 --> 00:27:53,800
Speaker 3: Through a downward dog.

611
00:27:53,880 --> 00:27:54,359
Speaker 4: Come through.

612
00:27:54,560 --> 00:27:57,640
Speaker 3: Yeah. But yeah, I'm very, very lucky to have my house.

613
00:27:57,680 --> 00:27:59,920
Speaker 4: And even though some days I look around and I'm like,

614
00:28:00,000 --> 00:28:01,680
Speaker 4: should I sell this thing and just live in a

615
00:28:01,720 --> 00:28:02,560
Speaker 4: more reasonable way?

616
00:28:03,320 --> 00:28:05,399
Speaker 3: I feel like I will never get this again. I

617
00:28:05,400 --> 00:28:07,000
Speaker 3: will never have the option to get this again.

618
00:28:07,200 --> 00:28:11,359
Speaker 1: No, it's so uniquely you and I don't want you

619
00:28:11,400 --> 00:28:13,040
Speaker 1: to get rid of it because I got lots of

620
00:28:13,200 --> 00:28:14,200
Speaker 1: business ideas.

621
00:28:14,760 --> 00:28:19,119
Speaker 4: Yeah, speaking of business ideas, what about the podcast that

622
00:28:19,160 --> 00:28:20,040
Speaker 4: we started together?

623
00:28:21,119 --> 00:28:23,560
Speaker 2: Should That's a very good transition.

624
00:28:24,800 --> 00:28:27,520
Speaker 3: Ah, I did it. You did it right in time

625
00:28:27,560 --> 00:28:34,159
Speaker 3: for the end of the year. I did it. So

626
00:28:34,680 --> 00:28:35,960
Speaker 3: did you come up with this?

627
00:28:35,960 --> 00:28:38,120
Speaker 2: This was your want to do it?

628
00:28:38,320 --> 00:28:40,240
Speaker 3: I believe, I believe it was.

629
00:28:40,440 --> 00:28:43,160
Speaker 4: I believe this theme was was speaking of the eighties.

630
00:28:44,080 --> 00:28:47,360
Speaker 4: This is something dear to my heart, as I feel

631
00:28:47,360 --> 00:28:49,520
Speaker 4: like almost every movie I watched in the eighties had

632
00:28:49,560 --> 00:28:54,200
Speaker 4: one of these. Because our theme this week is pedal

633
00:28:54,280 --> 00:28:56,960
Speaker 4: to the Metal, we're talking about car chase movies.

634
00:28:57,600 --> 00:29:00,320
Speaker 2: We are talking about car chase movies.

635
00:29:00,360 --> 00:29:01,760
Speaker 1: Have you ever been in a car chase or have

636
00:29:01,840 --> 00:29:05,120
Speaker 1: you ever been involved in a race of any kind?

637
00:29:06,040 --> 00:29:06,960
Speaker 3: Absolutely not.

638
00:29:07,040 --> 00:29:11,120
Speaker 4: I am so risk averse, especially when it comes to cars.

639
00:29:12,000 --> 00:29:13,000
Speaker 3: I've never fucked round.

640
00:29:13,080 --> 00:29:15,360
Speaker 4: The most I ever did was that game at a

641
00:29:15,360 --> 00:29:17,480
Speaker 4: stoplight where you get out and run around the car

642
00:29:18,600 --> 00:29:21,840
Speaker 4: and then then you have to sit down back in

643
00:29:21,840 --> 00:29:25,320
Speaker 4: your seat before the light changes. And the last time

644
00:29:25,360 --> 00:29:27,960
Speaker 4: I played it, I ran around the car so fast.

645
00:29:28,000 --> 00:29:30,560
Speaker 4: I was in the front front passenger seat, ran around

646
00:29:30,560 --> 00:29:34,280
Speaker 4: the car so fast hit my tit, my left tit

647
00:29:34,800 --> 00:29:37,200
Speaker 4: directly on the corner of the car door, and I

648
00:29:37,240 --> 00:29:39,560
Speaker 4: still have a scar to this day. And I was like,

649
00:29:39,560 --> 00:29:42,120
Speaker 4: I could have impaled myself, Like it was just right

650
00:29:42,160 --> 00:29:43,280
Speaker 4: there over my heart.

651
00:29:43,320 --> 00:29:46,600
Speaker 3: I've got a car. Yeah, we're playing this dumb game.

652
00:29:47,080 --> 00:29:48,920
Speaker 3: What is that game called?

653
00:29:48,960 --> 00:29:49,560
Speaker 2: Do you remember?

654
00:29:49,720 --> 00:29:50,000
Speaker 3: I don't.

655
00:29:50,120 --> 00:29:52,360
Speaker 4: I think we just called it fire drill Okay, Like

656
00:29:52,400 --> 00:29:53,760
Speaker 4: someone would just scream out fire.

657
00:29:53,640 --> 00:29:56,760
Speaker 3: Drill and every would get out of the car around.

658
00:29:58,360 --> 00:30:01,440
Speaker 1: If you're like in high school right now and you're

659
00:30:01,480 --> 00:30:04,640
Speaker 1: listening to us talk about these fucking games we used

660
00:30:04,640 --> 00:30:06,800
Speaker 1: to play before the Internet happened.

661
00:30:07,840 --> 00:30:11,320
Speaker 2: You're probably like, were they pilgrims?

662
00:30:11,360 --> 00:30:13,320
Speaker 3: Like, well, why were they entertaining.

663
00:30:12,920 --> 00:30:14,080
Speaker 2: Themselves in such.

664
00:30:15,440 --> 00:30:17,240
Speaker 3: Really boring weird ways?

665
00:30:17,600 --> 00:30:20,040
Speaker 4: But although I will counter that by saying, do you

666
00:30:20,120 --> 00:30:23,640
Speaker 4: remember there was a point where ghost ride the whip

667
00:30:23,880 --> 00:30:24,320
Speaker 4: was a thing?

668
00:30:24,800 --> 00:30:25,080
Speaker 3: Girl?

669
00:30:25,200 --> 00:30:27,520
Speaker 1: You know I did I actually have been in a

670
00:30:27,520 --> 00:30:29,160
Speaker 1: whip that was ghost witting?

671
00:30:29,840 --> 00:30:29,920
Speaker 4: No?

672
00:30:30,720 --> 00:30:34,000
Speaker 3: Yes, ah, say more about that. God.

673
00:30:34,040 --> 00:30:38,280
Speaker 4: I love Atlanta, Okay, atl baby number one, Atlians forever,

674
00:30:38,360 --> 00:30:39,600
Speaker 4: Aliens forever.

675
00:30:40,640 --> 00:30:44,080
Speaker 1: That that shit was happening. Listen, I was old enough.

676
00:30:44,560 --> 00:30:49,040
Speaker 1: I'm an I'm an Atlian for life. I've been here

677
00:30:49,280 --> 00:30:52,320
Speaker 1: pretty much my entire life since I was nine years old.

678
00:30:52,840 --> 00:30:57,920
Speaker 1: And I remember when Freaknik, the original Freaknick was happening

679
00:30:57,960 --> 00:31:01,440
Speaker 1: in the nineties. That was a fucking that was before

680
00:31:01,600 --> 00:31:05,440
Speaker 1: even the term ghosts riding the whip was out there.

681
00:31:06,080 --> 00:31:10,760
Speaker 1: People were literally taking like those like Dodge Caravan minivans.

682
00:31:10,800 --> 00:31:13,800
Speaker 1: Do you remember, like those cars that people's moms drove

683
00:31:13,960 --> 00:31:18,000
Speaker 1: to soccer practice, and they would open up the door,

684
00:31:18,000 --> 00:31:21,280
Speaker 1: the sliding door, and like that thing would be in

685
00:31:21,360 --> 00:31:24,640
Speaker 1: neutral going down the freeway and people were like moving

686
00:31:24,680 --> 00:31:27,960
Speaker 1: in and out of the cars and the driver would

687
00:31:28,000 --> 00:31:29,000
Speaker 1: get in the side.

688
00:31:29,120 --> 00:31:32,680
Speaker 2: Yes, it would be like chaos.

689
00:31:33,880 --> 00:31:37,120
Speaker 4: I didn't realize moving around in between cars was part

690
00:31:37,160 --> 00:31:37,400
Speaker 4: of it.

691
00:31:37,480 --> 00:31:39,760
Speaker 1: Oh yeah, people would jump out of their car, jump

692
00:31:39,800 --> 00:31:43,080
Speaker 1: into another person's car. The driver of the car of

693
00:31:43,120 --> 00:31:47,560
Speaker 1: the whip would get out, get on top of the car.

694
00:31:47,520 --> 00:31:48,680
Speaker 2: With like a cam corder.

695
00:31:48,880 --> 00:31:51,280
Speaker 3: Like it was totally.

696
00:31:52,640 --> 00:31:56,320
Speaker 1: It was a total like era of Atlanta That it's

697
00:31:56,360 --> 00:31:59,760
Speaker 1: a five's explanation to be honest, But yeah, I've actually

698
00:31:59,800 --> 00:32:04,240
Speaker 1: been a car where a driver stop driving a car

699
00:32:05,240 --> 00:32:10,600
Speaker 1: and then still stood on the It's that what is it.

700
00:32:10,600 --> 00:32:13,040
Speaker 1: It's the part of the car sideboard. The sideboard that

701
00:32:13,080 --> 00:32:16,440
Speaker 1: we're talking about today with your film, I'm sure part

702
00:32:16,440 --> 00:32:20,920
Speaker 1: of the car like standing up fully body fully out

703
00:32:20,960 --> 00:32:22,160
Speaker 1: of the vehicle.

704
00:32:25,040 --> 00:32:27,719
Speaker 2: And I'm I'm screaming. I'm screaming.

705
00:32:28,080 --> 00:32:30,120
Speaker 3: By the way, I was gonna say, what is your

706
00:32:30,120 --> 00:32:33,160
Speaker 3: reaction in that moment, like yay or no? I like, shit,

707
00:32:33,200 --> 00:32:34,840
Speaker 3: We're gonna die. I like you.

708
00:32:35,000 --> 00:32:37,840
Speaker 1: I am also risk averse, especially when it comes to cars,

709
00:32:39,560 --> 00:32:40,320
Speaker 1: and I was like.

710
00:32:40,800 --> 00:32:45,400
Speaker 3: Get a car. This is that funny?

711
00:32:45,640 --> 00:32:46,080
Speaker 2: Oh my god.

712
00:32:46,080 --> 00:32:48,880
Speaker 4: It was the time I started driving at sixteen. Whenever

713
00:32:48,920 --> 00:32:51,040
Speaker 4: any of my friends would pull some funck shit in

714
00:32:51,080 --> 00:32:53,760
Speaker 4: a car that they were driving, I turned into everyone's

715
00:32:53,800 --> 00:32:54,720
Speaker 4: mom ystantly.

716
00:32:55,200 --> 00:32:57,760
Speaker 3: Yeah, this is a this is a huge vehicle. This

717
00:32:57,800 --> 00:33:01,960
Speaker 3: is a two ton vehicle. Respect it behind the wheel.

718
00:33:02,800 --> 00:33:05,080
Speaker 1: I'll tell you the closest that I ever came to

719
00:33:05,440 --> 00:33:08,560
Speaker 1: either of our films today in my life was this

720
00:33:08,600 --> 00:33:11,400
Speaker 1: is actually amazing, but it was not fun for me.

721
00:33:11,480 --> 00:33:13,480
Speaker 1: It was amazing for my friend, it wasn't fun for me.

722
00:33:13,720 --> 00:33:17,880
Speaker 1: So my friend Darren Hanlin, who is this Australian musician.

723
00:33:18,640 --> 00:33:22,640
Speaker 1: He is an incredible dude. He comes to the States

724
00:33:22,640 --> 00:33:24,840
Speaker 1: a lot to tour and I've known him for like

725
00:33:24,880 --> 00:33:28,960
Speaker 1: over twenty years. So one time when he came to Atlanta,

726
00:33:29,400 --> 00:33:32,640
Speaker 1: he rented a car and for some reason they gave

727
00:33:32,760 --> 00:33:36,920
Speaker 1: him I think it was actually a Dodge Challenger, like

728
00:33:36,960 --> 00:33:40,920
Speaker 1: the car that's in Vanishing Point right my movie, but

729
00:33:40,960 --> 00:33:42,400
Speaker 1: it was like a muscle car. It was some kind

730
00:33:42,440 --> 00:33:44,400
Speaker 1: of muscle car if it wasn't a Dodge Challenger with

731
00:33:44,440 --> 00:33:49,400
Speaker 1: something else. And he's like this folk artist from Australia

732
00:33:49,600 --> 00:33:55,520
Speaker 1: in this like ridiculous souped up American car.

733
00:33:55,640 --> 00:33:56,080
Speaker 2: Okay.

734
00:33:56,680 --> 00:34:00,280
Speaker 1: So he's like, we have to do something with this car.

735
00:34:00,320 --> 00:34:02,480
Speaker 1: Like I'm just like driving to the store and driving

736
00:34:02,520 --> 00:34:05,360
Speaker 1: to the gig, and he was like, do you want

737
00:34:05,360 --> 00:34:08,360
Speaker 1: to take it somewhere and maybe like do some donuts,

738
00:34:08,640 --> 00:34:13,600
Speaker 1: you know, just do some donuts. So I was like, okay, sure,

739
00:34:14,000 --> 00:34:16,280
Speaker 1: how you know, far be it from me to deny

740
00:34:16,400 --> 00:34:20,640
Speaker 1: my international friend the opportunity to do something very American

741
00:34:20,760 --> 00:34:20,960
Speaker 1: like that.

742
00:34:21,120 --> 00:34:21,480
Speaker 2: Okay.

743
00:34:21,960 --> 00:34:24,640
Speaker 1: So we went to this church parking lot that was

744
00:34:24,640 --> 00:34:27,280
Speaker 1: down the street from my apartment and we were doing

745
00:34:27,320 --> 00:34:31,480
Speaker 1: donuts and I was so scared because the car is

746
00:34:31,520 --> 00:34:34,879
Speaker 1: so powerful, right yeah, it was like you know, it's

747
00:34:34,920 --> 00:34:38,960
Speaker 1: like hugging the road. It's like design for that kind

748
00:34:38,960 --> 00:34:42,960
Speaker 1: of shit, and he was going so fast that I

749
00:34:43,160 --> 00:34:45,319
Speaker 1: was like terrified for my life. I mean, we were

750
00:34:45,360 --> 00:34:47,480
Speaker 1: in a controlled environment for the most part, but at

751
00:34:47,520 --> 00:34:50,840
Speaker 1: the same time, I was like, I can't even imagine

752
00:34:51,400 --> 00:34:56,120
Speaker 1: doing this for real, like we're like in a car.

753
00:34:56,000 --> 00:34:58,759
Speaker 2: Chase or otherwise. I'm just like this is around care.

754
00:35:01,520 --> 00:35:06,319
Speaker 4: I genuinely don't even know how you can intentionally get

755
00:35:06,360 --> 00:35:10,200
Speaker 4: yourself into a donut situation. Going fast and slamming on

756
00:35:10,239 --> 00:35:11,840
Speaker 4: the brakes feels like hell to me.

757
00:35:12,000 --> 00:35:12,880
Speaker 3: Oh my gosh.

758
00:35:13,080 --> 00:35:16,960
Speaker 1: Yeah, it was basically like I don't think he did

759
00:35:16,960 --> 00:35:19,719
Speaker 1: the tokyo drift. Okay, that part would have freaked me out.

760
00:35:19,719 --> 00:35:23,600
Speaker 1: The tokyo drift is what that can go off the rails.

761
00:35:23,600 --> 00:35:28,120
Speaker 1: It seems like very quickly, what if you tokyo drift

762
00:35:28,200 --> 00:35:30,600
Speaker 1: into the church or whatever, like.

763
00:35:32,360 --> 00:35:32,680
Speaker 3: Scare.

764
00:35:32,840 --> 00:35:35,480
Speaker 4: You have to have such a specific amount of space

765
00:35:35,560 --> 00:35:40,280
Speaker 4: to tokyo drift. It's like you can't just be drifting

766
00:35:40,520 --> 00:35:44,560
Speaker 4: into a grocery store. And if you're on the streets

767
00:35:44,600 --> 00:35:47,560
Speaker 4: tokyo drifting, you're gonna be tokyo drifting over bridges and shit,

768
00:35:47,600 --> 00:35:49,440
Speaker 4: and like going over the fucking guardrails.

769
00:35:49,920 --> 00:35:53,520
Speaker 1: Listen, Like I've hydroplaned once or twice in my life.

770
00:35:53,560 --> 00:35:56,520
Speaker 1: That to me, that means I do not like Tokyo

771
00:35:56,640 --> 00:35:59,160
Speaker 1: drifts because I don't like the feeling of being out

772
00:35:59,160 --> 00:35:59,719
Speaker 1: of control.

773
00:36:00,200 --> 00:36:03,000
Speaker 4: Yeah, if you have ever driven on black ice, yes,

774
00:36:03,840 --> 00:36:05,920
Speaker 4: Tokyo drifting in't your fucking friend.

775
00:36:07,719 --> 00:36:08,319
Speaker 3: Like at all.

776
00:36:08,560 --> 00:36:11,160
Speaker 4: And I'll say this, I have never watched a single

777
00:36:11,239 --> 00:36:15,400
Speaker 4: Fast and Furious movie or any of the offshoots like

778
00:36:15,480 --> 00:36:18,080
Speaker 4: Hobbs and Show. I've never watched a single one. I

779
00:36:18,120 --> 00:36:21,040
Speaker 4: think over this holiday break, I'm gonna watch them all.

780
00:36:21,200 --> 00:36:26,799
Speaker 1: Well, I'm gonna tell you right now, incredible idea. Our

781
00:36:26,840 --> 00:36:30,480
Speaker 1: producer Casey did that recently. I think right like Casey

782
00:36:30,520 --> 00:36:32,759
Speaker 1: and his wife did did the whole run of the

783
00:36:32,800 --> 00:36:37,080
Speaker 1: Fast and Furious movies. I think they're fun and I

784
00:36:37,120 --> 00:36:40,600
Speaker 1: think that there's a reason why, Philip, you know, people

785
00:36:41,000 --> 00:36:45,440
Speaker 1: fucking love Paul Walker. It's it's like, it feels like

786
00:36:46,080 --> 00:36:48,640
Speaker 1: a franchise that's very friendly to people.

787
00:36:48,360 --> 00:36:52,360
Speaker 3: Of color, very diverse, very diverse.

788
00:36:52,600 --> 00:37:00,080
Speaker 1: Yes, it's about family, it's about cars, steaks, drift.

789
00:37:00,000 --> 00:37:02,799
Speaker 4: Shoe Rodriguez is there somehow, I don't know how she

790
00:37:02,880 --> 00:37:06,040
Speaker 4: fits in. I thought Angelina Jolie was part of it,

791
00:37:06,080 --> 00:37:08,520
Speaker 4: but she's in the gone in sixty seconds, crew, I was.

792
00:37:08,440 --> 00:37:10,799
Speaker 1: Gonna say, so, I can't get confused by that kind

793
00:37:10,800 --> 00:37:14,520
Speaker 1: of stuff, too ludicrous.

