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Speaker 3: Wednesdays are when we like to drop something from the

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Speaker 3: Film Spotting Archive for all our listeners. Of course, the

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Speaker 3: entire archive available to those Film Spotting family members. Now

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Speaker 3: on this Friday show, we're going to be doing our

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Speaker 3: twenty twenty six movie preview draft, going back and forth

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Speaker 3: with picks. Those movies were anticipating the most coming out

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Speaker 3: this year, and yeah, maybe a movie from Christopher Noland

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Speaker 3: might be chosen fairly.

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Speaker 4: High on the drive. I can't believe it went seventh.

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Speaker 5: Josh crazy, so crazy that we thought six other films

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Speaker 5: that we were more excited about than The Odyssey.

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Speaker 4: Yeah, that was a year. It's going to be.

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Speaker 5: We do have our draft coming up and that is

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Speaker 5: probably the biggest title. With that in mind, we were

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Speaker 5: thinking about Christopher Nolan. But Josh, there's there's another tie

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Speaker 5: in Sundance is going on. And I don't know if

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Speaker 5: you remember this, but Christopher Nolan's Memento screened at Sundance

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Speaker 5: twenty five years ago this month. It didn't premiere there.

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Speaker 5: It had already played at Venice in two thousand and Toronto,

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Speaker 5: but it did screen at Sundance. So with that connection

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Speaker 5: and the connection to Nolan's Odyssey, which we are looking

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Speaker 5: forward to this summer, we thought, why not let's go

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Speaker 5: backwards maybe then forwards. I don't know how it all works,

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Speaker 5: let's try to make sense of it by.

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Speaker 3: I mean, you got us every time. I've got to

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Speaker 3: rewatch it and then figure out what happened. But I

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Speaker 3: do know it's brilliant any which way you look at it,

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Speaker 3: which we did not too long ago, Adam. Twenty twenty,

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Speaker 3: we did a Nolan overview, took all of his films

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Speaker 3: in order up to that point, watched them, rewatch them essentially,

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Speaker 3: and had a fresh conversation. This was something we were

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Speaker 3: doing during COVID and lockdowns, no new releases, no theaters opened,

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Speaker 3: thinking about ways to talk about the movie still and

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Speaker 3: a Nolan overview was, I think a great way to

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Speaker 3: do that. So many good conversations, including this one about Memento.

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Speaker 6: Bretman in Los Angeles. I remember nineteen years ago to

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Speaker 6: the Dances Film Festival January of two thousand and one

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Speaker 6: and seeing a little movie called Amento that completely blew

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Speaker 6: me away then and we watched it, completely blows me away. Now,

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Speaker 6: why is it one of the great Neon wires? Because

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Speaker 6: I think it is. I think he uses the mechanics

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Speaker 6: of film itself, the unstoppable ordering of shots, to create

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Speaker 6: a feeling of noir. You're always looking forward and backwards

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Speaker 6: in this movie. You have anxiety for the future. You're

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Speaker 6: trap by a doom past. I mean, that's noir, and

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Speaker 6: either Leonard nor the audience can ever escape it. My

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Speaker 6: sound of looking at me kind of funny. Hey, Riley,

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Speaker 6: have I ever told you about Memento? Well, go wash

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Speaker 6: your hands or remember Sammy Jenkins.

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Speaker 3: Thank you, Bret. Good stuff there, And certainly the noir

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Speaker 3: tradition is a useful lens, a crucial lens in a

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Speaker 3: lot of ways through which to look at Memento. Momento

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Speaker 3: debuted at the Venice Film Festival in September two thousand

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Speaker 3: went on to play at the Toronto International Film Fest

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Speaker 3: that same month, and then in January of two thousand

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Speaker 3: and one it played sun Dance opened in the US

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Speaker 3: a limited release at first in March, and at its

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Speaker 3: widest release was on about five hundred screens. So for

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Speaker 3: a very small film made an impressive twenty five million

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Speaker 3: dollars domestic forty million dollars worldwide. Got some Oscar attention

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Speaker 3: to nominations Best Editing, which I want to talk about.

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Speaker 3: Dottie Dorn got that nomination, and then Best Original Screenplay,

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Speaker 3: a nomination that Nolan shared with his brother Jonathan. Jonathan

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Speaker 3: wrote this short story that Memento is based on, So

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Speaker 3: that story to remind those of you who haven't seen

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Speaker 3: the film in a while or didn't get a chance

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Speaker 3: to revisit it before. This guy Pierce stars plays a

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Speaker 3: man suffering from short term memory loss who's trying to

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Speaker 3: avenge his wife's murder and to do that, he has

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Speaker 3: a couple of polaroids that hold some clues, as well

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Speaker 3: as the tattoos pretty much covering his upper body. Those

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Speaker 3: are also clues that he's left himself. And you know,

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Speaker 3: Nolan didn't think that was complicated enough so he and

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Speaker 3: his brother structure this in reverse chronological order. I want

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Speaker 3: to start at talking about Christopher Nolan's brother Jonathan and

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Speaker 3: asking you a question related to something we talked about

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Speaker 3: when we started our OOV review and talked about Following

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Speaker 3: and this idea that the twist there were two twists

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Speaker 3: in Following, and how we felt while they were clever

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Speaker 3: and entertaining, maybe lacked that existential slash philosophical heft that

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Speaker 3: some of Nolan's later films had. I think that heft

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Speaker 3: is all over Memento. I mean, this is this is

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Speaker 3: I liked Following quite a bit, but this is a

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Speaker 3: huge leap watching them back to back, and I wonder

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Speaker 3: if Jonathan Nolan, his younger brother, if he maybe unlocked

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Speaker 3: Christopher Nolan here, If that's a way of looking at

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Speaker 3: this film quickly. Jonathan Nolan. He went on to co

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Speaker 3: write The Prestige, The Dark Knight, The Dark Knight Rises,

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Speaker 3: and Interstellar with Christopher, and then on his own. He's

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Speaker 3: been executive producer for two TV series, Person of Interest

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Speaker 3: in Westworld. He directed a few episodes in each of

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Speaker 3: those series. So yeah, going back to Memento, did he

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Speaker 3: sort of find a way in this material to provide

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Speaker 3: that philosophical theft. Think about this one element Lenny Guy

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Speaker 3: Pierce's character talking about why getting vengeance matters even if

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Speaker 3: he forgets that he got that vengeance, and he says this,

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Speaker 3: the world doesn't just disappear because you close your eyes,

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Speaker 3: and that is, you know, just one thought that kind

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Speaker 3: of makes you stop in your tracks and really rethink

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Speaker 3: how you've thought about things like time and vengeance and

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Speaker 3: morality and reality. And then the brilliant thing about Memento

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Speaker 3: is it doesn't just sit there and pontificate on it.

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Speaker 3: It keeps moving, and it goes moving and it moves

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Speaker 3: backwards and you're you know, and so then you're thrown

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Speaker 3: into another sort of existential dilemma. And so yeah, I

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Speaker 3: just thought bringing Jonathan in, whether you know this is

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Speaker 3: something that Nolan would have gotten to himself at some

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Speaker 3: point or is it something his brother kind of brought

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Speaker 3: out in him.

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Speaker 5: Well, First to quick clarifications, he doesn't like to be

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Speaker 5: called Lenny Josh. His wife called him Lenny, so call

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Speaker 5: him Lennrue. And also just to be really specific about it,

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Speaker 5: even though I think all of our listeners understand not

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Speaker 5: just short term memory loss, but the inability to create

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Speaker 5: any new memories, right, that's really at the heart of

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Speaker 5: his condition.

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Speaker 3: And watching from the point, from the point of the attack.

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Speaker 5: Point of the attack, exactly the last thing he remembers,

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Speaker 5: The only thing he truly remembers is that attack on

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Speaker 5: his wife when his life changed forever. And I'll just

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Speaker 5: say this isn't even really a disclaimer. It's just a fact.

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Speaker 5: I had so many pages of notes scribbled around in

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Speaker 5: my notebook rewatching this film, and it was the first

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Speaker 5: time I watched it since two thousand and one. I'm

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Speaker 5: trying to crack the code of this movie and looking

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Speaker 5: for all the answers that I really felt way too

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Speaker 5: much of a kinship with Leonard, and I finally just

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Speaker 5: had to put the notebook down, and I decided that,

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Speaker 5: you know what, we're going to talk about it. We're

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Speaker 5: going to do our best and we'll see what we

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Speaker 5: make of it. And I think that your approach with

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Speaker 5: Jonathan Nolan is interesting. I hadn't really thought about it

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Speaker 5: at all. It wasn't something that I suppose mattered to

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Speaker 5: me as I pondered this film, But I think I

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Speaker 5: can fit it into some of my thoughts on the film,

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Speaker 5: particularly if there's something that maybe Jonathan Nolan unlocked in him,

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Speaker 5: even though there was already this element at play to

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Speaker 5: an extent in following, is that he gave him a

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Speaker 5: story that was rooted in some familiar movie conventions that

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Speaker 5: Nolan clearly likes to play with. But it did not

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Speaker 5: only hint at and more than hint at, force you

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Speaker 5: to sort of go down this rabbit hole of larger

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Speaker 5: existential and philosophical questions. But he did it with a

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Speaker 5: story that I think almost demands to be told and

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Speaker 5: explored only cinematically. I think that's what matters most to

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Speaker 5: Christopher Nolan, and I'll see if I can ex that

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Speaker 5: a little bit better. I don't know if I can,

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Speaker 5: but we heard in Brett's voicemail he talked about the

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Speaker 5: mechanics of film itself, ordering of shots to create a feeling,

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Speaker 5: and inceptions coming in this Ooh review where you have

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Speaker 5: Cob is a thief who casts characters and creates sets

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Speaker 5: and scenarios. We've talked about that a little bit on

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Speaker 5: the show in the past, and just like Cob in following,

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Speaker 5: who's a thief who finds characters and inserts himself into