794
00:37:14,600 --> 00:37:19,719
Speaker 3: The original Atlien is there, so you'll love it. I

795
00:37:19,719 --> 00:37:21,000
Speaker 3: think you'll love those movies.

796
00:37:21,560 --> 00:37:24,040
Speaker 4: If you don't understand why we're saying Atlan, you have

797
00:37:24,120 --> 00:37:26,600
Speaker 4: to go back to one of our very early episodes

798
00:37:27,040 --> 00:37:29,560
Speaker 4: to understand. I think the title of the episode is

799
00:37:29,640 --> 00:37:33,640
Speaker 4: at Alien, and that is not how I pronounced it,

800
00:37:33,760 --> 00:37:35,719
Speaker 4: or how I thought it was pronounced at all.

801
00:37:37,080 --> 00:37:39,720
Speaker 3: That's it to this day. That makes me laugh so hard.

802
00:37:40,280 --> 00:37:42,719
Speaker 4: I thought you were gonna lose your mind. But I'm like, wait,

803
00:37:42,760 --> 00:37:46,080
Speaker 4: I thought it was Atlien. Yeah, you're like, what are

804
00:37:46,080 --> 00:37:47,239
Speaker 4: you talking about?

805
00:37:47,560 --> 00:37:50,040
Speaker 2: This is the last part of my time share presentation

806
00:37:50,120 --> 00:37:51,520
Speaker 2: about the Fast and Not Furious movies.

807
00:37:52,040 --> 00:37:53,000
Speaker 3: Now you know.

808
00:37:53,719 --> 00:37:59,200
Speaker 1: That Vin Diesel is a hardcore nerd that plays dungeons

809
00:37:59,200 --> 00:37:59,880
Speaker 1: and dragons.

810
00:38:00,600 --> 00:38:02,359
Speaker 3: Yes, so it's all there for you.

811
00:38:02,600 --> 00:38:05,200
Speaker 2: I think it's perfectly set up for you to enjoy

812
00:38:05,280 --> 00:38:05,920
Speaker 2: all of them.

813
00:38:06,040 --> 00:38:08,640
Speaker 4: So I'm ready to go the same way that I

814
00:38:08,680 --> 00:38:12,520
Speaker 4: love inexplicably love watching people get punched in the face

815
00:38:12,520 --> 00:38:13,040
Speaker 4: in movies.

816
00:38:13,120 --> 00:38:17,000
Speaker 3: I fucking love car chases. Yeah, so I'm digging in.

817
00:38:17,080 --> 00:38:22,960
Speaker 1: And to be honest, your film this week is probably

818
00:38:22,960 --> 00:38:26,560
Speaker 1: the most famous car chase sequence in film history.

819
00:38:26,600 --> 00:38:29,759
Speaker 3: I would say, yeah, I think so, I think so.

820
00:38:29,920 --> 00:38:35,440
Speaker 4: And yours though, is like cult classic car chase and

821
00:38:35,480 --> 00:38:37,120
Speaker 4: you're going first, and I want you to just jump

822
00:38:37,200 --> 00:38:38,960
Speaker 4: right the fucking all right.

823
00:38:39,000 --> 00:38:43,360
Speaker 1: So my film for the theme, Pedal to the Metal,

824
00:38:43,800 --> 00:38:47,040
Speaker 1: is from nineteen seventy one. The screenplay was written by

825
00:38:47,200 --> 00:38:56,440
Speaker 1: Geramo Cabrera and Fante under the pseudonym Ghirmo Caine, directed

826
00:38:57,560 --> 00:39:05,320
Speaker 1: by Richard Saraphium, and it's called Vanishing Punts and there goes.

827
00:39:05,200 --> 00:39:09,360
Speaker 4: The challenge being chased by the Blue Blue Weed, A wheels,

828
00:39:09,719 --> 00:39:12,880
Speaker 4: the pack come go.

829
00:39:13,120 --> 00:39:20,520
Speaker 3: And driver the super Driver of the Bland.

830
00:39:24,360 --> 00:39:28,880
Speaker 2: And just kidding, I hate that song. As we talked about.

831
00:39:30,360 --> 00:39:32,080
Speaker 3: They played that song in this movie. I think there

832
00:39:32,120 --> 00:39:32,840
Speaker 3: were a been a riot.

833
00:39:33,600 --> 00:39:35,600
Speaker 1: Oh I wouldn't have picked this movie if they played

834
00:39:35,600 --> 00:39:39,160
Speaker 1: that song though, I'd been like, the fuck this fucking

835
00:39:39,320 --> 00:39:43,360
Speaker 1: boomer nightmare. Speaking of boomer nightmares, right, So we have

836
00:39:43,560 --> 00:39:48,200
Speaker 1: this episode about easy Writer, which is anything that we're

837
00:39:48,239 --> 00:39:50,359
Speaker 1: referencing right now. That's where it comes from. So listen

838
00:39:50,360 --> 00:39:53,719
Speaker 1: to that episode if you haven't. We talked about easy Writer.

839
00:39:53,880 --> 00:39:56,040
Speaker 1: We talked about the kind of ripple effect that that

840
00:39:56,200 --> 00:40:00,160
Speaker 1: movie had on culture and film and everything. And I

841
00:40:00,239 --> 00:40:04,560
Speaker 1: think it's fairly obvious if you watch Vanishing Point, or

842
00:40:04,600 --> 00:40:05,920
Speaker 1: if you haven't seen it and or watching it for

843
00:40:06,000 --> 00:40:09,160
Speaker 1: the first time, you obviously don't have a movie like.

844
00:40:09,239 --> 00:40:12,400
Speaker 2: Vanishing Point without Easy Writer, right, right.

845
00:40:12,400 --> 00:40:15,440
Speaker 1: Because it borrows a lot of the same concepts and

846
00:40:15,560 --> 00:40:19,760
Speaker 1: sort of you know, messaging as Easy Writer. But generally,

847
00:40:20,560 --> 00:40:25,839
Speaker 1: this era, this nineteen seventies era was huge for road

848
00:40:25,920 --> 00:40:30,160
Speaker 1: movies right period, So there was not just these types

849
00:40:30,200 --> 00:40:34,920
Speaker 1: of like existential like trips across America type of films

850
00:40:35,040 --> 00:40:39,080
Speaker 1: like Vanishing Point, Easy Writer, Two Lane Blacktop we had

851
00:40:39,080 --> 00:40:41,200
Speaker 1: an episode about two Lane Blacktop, same thing.

852
00:40:42,080 --> 00:40:44,000
Speaker 3: But you know, you have stuff like you.

853
00:40:44,080 --> 00:40:46,520
Speaker 1: Know, Paper Moon and these kind of like you know,

854
00:40:46,680 --> 00:40:50,880
Speaker 1: thieves like us, these sort of like road trip films

855
00:40:51,040 --> 00:40:55,200
Speaker 1: about you know, people who are in families or relationships,

856
00:40:55,239 --> 00:40:57,360
Speaker 1: and then you have all the way through to the

857
00:40:57,520 --> 00:40:59,719
Speaker 1: end of the seventies with like Smoking the Bandit.

858
00:40:59,520 --> 00:41:02,400
Speaker 2: And stuff like that. So it's like you think about,

859
00:41:02,680 --> 00:41:04,280
Speaker 2: why were the seventies sort.

860
00:41:04,040 --> 00:41:06,400
Speaker 1: Of right for these types of films to exist, right,

861
00:41:06,960 --> 00:41:09,440
Speaker 1: And I think it's because of Easy Writer, because we're

862
00:41:09,520 --> 00:41:15,480
Speaker 1: like in this era where people are interrogating the idea

863
00:41:15,520 --> 00:41:18,759
Speaker 1: of America and freedom, and you know, Vietnam's happening, and

864
00:41:18,800 --> 00:41:23,480
Speaker 1: there's counterculture and social upheople and you know, different movements

865
00:41:23,520 --> 00:41:27,080
Speaker 1: and stuff. So you know, we're talking the seventies is

866
00:41:27,120 --> 00:41:30,759
Speaker 1: a dark era, right, We've talked about that, and people

867
00:41:30,840 --> 00:41:34,200
Speaker 1: are really thinking about the sort of darkness of America, you.

868
00:41:34,239 --> 00:41:37,080
Speaker 4: Know, absolutely, And I think that's such an astute point too,

869
00:41:37,239 --> 00:41:40,640
Speaker 4: that like the post war reaction to coming back and

870
00:41:40,719 --> 00:41:44,480
Speaker 4: interrogating America, but also like this country has so much

871
00:41:44,600 --> 00:41:47,480
Speaker 4: fucking space, Yeah, and there are not a lot of

872
00:41:47,560 --> 00:41:52,359
Speaker 4: places where you contraverse that many miles in one nation. Yeah,

873
00:41:52,719 --> 00:41:56,640
Speaker 4: and kind of you know, see so many different ways

874
00:41:56,680 --> 00:42:00,800
Speaker 4: of life or types of people in one in obsoleted space.

875
00:42:01,000 --> 00:42:04,759
Speaker 1: So totally, And you know, I will argue too that

876
00:42:05,040 --> 00:42:12,919
Speaker 1: I feel like this film was was maybe the most

877
00:42:13,120 --> 00:42:16,759
Speaker 1: famous thing a lot of the people in it were

878
00:42:16,800 --> 00:42:19,839
Speaker 1: involved with. I mean, I would I would say it's

879
00:42:19,920 --> 00:42:24,880
Speaker 1: probably Richard Saraphian's most famous movie, or kind of like

880
00:42:24,960 --> 00:42:26,560
Speaker 1: the movie that a lot of people know him for him,

881
00:42:26,600 --> 00:42:28,680
Speaker 1: he did other things. He actually he actually made that

882
00:42:28,800 --> 00:42:30,920
Speaker 1: movie I of the Tiger, remember I talked about that

883
00:42:30,960 --> 00:42:31,279
Speaker 1: movie I.

884
00:42:31,320 --> 00:42:32,800
Speaker 2: Have the Tiger with very God.

885
00:42:33,080 --> 00:42:33,279
Speaker 4: Yeah.

886
00:42:34,800 --> 00:42:36,959
Speaker 1: Yes, so he had done other films, but I feel

887
00:42:36,960 --> 00:42:40,200
Speaker 1: like Vanishing point Is is probably most well known. And

888
00:42:40,280 --> 00:42:45,600
Speaker 1: then also for the screenplay writer and the lead actor

889
00:42:45,640 --> 00:42:50,200
Speaker 1: in the film, Barry Newman, who he'd actually passed.

890
00:42:49,920 --> 00:42:52,719
Speaker 2: Away earlier this year in May Rip King.

891
00:42:53,440 --> 00:42:56,840
Speaker 1: But yeah, so I think that this this film was

892
00:42:57,880 --> 00:43:01,440
Speaker 1: kind of singular in that regard, but also was a

893
00:43:01,560 --> 00:43:04,000
Speaker 1: part of this bigger movement of these films that we're

894
00:43:04,040 --> 00:43:06,400
Speaker 1: sort of talking about, like what does it mean to

895
00:43:06,480 --> 00:43:09,560
Speaker 1: be free? And like what are these institutions that are

896
00:43:09,760 --> 00:43:12,920
Speaker 1: like suppressing individuality and freedom?

897
00:43:13,040 --> 00:43:15,600
Speaker 2: And you know, so it's a very much like easy

898
00:43:15,640 --> 00:43:16,520
Speaker 2: Writer in that way.

899
00:43:17,400 --> 00:43:19,840
Speaker 1: Absolutely, So I'm not gonna do a one sense in

900
00:43:19,880 --> 00:43:23,719
Speaker 1: synopsis because quite honestly, the plot is very simple and

901
00:43:23,840 --> 00:43:24,920
Speaker 1: it's actually there's not a.

902
00:43:24,920 --> 00:43:26,160
Speaker 3: Lot of dialogue in the film.

903
00:43:26,160 --> 00:43:27,520
Speaker 2: I mean there in that way.

904
00:43:27,560 --> 00:43:31,440
Speaker 1: There's a lot of silence, a lot of people driving

905
00:43:31,680 --> 00:43:34,440
Speaker 1: and not saying much much like two Lane Blacktop. But

906
00:43:34,800 --> 00:43:37,960
Speaker 1: the beginning of the movie kind of takes place, you know,

907
00:43:38,120 --> 00:43:40,600
Speaker 1: in sort of mid action. There's already a car chase

908
00:43:40,640 --> 00:43:42,799
Speaker 1: happening at the very beginning of the movie, and it's

909
00:43:42,840 --> 00:43:45,640
Speaker 1: in a small desert town. There's a car that's driving

910
00:43:45,760 --> 00:43:48,120
Speaker 1: very fast down the road and it's being chased by

911
00:43:48,200 --> 00:43:50,560
Speaker 1: police and helicopters. And then all of a sudden you

912
00:43:50,640 --> 00:43:57,719
Speaker 1: see these two giant excavators in the middle of the road, right,

913
00:43:58,000 --> 00:44:03,040
Speaker 1: and you're like, what's up with that? You know, so

914
00:44:03,200 --> 00:44:07,280
Speaker 1: clearly there's something going on. But then after that sequence,

915
00:44:07,440 --> 00:44:09,719
Speaker 1: it kind of jumps into the story, which is that

916
00:44:10,320 --> 00:44:14,359
Speaker 1: this is a movie about this this male character named Kowalski,

917
00:44:14,840 --> 00:44:19,000
Speaker 1: and he's played by Barry Newman, and again, much like

918
00:44:19,200 --> 00:44:22,320
Speaker 1: Tulane Blacktop, much like Easy Writer, he's a man of

919
00:44:22,480 --> 00:44:23,280
Speaker 1: very few words.

920
00:44:23,400 --> 00:44:27,120
Speaker 3: Right, you don't really know his story. He kind of

921
00:44:27,719 --> 00:44:30,480
Speaker 3: is who he is, and you only kind of really.

922
00:44:30,400 --> 00:44:34,040
Speaker 1: Learn about him as the movie continues. But up front

923
00:44:34,160 --> 00:44:37,880
Speaker 1: you're like, okay, he's just this car driver. All you

924
00:44:38,200 --> 00:44:40,560
Speaker 1: figure out is that he has to drive a car

925
00:44:40,760 --> 00:44:45,040
Speaker 1: from Denver to San Francisco, which is a nineteen seventy

926
00:44:45,520 --> 00:44:50,319
Speaker 1: white Dodge Challenger, which is now because of this movie,

927
00:44:50,360 --> 00:44:52,239
Speaker 1: I think, a pretty iconic car.

928
00:44:54,160 --> 00:44:54,399
Speaker 3: Yeah.

929
00:44:55,800 --> 00:44:59,879
Speaker 1: I mean a lot of movies were influenced by Vanishing Point,

930
00:45:00,080 --> 00:45:03,399
Speaker 1: like Baby Driver, but also Death Proof, the Tarantina movie,

931
00:45:03,440 --> 00:45:06,800
Speaker 1: and I think they actually drive a white Dodge Challenger

932
00:45:06,880 --> 00:45:10,040
Speaker 1: in that film. But you know, all we know is

933
00:45:10,080 --> 00:45:12,880
Speaker 1: that he's transporting a car from one city to another.

934
00:45:13,600 --> 00:45:16,480
Speaker 1: And at some point he stops pretty early on in

935
00:45:16,560 --> 00:45:19,960
Speaker 1: the trip, and he picks up some uppers from a

936
00:45:20,040 --> 00:45:23,160
Speaker 1: friend of his, and you know, he bets his friend

937
00:45:23,239 --> 00:45:24,520
Speaker 1: that he's going to be able to make it to

938
00:45:24,560 --> 00:45:26,640
Speaker 1: San Francisco in a very short amount of time, like

939
00:45:27,560 --> 00:45:30,880
Speaker 1: a day or two, and his friend's like nah, and

940
00:45:30,960 --> 00:45:33,080
Speaker 1: he's like, no, I can't trust me.

941
00:45:33,719 --> 00:45:35,680
Speaker 3: I got all the speed. I can stay up all

942
00:45:35,800 --> 00:45:39,920
Speaker 3: night now, but I got all this fucking these fucking pills.

943
00:45:39,960 --> 00:45:42,880
Speaker 3: I'm good. Yeah, but see this.

944
00:45:43,080 --> 00:45:45,560
Speaker 1: But this is the thing that I think is important

945
00:45:45,560 --> 00:45:48,360
Speaker 1: to remember, at least for me, when I watched this

946
00:45:48,480 --> 00:45:54,920
Speaker 1: movie again, He's not technically doing anything super illegal, right,

947
00:45:55,080 --> 00:46:00,880
Speaker 1: Like he's he's not transporting drugs, he's not napping somebody.

948
00:46:01,160 --> 00:46:05,400
Speaker 1: He's just driving a car very fast, and he's taken

949
00:46:05,520 --> 00:46:07,560
Speaker 1: some truck or speed or something.

950
00:46:08,200 --> 00:46:11,160
Speaker 3: He's just driving a car really fast. Yeah, that is

951
00:46:11,280 --> 00:46:13,799
Speaker 3: the plot of the film. Yeah.

952
00:46:13,920 --> 00:46:16,279
Speaker 1: I didn't a one sentence synopsis. I was like, this

953
00:46:16,440 --> 00:46:19,400
Speaker 1: is just a movie about a dude who drives very fast.

954
00:46:20,000 --> 00:46:24,200
Speaker 3: Just so simple. But he's not even taking speed like

955
00:46:24,320 --> 00:46:26,279
Speaker 3: a you know, a madiac. He's taking it to just

956
00:46:26,320 --> 00:46:28,880
Speaker 3: stay away. So but that he doesn't have like the

957
00:46:28,920 --> 00:46:30,840
Speaker 3: cold sweats or anything, you know.

958
00:46:31,440 --> 00:46:33,360
Speaker 2: And there are times in the movie where he actually

959
00:46:33,440 --> 00:46:36,800
Speaker 2: turns down the opportunity to take other drugs.

960
00:46:37,400 --> 00:46:39,120
Speaker 3: So think about it in that way.

961
00:46:39,480 --> 00:46:42,120
Speaker 1: You're like, Okay, so here's a guy that's just kind

962
00:46:42,120 --> 00:46:44,919
Speaker 1: of driving a car fast, and but he's not doing

963
00:46:44,960 --> 00:46:48,799
Speaker 1: anything beyond that. Okay, I always it's that's the thing

964
00:46:48,880 --> 00:46:52,520
Speaker 1: to remember, at least for me. So he's driving the

965
00:46:52,640 --> 00:46:55,640
Speaker 1: car pretty fast though, and he gets he does some

966
00:46:55,800 --> 00:46:59,640
Speaker 1: cops start, you know, being like, who is this speed demon?

967
00:46:59,880 --> 00:47:01,919
Speaker 2: So they try to pull him over, and of course

968
00:47:01,960 --> 00:47:03,080
Speaker 2: he just blows them off.