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Speaker 5: their sets and their circumstances. There is this meta aspect

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Speaker 5: inherently to Nolan that has nothing to do with him

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Speaker 5: drawing attention to the fact that we're watching a film

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Speaker 5: or that it's being directed by him. That's not what

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Speaker 5: he's interested in. But he is taking the tools, and

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Speaker 5: he's taking the basic cell structure, the DNA of cinema,

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Speaker 5: light and shadow and time twenty four frames per second

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Speaker 5: running through a projector, images and actions, all being manipulated

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Speaker 5: by someone through the camera, moves and through edits. And

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Speaker 5: he's matching that to Mati Cial that similarly relies on

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Speaker 5: the manipulation of time. So I think a more concise

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Speaker 5: way of putting it would be that he uses film

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Speaker 5: to tell stories about how film itself functions in talking

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Speaker 5: about time and chronology, but also in the way so

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Speaker 5: many of his films do deal with dreams and deal

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Speaker 5: with memory as well. You can describe dreams and memories

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Speaker 5: as they replay in your mind the same way you

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Speaker 5: might describe a film, and so all the ways a

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Speaker 5: linear film structure usually stabilizes a viewer the cause and

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Speaker 5: effect chain of events. You understand where you are, you

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Speaker 5: understand how you got here, Memento is about a character

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Speaker 5: completely destabilized HM, where he's floating within this dream of

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Speaker 5: a past, present and potential future. And so Nolan just

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Speaker 5: really brilliantly destabilizes us accordingly in a way maybe no

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Speaker 5: other movie prior has done, and it does put us

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Speaker 5: in an interesting position where not only are we put

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Speaker 5: in that headspace, that difficult, chaotic headspace, and we understand

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Speaker 5: his predicament, but I think what I came to realize

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Speaker 5: a little bit on this second viewing, Josh, is that

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Speaker 5: once you get past that and you do get your

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Speaker 5: bearings a little bit, you realize how much it actually

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Speaker 5: allows you to empathize as well, with Leonard's situation and

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Speaker 5: his circumstances, and the fact that we start every scene

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Speaker 5: just like him asking those questions that we hear him

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Speaker 5: sometimes verbally ask where am I? What's happening? Yeah, it's

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Speaker 5: still a wonder. It's still a wonder almost twenty years later,

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Speaker 5: and on a second viewing, to me.

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Speaker 3: Yeah, that empathetic element is one thing I do want

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Speaker 3: to talk about, because that's another thing in following we

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Speaker 3: thought was maybe lost a little bit. These guys were interesting,

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Speaker 3: but were they real people? You know, did we feel

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Speaker 3: for them in that sort of way? And I think

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Speaker 3: this is a leap forward there as well, where you

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Speaker 3: definitely have a human in tyst In Leonard, his grief

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Speaker 3: is real. He talks about that moment where he wakes

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Speaker 3: up in the morning and he thinks his wife might

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Speaker 3: still be there. You know, he touches the side of

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Speaker 3: the bed expecting her to be there, expecting to be warm,

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Speaker 3: and she's not, And that touches with a common experience.

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Speaker 3: I mean, my grandfather, who's my grandmother, died about two

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Speaker 3: years ago now, and he will still talk about that.

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Speaker 3: You know that as an older man in his nineties,

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Speaker 3: he wakes up and forgets that she's gone in the

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Speaker 3: early moments, And that's a very human experience that is

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Speaker 3: woven into this movie and gives a real feeling to

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Speaker 3: it for Leonard. I think Guy Pierce's performance has a

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Speaker 3: lot to do with that too, bringing us into it,

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Speaker 3: and also the Sammy Jenkis subplot, which we can get into.

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Speaker 3: But I want to go back before we do that

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Speaker 3: to your comment about all the notes you took. What's

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Speaker 3: notable about that? And longtime listeners will know this, You

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Speaker 3: usually don't take notes right. You'll often take a piece

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Speaker 3: of paper from me in a pen, but there won't

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Speaker 3: be much on there at the end of the movie.

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Speaker 4: It's just not your style.

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Speaker 3: And so I find it incredibly interesting that this is

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Speaker 3: the movie you have more notes than you know what

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Speaker 3: to do with. And it makes total sense to me.

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Speaker 3: Why why does Memento appeal so much to someone like

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Speaker 3: me and so much to someone like you, Adam Well,

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Speaker 3: I'm gonna the answer, I think lies in a quote

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Speaker 3: Leonard Gibbs when he's describing his process. I'm disciplined and organized.

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Speaker 3: I use habit and routine to make my life possible.

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Speaker 3: Now I'm probably ninety five percent that guy. I'm gonna

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Speaker 3: guess you're one hundred and fifteen percent that guy. So

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Speaker 3: there's there's something correct me if I'm wrong and making

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Speaker 3: those assumptions. But there's something about this organizational I mean,

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Speaker 3: this is we do this show built on top five

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Speaker 3: lists and themes and processes and organization and habits and routines.