969
00:47:03,160 --> 00:47:07,759
Speaker 1: And that's when the ship starts going down, right, and

970
00:47:07,960 --> 00:47:11,400
Speaker 1: and he and this this thing is happening across multiple states,

971
00:47:11,719 --> 00:47:14,880
Speaker 1: and you know, so you have these like highway patrol

972
00:47:15,040 --> 00:47:19,640
Speaker 1: folks who are trying to capture him, and then you know,

973
00:47:19,920 --> 00:47:23,279
Speaker 1: the baton gets past when he moves into another jurisdiction,

974
00:47:24,200 --> 00:47:26,520
Speaker 1: but he's going really fast and these cops are like,

975
00:47:26,560 --> 00:47:28,160
Speaker 1: we gotta stop this dude, all right.

976
00:47:29,440 --> 00:47:32,080
Speaker 3: Meanwhile, there's a.

977
00:47:33,719 --> 00:47:39,640
Speaker 1: There's a DJ, a disc jockey character who is blind, uh,

978
00:47:39,840 --> 00:47:41,960
Speaker 1: and he works at this very small radio station in

979
00:47:42,000 --> 00:47:43,600
Speaker 1: the middle of nowhere, and he goes by the name

980
00:47:43,640 --> 00:47:45,880
Speaker 1: of Super Soul and he's.

981
00:47:45,760 --> 00:47:49,000
Speaker 2: Played by Cleveland Little, who you might know.

982
00:47:49,120 --> 00:47:54,160
Speaker 1: From Blazing Saddles, and Super Soul gets wind of, you know,

983
00:47:54,280 --> 00:47:59,760
Speaker 1: Kowalski kind of doing this this journey this uh, driving

984
00:47:59,800 --> 00:48:04,319
Speaker 1: this challenger across multiple states, and he's like, hell, yeah,

985
00:48:04,520 --> 00:48:07,560
Speaker 1: this guy is my guy. Like, let's start cheering them

986
00:48:07,600 --> 00:48:11,279
Speaker 1: on over here. And he's on the radio and he's

987
00:48:11,480 --> 00:48:14,600
Speaker 1: listening to the police scanners and he's trying to give

988
00:48:14,840 --> 00:48:18,440
Speaker 1: you know, messages to Kowalski as he's driving, to be like, hey,

989
00:48:18,560 --> 00:48:21,279
Speaker 1: here's roadblocks, here's something, you know, watch out for this,

990
00:48:21,480 --> 00:48:24,120
Speaker 1: watch out for that. So Super Soul kind of at

991
00:48:24,200 --> 00:48:26,960
Speaker 1: some point he kind of turns Kowalski into this like

992
00:48:27,120 --> 00:48:30,839
Speaker 1: folk hero type, right, and people are starting to cheer

993
00:48:30,880 --> 00:48:34,160
Speaker 1: them on, and it's it's very much like Smoking.

994
00:48:33,840 --> 00:48:36,200
Speaker 2: The Bandit in that way where yes, you know what

995
00:48:36,280 --> 00:48:37,560
Speaker 2: I mean, you know what I'm saying.

996
00:48:37,680 --> 00:48:39,560
Speaker 1: Like I was like, oh yeah, this is like the

997
00:48:39,600 --> 00:48:41,799
Speaker 1: feeling of Smoking the Bandit, where there's like all these people,

998
00:48:41,920 --> 00:48:44,360
Speaker 1: normal people who are like, yes, let's cheer this guy on.

999
00:48:44,560 --> 00:48:45,600
Speaker 2: He's doing something awesome.

1000
00:48:46,520 --> 00:48:48,719
Speaker 4: That was the first thought, one cause i'd only seen

1001
00:48:48,760 --> 00:48:52,920
Speaker 4: this movie once before. Yeah, and rewatching it and realizing oh,

1002
00:48:53,000 --> 00:48:54,440
Speaker 4: it came out in seventy one, and then, like you

1003
00:48:54,480 --> 00:48:56,680
Speaker 4: were saying earlier in the intro about how many movies

1004
00:48:56,680 --> 00:48:58,920
Speaker 4: were influenced by it, I'm like, oh, this is definitely

1005
00:48:58,960 --> 00:49:01,320
Speaker 4: we're smoking The Bandit had to have gotten this idea

1006
00:49:02,080 --> 00:49:05,960
Speaker 4: because the driving folk hero is now a trope, but

1007
00:49:06,080 --> 00:49:06,839
Speaker 4: it wasn't back then.

1008
00:49:07,080 --> 00:49:10,319
Speaker 1: I think that's Smokey and the Bandit episode. I call

1009
00:49:10,440 --> 00:49:15,920
Speaker 1: that movie an acab classic. I got a big vanishing

1010
00:49:16,000 --> 00:49:17,759
Speaker 1: point is an a cab classic as well.

1011
00:49:18,239 --> 00:49:20,960
Speaker 3: I'm just saying, you got people team it up against

1012
00:49:21,239 --> 00:49:22,120
Speaker 3: the po po Yeah.

1013
00:49:22,880 --> 00:49:25,319
Speaker 1: So oh, and I have to I have to note

1014
00:49:25,480 --> 00:49:30,720
Speaker 1: that Super Soul's producer in the film is John Amos,

1015
00:49:30,920 --> 00:49:34,160
Speaker 1: who of course is James from Good Times, amongst many

1016
00:49:34,280 --> 00:49:34,920
Speaker 1: other things.

1017
00:49:35,560 --> 00:49:38,160
Speaker 3: You know, John Amos, are we rest in peace?

1018
00:49:38,239 --> 00:49:38,359
Speaker 4: King?

1019
00:49:38,520 --> 00:49:38,879
Speaker 3: Is he dead?

1020
00:49:39,000 --> 00:49:39,040
Speaker 4: No?

1021
00:49:39,239 --> 00:49:41,799
Speaker 3: He's not dead. I swear to God, Thank God. Wait,

1022
00:49:42,000 --> 00:49:46,880
Speaker 3: thank god, he's not dead. I would have remember.

1023
00:49:48,000 --> 00:49:49,520
Speaker 2: No, he's alive, Thank fucking God.

1024
00:49:49,600 --> 00:49:51,920
Speaker 3: Oh thank god, let's send him a card for Christmas.

1025
00:49:52,280 --> 00:49:53,200
Speaker 2: May he live forever.

1026
00:49:53,400 --> 00:49:53,840
Speaker 1: I will.

1027
00:49:56,160 --> 00:49:57,160
Speaker 3: At all costs, I know.

1028
00:49:58,600 --> 00:50:01,320
Speaker 1: But okay, so we're gonna go back to this Kuwalsky character,

1029
00:50:01,440 --> 00:50:04,600
Speaker 1: right because you know, again he's this kind of enigmatic

1030
00:50:04,760 --> 00:50:07,439
Speaker 1: now he's like folk hero type guy.

1031
00:50:07,920 --> 00:50:09,000
Speaker 4: You know. We know.

1032
00:50:09,040 --> 00:50:11,200
Speaker 1: What's really interesting to me too about the actor Barry

1033
00:50:11,280 --> 00:50:15,480
Speaker 1: Newman is that this is not a Peter fond Of type.

1034
00:50:15,560 --> 00:50:20,440
Speaker 3: Would you say, no, No, he's not a highs high gentleman.

1035
00:50:21,320 --> 00:50:27,160
Speaker 1: He doesn't beyond the fucking like billowie blouse and the.

1036
00:50:28,680 --> 00:50:28,960
Speaker 3: Vest.

1037
00:50:29,120 --> 00:50:34,560
Speaker 2: Maybe he kind of is an unassuming counter cultural type.

1038
00:50:34,640 --> 00:50:35,719
Speaker 2: Wouldn't you say, yes?

1039
00:50:36,200 --> 00:50:38,239
Speaker 3: Oh yeah, he's flying under the radar for sure. Yeah.

1040
00:50:38,560 --> 00:50:41,000
Speaker 4: This is also like a reluctant thing that's been foisted

1041
00:50:41,120 --> 00:50:44,160
Speaker 4: upon him. He was just on this personal journey and

1042
00:50:44,239 --> 00:50:46,080
Speaker 4: now it's like a nationwide event.

1043
00:50:47,000 --> 00:50:51,080
Speaker 1: Yes, And that's what I will say is or seems

1044
00:50:51,120 --> 00:50:55,600
Speaker 1: a bit different than the easy writer scenario, is.

1045
00:50:55,640 --> 00:50:59,840
Speaker 2: That he could pass as a normal person in society

1046
00:51:00,000 --> 00:51:00,560
Speaker 2: for the most part.

1047
00:51:00,680 --> 00:51:04,960
Speaker 1: And as you figure out in these flashback sequences, you

1048
00:51:05,120 --> 00:51:07,120
Speaker 1: figure out that he used to be in the military.

1049
00:51:07,200 --> 00:51:09,440
Speaker 1: He was a soldier in Vietnam. You figure out that

1050
00:51:09,560 --> 00:51:13,759
Speaker 1: he was at some point a motorcycle race driver. He

1051
00:51:13,960 --> 00:51:19,160
Speaker 1: was at one point a fucking cop. And there's this

1052
00:51:19,320 --> 00:51:23,960
Speaker 1: really I think important sequence that happens when during the

1053
00:51:24,040 --> 00:51:26,920
Speaker 1: flashback sequence of when he was a police officer, where.

1054
00:51:28,280 --> 00:51:31,239
Speaker 2: He stopped this sexual assault that.

1055
00:51:31,360 --> 00:51:34,000
Speaker 1: Was happening in the police car, when his partner was

1056
00:51:34,400 --> 00:51:38,319
Speaker 1: essentially assaulting this young woman in the backseat of their car,

1057
00:51:39,200 --> 00:51:44,480
Speaker 1: and Kowalski stops it from happening and obviously has a

1058
00:51:44,520 --> 00:51:48,120
Speaker 1: big problem with it. So in that moment, I think

1059
00:51:48,239 --> 00:51:52,600
Speaker 1: that is a context clue that kind of gives you

1060
00:51:53,600 --> 00:51:57,480
Speaker 1: an idea about who this character is, right, absolutely that

1061
00:51:57,719 --> 00:52:00,400
Speaker 1: he was a part of the establishment, that he was

1062
00:52:00,840 --> 00:52:05,840
Speaker 1: involved in these institutions, and he is now disenchanted.

1063
00:52:05,239 --> 00:52:08,799
Speaker 4: By it all, actively left of his own regard, right,

1064
00:52:09,080 --> 00:52:12,319
Speaker 4: and is happy to push the boundaries where we can,

1065
00:52:12,480 --> 00:52:15,799
Speaker 4: but not to the point where he's causing destruction or yes,

1066
00:52:16,160 --> 00:52:19,040
Speaker 4: you know he I loved I love that synopsis of him.

1067
00:52:19,040 --> 00:52:21,320
Speaker 3: I think that's a great various students assessment.

1068
00:52:21,480 --> 00:52:24,120
Speaker 1: Yeah, And like there's actually scenes in the movie where

1069
00:52:24,239 --> 00:52:27,239
Speaker 1: you know, there's along the way on this journey, if

1070
00:52:27,280 --> 00:52:30,080
Speaker 1: you will, he's running into people who are kind of

1071
00:52:30,200 --> 00:52:33,440
Speaker 1: either helping or hurting his mission, depending on.

1072
00:52:33,520 --> 00:52:34,239
Speaker 2: Who who it is.

1073
00:52:34,400 --> 00:52:39,239
Speaker 1: Like at the very beginning this, he's kind of flanked wise,

1074
00:52:39,280 --> 00:52:42,000
Speaker 1: he's driving by this like weird dude in this other car.

1075
00:52:43,120 --> 00:52:45,360
Speaker 1: He's kind of got this like red helmet on. He's like,

1076
00:52:45,400 --> 00:52:47,560
Speaker 1: come on, race me, motherfucker, Like what are you doing?

1077
00:52:47,600 --> 00:52:49,960
Speaker 1: And then Kowalski is like, get away from me, and

1078
00:52:50,040 --> 00:52:51,239
Speaker 1: he like pushes him off the road.

1079
00:52:51,760 --> 00:52:55,200
Speaker 2: But Kowalski actually gets out of his car to check

1080
00:52:55,280 --> 00:52:57,680
Speaker 2: on the dude to make sure he was okay.

1081
00:52:58,200 --> 00:53:03,560
Speaker 1: So he's got a conscience, right, He's obviously like a

1082
00:53:03,640 --> 00:53:06,000
Speaker 1: fully formed character in that way. He's not just this

1083
00:53:06,280 --> 00:53:10,200
Speaker 1: like psycho on the road, who's, you know, just trying

1084
00:53:10,200 --> 00:53:13,000
Speaker 1: to get to to San Francisco to win his bet,

1085
00:53:13,160 --> 00:53:13,840
Speaker 1: like he's.

1086
00:53:15,080 --> 00:53:17,680
Speaker 3: Like a renegade exactly. He's not a renegade at all.

1087
00:53:18,160 --> 00:53:22,440
Speaker 1: Right, But he also runs into there's it kind of

1088
00:53:22,480 --> 00:53:24,320
Speaker 1: reminds me a little bit of Easy Rider, where he

1089
00:53:24,920 --> 00:53:26,880
Speaker 1: goes out into the desert and he meets up with

1090
00:53:26,920 --> 00:53:30,400
Speaker 1: this like snake handler guy who like he's like his

1091
00:53:30,719 --> 00:53:34,680
Speaker 1: his job is to collect snakes for Pentecostal.

1092
00:53:34,040 --> 00:53:38,399
Speaker 3: Churches, which I always wondered where they came from. Always wondered,

1093
00:53:39,120 --> 00:53:40,440
Speaker 3: now you know? Now you know.

1094
00:53:41,280 --> 00:53:44,480
Speaker 1: Apparently there's a church on the desert where Rita Coolidge's

1095
00:53:44,600 --> 00:53:49,759
Speaker 1: band is playing and they need snakes and this guy

1096
00:53:50,360 --> 00:53:54,680
Speaker 1: is tasked with collecting snakes and and Koki met up

1097
00:53:54,680 --> 00:53:56,719
Speaker 1: with them and is like gets gas from him and

1098
00:53:57,320 --> 00:54:01,239
Speaker 1: he ends up being very helpful for him. There's also

1099
00:54:01,360 --> 00:54:04,719
Speaker 1: this scene too, in another kind of interesting scene, where

1100
00:54:05,440 --> 00:54:10,800
Speaker 1: Kwalski drives past this car of these newlyweds uh and

1101
00:54:10,880 --> 00:54:13,160
Speaker 1: their their car, I guess is stopped on the side

1102
00:54:13,160 --> 00:54:15,040
Speaker 1: of the road and it ends up being two gay

1103
00:54:15,120 --> 00:54:18,319
Speaker 1: men and they're in the car. He picks them up,

1104
00:54:18,440 --> 00:54:20,280
Speaker 1: you know, he's like, cool, I'm going to San Francisco.

1105
00:54:20,320 --> 00:54:22,360
Speaker 1: They're like great, so are we. And then at some

1106
00:54:22,520 --> 00:54:26,479
Speaker 1: point they decide to try to rob him. And maybe

1107
00:54:26,840 --> 00:54:29,840
Speaker 1: that's like their grift is that they pretend to be

1108
00:54:30,000 --> 00:54:32,960
Speaker 1: stranded so that they could rob people. But it's this

1109
00:54:33,160 --> 00:54:37,520
Speaker 1: very interesting scene because I think Kowalski, I think maybe

1110
00:54:37,800 --> 00:54:41,600
Speaker 1: in a different iteration of a film like this, you'd think, oh,

1111
00:54:41,680 --> 00:54:44,160
Speaker 1: he's a homophobe and he wouldn't want to stop for people,

1112
00:54:44,239 --> 00:54:47,880
Speaker 1: for these guys, but he doesn't. He has no problem

1113
00:54:48,000 --> 00:54:50,200
Speaker 1: with it until he gets robbed by them, so.

1114
00:54:50,719 --> 00:54:52,839
Speaker 4: You know, yeah, he has the problem with their sexuality.

1115
00:54:52,880 --> 00:54:55,200
Speaker 4: He's just like, yes, y'all rob me, what the fuck?

1116
00:54:55,320 --> 00:54:55,520
Speaker 4: I know.

1117
00:54:56,000 --> 00:54:58,720
Speaker 1: So that's just an interesting, you know, part of the story.

1118
00:54:58,800 --> 00:55:02,239
Speaker 1: But he's you know, so essentially, you know, kind of

1119
00:55:02,320 --> 00:55:05,319
Speaker 1: moving through this America, you know, in the same way

1120
00:55:05,560 --> 00:55:08,560
Speaker 1: like an easy rider. He's you know, meeting up with

1121
00:55:08,640 --> 00:55:11,360
Speaker 1: these like helpful hippies and including there's this guy that

1122
00:55:12,200 --> 00:55:15,600
Speaker 1: actually helps him out a shit ton, but his girlfriend

1123
00:55:16,280 --> 00:55:20,000
Speaker 1: is essentially riding her motorcycle naked in the desert.

1124
00:55:21,760 --> 00:55:25,800
Speaker 2: I gotta say, I was like, that would be amazing.

1125
00:55:29,320 --> 00:55:32,760
Speaker 1: Like I'm I'm you know, I maybe I'm more towards

1126
00:55:32,840 --> 00:55:35,360
Speaker 1: the never nude part of the spectrum, as you know,

1127
00:55:35,800 --> 00:55:38,680
Speaker 1: And I'm like, can you imagine living in an environment

1128
00:55:38,719 --> 00:55:40,400
Speaker 1: where there's nobody around her you can just ride a

1129
00:55:40,440 --> 00:55:41,600
Speaker 1: fucking motorcycle naked.

1130
00:55:42,440 --> 00:55:46,839
Speaker 4: I know, it sounds dope as hell and super free. Yes,

1131
00:55:47,080 --> 00:55:50,160
Speaker 4: And all I'm thinking about is how hot that seat

1132
00:55:50,360 --> 00:55:53,279
Speaker 4: is and how hot those pipes are around you. And

1133
00:55:53,360 --> 00:55:58,120
Speaker 4: if you make one false move, you're burning your fucking

1134
00:55:58,200 --> 00:56:01,279
Speaker 4: coach or you're burning your legs to shit.

1135
00:56:02,760 --> 00:56:05,719
Speaker 3: Again, risk averse risk.

1136
00:56:05,960 --> 00:56:08,759
Speaker 4: I will hop on a motorcycle fully clothed any day

1137
00:56:08,880 --> 00:56:12,279
Speaker 4: of the week, but naked it looks cool as hell.

1138
00:56:12,320 --> 00:56:14,080
Speaker 4: I wish I had it in me to like get

1139
00:56:14,160 --> 00:56:15,879
Speaker 4: that voice out of my head. That's like, you're gonna

1140
00:56:15,880 --> 00:56:20,640
Speaker 4: send your fucking shins yes on some like spark Plug,

1141
00:56:21,080 --> 00:56:22,520
Speaker 4: to say nothing of.

1142
00:56:22,680 --> 00:56:27,160
Speaker 2: The the sand and dust that could get into another regions.

1143
00:56:28,320 --> 00:56:30,799
Speaker 3: Your vagina's gonna look like a vacuum bag.

1144
00:56:35,680 --> 00:56:38,800
Speaker 2: Well, this this woman was not pressed about any of

1145
00:56:38,880 --> 00:56:39,680
Speaker 2: that stuff.