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Speaker 3: And so when you see a movie when that is

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Speaker 3: at once being taken away from you. This goes to

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Speaker 3: what you were just talking about the filmmaking process. What

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Speaker 3: Nolan is doing here he's undercutting all that stuff in

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Speaker 3: a way that makes this a thriller and makes this destabilizing,

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Speaker 3: while at the same time, as movie lovers who know

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Speaker 3: how films work, we are simultaneously appreciating the superstructure, the

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Speaker 3: stitching that is allowing us to be disoriented in an

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Speaker 3: oriented way, if that makes sense, and that is the

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Speaker 3: genius of Memento that I think, if your particular personalities

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Speaker 3: in ways that I think we both share, is just

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Speaker 3: going to blow your mind.

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Speaker 4: Yeah. Absolutely.

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Speaker 5: And speaking of blowing your mind, I love the fact

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Speaker 5: that you've got not only Carrie Ann Moss in this movie,

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Speaker 5: but Joe Penaliano, who I like both of them as performers.

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Speaker 5: I think they're both very good here, but also just

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Speaker 5: that they're in this movie at all, because this is

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Speaker 5: a film that came out two years after The Matrix.

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Speaker 5: And if you think about those movies as a pair,

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Speaker 5: which I actually do, or at least I do now

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Speaker 5: having just re watched this film, these are heady genre movies,

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Speaker 5: right sci fi and this neo noir, but they actually

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Speaker 5: raise really similar questions about human existence that at the

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Speaker 5: time were groundbreaking for me. There were films that planted

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Speaker 5: something in my brain about the human condition that I

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Speaker 5: have never relinquished. And I watch almost every movie I

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Speaker 5: see still through this lens, even just in my everyday life,

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Speaker 5: I take away aspects of these movies that have filtered

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Speaker 5: into my subconscious. And there's a different Leonard line I'm

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Speaker 5: gonna give you where he says, we all lie to

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Speaker 5: ourselves to be happy. And if you think about it,

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Speaker 5: Leonard essentially takes the blue pill in this movie. Right,

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Speaker 5: That's what's revealed. The harsh truth of reality is given

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Speaker 5: to him. But unlike Neo and the others in the Matrix,

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Speaker 5: he does what Cipher does, what Joe Paneliano does in

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Speaker 5: the Matrix. He effectively takes the blue pill to remain

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Speaker 5: blissfully unaware atow himself to continue living this new version

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Speaker 5: of a happy life. And this time, that tattoo that's

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Speaker 5: right there where he can see it most plainly, most visibly,

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Speaker 5: Remember samby jenkis the one that's right there by his

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Speaker 5: thumb on his wrist. Of course, what he literally means

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Speaker 5: by that is remember Sammy, remember that story. But of

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Speaker 5: course it's more than that, because he remembers Sammy, Sammy

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Speaker 5: is actually in his past. He doesn't need the tattoo

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Speaker 5: to remind him of what happened with Sammy. That tattoo

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Speaker 5: is there because it has broader implications. What he doesn't

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Speaker 5: want to do is end up like Sammy. Remember how

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Speaker 5: Sammy ends up a man with no agency, no purpose whatsoever.

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Speaker 5: And that relates to the line he says to the

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Speaker 5: Jimmy Grant's character who says, what do you want, and

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Speaker 5: he says, I want my life back.

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Speaker 4: Literally.

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Speaker 5: Of course, on one level he does, he wishes none

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Speaker 5: of this had ever happened. But what I think he's

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Speaker 5: really saying there is I want a life back. I

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Speaker 5: need a life that has purpose. I can't be Sammy.

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Speaker 5: And that brings us full circle to your line. I

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Speaker 5: need a life that relies on discipline and organization and

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Speaker 5: habit and routine. I need drive. I'm going to give

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Speaker 5: myself that drive. I'm not going to be Sammy. Jenkis

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Speaker 5: sitting at home watching TV commercials. There are moral and

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Speaker 5: ethical compromises and questions that come with that that he

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Speaker 5: has chosen I suppose his answer to. But he is

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Speaker 5: definitely decided that there has to be a path and

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Speaker 5: a purpose to his life in order to go on.

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Speaker 3: And by choosing to deceive himself, by choosing not to

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Speaker 3: face the harsh truth. The movie makes us face a

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Speaker 3: couple of harsh truths, I think, and one of them

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Speaker 3: is this idea that memories, even for those of us

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Speaker 3: who are healthy in terms of memory, aren't what we

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Speaker 3: like to think of the mass. No, right, you think

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Speaker 3: of memories as those are the facts. More than that,

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Speaker 3: they're my facts. They're my very personal facts I have witnessed,

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Speaker 3: I can attest to, and moment makes us face the

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Speaker 3: harsh truth that you know, they're just interpretations. They're interpretations

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Speaker 3: of our experiences. And you know, like you hear about

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Speaker 3: conflicting police reports of you know, two eyewitnesses to the

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Speaker 3: same scene that speak to this, and and other psychological

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Speaker 3: studies where we do distort well we've experienced in the