1146
00:56:40,000 --> 00:56:41,640
Speaker 3: She was at all. She's like, I don't care if

1147
00:56:41,640 --> 00:56:43,320
Speaker 3: my shit looks like a dice and filter. Let's go,

1148
00:56:43,560 --> 00:56:45,680
Speaker 3: let's go. Hair in the breathe I was.

1149
00:56:46,239 --> 00:56:48,239
Speaker 2: I was very inspiring to me in that moment to

1150
00:56:48,320 --> 00:56:48,600
Speaker 2: see that.

1151
00:56:48,920 --> 00:56:52,560
Speaker 1: Yes, but I will say the more that Kloski keeps driving,

1152
00:56:53,800 --> 00:56:57,440
Speaker 1: the more he keeps getting away from these cops, the

1153
00:56:57,640 --> 00:57:02,400
Speaker 1: more intent they are stop at his ass and Soul

1154
00:57:02,560 --> 00:57:07,200
Speaker 1: Super Soul's broadcasts are you know, kind of continuing. At

1155
00:57:07,239 --> 00:57:12,200
Speaker 1: some point, the police are so intent on shutting him

1156
00:57:12,280 --> 00:57:15,880
Speaker 1: down that they actually raid the radio station and they

1157
00:57:16,080 --> 00:57:20,040
Speaker 1: beat and arrest Super Soul and the John Amos character.

1158
00:57:20,240 --> 00:57:22,919
Speaker 1: And it's just like this moment where like, oh yeah,

1159
00:57:23,680 --> 00:57:27,240
Speaker 1: this is the commentary that is you know exists in

1160
00:57:27,320 --> 00:57:32,400
Speaker 1: this film is these institutions and how intent they seem

1161
00:57:32,480 --> 00:57:35,720
Speaker 1: to be on on not letting people be free.

1162
00:57:36,000 --> 00:57:37,360
Speaker 3: Right absolutely.

1163
00:57:37,360 --> 00:57:39,440
Speaker 4: And there's something that we that shares in common with

1164
00:57:39,520 --> 00:57:41,320
Speaker 4: my movie as well in a weird way, is like

1165
00:57:41,480 --> 00:57:47,480
Speaker 4: how violent these institutions were towards black people. Yep, like

1166
00:57:47,600 --> 00:57:51,640
Speaker 4: without impunity, just you know, flat out like you know, well,

1167
00:57:51,680 --> 00:57:54,120
Speaker 4: that's the first stop if we want to kick ass

1168
00:57:54,480 --> 00:57:56,720
Speaker 4: or in this case, you know, super Soul is kind

1169
00:57:56,760 --> 00:58:00,720
Speaker 4: of a latent sidekick. Yeah, but you know, so they

1170
00:58:00,840 --> 00:58:02,600
Speaker 4: kind of you know, you can understand the reasoning of

1171
00:58:02,640 --> 00:58:05,400
Speaker 4: why they went there to like prevent Kowalski from being

1172
00:58:05,440 --> 00:58:09,600
Speaker 4: able to proceed easily. But yeah, that's something that both

1173
00:58:09,640 --> 00:58:11,240
Speaker 4: that's in both of our films. We're definitely gonna talk

1174
00:58:11,240 --> 00:58:11,960
Speaker 4: about it in mind too.

1175
00:58:12,120 --> 00:58:14,240
Speaker 2: Yeah for sure, I figured we would. That's great.

1176
00:58:14,600 --> 00:58:17,400
Speaker 1: But yeah, So I mean here, so here's the thing

1177
00:58:17,440 --> 00:58:18,520
Speaker 1: I want to I want to point this.

1178
00:58:18,560 --> 00:58:20,480
Speaker 2: Out because this is actually pretty interesting to me.

1179
00:58:20,640 --> 00:58:24,560
Speaker 1: So the version that I told everybody to watch that's

1180
00:58:24,600 --> 00:58:28,120
Speaker 1: online on the internet archive is apparently the UK version

1181
00:58:28,200 --> 00:58:33,080
Speaker 1: of the film. Because in the UK version, there's a

1182
00:58:33,240 --> 00:58:37,720
Speaker 1: scene towards the end where Kowalski gives a ride to

1183
00:58:37,960 --> 00:58:40,520
Speaker 1: this hippie woman that's standing out in the middle of

1184
00:58:40,680 --> 00:58:42,800
Speaker 1: the road, and it's and the woman is played by

1185
00:58:42,880 --> 00:58:44,320
Speaker 1: Charlotte Rampling, who you know.

1186
00:58:45,000 --> 00:58:46,200
Speaker 3: Apparently this whole.

1187
00:58:46,080 --> 00:58:49,640
Speaker 1: Sequence was actually cut from the US version, and I

1188
00:58:49,680 --> 00:58:52,960
Speaker 1: don't really know why. I read maybe people didn't think

1189
00:58:53,000 --> 00:58:56,120
Speaker 1: it worked or something, but anyway, it's in the UK version,

1190
00:58:56,440 --> 00:58:58,520
Speaker 1: which is the version that's on Internet archive.

1191
00:58:58,560 --> 00:59:00,560
Speaker 2: Okay, So her.

1192
00:59:01,160 --> 00:59:04,800
Speaker 1: Sequence is like she shows up, she gives Kuwalsky a joint,

1193
00:59:05,000 --> 00:59:07,240
Speaker 1: and you know, he decides that he's finally gonna smoke

1194
00:59:07,320 --> 00:59:10,080
Speaker 1: some weed, and it's insinuated. They kind of spend the

1195
00:59:10,160 --> 00:59:13,520
Speaker 1: night together in his car, and then the next day

1196
00:59:13,840 --> 00:59:17,320
Speaker 1: he wakes up and she's gone, and he has no

1197
00:59:17,400 --> 00:59:19,920
Speaker 1: idea like what happened to her where she went. Now

1198
00:59:20,600 --> 00:59:28,760
Speaker 1: it's interesting because I read some people's takes on what

1199
00:59:29,040 --> 00:59:32,560
Speaker 1: this scene symbolizes right in the context of the film,

1200
00:59:32,840 --> 00:59:37,000
Speaker 1: and I think Barry Newman and the director were kind

1201
00:59:37,040 --> 00:59:40,560
Speaker 1: of hinting at the idea of this character being almost

1202
00:59:40,600 --> 00:59:44,560
Speaker 1: like a grim reaper type of character, like she's an

1203
00:59:44,640 --> 00:59:50,120
Speaker 1: allegory for death essentially, and if you think about it

1204
00:59:50,240 --> 00:59:53,200
Speaker 1: in terms of that, she seems to be the last

1205
00:59:53,320 --> 00:59:56,200
Speaker 1: character that he interacts with one on one until the

1206
00:59:56,320 --> 01:00:00,640
Speaker 1: final scene. It's very interesting because it is kind of

1207
01:00:00,760 --> 01:00:04,320
Speaker 1: like a huh, that's really strange that he would have

1208
01:00:04,480 --> 01:00:09,640
Speaker 1: this interaction with this strange woman. And yeah, and it

1209
01:00:09,720 --> 01:00:12,120
Speaker 1: was cut from the American version, which again I don't know,

1210
01:00:12,200 --> 01:00:16,200
Speaker 1: maybe they thought that doesn't make sense or that's something too.

1211
01:00:16,560 --> 01:00:18,880
Speaker 4: Weird that Yeah, I kind of love that, but I

1212
01:00:18,920 --> 01:00:20,880
Speaker 4: also I didn't go there. I kind of thought, like, oh,

1213
01:00:20,960 --> 01:00:22,560
Speaker 4: this is a figment of it. This is possibly a

1214
01:00:22,640 --> 01:00:26,280
Speaker 4: figment of his imagination as that he used as a

1215
01:00:26,320 --> 01:00:31,040
Speaker 4: way to talk himself into smoking pot. Yes, so it's

1216
01:00:31,120 --> 01:00:33,000
Speaker 4: similar but not quite the same. But yeah, I like

1217
01:00:33,080 --> 01:00:35,200
Speaker 4: the Grim Reaper analogy.

1218
01:00:35,600 --> 01:00:35,760
Speaker 2: Well.

1219
01:00:35,800 --> 01:00:39,200
Speaker 1: And then to your point though, being that this is

1220
01:00:39,200 --> 01:00:41,439
Speaker 1: towards the end of his trip, like you know, he's

1221
01:00:41,560 --> 01:00:44,840
Speaker 1: been on speed for multiple days and he hasn't he

1222
01:00:44,960 --> 01:00:49,400
Speaker 1: hasn't slept, and you know, now he's high for the

1223
01:00:49,440 --> 01:00:52,720
Speaker 1: first time on his journey. Like, yeah, maybe it does

1224
01:00:52,880 --> 01:00:55,480
Speaker 1: feel like it was a figment of his imagination, like.

1225
01:00:55,520 --> 01:00:59,200
Speaker 3: He you know, like his body telling him to calm down,

1226
01:00:59,360 --> 01:01:01,400
Speaker 3: like this is a it's almost over.

1227
01:01:01,640 --> 01:01:04,400
Speaker 1: Yeah, she's a siren or something. In that way if

1228
01:01:04,440 --> 01:01:08,800
Speaker 1: you want to make the Ulysses comparison, as we do,

1229
01:01:09,080 --> 01:01:13,480
Speaker 1: as we always do so. But I will say the

1230
01:01:13,720 --> 01:01:17,680
Speaker 1: ending of this movie is very shocking, much like Easy Writer,

1231
01:01:18,880 --> 01:01:22,200
Speaker 1: very thought provoking in the same way as Easy Writer.

1232
01:01:22,840 --> 01:01:25,600
Speaker 1: And I think that's kind of what makes this film

1233
01:01:25,920 --> 01:01:32,120
Speaker 1: very interesting and and sort of that existential conversation, right,

1234
01:01:32,160 --> 01:01:36,440
Speaker 1: it's that like what happens to people who want to

1235
01:01:36,480 --> 01:01:40,080
Speaker 1: live freely and want to be authentically themselves.

1236
01:01:40,240 --> 01:01:40,360
Speaker 4: Right.

1237
01:01:40,960 --> 01:01:43,520
Speaker 2: I'll say that this film did not do well when

1238
01:01:43,600 --> 01:01:43,800
Speaker 2: it was.

1239
01:01:43,840 --> 01:01:47,240
Speaker 1: Released, and the studio was pretty much like, let's just

1240
01:01:47,280 --> 01:01:49,000
Speaker 1: put on the shelf, like a couple of weeks out

1241
01:01:49,040 --> 01:01:52,120
Speaker 1: in the theaters and then it went away. But apparently

1242
01:01:52,200 --> 01:01:56,280
Speaker 1: it did really well in Europe, which prompted Box to

1243
01:01:56,440 --> 01:01:59,360
Speaker 1: re release it, and they re released it in the

1244
01:01:59,520 --> 01:02:02,600
Speaker 1: US on a double bill with the French connection.

1245
01:02:03,760 --> 01:02:07,000
Speaker 3: Oh shit, makes sense, makes sense, makes sense.

1246
01:02:07,000 --> 01:02:10,680
Speaker 1: And now I think that Vanishing Point is a cult classic.

1247
01:02:10,760 --> 01:02:14,040
Speaker 1: I mean it's hard to see obviously, we couldn't find

1248
01:02:14,040 --> 01:02:16,000
Speaker 1: it beyond in an archive. I think it has a

1249
01:02:16,040 --> 01:02:17,440
Speaker 1: lot to do with the music. There's a lot of

1250
01:02:18,240 --> 01:02:19,000
Speaker 1: music in the film.

1251
01:02:19,640 --> 01:02:21,640
Speaker 3: But I love this movie.

1252
01:02:22,040 --> 01:02:25,880
Speaker 2: I appreciate films of this era, like in that way

1253
01:02:25,960 --> 01:02:30,440
Speaker 2: that we discussed just talking about America, talking about government

1254
01:02:30,760 --> 01:02:34,720
Speaker 2: and police institutions and the ways in which you know,

1255
01:02:35,160 --> 01:02:39,800
Speaker 2: they interact with people's joy and freedom for living, and

1256
01:02:39,960 --> 01:02:42,000
Speaker 2: I feel like that is a question that is still

1257
01:02:42,080 --> 01:02:43,320
Speaker 2: being asked today.

1258
01:02:43,560 --> 01:02:46,520
Speaker 1: So you know, I mean, it's, you know, obviously like

1259
01:02:46,600 --> 01:02:49,640
Speaker 1: a film that has staying power because it's very topical

1260
01:02:49,760 --> 01:02:53,720
Speaker 1: and I don't know, great car Chase movie, very exciting,

1261
01:02:54,560 --> 01:02:56,640
Speaker 1: and yeah, it's my pick.

1262
01:02:56,920 --> 01:02:58,920
Speaker 4: I love it. I love that you picked it. I

1263
01:02:59,000 --> 01:03:00,960
Speaker 4: love that I got to watch it again. It's such

1264
01:03:01,000 --> 01:03:03,720
Speaker 4: a quintessential car Chase film. But I'm glad that you

1265
01:03:04,280 --> 01:03:06,240
Speaker 4: also consider it a cult classic because I feel like

1266
01:03:06,240 --> 01:03:09,600
Speaker 4: a lot of people haven't seen it. And maybe it's

1267
01:03:09,640 --> 01:03:11,400
Speaker 4: because it's hard to get. Maybe it's because it's just

1268
01:03:11,520 --> 01:03:14,040
Speaker 4: not like in the Ether in the same way. But

1269
01:03:14,880 --> 01:03:17,280
Speaker 4: there are a lot of filmmakers who have been deeply

1270
01:03:17,360 --> 01:03:20,760
Speaker 4: inspired by this film, and not just the car Chase part,

1271
01:03:20,800 --> 01:03:22,960
Speaker 4: but like the development of the story and this type

1272
01:03:23,000 --> 01:03:25,000
Speaker 4: of character, this kind of solitary dude, and.

1273
01:03:25,120 --> 01:03:27,560
Speaker 3: Like there's been a lot of people who've been influenced

1274
01:03:27,560 --> 01:03:28,040
Speaker 3: by this movie.

1275
01:03:28,080 --> 01:03:31,800
Speaker 4: And I think it's always worth watching the source material

1276
01:03:32,280 --> 01:03:34,440
Speaker 4: instead of just you know, kind of looking at what

1277
01:03:34,600 --> 01:03:36,360
Speaker 4: other people have done with it. It's great to see

1278
01:03:36,400 --> 01:03:39,720
Speaker 4: that creativity at play. But I like that the original

1279
01:03:39,800 --> 01:03:43,080
Speaker 4: film still has that hold for me, and the story

1280
01:03:43,160 --> 01:03:46,040
Speaker 4: is captivating and it's interesting and it's just of a time.

1281
01:03:46,720 --> 01:03:49,080
Speaker 4: But I think it's a great counterpart to easy writer

1282
01:03:49,280 --> 01:03:52,920
Speaker 4: French connection, like all these other great movies about traveling around.

1283
01:03:53,200 --> 01:03:54,720
Speaker 3: Yeah, totally great.

1284
01:03:55,520 --> 01:03:57,880
Speaker 1: Also there's also I will say, I will this is

1285
01:03:58,200 --> 01:03:59,880
Speaker 1: going to be another thing that might be hard to see.

1286
01:04:00,000 --> 01:04:02,480
Speaker 1: But there was also a TV series in the late

1287
01:04:02,560 --> 01:04:06,760
Speaker 1: sixties with Michael Parks called then Cap Bronson kind of

1288
01:04:06,840 --> 01:04:10,440
Speaker 1: the same concept. Though it's a guy who you know,

1289
01:04:10,960 --> 01:04:13,920
Speaker 1: was a quote unquote upstanding member of society in a

1290
01:04:13,960 --> 01:04:16,000
Speaker 1: lot of ways that decided to be like fuck it,

1291
01:04:16,040 --> 01:04:18,880
Speaker 1: I'm gonna go on the road and I'm gonna ride

1292
01:04:18,920 --> 01:04:22,160
Speaker 1: a motorcycle across America and meet people and and just

1293
01:04:22,240 --> 01:04:23,480
Speaker 1: kind of like live for the moment.

1294
01:04:23,640 --> 01:04:25,720
Speaker 3: And again, very error.

1295
01:04:25,600 --> 01:04:29,040
Speaker 1: Appropriate, but like, yeah, this was that conversation that was

1296
01:04:29,080 --> 01:04:31,920
Speaker 1: happening at this time. And I don't know, I'm fascinated

1297
01:04:32,000 --> 01:04:34,840
Speaker 1: by these movies and especially Vanishing Point.

1298
01:04:35,040 --> 01:04:37,000
Speaker 4: I agree, could not agree more and I just I

1299
01:04:37,120 --> 01:04:39,920
Speaker 4: love I love a movie that there's something that's so

1300
01:04:40,160 --> 01:04:42,640
Speaker 4: enticing to me about car chase movies or just car

1301
01:04:42,880 --> 01:04:45,360
Speaker 4: ride movies. And I think it's because I've always equated

1302
01:04:45,440 --> 01:04:48,520
Speaker 4: driving with freedom, yes, in my personal life, So I

1303
01:04:48,640 --> 01:04:51,120
Speaker 4: just really love It's part of the reason why I

1304
01:04:51,200 --> 01:04:53,480
Speaker 4: kind of love seeing this replicated on screen. But this

1305
01:04:53,600 --> 01:04:56,040
Speaker 4: is a great fucking choice, and you did a great

1306
01:04:56,080 --> 01:04:56,600
Speaker 4: fucking job.

1307
01:04:56,760 --> 01:04:59,640
Speaker 2: Thank you so much. Speaking of great choices, you got

1308
01:04:59,760 --> 01:05:03,840
Speaker 2: a Billy Friedkin classic, Oh Shits.

1309
01:05:04,040 --> 01:05:07,440
Speaker 4: My movie was also released in nineteen seventy one. It

1310
01:05:07,560 --> 01:05:10,640
Speaker 4: was written by Ernest Tideman, but it's based on a

1311
01:05:10,760 --> 01:05:14,240
Speaker 4: book by Robin Moore and directed by William Friedkin.

1312
01:05:14,520 --> 01:05:18,200
Speaker 3: My movie is The French Connection. A friend's name is

1313
01:05:18,280 --> 01:05:22,520
Speaker 3: Boca sant Latour, Boca Boca so downtown.

1314
01:05:22,560 --> 01:05:24,440
Speaker 1: I'm pretty sure you pull off a contract on a

1315
01:05:24,480 --> 01:05:25,440
Speaker 1: guy named DeMarco.

1316
01:05:25,680 --> 01:05:28,880
Speaker 3: Hey, you're picking your feet, Poughkeepsie. You're picking your feet

1317
01:05:28,880 --> 01:05:31,360
Speaker 3: and Poughkeepsie and I'm like, damn, homie is obsessed.

1318
01:05:33,960 --> 01:05:35,920
Speaker 2: I say this as somebody who's seen The French Connection

1319
01:05:36,040 --> 01:05:38,320
Speaker 2: a bunch of times. What does that mean?