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Speaker 3: way that we want to remember it. And that's just

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Speaker 3: something I think we all know. But when you watch

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Speaker 3: something like Memento, where it's put in this context and

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Speaker 3: made this stark, it kind of makes us face it

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Speaker 3: in a different way. And yeah, Carrie and Moss being

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Speaker 3: in the matrix just what like a year or two

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Speaker 3: before is really remarkable. Looking forward, it reminds me. She's

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Speaker 3: obviously been working since, but nothing really quite as resonant

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Speaker 3: as either of these two films. So I'm looking forward

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Speaker 3: to seeing her in the fourth Matrix film, if we

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Speaker 3: eventually get that. I love as Natalie this character, how

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Speaker 3: unapologetic she is. That's a word I used to describe

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Speaker 3: Betty Davis in of Human Bondage, and I think we

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Speaker 3: get a little bit of that here, even before we

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Speaker 3: realize she's using Leonard. There's still this fierceness to her

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Speaker 3: that I appreciated, And there's a you know another speaking

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Speaker 3: of the humanity in this movie, so many layers of

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Speaker 3: emotion and that one tentative kiss that she and Leonard

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Speaker 3: share because there is betrayal going on there, there's a

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Speaker 3: little confusion, but there's also some real longing in it,

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Speaker 3: you can sense, I think, for because these are two

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Speaker 3: people who have lost people, right. And then Mosque gets

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Speaker 3: that great moment where she gets to act while she's acting,

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Speaker 3: you know, get you get a character playing apart. When

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Speaker 3: she comes back in the house after Leonard has hit

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Speaker 3: her and she sits in the car. I mean, that's

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Speaker 3: one of the skis. That sequence is where it makes

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Speaker 3: it so palpable the condition he's in, Yes, because for

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Speaker 3: some reason the edits to him waking up again. Those

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Speaker 3: are movie conventions we're familiar with, right, like, Okay, he forgets,

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Speaker 3: I understand we're restarting. But to see it happen in

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Speaker 3: real time where the camera looks at her sitting in

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Speaker 3: the cop yes, counting down till she knows his memory

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Speaker 3: is going to reset, and then calmly coming to the

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Speaker 3: door as if she just arrived. I mean, that's just

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Speaker 3: a great little bit because the acting is so good there,

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Speaker 3: but also the terror of realizing this is how it

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Speaker 3: really happens to Leonard. Yeah, I love that moment.

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Speaker 5: I love that you articulated that moment because I don't

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Speaker 5: know that I had a firm handle on why it

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Speaker 5: was so effective. I just know that you're one hundred

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Speaker 5: percent right that in terms of just pure thrilling moments

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Speaker 5: in the movie, that cut to her sneering at him

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Speaker 5: from her driver's seat, knowing what she's about to do

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Speaker 5: to him, it's electrifying.

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Speaker 3: Yeah, chilling, chilling it is. And then another one like that,

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Speaker 3: which you know I had forgotten until the chase was on,

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Speaker 3: and I think it was pretty common in the trailer too,

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Speaker 3: is the I think it starts with why am I

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Speaker 3: chasing this guy? And then second later, oh, he's chasing me?

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Speaker 3: Or maybe it's vice versa.

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Speaker 4: But that's just.

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Speaker 3: Another great in the moment way of putting us in

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Speaker 3: Leonard's head.

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Speaker 5: Right, Yes, yeah, absolutely a great joke in the film,

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Speaker 5: and it probably made me laugh back in two thousand

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Speaker 5: and one. It definitely made me laugh this time too.

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Speaker 5: And of course, this being this overview, we are coming

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Speaker 5: at these films considering how each film before it, or

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Speaker 5: set of films informs it, and beyond some of the

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Speaker 5: things we've already touched on earlier in the discussion, just

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Speaker 5: the fact that you've got a man and a woman

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Speaker 5: here double crossing Leonard, just like we had in Following right,

402
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Speaker 5: two people that he thinks might be on his side

403
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Speaker 5: but ultimately are working against him. The whole object aspect

404
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Speaker 5: to this film right, in terms of what do these

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Speaker 5: objects that people have or hang on to tell us

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Speaker 5: about them? And there was that whole sequence I had

407
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Speaker 5: completely forgotten about with the prostitute in this movie and

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Speaker 5: the props, right, he effectively buys props that he knows

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Speaker 5: he can convince himself. I suppose that belonged to his

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Speaker 5: wife and then he disposes of them, but he goes

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Speaker 5: through this whole charade with those objects. So that was

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Speaker 5: another thing that tied back to following. And you may

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Speaker 5: have a few more items on your list. But also,

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Speaker 5: like any Sacred Cow we do or with our eight

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Speaker 5: for eighty four series, if this is the first time

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Speaker 5: you're seeing these movies in a long time, it's always

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Speaker 5: interesting to consider what we maybe didn't notice or what

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Speaker 5: we didn't put emphasis on in that first viewing, and

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Speaker 5: what was different then about this experience. And I had

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Speaker 5: completely forgotten, Josh, And I don't know if my eyes

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Speaker 5: were perceptive enough back in two thousand and one to

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Speaker 5: catch it. It is very subtle, even though it sounds

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Speaker 5: like it shouldn't be. I had forgotten completely about the

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Speaker 5: moment where the black and white and the color timelines

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Speaker 5: actually do intersect with each other near the end of

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Speaker 5: this film, right where we actually see the color change.

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Speaker 5: But beyond that and getting to some of these other

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Speaker 5: points we're talking about, I had forgotten or decided to

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Speaker 5: overlook how much of a sympathetic figure in some ways

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Speaker 5: Natalie really was. You're right, she's completely unapologetic, and I

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Speaker 5: like that about her as a movie character. And there's

432
00:23:59,640 --> 00:24:03,680
Speaker 5: no doubt out that she completely uses Leonard, but there

433
00:24:03,720 --> 00:24:06,920
Speaker 5: are some of these other touches that suggest an inner

434
00:24:07,000 --> 00:24:09,480
Speaker 5: life and maybe, as you said, some longing to her,

435
00:24:09,840 --> 00:24:13,600
Speaker 5: and we do accept that she didn't plan any of this.

436
00:24:13,920 --> 00:24:16,840
Speaker 5: When you do finally think about this movie and you

437
00:24:17,000 --> 00:24:21,080
Speaker 5: process it in terms of an actual chronology, the first

438
00:24:21,119 --> 00:24:24,040
Speaker 5: thing that happens at the beginning of this film is

439
00:24:24,080 --> 00:24:28,120
Speaker 5: her boyfriend being killed by Leonard, and the next thing

440
00:24:28,160 --> 00:24:32,719
Speaker 5: that happens is the guy who killed her boyfriend driving

441
00:24:32,880 --> 00:24:36,480
Speaker 5: up in his car wearing his suit and pulling up

442
00:24:36,520 --> 00:24:40,239
Speaker 5: to the bar. Imagine being her in that situation. And

443
00:24:40,400 --> 00:24:42,840
Speaker 5: there's a lot more we can unpack there. But this

444
00:24:42,960 --> 00:24:45,320
Speaker 5: is a case where even though as you said, there's

445
00:24:45,359 --> 00:24:48,000
Speaker 5: a key moment where she lays out what she's going

446
00:24:48,080 --> 00:24:50,040
Speaker 5: to use him for and she has her own personal

447
00:24:50,080 --> 00:24:53,359
Speaker 5: reasons to do it, it's also driven by her personal

448
00:24:53,359 --> 00:24:57,720
Speaker 5: animosity to the guy who she knows did kill her boyfriend,

449
00:24:57,760 --> 00:25:00,440
Speaker 5: even if maybe someone else was pulling some of this rings,

450
00:25:00,960 --> 00:25:03,040
Speaker 5: there's a hatred for him as well, and so that

451
00:25:03,160 --> 00:25:05,880
Speaker 5: was surprising to me to see her not just as

452
00:25:06,200 --> 00:25:08,400
Speaker 5: what I thought was a traditional kind of fem fatale

453
00:25:08,440 --> 00:25:12,159
Speaker 5: who's there only to drive his downfall, But actually, in

454
00:25:12,200 --> 00:25:14,000
Speaker 5: a lot of ways, I think she's more sympathetic than

455
00:25:14,000 --> 00:25:14,600
Speaker 5: the hero is.

456
00:25:15,000 --> 00:25:22,440
Speaker 7: I've lost somebody too. I'm sorry. His name is Jimmy.

457
00:25:23,119 --> 00:25:27,320
Speaker 7: What happened? I had to meet somebody? They never came back.

458
00:25:29,200 --> 00:25:30,000
Speaker 5: Who do you go to meet?

459
00:25:30,440 --> 00:25:32,760
Speaker 7: I called Teddy?

460
00:25:33,600 --> 00:25:34,760
Speaker 4: What are the police thinks?

461
00:25:35,480 --> 00:25:40,120
Speaker 7: They don't look too hard for guys like Jimmy? When

462
00:25:40,160 --> 00:25:45,480
Speaker 7: you find this guy, this John Gie, what are you

463
00:25:45,520 --> 00:25:54,720
Speaker 7: gonna do? Kill him? Maybe I can help you find him?

464
00:25:54,800 --> 00:25:57,920
Speaker 3: Well, it makes me think you talked about the chronological

465
00:25:58,000 --> 00:26:01,040
Speaker 3: cut of following that's out there. We could it'd be

466
00:26:01,080 --> 00:26:03,800
Speaker 3: great to have a Natalie cut of Memento, right. I mean,

467
00:26:03,840 --> 00:26:05,960
Speaker 3: I know you would, you didn't have the memory issues.