1320
01:05:38,720 --> 01:05:40,720
Speaker 4: And the first time that he says it, he's like,

1321
01:05:40,840 --> 01:05:43,280
Speaker 4: my partner got shot by somebody who was picking their

1322
01:05:43,320 --> 01:05:46,640
Speaker 4: feet and then like pick their teeth.

1323
01:05:46,480 --> 01:05:47,000
Speaker 3: Or something like that.

1324
01:05:47,320 --> 01:05:49,360
Speaker 4: So he's looking for a very specific person because I

1325
01:05:49,400 --> 01:05:52,680
Speaker 4: think he thinks that's such an odd behavior that it

1326
01:05:52,720 --> 01:05:56,120
Speaker 4: would be specific to one person, but it totally isn't.

1327
01:05:57,280 --> 01:05:58,560
Speaker 4: And I'm like, oh, this has to do with some

1328
01:05:58,680 --> 01:06:02,120
Speaker 4: kind of like stakeout partner shooting behavior or something, is

1329
01:06:02,160 --> 01:06:03,080
Speaker 4: how I interpreted it.

1330
01:06:03,680 --> 01:06:07,640
Speaker 2: Yeah, Plus, the term picking your feet is so gross.

1331
01:06:08,360 --> 01:06:15,200
Speaker 4: So wildly disgusting, Like are we talking between the toes?

1332
01:06:15,840 --> 01:06:18,120
Speaker 4: Are we talking like nails and cuticle?

1333
01:06:18,200 --> 01:06:21,000
Speaker 3: Oh god? What are you like popping blisters down there and.

1334
01:06:22,760 --> 01:06:26,400
Speaker 4: Fucking fixing some corn, feeling the skin off? What are

1335
01:06:26,440 --> 01:06:29,240
Speaker 4: you doing with those fucking hammer toes? You've ever seeing

1336
01:06:29,240 --> 01:06:30,560
Speaker 4: a hammertoe.

1337
01:06:32,720 --> 01:06:34,040
Speaker 3: Picking feet? What the fuck?

1338
01:06:34,120 --> 01:06:36,640
Speaker 1: I want to I want to see a seventies hammertoe

1339
01:06:37,240 --> 01:06:43,520
Speaker 1: getting someone just going to town on a gnarly seventies hammertoe.

1340
01:06:44,280 --> 01:06:44,480
Speaker 2: Good.

1341
01:06:45,440 --> 01:06:51,240
Speaker 4: Yeah, a seventies hammertoe is very specific because they didn't

1342
01:06:51,280 --> 01:06:54,040
Speaker 4: have the tech back then to do anything about it.

1343
01:06:55,000 --> 01:06:56,920
Speaker 4: They're like, oh, did you fuck up your feet? They

1344
01:06:57,000 --> 01:07:01,640
Speaker 4: also stay fucked up, So I'm sorry. Should have been

1345
01:07:01,640 --> 01:07:05,240
Speaker 4: wearing them high heels or those fucking jack boots, whatever

1346
01:07:05,280 --> 01:07:06,120
Speaker 4: the fuck did this? See you?

1347
01:07:06,200 --> 01:07:07,160
Speaker 3: But we ain't got the tech.

1348
01:07:08,000 --> 01:07:11,360
Speaker 4: We don't have to tech straighten out your fucking toe,

1349
01:07:14,720 --> 01:07:15,800
Speaker 4: fucking hammer time.

1350
01:07:20,320 --> 01:07:23,520
Speaker 3: I would watch a whole movie about Popeye.

1351
01:07:23,160 --> 01:07:27,120
Speaker 4: Doyle developing a fucking foot fetish looking for this one

1352
01:07:27,240 --> 01:07:28,880
Speaker 4: specific goddamn dude.

1353
01:07:29,600 --> 01:07:32,360
Speaker 3: And he's just looking at feet across the Tri State area.

1354
01:07:35,120 --> 01:07:39,240
Speaker 4: And he becomes an invertent expert in foot fungus.

1355
01:07:39,440 --> 01:07:42,680
Speaker 3: He's like a podiatriss he becomes a podiatrist. I would

1356
01:07:42,680 --> 01:07:42,960
Speaker 3: watch it.

1357
01:07:43,200 --> 01:07:47,520
Speaker 1: If you don't write French connection for Popeye's hammer Toe,

1358
01:07:52,680 --> 01:07:57,200
Speaker 1: I send you to a pricey writing retreat so you

1359
01:07:57,440 --> 01:08:01,360
Speaker 1: have the energy to write French connections.

1360
01:08:03,360 --> 01:08:05,520
Speaker 4: We will be funded by a wealthy white woman who's like,

1361
01:08:05,640 --> 01:08:09,720
Speaker 4: oh Hammertoe, Sure that's a cause, I stand behind go

1362
01:08:10,080 --> 01:08:10,960
Speaker 4: Forth and write it.

1363
01:08:11,560 --> 01:08:11,960
Speaker 3: Well break.

1364
01:08:12,040 --> 01:08:15,560
Speaker 4: We will drag Gene Hackman out of retirement, drag him.

1365
01:08:15,720 --> 01:08:18,640
Speaker 4: He's like riding a fucking bicycle through New Mexico, Like

1366
01:08:18,720 --> 01:08:20,840
Speaker 4: that's the only time people see him now. They're like, oh, yeah,

1367
01:08:20,880 --> 01:08:24,320
Speaker 4: he's like riding his bike through fucking New Mexico. And

1368
01:08:24,400 --> 01:08:26,120
Speaker 4: I'm like, guess what you coming back and talking about

1369
01:08:26,120 --> 01:08:28,360
Speaker 4: these hammertoes. He's like, I would like to die now,

1370
01:08:29,040 --> 01:08:32,320
Speaker 4: Can I just kiss the sweet abyss? I would rather

1371
01:08:32,439 --> 01:08:33,479
Speaker 4: do anything but that.

1372
01:08:36,520 --> 01:08:38,720
Speaker 3: Amazing how long I can riff on a hammer toe,

1373
01:08:39,000 --> 01:08:41,599
Speaker 3: isn't it? I love it. I'm shocked. I'm shocked.

1374
01:08:41,640 --> 01:08:47,480
Speaker 4: I've learned something about myself today. So this movie classic

1375
01:08:48,200 --> 01:08:51,160
Speaker 4: is won five Academy Awards. It's consistently on the top

1376
01:08:51,200 --> 01:08:55,760
Speaker 4: of the best Movies of All Times list. My one

1377
01:08:55,840 --> 01:09:01,400
Speaker 4: sentence synopsis, A lightly assholeish with a heart of gold

1378
01:09:01,720 --> 01:09:04,639
Speaker 4: uncovers a plot to move a huge shipment of drugs

1379
01:09:04,680 --> 01:09:07,719
Speaker 4: into New York City while his partner reluctantly joins him.

1380
01:09:07,600 --> 01:09:08,160
Speaker 3: For the ride.

1381
01:09:08,920 --> 01:09:10,120
Speaker 2: Absolutely perfection.

1382
01:09:10,920 --> 01:09:12,599
Speaker 3: So this cast is fucking incredible.

1383
01:09:12,600 --> 01:09:16,960
Speaker 4: We've got Gene Hackman playing Jimmy Popeye, Doyle Roy Scheider

1384
01:09:17,080 --> 01:09:19,200
Speaker 4: plays Buddy Cloudy Rousseau.

1385
01:09:20,240 --> 01:09:21,160
Speaker 3: They are partners.

1386
01:09:22,080 --> 01:09:27,120
Speaker 4: The movie starts, however, in Marseille in France, and Marseille

1387
01:09:27,120 --> 01:09:29,280
Speaker 4: looks rough as hell in the seventies like it does

1388
01:09:29,400 --> 01:09:31,920
Speaker 4: not look all charming and sweet.

1389
01:09:32,280 --> 01:09:33,439
Speaker 3: There's a dude that gets.

1390
01:09:33,320 --> 01:09:35,080
Speaker 4: As soon as the movie opens, there's a dude who's

1391
01:09:35,120 --> 01:09:38,320
Speaker 4: like gets shot, and then the guy who shoots him steals.

1392
01:09:37,960 --> 01:09:41,240
Speaker 3: His baguette, Like it's fucking rough in the streets.

1393
01:09:41,560 --> 01:09:41,680
Speaker 1: You know.

1394
01:09:42,000 --> 01:09:44,040
Speaker 2: When that scene happens, I'm like, yo, I'd break a

1395
01:09:44,120 --> 01:09:44,960
Speaker 2: piece off of that too.

1396
01:09:45,720 --> 01:09:48,200
Speaker 3: It's fucking fresh. You can't let a good baguette go

1397
01:09:48,640 --> 01:09:51,479
Speaker 3: go to die along with this dude. In France, that's

1398
01:09:51,560 --> 01:09:54,120
Speaker 3: where they're so fresh and so delicious.

1399
01:09:55,000 --> 01:09:57,479
Speaker 4: Yeah, shoot a guy and then take his fucking plan

1400
01:09:57,640 --> 01:10:01,000
Speaker 4: for lunch away from him as well. And then we

1401
01:10:01,120 --> 01:10:05,880
Speaker 4: also meet this character in France named Ellen Charnier. And

1402
01:10:06,240 --> 01:10:08,240
Speaker 4: this is so it's based on a book by Robin Moore.

1403
01:10:08,280 --> 01:10:10,719
Speaker 4: In the book was a nonfiction book like this actually happened.

1404
01:10:10,720 --> 01:10:14,479
Speaker 4: This is based on real cops, real criminals. And Elene

1405
01:10:14,960 --> 01:10:17,479
Speaker 4: is kind of this mover and shaker, like he's just

1406
01:10:17,560 --> 01:10:19,680
Speaker 4: kind of fishing off of his back porch and like

1407
01:10:20,320 --> 01:10:23,400
Speaker 4: into this beautiful sea, and he's got this very young wife,

1408
01:10:23,520 --> 01:10:26,639
Speaker 4: and you know, he's just kind of happy with his life.

1409
01:10:26,680 --> 01:10:29,080
Speaker 4: And over time, you know, because they kind of go

1410
01:10:29,160 --> 01:10:31,000
Speaker 4: back and forth for a little bit before they make

1411
01:10:31,080 --> 01:10:34,400
Speaker 4: the French connection, and over time you learn like he's

1412
01:10:34,400 --> 01:10:36,280
Speaker 4: the kind of guy who, like he on his way

1413
01:10:36,320 --> 01:10:38,439
Speaker 4: to a drug deal, he like picks an oyster right

1414
01:10:38,479 --> 01:10:41,040
Speaker 4: out of the sea and like carves it open and

1415
01:10:41,120 --> 01:10:41,439
Speaker 4: eats it.

1416
01:10:42,240 --> 01:10:42,920
Speaker 2: It's like living his.

1417
01:10:42,920 --> 01:10:44,479
Speaker 3: Best fucking life, his life.

1418
01:10:45,520 --> 01:10:49,000
Speaker 4: And he goes to this meeting eventually with this other

1419
01:10:49,080 --> 01:10:53,600
Speaker 4: guy named Pierre Nicoli, and they meet up with this

1420
01:10:53,840 --> 01:10:58,240
Speaker 4: actor named Henry Devereaux, and Pierre is like, I don't

1421
01:10:58,280 --> 01:11:00,000
Speaker 4: trust this shit. This TV star is not going to

1422
01:11:00,080 --> 01:11:02,519
Speaker 4: be able to like take our fucking product and do

1423
01:11:02,600 --> 01:11:03,400
Speaker 4: what we need to do with it.

1424
01:11:04,200 --> 01:11:06,800
Speaker 3: But Sharnier is like, yeah, he definitely will.

1425
01:11:06,880 --> 01:11:09,360
Speaker 4: So they're basically we're looking at this plot develop where

1426
01:11:09,520 --> 01:11:13,439
Speaker 4: they are Sharnier is going to hide a bunch of

1427
01:11:13,600 --> 01:11:17,920
Speaker 4: drugs with this TV star who is going to America

1428
01:11:18,360 --> 01:11:20,920
Speaker 4: to kind of complete a project or work on a project.

1429
01:11:22,760 --> 01:11:26,480
Speaker 3: Now back in Brooklyn, we've got Popeye.

1430
01:11:26,120 --> 01:11:30,280
Speaker 4: Doyle, an iconic character for the Hat Alone, and we

1431
01:11:30,439 --> 01:11:36,880
Speaker 4: meet Popeye Doyle and Cloudy Russo. He's playing a street

1432
01:11:36,960 --> 01:11:41,120
Speaker 4: sanna and Russo is playing like he's pretending to be

1433
01:11:41,200 --> 01:11:43,800
Speaker 4: a hot dog cart guy. And I just have to say,

1434
01:11:44,640 --> 01:11:49,560
Speaker 4: up top, they are reaching modine levels with these disguises

1435
01:11:49,720 --> 01:11:50,519
Speaker 4: throughout this movie.

1436
01:11:50,720 --> 01:11:51,880
Speaker 3: One hundred percent.

1437
01:11:52,200 --> 01:11:54,800
Speaker 1: I was like, this is some married to the mob shit,

1438
01:11:55,760 --> 01:11:57,519
Speaker 1: or maybe absolutely married to the mob.

1439
01:11:57,760 --> 01:12:01,679
Speaker 4: Is this marriage the mob is reaching French Connection levels

1440
01:12:01,680 --> 01:12:05,320
Speaker 4: with they're just fucking disguises because I'm like, as you're

1441
01:12:05,320 --> 01:12:07,439
Speaker 4: watching this shit unfold, you're like, oh, now they're mailmen,

1442
01:12:07,600 --> 01:12:08,799
Speaker 4: Now they're factory workers.

1443
01:12:08,920 --> 01:12:10,679
Speaker 3: Now they're like pushing a carriage.

1444
01:12:10,800 --> 01:12:12,920
Speaker 4: They're just keep getting in disguises, and I'm like, the

1445
01:12:13,000 --> 01:12:16,799
Speaker 4: budget for these costumes is insane for a police precinct.

1446
01:12:18,080 --> 01:12:23,160
Speaker 1: I have to ask this question again, So I've just

1447
01:12:23,240 --> 01:12:26,639
Speaker 1: apologized to our listeners. I apologize to you in Advanced Daniel,

1448
01:12:27,520 --> 01:12:31,240
Speaker 1: what are your thoughts on Roy Scheider in French Connection.

1449
01:12:31,560 --> 01:12:35,120
Speaker 4: Roy Scheider is he's always got that cigarette hanging out

1450
01:12:35,160 --> 01:12:36,960
Speaker 4: of his mouth in most of his roles the best

1451
01:12:38,640 --> 01:12:42,599
Speaker 4: he is so low key over being a cop, I think,

1452
01:12:43,640 --> 01:12:46,320
Speaker 4: but he fucking loves hanging out with Popeye Doyle. I

1453
01:12:46,400 --> 01:12:49,080
Speaker 4: feel like when he's working, he just he's hanging out.

1454
01:12:48,920 --> 01:12:52,800
Speaker 3: With his friend. Yes, Otherwise he's like I could take

1455
01:12:52,840 --> 01:12:53,280
Speaker 3: it or leave it.

1456
01:12:53,479 --> 01:12:56,280
Speaker 2: Yeah, That's exactly how I feel in my life when

1457
01:12:56,320 --> 01:12:57,160
Speaker 2: I do this podcast.

1458
01:12:57,479 --> 01:12:58,479
Speaker 3: I love hanging out with you.

1459
01:12:59,160 --> 01:13:03,080
Speaker 1: Exact I'm done, I'm like, fuck it, like go back

1460
01:13:03,120 --> 01:13:08,600
Speaker 1: to the dark the darkness. Also, I'm gonna dangle this

1461
01:13:08,720 --> 01:13:12,320
Speaker 1: out there. Roy Scheider is hot as ship in the

1462
01:13:12,360 --> 01:13:13,000
Speaker 1: French Connection.

1463
01:13:13,360 --> 01:13:15,360
Speaker 3: To me, he's kind of hot. He's kind of hot

1464
01:13:15,439 --> 01:13:16,439
Speaker 3: in this film, and.

1465
01:13:16,520 --> 01:13:20,840
Speaker 1: I I have listen, I have We have broached the

1466
01:13:20,960 --> 01:13:23,880
Speaker 1: subject of Roy Scheider before, especially when we did all

1467
01:13:23,920 --> 01:13:28,400
Speaker 1: that Jazz. We know he's America's finest cigarette dangling actor.

1468
01:13:29,800 --> 01:13:33,360
Speaker 2: We know that, But for some reason in French Connection,

1469
01:13:33,439 --> 01:13:36,599
Speaker 2: I'm like, he's kind of hot. He's like a haughtie

1470
01:13:37,080 --> 01:13:37,280
Speaker 2: in this.

1471
01:13:37,640 --> 01:13:39,760
Speaker 4: I think it's because he's got that, like that low

1472
01:13:39,880 --> 01:13:43,280
Speaker 4: key energy in this if not that out front main

1473
01:13:43,439 --> 01:13:44,280
Speaker 4: character energy.

1474
01:13:44,439 --> 01:13:46,920
Speaker 3: It's like, my life is fine. I don't need to

1475
01:13:47,040 --> 01:13:48,519
Speaker 3: I don't need a front, I don't need a flex.

1476
01:13:48,800 --> 01:13:52,400
Speaker 1: He gives pop By the space to be himself. Absolutely,

1477
01:13:52,760 --> 01:13:53,719
Speaker 1: he's very forgiving.

1478
01:13:54,320 --> 01:13:57,280
Speaker 3: Yeah. At one point he walks in on his partner.

1479
01:13:57,439 --> 01:14:01,400
Speaker 4: He goes to his house, his apartment, and Popeye is

1480
01:14:01,479 --> 01:14:03,519
Speaker 4: in bed and he's like, yeah, come in. And he

1481
01:14:03,600 --> 01:14:05,840
Speaker 4: has to break into his fucking house with a credit

1482
01:14:05,920 --> 01:14:08,080
Speaker 4: card because this man is too lazy to get out

1483
01:14:08,160 --> 01:14:08,519
Speaker 4: of bed.

1484
01:14:10,640 --> 01:14:12,880
Speaker 3: But the way that he just casually.

1485
01:14:12,600 --> 01:14:14,880
Speaker 4: Breaks in with a fucking credit card and sees this

1486
01:14:15,320 --> 01:14:18,519
Speaker 4: dirt bag, disgusting partner of his with cancuffs on his

1487
01:14:18,600 --> 01:14:21,040
Speaker 4: ankles and a woman he picked up because he liked

1488
01:14:21,040 --> 01:14:22,639
Speaker 4: the way her ass looked on a bicycle.

1489
01:14:22,880 --> 01:14:26,000
Speaker 3: Yeah, it's just like so chill. He's like, yeah, whatever,

1490
01:14:26,120 --> 01:14:26,840
Speaker 3: see this every day.

1491
01:14:26,880 --> 01:14:28,880
Speaker 4: He's just got a real chill energy to him in

1492
01:14:28,920 --> 01:14:30,639
Speaker 4: this movie that I think enhances the hots.

1493
01:14:30,800 --> 01:14:31,800
Speaker 2: Oh, I think so too.