468
00:26:06,000 --> 00:26:09,639
Speaker 3: But there is definitely a compelling story there that we

469
00:26:09,680 --> 00:26:11,560
Speaker 3: get a good sense of in the performance and in

470
00:26:11,880 --> 00:26:15,359
Speaker 3: the sequences that Carrie on Moss is involved in. I

471
00:26:15,440 --> 00:26:17,920
Speaker 3: was the thing maybe that I noticed, I guess, And

472
00:26:18,000 --> 00:26:20,880
Speaker 3: I think this just comes with you know another what

473
00:26:21,400 --> 00:26:25,560
Speaker 3: two decades of film watching or so is the editing

474
00:26:25,720 --> 00:26:28,960
Speaker 3: is just you know, I've gotten to learn how to

475
00:26:28,960 --> 00:26:31,760
Speaker 3: look more closely at what the editing is doing, and

476
00:26:31,920 --> 00:26:34,480
Speaker 3: mentioned at the top Dotty Door and Oscar nominated for

477
00:26:35,080 --> 00:26:38,480
Speaker 3: the work. Here, there's just little flickers here and there.

478
00:26:38,600 --> 00:26:41,560
Speaker 3: When Leonard references my wife fairly early on, we get

479
00:26:41,600 --> 00:26:44,800
Speaker 3: a quick shot of her eye opening and closing beneath

480
00:26:44,840 --> 00:26:49,159
Speaker 3: that shower curtain of haunting, haunting image, and later on

481
00:26:49,760 --> 00:26:53,920
Speaker 3: with the Sammy Jenkis storyline, when that's starting to sink

482
00:26:54,000 --> 00:26:59,119
Speaker 3: into us, the conclusive element is that quick flick of

483
00:26:59,160 --> 00:27:02,600
Speaker 3: a shot where we see Lenny sitting in Sammy's car. Right,

484
00:27:02,920 --> 00:27:05,320
Speaker 3: it's like half a second, but it's it's and this

485
00:27:05,440 --> 00:27:06,960
Speaker 3: is where Nolan is like, or.

486
00:27:06,920 --> 00:27:09,320
Speaker 4: Is it in the wheelchair? I think it's in the wheelchair?

487
00:27:09,359 --> 00:27:10,760
Speaker 4: Is it the wheelchair? Okay what I thought?

488
00:27:10,840 --> 00:27:14,160
Speaker 3: Yeah, But it's just it's so quick, and it's almost

489
00:27:14,160 --> 00:27:17,639
Speaker 3: where Nolan is is like, Okay, you've probably caught up

490
00:27:17,640 --> 00:27:19,560
Speaker 3: to me now, so I'm gonna give you a little reward,

491
00:27:19,800 --> 00:27:23,440
Speaker 3: you know, and just like confirm what you're probably thinking.

492
00:27:23,600 --> 00:27:26,359
Speaker 3: And then this is more towards the end, but when

493
00:27:26,880 --> 00:27:30,679
Speaker 3: Leonard does kill Jimmy, that sequence is match cut with

494
00:27:30,880 --> 00:27:35,600
Speaker 3: scenes of Leonard's wife played by I think it's Yoria Fox.

495
00:27:36,600 --> 00:27:38,720
Speaker 3: He's looking out the window of the abandoned building where

496
00:27:38,720 --> 00:27:40,640
Speaker 3: he's waiting for Jimmy to come, and we get these

497
00:27:40,680 --> 00:27:43,280
Speaker 3: match cuts of her looking out the window of their house,

498
00:27:43,760 --> 00:27:47,760
Speaker 3: and this again, it brings back that human element. The

499
00:27:47,880 --> 00:27:51,719
Speaker 3: humanity of this ties us. It's it's not just you know,

500
00:27:51,800 --> 00:27:54,679
Speaker 3: a noir killing we're going to see, but we understand

501
00:27:54,760 --> 00:27:59,040
Speaker 3: the psychological and emotional building blocks that has brought to

502
00:27:59,080 --> 00:28:01,639
Speaker 3: that moment those it and bringing back that into the

503
00:28:01,680 --> 00:28:06,200
Speaker 3: final scene is just so crucial. So I want to

504
00:28:06,200 --> 00:28:09,400
Speaker 3: ask you a question about this was a great experience,

505
00:28:09,440 --> 00:28:13,119
Speaker 3: a great revisit. Was there any point, however, where clue

506
00:28:13,160 --> 00:28:16,439
Speaker 3: fatigue began to set in? Where As I mentioned, we

507
00:28:16,520 --> 00:28:18,280
Speaker 3: are trying to keep up with this movie and that's

508
00:28:18,280 --> 00:28:20,639
Speaker 3: part of the thrill. But I did have a moment.

509
00:28:20,720 --> 00:28:23,480
Speaker 3: It might have been the sequence with around the time

510
00:28:23,520 --> 00:28:26,920
Speaker 3: of the Prostitute where it was just becoming That's the

511
00:28:26,960 --> 00:28:29,080
Speaker 3: way we can describe it, kind of like I don't

512
00:28:29,119 --> 00:28:30,920
Speaker 3: need any more clues, let me work with what you've

513
00:28:30,920 --> 00:28:32,280
Speaker 3: already given me a little bit.

514
00:28:32,440 --> 00:28:33,840
Speaker 4: Yeah, I can definitely see that.