1494
01:14:31,840 --> 01:14:34,759
Speaker 1: I mean he's kind of moving into laconic OAF territory

1495
01:14:34,880 --> 01:14:37,599
Speaker 1: if you will, absolutely, we are.

1496
01:14:37,640 --> 01:14:40,519
Speaker 4: Going to so we're referencing so many deep I saw

1497
01:14:40,560 --> 01:14:41,919
Speaker 4: what you did cuts in this episode.

1498
01:14:42,040 --> 01:14:43,280
Speaker 3: I fucking love it.

1499
01:14:43,560 --> 01:14:45,599
Speaker 1: It's almost like they have to listen to the podcast

1500
01:14:45,680 --> 01:14:47,759
Speaker 1: in order to understand what we're talking about.

1501
01:14:48,280 --> 01:14:50,600
Speaker 4: Henny, we have reached that point three years in. We're like,

1502
01:14:50,640 --> 01:14:52,479
Speaker 4: you will not understand this if you haven't listened to

1503
01:14:52,520 --> 01:14:54,479
Speaker 4: every episode. And I love it, and that's what I'm

1504
01:14:54,479 --> 01:14:56,040
Speaker 4: always going for exactly So.

1505
01:14:56,479 --> 01:15:00,120
Speaker 1: But I had to ask because you know, I you know, Oh,

1506
01:15:00,160 --> 01:15:01,720
Speaker 1: I just had to figure.

1507
01:15:01,400 --> 01:15:03,880
Speaker 2: Out horny levels for Roy Scheider in this.

1508
01:15:04,280 --> 01:15:06,280
Speaker 4: In this movie, they are as high as they will

1509
01:15:06,360 --> 01:15:08,760
Speaker 4: ever be for Roy Scheider. Yes, for me, okay, they

1510
01:15:08,800 --> 01:15:12,880
Speaker 4: will never be higher than this. Goods to No Jaws,

1511
01:15:13,040 --> 01:15:15,080
Speaker 4: all that jazz, so many others are I'm like, nah,

1512
01:15:15,479 --> 01:15:17,240
Speaker 4: and then here I'm like, you know what, maybe, and

1513
01:15:17,360 --> 01:15:18,439
Speaker 4: maybe is as high as.

1514
01:15:18,360 --> 01:15:19,160
Speaker 3: I'm going with him.

1515
01:15:19,360 --> 01:15:21,880
Speaker 2: Maybe absolutely makes perfect sense.

1516
01:15:21,960 --> 01:15:27,639
Speaker 4: Thank you, Thank you, Jene Hackman. However, would one hundred

1517
01:15:27,680 --> 01:15:32,519
Speaker 4: percent destroy what? What? Oh? I've had the hots for that, Jesus,

1518
01:15:32,640 --> 01:15:35,840
Speaker 4: I was a kid. Okay, I don't understand it. I

1519
01:15:35,920 --> 01:15:36,760
Speaker 4: don't understand it.

1520
01:15:37,360 --> 01:15:39,840
Speaker 3: He okay, even in spite of his.

1521
01:15:41,360 --> 01:15:47,120
Speaker 1: Pickin' feet and Pikeepsie referencing his the fact that when

1522
01:15:47,439 --> 01:15:50,000
Speaker 1: when Roy Scheider gave him the keys to take that

1523
01:15:50,520 --> 01:15:52,920
Speaker 1: handcuff off of his foot, I'm pretty sure it was black.

1524
01:15:53,680 --> 01:15:54,880
Speaker 3: His foot was black.

1525
01:15:56,560 --> 01:15:59,719
Speaker 1: He last like all feeling and sense because this fucking

1526
01:16:00,439 --> 01:16:02,320
Speaker 1: that he decided to have a one night stand with

1527
01:16:02,920 --> 01:16:04,439
Speaker 1: coffed his anchor too.

1528
01:16:04,360 --> 01:16:07,800
Speaker 4: Tight, and he let it happen. That's the kind of

1529
01:16:07,840 --> 01:16:11,840
Speaker 4: dirtbag I'm about. Sometimes, Yeah, he seems fun as hell

1530
01:16:11,920 --> 01:16:12,439
Speaker 4: in this movie.

1531
01:16:12,600 --> 01:16:17,080
Speaker 1: He's huffing it when he's like running through the goddamn

1532
01:16:17,160 --> 01:16:20,120
Speaker 1: subway and like jumping over railings and shit, I'm like,

1533
01:16:21,360 --> 01:16:24,080
Speaker 1: this guy may not be healthy enough for all this.

1534
01:16:26,320 --> 01:16:27,800
Speaker 3: Most seventies cops were not.

1535
01:16:30,000 --> 01:16:33,000
Speaker 4: Show me a seventies era cop who you're like, yeah,

1536
01:16:33,720 --> 01:16:35,320
Speaker 4: he can take Shannon Tatum in a race.

1537
01:16:35,800 --> 01:16:36,759
Speaker 3: It ain't happening.

1538
01:16:37,960 --> 01:16:41,280
Speaker 4: Most seventies cops were the definition of the coffee.

1539
01:16:40,960 --> 01:16:43,599
Speaker 3: And donuts era. Dude, Oh my god, they're not moving

1540
01:16:43,680 --> 01:16:44,800
Speaker 3: any more than they have to.

1541
01:16:45,240 --> 01:16:48,759
Speaker 1: That's why I fucking love seventies crime movies. I mean, honestly,

1542
01:16:48,920 --> 01:16:55,360
Speaker 1: the cops so unhealthy, like nobody's winning any fucking presidential

1543
01:16:55,439 --> 01:16:56,160
Speaker 1: fitness test.

1544
01:16:56,439 --> 01:16:58,400
Speaker 3: It's glorious.

1545
01:17:00,160 --> 01:17:02,479
Speaker 4: As it as to the tension, because you're like, I

1546
01:17:02,600 --> 01:17:05,160
Speaker 4: truly don't know if he can catch this bucker. Yeah,

1547
01:17:05,920 --> 01:17:07,400
Speaker 4: Like every chase scene you're like, we don't know how

1548
01:17:07,439 --> 01:17:09,320
Speaker 4: it's gonna go. Look at him, and in spite of

1549
01:17:09,479 --> 01:17:11,200
Speaker 4: all this, you would destroy the knee.

1550
01:17:11,479 --> 01:17:13,080
Speaker 3: This is so interesting.

1551
01:17:13,520 --> 01:17:17,200
Speaker 4: Dread percent would have the weirdest night of my life

1552
01:17:17,240 --> 01:17:22,640
Speaker 4: with that one. That little curly hair, balding weirdo. Absolutely

1553
01:17:22,680 --> 01:17:25,200
Speaker 4: his little puffy face. I don't know why, especially because

1554
01:17:25,240 --> 01:17:26,880
Speaker 4: he says some of the most fucked up shit in

1555
01:17:26,920 --> 01:17:29,760
Speaker 4: this movie that I've ever heard that points directly to

1556
01:17:29,840 --> 01:17:32,040
Speaker 4: a level of self loathing that I'm not willing to.

1557
01:17:32,080 --> 01:17:40,719
Speaker 3: Address, but we will get into it. So these two are.

1558
01:17:40,680 --> 01:17:45,080
Speaker 4: Fucking partners and they're just so weirdly matched up. But

1559
01:17:45,160 --> 01:17:47,280
Speaker 4: it's that, you know, the light and dark and like

1560
01:17:47,320 --> 01:17:50,240
Speaker 4: they're very well matched. But when we meet them, they're

1561
01:17:50,280 --> 01:17:53,160
Speaker 4: just kind of like roughing people up, specifically at this

1562
01:17:53,760 --> 01:17:57,720
Speaker 4: bar that's filled with black people, black patrons, and they

1563
01:17:57,840 --> 01:18:00,320
Speaker 4: chase this guy through an empty lot in Brooklyn, probably

1564
01:18:00,360 --> 01:18:01,240
Speaker 4: like a fucking Panera.

1565
01:18:01,360 --> 01:18:05,640
Speaker 3: Now, I don't know, it's like some nine million.

1566
01:18:05,400 --> 01:18:09,200
Speaker 4: Dollar artist loft community now, but back then it was

1567
01:18:09,200 --> 01:18:13,000
Speaker 4: like an empty lot with fires burning in it, where

1568
01:18:13,080 --> 01:18:16,120
Speaker 4: people got chased and beaten almost to death in it.

1569
01:18:16,760 --> 01:18:18,479
Speaker 3: And we find out that they are partners.

1570
01:18:18,560 --> 01:18:21,320
Speaker 4: Eventually, we find out they're partners in the narcotics Bureau,

1571
01:18:22,439 --> 01:18:26,479
Speaker 4: and they kind of there's just so many interesting moments

1572
01:18:26,560 --> 01:18:28,840
Speaker 4: with them where they're kind of their whole job is

1573
01:18:29,400 --> 01:18:32,280
Speaker 4: looking and waiting and watching, and there's a level of

1574
01:18:32,720 --> 01:18:35,120
Speaker 4: quiet to this movie that I think is what elevates

1575
01:18:35,160 --> 01:18:37,680
Speaker 4: it a little bit and elevates it at least to

1576
01:18:37,760 --> 01:18:41,000
Speaker 4: the status of classic, because there's so many foot chases

1577
01:18:41,040 --> 01:18:43,120
Speaker 4: before we get to the quintessential car chase. There's so

1578
01:18:43,200 --> 01:18:46,639
Speaker 4: many moments of just watching and waiting, and it's like watching,

1579
01:18:47,040 --> 01:18:50,800
Speaker 4: you're seeing a dance happen between all of these detectives

1580
01:18:50,800 --> 01:18:52,360
Speaker 4: where they're like, you know, now you go and watch

1581
01:18:52,400 --> 01:18:53,720
Speaker 4: them and I'm going to walk over here, and then

1582
01:18:53,720 --> 01:18:55,000
Speaker 4: somebody else comes into the scene.

1583
01:18:55,040 --> 01:18:56,680
Speaker 3: It's very well choreographed.

1584
01:18:57,840 --> 01:19:00,240
Speaker 4: Absolutely does not work because everyone they're following is like, yo,

1585
01:19:00,320 --> 01:19:01,720
Speaker 4: we're being tailed, Like it does not.

1586
01:19:01,840 --> 01:19:02,400
Speaker 3: Work at all.

1587
01:19:02,479 --> 01:19:04,320
Speaker 4: They're not being sly about it, but it works for

1588
01:19:04,439 --> 01:19:07,080
Speaker 4: them to get the information they need and it's beautiful

1589
01:19:07,120 --> 01:19:09,479
Speaker 4: to watch. I think that William Friedkin was great at that.

1590
01:19:09,520 --> 01:19:11,839
Speaker 4: We talked about him a lot during our Exorcist episode.

1591
01:19:13,040 --> 01:19:15,600
Speaker 4: This is probably one of his more like probably the

1592
01:19:15,640 --> 01:19:18,479
Speaker 4: movie he's most known for aside from Exorcist. Yes, and

1593
01:19:18,600 --> 01:19:21,559
Speaker 4: I just think he's really there's something on display here

1594
01:19:21,600 --> 01:19:24,240
Speaker 4: about his skill set that I just fucking love watching.

1595
01:19:24,880 --> 01:19:27,120
Speaker 3: The movie looks good to me even still.

1596
01:19:27,880 --> 01:19:31,240
Speaker 4: But these folks are just watching people and they go

1597
01:19:31,280 --> 01:19:33,600
Speaker 4: to this nightclub, and this is something that this is

1598
01:19:33,640 --> 01:19:35,040
Speaker 4: one of the things I want to talk about where

1599
01:19:35,040 --> 01:19:35,240
Speaker 4: I'm like.

1600
01:19:35,280 --> 01:19:37,720
Speaker 3: Yeah, Popydoel's kind of fucked up, cause he's kind of

1601
01:19:37,720 --> 01:19:39,639
Speaker 3: a dick. Like even the people that work with him

1602
01:19:39,840 --> 01:19:42,559
Speaker 3: in his precinct are like, not that guy.

1603
01:19:44,400 --> 01:19:47,040
Speaker 4: You get the feeling that Russo is the only one

1604
01:19:47,080 --> 01:19:50,040
Speaker 4: that can work with him because he's really aggressive, he's

1605
01:19:50,080 --> 01:19:52,600
Speaker 4: a lot and he has his own ideas about how

1606
01:19:52,600 --> 01:19:56,559
Speaker 4: shit should go down. And at one point they're talking

1607
01:19:56,600 --> 01:20:00,160
Speaker 4: about someone that they just arrested, and Doyle said, is

1608
01:20:00,640 --> 01:20:03,960
Speaker 4: never trust an N word. And then they go to

1609
01:20:04,160 --> 01:20:07,640
Speaker 4: a club where there's black women performing on stage and

1610
01:20:07,720 --> 01:20:09,559
Speaker 4: they're like cutting it up and having a good time,

1611
01:20:09,640 --> 01:20:10,879
Speaker 4: and I'm like, this is such.

1612
01:20:12,400 --> 01:20:15,120
Speaker 3: A glimpse of America then and now.

1613
01:20:15,320 --> 01:20:17,360
Speaker 4: Where you've got these people who are like, let me

1614
01:20:17,520 --> 01:20:21,000
Speaker 4: use this most derogatory fucking phrase I can that is

1615
01:20:21,080 --> 01:20:25,639
Speaker 4: filled with such malice and violence and really just kind

1616
01:20:25,720 --> 01:20:30,600
Speaker 4: of like purports to know what a person is just

1617
01:20:30,920 --> 01:20:32,640
Speaker 4: by the color of their skin. And then they'll go

1618
01:20:32,760 --> 01:20:36,160
Speaker 4: and consume our entertainment and consume our fucking output and

1619
01:20:36,680 --> 01:20:38,959
Speaker 4: use us in that way but still.

1620
01:20:38,800 --> 01:20:39,320
Speaker 3: Call us that.

1621
01:20:39,560 --> 01:20:43,519
Speaker 4: So that is a throwaway scene, but it just hits

1622
01:20:43,640 --> 01:20:46,160
Speaker 4: me so hard now as an adult every time I

1623
01:20:46,240 --> 01:20:49,320
Speaker 4: see it. And I wouldn't say that he's even racist,

1624
01:20:49,400 --> 01:20:51,040
Speaker 4: Like this is very much like a product of its

1625
01:20:51,160 --> 01:20:55,120
Speaker 4: time film. But I think that's the thing that keeps

1626
01:20:56,520 --> 01:20:58,759
Speaker 4: a lot of movies like this kind of on the forefront.

1627
01:20:58,880 --> 01:21:01,360
Speaker 4: Is there a lot of people unwilling to discuss those

1628
01:21:01,439 --> 01:21:04,240
Speaker 4: moments and they just want to focus on the fun parts.

1629
01:21:04,600 --> 01:21:06,479
Speaker 4: But I think that if you're going to understand the character,

1630
01:21:06,600 --> 01:21:08,640
Speaker 4: you have to look at that shit too, Like you

1631
01:21:08,720 --> 01:21:11,960
Speaker 4: can't just look at oh the fun running and car

1632
01:21:12,080 --> 01:21:14,599
Speaker 4: chasing and train chasing parts, like you have to look

1633
01:21:14,640 --> 01:21:16,960
Speaker 4: at who this character is as a whole. Yeah.

1634
01:21:17,000 --> 01:21:18,439
Speaker 1: I mean, it's kind of like when we talked about

1635
01:21:18,479 --> 01:21:20,880
Speaker 1: One False Move and that Bill Paxson character where it

1636
01:21:20,960 --> 01:21:25,320
Speaker 1: was like, oh, he's like idolizing and working alongside black cops,

1637
01:21:25,760 --> 01:21:28,519
Speaker 1: but then uses the N word around them, and you're

1638
01:21:28,640 --> 01:21:32,240
Speaker 1: just like, the disconnect is kind of it's very jarring.

1639
01:21:33,320 --> 01:21:35,960
Speaker 4: It's shocking, and I think that was really prevalent again,

1640
01:21:36,040 --> 01:21:38,800
Speaker 4: like back then for sure, but now it's seems to

1641
01:21:38,840 --> 01:21:41,200
Speaker 4: be coming back into prevalence where like people are drawing

1642
01:21:41,280 --> 01:21:44,519
Speaker 4: these distinctions and you know, I used to hear my

1643
01:21:44,760 --> 01:21:47,080
Speaker 4: grandparents talk about that kind of shit and be like, well,

1644
01:21:47,200 --> 01:21:49,280
Speaker 4: you know, like their friends would use that word or

1645
01:21:49,680 --> 01:21:52,360
Speaker 4: you know, people in their jobs or whatever, and they're like, yeah,

1646
01:21:52,360 --> 01:21:53,920
Speaker 4: well that's just where they're from. And I'm like that's

1647
01:21:53,960 --> 01:21:55,760
Speaker 4: wrong though they're like, yeah, it's wrong, but what are

1648
01:21:55,800 --> 01:21:57,680
Speaker 4: we going to fucking do about it? Like it's from

1649
01:21:57,720 --> 01:21:58,719
Speaker 4: a whole different time.

1650
01:21:58,920 --> 01:22:02,680
Speaker 1: So yeah, it kind of contributes to the Popeye characters

1651
01:22:03,400 --> 01:22:07,920
Speaker 1: general kind of demeanor because he's kind of this like

1652
01:22:09,000 --> 01:22:11,600
Speaker 1: above the law type of cop. I mean, in the

1653
01:22:11,680 --> 01:22:14,639
Speaker 1: same way you know when we talked about To Live

1654
01:22:14,680 --> 01:22:17,160
Speaker 1: and Die in La you know, the other Freedkin movie,

1655
01:22:17,200 --> 01:22:19,000
Speaker 1: one of the other freaking movies we've done on the podcast,

1656
01:22:19,080 --> 01:22:23,880
Speaker 1: but that character of the cop that goes rogue, that

1657
01:22:24,600 --> 01:22:28,120
Speaker 1: does things that are like one hundred percent legal, you.

1658
01:22:28,200 --> 01:22:30,960
Speaker 4: Know, completely, Yeah, he has like a kind of a

1659
01:22:31,080 --> 01:22:34,800
Speaker 4: disdain for the system. Yeah, and I think that's this

1660
01:22:35,040 --> 01:22:37,200
Speaker 4: contributes to that. This and the scene with the you know,

1661
01:22:37,280 --> 01:22:40,080
Speaker 4: the woman and in bed and like, there's this kind

1662
01:22:40,120 --> 01:22:43,360
Speaker 4: of general disdain that he has for rules and for

1663
01:22:43,479 --> 01:22:47,160
Speaker 4: other people, honestly, so he kind of exhibits that. I

1664
01:22:47,240 --> 01:22:48,880
Speaker 4: think that's what makes him kind of a prick, is

1665
01:22:48,920 --> 01:22:50,840
Speaker 4: like he kind of exhibits that in every aspect of

1666
01:22:50,960 --> 01:22:55,160
Speaker 4: his life. But he's not a cruel person or a

1667
01:22:56,120 --> 01:23:00,120
Speaker 4: intentionally mean person, like everything has. He's doing everything to

1668
01:23:00,160 --> 01:23:03,360
Speaker 4: get to a particular end. Like he has an idea

1669
01:23:03,400 --> 01:23:06,760
Speaker 4: of what he wants out of things, and he'll use

1670
01:23:06,800 --> 01:23:08,880
Speaker 4: anything he can to get it. So there's another scene

1671
01:23:08,920 --> 01:23:11,519
Speaker 4: where he goes into the same bar and they're kind

1672
01:23:11,560 --> 01:23:13,880
Speaker 4: of tossing the place and finding all these drugs like

1673
01:23:14,000 --> 01:23:16,920
Speaker 4: taped underneath the bar, which I think is hilarious. But

1674
01:23:17,000 --> 01:23:19,640
Speaker 4: then he starts really railing on this one dude with

1675
01:23:19,720 --> 01:23:21,840
Speaker 4: this big afro, and you're like, what the fuck, Like

1676
01:23:21,920 --> 01:23:24,120
Speaker 4: this guy is a menace, and then he kind of

1677
01:23:24,520 --> 01:23:26,760
Speaker 4: shoves him into a closet and when they get in there,

1678
01:23:26,800 --> 01:23:30,599
Speaker 4: you realize, oh, this guy's an informant, Like he's telling

1679
01:23:30,720 --> 01:23:34,599
Speaker 4: him a lot of information about this guy that he's watching,

1680
01:23:34,640 --> 01:23:36,840
Speaker 4: and kind of, you know, he's asking him, you know,

1681
01:23:37,240 --> 01:23:39,719
Speaker 4: about the shipment of drugs coming in because this informant

1682
01:23:39,800 --> 01:23:41,400
Speaker 4: is telling him. They're like, yeah, the streets are kind

1683
01:23:41,400 --> 01:23:43,479
Speaker 4: of dry, like, but there's a word out there that

1684
01:23:43,640 --> 01:23:44,799
Speaker 4: something big is happening.

1685
01:23:45,360 --> 01:23:47,320
Speaker 3: So that's what turns Doyle and.

1686
01:23:47,400 --> 01:23:55,080
Speaker 4: Russo towards Sal sal Boca and his wife Angie, and

1687
01:23:55,200 --> 01:23:58,160
Speaker 4: he's wondering from this nightclub scene that we've seen them in.

1688
01:23:58,240 --> 01:24:02,200
Speaker 4: He's wondering, how does this kind of small time criminal

1689
01:24:02,479 --> 01:24:06,080
Speaker 4: who owns like a sandwich shop, how does this guy

1690
01:24:06,360 --> 01:24:09,320
Speaker 4: afford this nightclub one hundred dollars tabs?

1691
01:24:09,439 --> 01:24:10,120
Speaker 3: Two cars?

1692
01:24:10,439 --> 01:24:12,919
Speaker 4: So he starts kind of looking into him as possibly

1693
01:24:12,960 --> 01:24:15,920
Speaker 4: a connection to this big drug shipment that's coming in,

1694
01:24:16,800 --> 01:24:21,439
Speaker 4: simply because he's so off the radar. And I think

1695
01:24:21,479 --> 01:24:24,519
Speaker 4: this is one of the first, not the first movie possibly,

1696
01:24:24,560 --> 01:24:26,519
Speaker 4: but one of the first, definitely the first movie I've

1697
01:24:26,600 --> 01:24:30,400
Speaker 4: seen where that kind of pathos became part of the

1698
01:24:30,520 --> 01:24:32,920
Speaker 4: investigation of like, we have to start looking outside of

1699
01:24:32,920 --> 01:24:34,639
Speaker 4: the box, we have to start looking at the small guy.

1700
01:24:34,680 --> 01:24:36,960
Speaker 4: We have to start looking at whatever we can to

1701
01:24:37,160 --> 01:24:41,880
Speaker 4: make our case. And Sal and Angere are piece of work.

1702
01:24:41,920 --> 01:24:44,120
Speaker 4: She's wearing this blonde boufont wig that I fucking love.

1703
01:24:45,120 --> 01:24:47,280
Speaker 4: But they're just kind of running this sandwich shop and

1704
01:24:47,320 --> 01:24:49,639
Speaker 4: they're just, you know, kind of being followed and watched,

1705
01:24:49,720 --> 01:24:52,439
Speaker 4: and they follow him from the club and watch him

1706
01:24:52,479 --> 01:24:55,479
Speaker 4: make this drop and then they go to work, and

1707
01:24:55,560 --> 01:24:57,360
Speaker 4: so they're just kind of like, I'm like, all right,

1708
01:24:57,400 --> 01:24:59,360
Speaker 4: these guys are lightly involved in crimes, but what else

1709
01:24:59,479 --> 01:24:59,800
Speaker 4: is going on?

1710
01:25:01,280 --> 01:25:02,479
Speaker 3: When Henry arrives in.

1711
01:25:02,479 --> 01:25:07,720
Speaker 4: America with this car it's kind of Lincoln Continental, and

1712
01:25:08,800 --> 01:25:13,960
Speaker 4: he's joined by Pierre Nicoli and Charnier, that's when they

1713
01:25:14,080 --> 01:25:17,040
Speaker 4: start really making the connections because they see Sal go

1714
01:25:17,360 --> 01:25:20,519
Speaker 4: to this big drug guy Winstock. They're like, why is

1715
01:25:20,520 --> 01:25:22,920
Speaker 4: he hanging out at his house? And they're like they

1716
01:25:22,960 --> 01:25:24,599
Speaker 4: go to their boss and I'm look, we need a wire,

1717
01:25:24,680 --> 01:25:26,360
Speaker 4: we need to watch the store, we need to watch

1718
01:25:26,400 --> 01:25:29,720
Speaker 4: the house. And their boss is also like, my god,

1719
01:25:29,800 --> 01:25:31,479
Speaker 4: these two I don't know what to fucking do with them,

1720
01:25:31,760 --> 01:25:35,439
Speaker 4: but he assigns these two other cops, Mulderrigg and Kline,

1721
01:25:35,760 --> 01:25:38,240
Speaker 4: they're kind of Feds, and he's like, all right, you

1722
01:25:38,280 --> 01:25:39,040
Speaker 4: can do it if these.

1723
01:25:38,880 --> 01:25:39,640
Speaker 3: Two are watching you.

1724
01:25:40,040 --> 01:25:41,840
Speaker 4: And Mulderegg is one of the first people who's like,

1725
01:25:41,880 --> 01:25:44,000
Speaker 4: oh God, this motherfucker he gets cops killed and blah

1726
01:25:44,000 --> 01:25:47,400
Speaker 4: blah blah. So there's something going on where it's not

1727
01:25:47,600 --> 01:25:52,840
Speaker 4: just the disdain for how Popeye Doyle conducts himself in

1728
01:25:52,960 --> 01:25:56,080
Speaker 4: the field. There's a deeper story there about somebody who

1729
01:25:56,200 --> 01:25:59,960
Speaker 4: got killed, probably because of his hubris, is what we're discovering.

1730
01:26:00,840 --> 01:26:02,920
Speaker 3: But as Doyle and Rousseau were.

1731
01:26:02,920 --> 01:26:05,680
Speaker 4: Kind of again like they're watching sal and they're kind

1732
01:26:05,720 --> 01:26:09,479
Speaker 4: of bouncing back and forth between this scene and the

1733
01:26:09,760 --> 01:26:12,639
Speaker 4: French guys that arrive, and that's where we start getting

1734
01:26:12,680 --> 01:26:15,040
Speaker 4: these that really cool footchase that we see where they're

1735
01:26:15,040 --> 01:26:21,120
Speaker 4: doing that heavy choreographed like watching Sal watching Charnier and

1736
01:26:21,280 --> 01:26:25,439
Speaker 4: figuring out how they connect. And they hear Sal is

1737
01:26:25,520 --> 01:26:28,240
Speaker 4: meeting up with this French guy, so they follow him

1738
01:26:28,280 --> 01:26:30,479
Speaker 4: in traffic. They lose them, but they catch up and

1739
01:26:30,720 --> 01:26:34,760
Speaker 4: Doyle is basically like, all right, now we know who

1740
01:26:34,840 --> 01:26:35,800
Speaker 4: all the fucking players are.

1741
01:26:35,920 --> 01:26:40,200
Speaker 3: So he starts following Charner in one of the coolest scenes.

1742
01:26:40,280 --> 01:26:43,720
Speaker 4: It's the funniest, coolest scene where he's following this guy

1743
01:26:43,720 --> 01:26:45,960
Speaker 4: who's supposed to be in his hotel. He's already lost

1744
01:26:46,000 --> 01:26:50,240
Speaker 4: his first tail. Doyle starts following him. He's bouncing around

1745
01:26:50,240 --> 01:26:52,080
Speaker 4: the subways. The guy's going in and out of this

1746
01:26:52,240 --> 01:26:53,880
Speaker 4: he's fucking with him, like he's going in and out

1747
01:26:53,920 --> 01:26:56,800
Speaker 4: of the subway, up the steps, down the steps, on

1748
01:26:57,000 --> 01:26:59,360
Speaker 4: the train, off the train, and they're just having this

1749
01:26:59,520 --> 01:27:03,439
Speaker 4: cat and house moment and it's driving Doyle up a

1750
01:27:03,520 --> 01:27:06,320
Speaker 4: fucking wall. And then at the very last minute they

1751
01:27:06,360 --> 01:27:10,040
Speaker 4: both are on this train, Charnier hops off, stands still

1752
01:27:10,080 --> 01:27:13,479
Speaker 4: for a minute. Doyle rockets off the train and without

1753
01:27:13,560 --> 01:27:16,320
Speaker 4: even looking, he just hops back backwards onto the train

1754
01:27:16,360 --> 01:27:18,240
Speaker 4: again and the door's closed and he takes off and

1755
01:27:18,280 --> 01:27:19,880
Speaker 4: he kind of gives a little wave like he knows

1756
01:27:19,920 --> 01:27:21,599
Speaker 4: they're being followed by this fucking cop.

1757
01:27:21,760 --> 01:27:27,799
Speaker 3: Yeah, he's like, good bye, try to find me, goodbye.

1758
01:27:28,600 --> 01:27:30,519
Speaker 3: I'm in no fucking wind in the city now.

1759
01:27:31,840 --> 01:27:35,640
Speaker 4: But because of that moment, Charnier decides to meet with

1760
01:27:35,800 --> 01:27:37,519
Speaker 4: Sal in Washington, d C.

1761
01:27:38,960 --> 01:27:42,759
Speaker 3: Because he's like, like, that'll lose the tail. No, it doesn't.

1762
01:27:42,800 --> 01:27:44,639
Speaker 3: The guy who's following Sal just goes.

1763
01:27:44,479 --> 01:27:46,040
Speaker 4: To d C because that was back in the day

1764
01:27:46,040 --> 01:27:47,960
Speaker 4: when you can buy a fifty dollars plane ticket to

1765
01:27:48,040 --> 01:27:49,679
Speaker 4: DC by walking up to the counter.

1766
01:27:50,479 --> 01:27:52,360
Speaker 2: Yeah, and then they just put your name on a

1767
01:27:52,439 --> 01:27:53,400
Speaker 2: ticket and we're like here you go.

1768
01:27:53,720 --> 01:27:56,639
Speaker 4: Yeah, why just right, like you were taking a test

1769
01:27:56,720 --> 01:27:59,880
Speaker 4: at school or something. Yeah, let's write your fucking name down.

1770
01:28:00,360 --> 01:28:03,960
Speaker 4: And so now the cops still know the fucking plan

1771
01:28:04,080 --> 01:28:07,880
Speaker 4: because sALS followed. So basically Charny is like, all right,

1772
01:28:08,000 --> 01:28:10,840
Speaker 4: I'm being followed, and this guy pop By Doyle like

1773
01:28:10,880 --> 01:28:12,920
Speaker 4: we're all being followed, but this guy pop Eye Doyle

1774
01:28:13,160 --> 01:28:14,559
Speaker 4: is enemy number one.

1775
01:28:14,680 --> 01:28:18,040
Speaker 3: We got to get rid of him. So Doyle goes home.

1776
01:28:18,400 --> 01:28:22,400
Speaker 4: He's walking home one day and as he's approaching his apartment,

1777
01:28:22,640 --> 01:28:24,600
Speaker 4: there's a sniper on the roof shooting at him, like

1778
01:28:24,760 --> 01:28:27,439
Speaker 4: just wildly shooting into a crowded street in New York.

1779
01:28:28,080 --> 01:28:30,200
Speaker 3: He follows the guy.

1780
01:28:30,240 --> 01:28:32,280
Speaker 4: He follows the guy up to the roof, gets there,

1781
01:28:32,479 --> 01:28:34,880
Speaker 4: doesn't see the dude, looks down. See the dude is running,

1782
01:28:35,240 --> 01:28:37,559
Speaker 4: and this is the start of the epic car chase.

1783
01:28:37,680 --> 01:28:40,439
Speaker 4: Is actually this epic foot chase. So he's huffing and puffing,

1784
01:28:41,040 --> 01:28:44,439
Speaker 4: follows the dude onto subway tracks. He's across the way.

1785
01:28:44,560 --> 01:28:47,720
Speaker 4: He's going the opposite direction. Doyle sees him get on

1786
01:28:47,760 --> 01:28:50,200
Speaker 4: a train and he yells out to the cop on

1787
01:28:50,280 --> 01:28:51,840
Speaker 4: the train, catch that guy.

1788
01:28:51,920 --> 01:28:54,800
Speaker 3: He's wanted by the police. The officer on that.

1789
01:28:54,920 --> 01:29:00,120
Speaker 4: Train tries to starts following Nicoli because Nicholas the one

1790
01:29:00,160 --> 01:29:03,400
Speaker 4: who was shooting it at Doyle. And the other thing

1791
01:29:03,400 --> 01:29:05,120
Speaker 4: I have to say about this movie is that the

1792
01:29:05,280 --> 01:29:08,200
Speaker 4: fake blood in this movie looks straight up like ketchup.

1793
01:29:08,280 --> 01:29:10,200
Speaker 4: Like they made no effort to even make it look

1794
01:29:10,320 --> 01:29:13,559
Speaker 4: like blood. It is just red ass ketchup.

1795
01:29:13,640 --> 01:29:14,479
Speaker 3: It's great.

1796
01:29:15,479 --> 01:29:17,400
Speaker 4: So he shoots this cop and like, all this shit's

1797
01:29:17,439 --> 01:29:20,960
Speaker 4: happening on the train, what's happening beneath the train? This

1798
01:29:21,120 --> 01:29:23,040
Speaker 4: is like an elevated train going you know, the en

1799
01:29:23,120 --> 01:29:26,839
Speaker 4: train going through goes through Brooklyn and Queens and Manhattan,

1800
01:29:27,360 --> 01:29:31,280
Speaker 4: and what's happening below is that Popeye Doyle has commandeered

1801
01:29:31,800 --> 01:29:35,640
Speaker 4: a vehicle, and the vehicle that he has commandeered is

1802
01:29:35,680 --> 01:29:40,880
Speaker 4: in nineteen seventy one Pontiac LeMans, which is not the

1803
01:29:41,000 --> 01:29:44,920
Speaker 4: sexiest car in the world, and it's shit brown, like

1804
01:29:45,040 --> 01:29:48,040
Speaker 4: it's a shit brown color. It's not incredibly sexy. But

1805
01:29:48,120 --> 01:29:50,479
Speaker 4: when he starts driving this car, I think he pushed

1806
01:29:50,520 --> 01:29:55,080
Speaker 4: this car into iconic status from this scene. Essentially, what

1807
01:29:55,240 --> 01:29:58,200
Speaker 4: happens in this chase is after he commandeers his vehicle,

1808
01:29:58,840 --> 01:30:03,040
Speaker 4: it is Popeye Doyle racing through the city, banging on

1809
01:30:03,120 --> 01:30:06,160
Speaker 4: the horn, chasing a fucking subway.

1810
01:30:05,840 --> 01:30:10,640
Speaker 3: Train in a car. He is running red lights and

1811
01:30:10,920 --> 01:30:13,639
Speaker 3: he is just like on the movie.

1812
01:30:14,120 --> 01:30:15,639
Speaker 4: Before he gets in the car, he you know, before

1813
01:30:15,680 --> 01:30:17,639
Speaker 4: he leaves the station, he asks the guy like what's

1814
01:30:17,680 --> 01:30:20,160
Speaker 4: the next stop in twenty fifth Avenue, so he knows

1815
01:30:20,200 --> 01:30:22,479
Speaker 4: where he's going, and he's following this train, and there's

1816
01:30:22,520 --> 01:30:25,240
Speaker 4: this beautiful scene where it's very layered. The train is

1817
01:30:25,280 --> 01:30:29,240
Speaker 4: speeding ahead, you know, above, and Doyle is speeding below

1818
01:30:29,560 --> 01:30:32,160
Speaker 4: on the car in a car like just pedal to

1819
01:30:32,240 --> 01:30:36,800
Speaker 4: the fucking metal going after this this train. However, the

1820
01:30:36,920 --> 01:30:40,840
Speaker 4: train does not stop at twenty fifth because Nicoley, after

1821
01:30:40,920 --> 01:30:46,439
Speaker 4: he shoots the cop, bust into the conductor's booth and

1822
01:30:47,120 --> 01:30:48,600
Speaker 4: basically holds a gun to his head and is like,

1823
01:30:48,600 --> 01:30:50,120
Speaker 4: if you stop this train, I'm gonna fucking kill you.

1824
01:30:50,360 --> 01:30:53,240
Speaker 4: And the conductor eventually passes out like from stress, which

1825
01:30:53,280 --> 01:30:56,400
Speaker 4: I would also do, like one of those fainting goats.

1826
01:30:56,640 --> 01:31:02,040
Speaker 3: He's just like I can asses from fucking stress.

1827
01:31:03,439 --> 01:31:06,680
Speaker 4: So what happens next is we're watching Doyle follow this

1828
01:31:06,880 --> 01:31:10,479
Speaker 4: now speeding, reckless train that is not planning on stopping,

1829
01:31:11,240 --> 01:31:14,400
Speaker 4: and he runs a red light and gets broadsided. He

1830
01:31:14,840 --> 01:31:19,120
Speaker 4: smashes into a truck making a left turn. He avoids

1831
01:31:19,200 --> 01:31:22,280
Speaker 4: hitting a mother and a baby carriage by slamming into

1832
01:31:22,320 --> 01:31:25,880
Speaker 4: a pile of trash cans, and then he smashes into

1833
01:31:25,960 --> 01:31:30,479
Speaker 4: a retaining wall, and as the train is slamming into

1834
01:31:30,560 --> 01:31:33,680
Speaker 4: a park train at the next station gets out. And

1835
01:31:33,760 --> 01:31:35,800
Speaker 4: when he gets out of this fucking car, it looks

1836
01:31:35,880 --> 01:31:37,800
Speaker 4: like a crumpled up soda can, like he got into

1837
01:31:37,880 --> 01:31:41,880
Speaker 4: a pristine vehicle. And by the time this journey has ended,

1838
01:31:42,439 --> 01:31:47,200
Speaker 4: this car looks like absolute shit. And it is so

1839
01:31:47,400 --> 01:31:50,000
Speaker 4: intense the entire time because we can see him screaming

1840
01:31:50,080 --> 01:31:52,120
Speaker 4: in the car, but we can't hear him screaming again.

1841
01:31:52,200 --> 01:31:55,040
Speaker 4: Like this movie, to me, uses such a great use

1842
01:31:55,120 --> 01:31:59,200
Speaker 4: of silence in these pivotal scenes. But he's fucking stressed,

1843
01:31:59,240 --> 01:32:00,400
Speaker 4: and you don't know if he's get to make it.

1844
01:32:00,479 --> 01:32:01,840
Speaker 4: He doesn't know if he's going to make it. If

1845
01:32:01,880 --> 01:32:04,519
Speaker 4: that train wasn't stopped at that station that they slammed into,

1846
01:32:04,640 --> 01:32:05,679
Speaker 4: you don't know if he would.

1847
01:32:05,520 --> 01:32:08,080
Speaker 3: Have ever caught up to it. But the fact that

1848
01:32:08,200 --> 01:32:10,800
Speaker 3: this fucking maniac thinks he can outrun.

1849
01:32:10,800 --> 01:32:14,200
Speaker 4: A city a subway track car like you can outrun

1850
01:32:14,280 --> 01:32:19,360
Speaker 4: a subway is such a deep peak into the mindset

1851
01:32:19,400 --> 01:32:22,560
Speaker 4: of someone who is just relentlessly pursuing their goal. And

1852
01:32:22,960 --> 01:32:25,160
Speaker 4: I fucking love this car chase. It is iconic for

1853
01:32:25,280 --> 01:32:31,639
Speaker 4: several reasons, but it so perfectly encapsulates just the mania

1854
01:32:32,600 --> 01:32:33,479
Speaker 4: of Popeye Doyle.

1855
01:32:33,640 --> 01:32:36,320
Speaker 3: Yeah, I fucking love it.

1856
01:32:36,400 --> 01:32:38,920
Speaker 4: And the movie carries on from there where we're you know,

1857
01:32:39,000 --> 01:32:43,439
Speaker 4: they kind of catch up to Charnier and how he's

1858
01:32:43,520 --> 01:32:45,960
Speaker 4: making the deal, even though his you know, Doyle and

1859
01:32:46,040 --> 01:32:48,000
Speaker 4: Russo's boss is like, you're off the fucking case. There's

1860
01:32:48,040 --> 01:32:50,000
Speaker 4: nothing here, Like we didn't catch anything. We got this

1861
01:32:50,160 --> 01:32:52,880
Speaker 4: car there's nothing in it. And they eventually find the

1862
01:32:53,000 --> 01:32:55,920
Speaker 4: drugs that have been hidden in this car that Henri

1863
01:32:56,360 --> 01:32:59,439
Speaker 4: has shipped to the US, and they find them in

1864
01:32:59,479 --> 01:33:02,680
Speaker 4: the side where no one was looking. They ripped this

1865
01:33:02,800 --> 01:33:05,400
Speaker 4: car to fucking shreds. This is.

1866
01:33:07,400 --> 01:33:12,519
Speaker 1: My favorite scene in the film, besides the car chase

1867
01:33:12,960 --> 01:33:18,120
Speaker 1: with the subway. So I recently this is a side

1868
01:33:18,400 --> 01:33:24,240
Speaker 1: a sidebar. Quickly, I recently got obsessed with this television

1869
01:33:24,320 --> 01:33:26,360
Speaker 1: show called to Catch a Smuggler.

1870
01:33:27,360 --> 01:33:27,880
Speaker 3: Oh damn.

1871
01:33:28,160 --> 01:33:32,360
Speaker 1: It comes on National Geographic. The one thing that they

1872
01:33:32,439 --> 01:33:35,599
Speaker 1: do consistently on the show. It happens maybe once an episode,

1873
01:33:35,680 --> 01:33:40,720
Speaker 1: but sometimes not. But whenever anytime it happens, I think

1874
01:33:40,800 --> 01:33:42,439
Speaker 1: of this scene is when they had to take apart

1875
01:33:42,520 --> 01:33:44,880
Speaker 1: a fucking car to look for drugs and the whole

1876
01:33:44,920 --> 01:33:49,439
Speaker 1: and I love it. I love it so much because

1877
01:33:49,520 --> 01:33:51,720
Speaker 1: of this movie, and every time I see it on

1878
01:33:51,800 --> 01:33:54,360
Speaker 1: the show, I'm like, it's the French French connection part

1879
01:33:54,600 --> 01:33:56,800
Speaker 1: where they got to remove all the shit from the

1880
01:33:56,920 --> 01:33:59,240
Speaker 1: car to find out where the drugs are.

1881
01:33:59,479 --> 01:34:02,240
Speaker 3: It's fat to me to have to take apart.

1882
01:34:02,000 --> 01:34:03,160
Speaker 2: An entire fucking car.

1883
01:34:03,960 --> 01:34:07,240
Speaker 4: It is wonderful to because people are fucking creative. You

1884
01:34:07,280 --> 01:34:10,760
Speaker 4: realize when they start taking these cars apart. Yes, people

1885
01:34:10,800 --> 01:34:13,640
Speaker 4: are super fucking creative and it's the weirdest puzzle of

1886
01:34:13,720 --> 01:34:14,160
Speaker 4: all times.

1887
01:34:14,240 --> 01:34:16,880
Speaker 1: Oh that's That's the part of it that I find

1888
01:34:17,040 --> 01:34:19,320
Speaker 1: so interesting is that there's a lot of places.

1889
01:34:19,720 --> 01:34:21,679
Speaker 3: There's a lot of places where you can hide things

1890
01:34:21,760 --> 01:34:23,120
Speaker 3: in a car, and the.

1891
01:34:23,479 --> 01:34:28,639
Speaker 1: Just the the sheer creativity of having to like figure

1892
01:34:28,640 --> 01:34:31,280
Speaker 1: out like where to hide it that you feel like

1893
01:34:31,320 --> 01:34:32,519
Speaker 1: would be the least obvious.

1894
01:34:33,080 --> 01:34:34,000
Speaker 2: Uh, not for nothing.

1895
01:34:34,080 --> 01:34:37,240
Speaker 1: By the way, a lot of times on the show,

1896
01:34:38,600 --> 01:34:43,200
Speaker 1: the car that they hide drugs in is the exact

1897
01:34:43,240 --> 01:34:44,439
Speaker 1: same car that I drive.

1898
01:34:45,000 --> 01:34:46,880
Speaker 2: I won't tell you what the make and model is,

1899
01:34:47,240 --> 01:34:49,680
Speaker 2: but I'm just telling you and I'm like, yo, I

1900
01:34:49,840 --> 01:34:50,559
Speaker 2: drive that car.

1901
01:34:51,040 --> 01:34:53,840
Speaker 1: Wow, they actually pulled that whole panel off in the

1902
01:34:53,920 --> 01:34:57,040
Speaker 1: inside and put you know, drugs in there.

1903
01:34:57,439 --> 01:35:00,240
Speaker 4: Huh, And hide so much shit in your car. And

1904
01:35:00,280 --> 01:35:01,639
Speaker 4: it doesn't have to be in the fairies. It could

1905
01:35:01,640 --> 01:35:05,120
Speaker 4: be like gummy bears, yea, fucking like anything.

1906
01:35:05,360 --> 01:35:08,519
Speaker 3: It could be yeah, literally anything.

1907
01:35:08,600 --> 01:35:11,040
Speaker 1: It could be like, you know, I don't really want

1908
01:35:11,080 --> 01:35:14,800
Speaker 1: to put my car shade in the pocket of the

1909
01:35:14,880 --> 01:35:17,280
Speaker 1: back seat because I want people to have room back

1910
01:35:17,320 --> 01:35:17,800
Speaker 1: there to sit.

1911
01:35:17,880 --> 01:35:20,040
Speaker 3: Maybe I'm just like take apart the air.

1912
01:35:19,960 --> 01:35:24,080
Speaker 2: Conditioning panel, some storage you know, I don't know, but

1913
01:35:24,160 --> 01:35:24,759
Speaker 2: it's fascinating.

1914
01:35:24,800 --> 01:35:26,200
Speaker 1: And the whole reason why I love it so much

1915
01:35:26,320 --> 01:35:29,280
Speaker 1: is because of this scene from the French Connection where

1916
01:35:29,320 --> 01:35:32,800
Speaker 1: they're like, absolutely, we took apart literally every part of

1917
01:35:32,840 --> 01:35:34,960
Speaker 1: this car and we can't find this shit.

1918
01:35:35,920 --> 01:35:38,920
Speaker 4: But yet oh it is like they are stressed, saying,

1919
01:35:39,040 --> 01:35:41,599
Speaker 4: you've never seen people look more defeated, look more upset,

1920
01:35:42,200 --> 01:35:44,880
Speaker 4: and again you don't know if they're going to find anything,

1921
01:35:45,040 --> 01:35:48,920
Speaker 4: and then Russo makes a brilliant discovery and they keep

1922
01:35:49,040 --> 01:35:50,040
Speaker 4: looking and they find it.

1923
01:35:50,800 --> 01:35:52,200
Speaker 3: And at one point the.

1924
01:35:52,640 --> 01:35:55,519
Speaker 4: Mechanic who's working with the police to pull the car apart,

1925
01:35:55,920 --> 01:35:58,280
Speaker 4: is like, well, I looked everywhere but here, and Doyle

1926
01:35:58,400 --> 01:36:01,519
Speaker 4: is like, what the fuck? He knows that's where it's

1927
01:36:01,520 --> 01:36:05,000
Speaker 4: gonna because he's like, you left this one place unchecked.

1928
01:36:05,040 --> 01:36:08,320
Speaker 4: Of course that's where they're gonna be. But it's amazing

1929
01:36:08,400 --> 01:36:10,639
Speaker 4: to watch them just like ripping and you're like, holy shit,

1930
01:36:10,800 --> 01:36:13,720
Speaker 4: like are cars actually made of cardboard? Like what is

1931
01:36:13,840 --> 01:36:16,719
Speaker 4: happening in this car? And these they're poking long metal

1932
01:36:16,840 --> 01:36:20,479
Speaker 4: rods into these little holes like they're looking everywhere, and

1933
01:36:20,560 --> 01:36:22,080
Speaker 4: when they actually return the car.

1934
01:36:22,600 --> 01:36:23,440
Speaker 3: It's pristine.

1935
01:36:23,680 --> 01:36:25,880
Speaker 4: I'm like, wait, we just watched them rip this shit apart,

1936
01:36:26,880 --> 01:36:29,040
Speaker 4: and hen Ree comes looking for the car and they're like, yep,

1937
01:36:29,120 --> 01:36:30,720
Speaker 4: here it is, and I'm like, how did you do that?

1938
01:36:30,840 --> 01:36:31,960
Speaker 3: How did you put it back together?

1939
01:36:32,280 --> 01:36:35,640
Speaker 1: I think, bottom line, I would love to take a

1940
01:36:35,720 --> 01:36:38,360
Speaker 1: part of car if I ever had the option to

1941
01:36:38,479 --> 01:36:42,439
Speaker 1: do it, or I had the opportunity, I would That

1942
01:36:42,560 --> 01:36:46,640
Speaker 1: must be so satisfying to completely take a part of car.

1943
01:36:47,680 --> 01:36:51,800
Speaker 3: I think if you went to any junkyard.

1944
01:36:53,040 --> 01:36:56,000
Speaker 4: With a screwdriver or even just like a Swiss army knife,

1945
01:36:56,240 --> 01:36:58,680
Speaker 4: a fucking leatherman, and you're like, yo, let me get

1946
01:36:58,680 --> 01:37:00,639
Speaker 4: in there and see what I can do. Guarantee people

1947
01:37:00,640 --> 01:37:02,200
Speaker 4: be like, knock yourself out. It's just gonna go to

1948
01:37:02,240 --> 01:37:02,880
Speaker 4: scrap anyway.

1949
01:37:03,400 --> 01:37:08,720
Speaker 2: Listen, I have maybe a milestone birthday coming up soon.

1950
01:37:09,360 --> 01:37:13,040
Speaker 1: If anybody wants to take me to dissemble a car

1951
01:37:13,240 --> 01:37:15,920
Speaker 1: for my birthday, I'm just saying.

1952
01:37:16,680 --> 01:37:20,200
Speaker 4: Instead of rage rooms, new business idea, fucking rup apart

1953
01:37:20,320 --> 01:37:25,320
Speaker 4: this car like the French Connection exactly, new business idea.

1954
01:37:26,520 --> 01:37:28,960
Speaker 4: Oh I fucking love it. Yeah, this scene is incredible.

1955
01:37:29,040 --> 01:37:32,200
Speaker 4: This movie is incredible. I just it's definitely a Sundays

1956
01:37:32,240 --> 01:37:35,160
Speaker 4: with Grandpa movie for me. My grandparents love this fucking movie.

1957
01:37:35,720 --> 01:37:38,200
Speaker 4: But it has this epic car chase in it, and

1958
01:37:38,320 --> 01:37:42,000
Speaker 4: again so many other epic scenes of chasing and being chased,

1959
01:37:42,720 --> 01:37:44,200
Speaker 4: and I just love this.

1960
01:37:44,439 --> 01:37:46,960
Speaker 3: I love this car scene. Even though I know what happens.

1961
01:37:47,080 --> 01:37:49,120
Speaker 4: Every time I watch this movie, I'm like, Oh, is

1962
01:37:49,160 --> 01:37:50,640
Speaker 4: he gonna get the train, He's gonna catch up, What's

1963
01:37:50,640 --> 01:37:51,080
Speaker 4: gonna happen?

1964
01:37:51,280 --> 01:37:53,559
Speaker 3: It keeps me on the edge of my goddamn seat.

1965
01:37:54,120 --> 01:37:56,040
Speaker 3: It's so visceral. I love it.

1966
01:37:56,479 --> 01:38:01,920
Speaker 1: Yeah. Well, William Friedkin is obviously a genius when it

1967
01:38:02,040 --> 01:38:05,439
Speaker 1: comes to car chases, and he's done so many of

1968
01:38:05,520 --> 01:38:08,000
Speaker 1: them in his career that are so memorable, and this

1969
01:38:08,200 --> 01:38:11,080
Speaker 1: is the the daddy of them all. If you will,

1970
01:38:11,280 --> 01:38:16,080
Speaker 1: this is a classic, and I thank you for making

1971
01:38:16,120 --> 01:38:18,759
Speaker 1: me watch this again. I watch it every so often

1972
01:38:19,000 --> 01:38:20,479
Speaker 1: and it's just always such a treat.

1973
01:38:21,040 --> 01:38:21,439
Speaker 3: I love it.

1974
01:38:21,520 --> 01:38:24,960
Speaker 4: Heay, same, same, same, And oh we have we do

1975
01:38:25,080 --> 01:38:26,880
Speaker 4: have great movies for you next week.

1976
01:38:26,960 --> 01:38:30,840
Speaker 2: But before that, Yes, if you want to email us

1977
01:38:30,920 --> 01:38:32,560
Speaker 2: for any reason, we are at I saw what you

1978
01:38:32,600 --> 01:38:33,840
Speaker 2: did pot at gmail dot com.

1979
01:38:34,479 --> 01:38:36,599
Speaker 1: And also we have a PO box if you want

1980
01:38:36,640 --> 01:38:39,280
Speaker 1: to send us real mail, and you can find that

1981
01:38:39,439 --> 01:38:41,599
Speaker 1: in our link tree on our Instagram page.

1982
01:38:42,400 --> 01:38:44,320
Speaker 4: And you can now leave us a voicemail to play

1983
01:38:44,360 --> 01:38:46,000
Speaker 4: on the show. All you have to do is record

1984
01:38:46,040 --> 01:38:48,840
Speaker 4: a voice memo on your phone and email it to

1985
01:38:49,160 --> 01:38:51,000
Speaker 4: I Saw what you Did Pod at gmail dot com.

1986
01:38:51,439 --> 01:38:54,000
Speaker 4: Please make it sixty seconds or less and please record

1987
01:38:54,040 --> 01:38:55,080
Speaker 4: in a quiet space.

1988
01:38:55,520 --> 01:38:58,080
Speaker 2: That's right. We are also on social media again.

1989
01:38:58,320 --> 01:39:01,160
Speaker 1: We or I Saw Pod on Instagram, Blue Sky, and Twitter,

1990
01:39:01,720 --> 01:39:07,519
Speaker 1: and we also have merch go to exactly rightstore dot com.

1991
01:39:08,600 --> 01:39:12,559
Speaker 1: We've got a just in time for the cold weather.

1992
01:39:12,680 --> 01:39:14,800
Speaker 1: We've got our brand new give us the B of

1993
01:39:14,880 --> 01:39:17,320
Speaker 1: the D black sweatshirt.

1994
01:39:17,439 --> 01:39:22,240
Speaker 3: It is so chic you might want to get in cozy, yes,

1995
01:39:22,400 --> 01:39:24,839
Speaker 3: swarming cozy. And we have bonus episodes.

1996
01:39:24,880 --> 01:39:26,960
Speaker 4: Our new bonus episodes are dropping on the main feed

1997
01:39:27,560 --> 01:39:29,759
Speaker 4: every third Thursday of the month.

1998
01:39:30,760 --> 01:39:35,920
Speaker 1: Absolutely, oh my god, Danielle talk about some seventies classics.

1999
01:39:36,080 --> 01:39:38,200
Speaker 2: Oh my god, I can't out wait for next week.

2000
01:39:38,920 --> 01:39:40,599
Speaker 3: We're going to keep this train rolling next week.

2001
01:39:40,680 --> 01:39:45,639
Speaker 4: No pun intended with The Long Goodbye from nineteen seventy

2002
01:39:45,720 --> 01:39:50,120
Speaker 4: three and California Split from nineteen seventy four. I cannot

2003
01:39:50,160 --> 01:39:51,639
Speaker 4: believe we haven't done either of this movie.

2004
01:39:51,640 --> 01:39:54,559
Speaker 1: I can't believe it either, and I am so stoked

2005
01:39:54,680 --> 01:39:58,080
Speaker 1: you have no idea. Danielle has always a fucking pleasure

2006
01:39:58,120 --> 01:39:59,600
Speaker 1: to doing this podcast.

2007
01:39:59,200 --> 01:40:10,880
Speaker 3: With you the best. Bye bye. This has been an

2008
01:40:10,920 --> 01:40:14,640
Speaker 3: exactly right production. Produced by Casey O'Brien, Episode mixing and

2009
01:40:14,840 --> 01:40:17,840
Speaker 3: theme music by Tom Bryfogel, artwork by Garrett Ross.

2010
01:40:18,360 --> 01:40:22,080
Speaker 4: Our executive producers are Georgia Hartstart, karenkle Gareff, and Daniel Kramer.

2011
01:40:22,439 --> 01:40:24,760
Speaker 4: You can follow us on Instagram and Twitter at I

2012
01:40:24,880 --> 01:40:27,559
Speaker 4: Saw pod, and you can email us at I Saw

2013
01:40:27,640 --> 01:40:29,080
Speaker 4: What You Did Pod at gmail