515
00:28:33,920 --> 00:28:37,040
Speaker 5: I don't know that I felt it as much as you,

516
00:28:37,280 --> 00:28:41,480
Speaker 5: but I was very aware on this rewatch anyway of

517
00:28:41,600 --> 00:28:45,520
Speaker 5: how many clues. As confounding as the movie ultimately can

518
00:28:45,600 --> 00:28:47,959
Speaker 5: be and as provocative as it is, as much as

519
00:28:47,960 --> 00:28:51,520
Speaker 5: there is unanswered, there are so many clues to unraveling

520
00:28:51,520 --> 00:28:53,320
Speaker 5: it that Nolan gives you along the way. But you

521
00:28:53,320 --> 00:28:56,880
Speaker 5: would only really know that on multiple rewatches because on

522
00:28:56,920 --> 00:28:59,120
Speaker 5: that first watch your head is spinning so much. But

523
00:28:59,520 --> 00:29:01,880
Speaker 5: when you see, like speaking of the editing, you see

524
00:29:01,880 --> 00:29:05,640
Speaker 5: a flash near the end to Leonard, I think in

525
00:29:05,680 --> 00:29:07,600
Speaker 5: bed with his wife, but now he does have that

526
00:29:07,680 --> 00:29:10,880
Speaker 5: tattoo over his heart that says I've done it. You've

527
00:29:10,880 --> 00:29:13,680
Speaker 5: got little things like that that clue you in. Even Bert,

528
00:29:13,800 --> 00:29:17,240
Speaker 5: the guy who is behind the desk at the discount

529
00:29:17,240 --> 00:29:20,280
Speaker 5: in early in the movie, he says, that must suck.

530
00:29:20,480 --> 00:29:23,200
Speaker 5: It's all backwards, like maybe you got an idea about

531
00:29:23,240 --> 00:29:24,720
Speaker 5: what you want to do next, but you don't remember

532
00:29:24,760 --> 00:29:26,200
Speaker 5: what you just did. I mean, he's giving you the

533
00:29:26,240 --> 00:29:28,640
Speaker 5: structure of the film in some of the lines that

534
00:29:28,680 --> 00:29:32,640
Speaker 5: the characters say, and Teddy, the Paneliano character really does

535
00:29:33,000 --> 00:29:35,440
Speaker 5: lay out some of the larger themes of the movie

536
00:29:35,480 --> 00:29:38,760
Speaker 5: I was touching on in terms of the subjectivity of

537
00:29:39,240 --> 00:29:44,160
Speaker 5: your experiences and choosing your own destiny and denying things

538
00:29:44,160 --> 00:29:46,800
Speaker 5: and rationalizing in order to be happy. That was way

539
00:29:46,840 --> 00:29:49,560
Speaker 5: more present in the script than I had remembered it

540
00:29:49,600 --> 00:29:51,200
Speaker 5: from two thousand and one, which might be a little

541
00:29:51,240 --> 00:29:54,280
Speaker 5: bit different from some of the clues that you're talking

542
00:29:54,280 --> 00:29:56,240
Speaker 5: about and what you felt fatigued by.

543
00:29:56,480 --> 00:29:59,440
Speaker 3: So I have to before we wrap up, note that,

544
00:29:59,480 --> 00:30:01,640
Speaker 3: because now I'm looking for it. Of course, I mentioned

545
00:30:01,640 --> 00:30:04,560
Speaker 3: how in the basement barn following I saw those doors

546
00:30:04,560 --> 00:30:07,520
Speaker 3: that had the porthole windows, and something about him screamed, Nolan,

547
00:30:08,120 --> 00:30:10,840
Speaker 3: there's It's almost the exact same door in that abandoned

548
00:30:10,880 --> 00:30:14,440
Speaker 3: building where Leonard kills Jimmy at the end, I noticed

549
00:30:14,440 --> 00:30:16,440
Speaker 3: in the background. So I'm gonna be looking for those

550
00:30:16,480 --> 00:30:18,040
Speaker 3: as the overview continues.

551
00:30:18,200 --> 00:30:19,000
Speaker 4: Yeah, as you should.

552
00:30:19,000 --> 00:30:22,520
Speaker 5: I wonder if we will see them make future appearances.

553
00:30:22,520 --> 00:30:24,240
Speaker 5: I guess the last thing I wanted to touch on

554
00:30:25,520 --> 00:30:29,680
Speaker 5: in terms of the new experience this time. Even more

555
00:30:29,720 --> 00:30:33,280
Speaker 5: than recognizing Natalie as a tragic figure, I also do

556
00:30:33,360 --> 00:30:37,440
Speaker 5: see Leonard as even more complicated and tragic. Obviously, you

557
00:30:37,480 --> 00:30:40,640
Speaker 5: can't deny the people he's willing to hurt and those

558
00:30:40,680 --> 00:30:44,080
Speaker 5: moral and ethical compromises that he has been willing to make,

559
00:30:44,280 --> 00:30:46,720
Speaker 5: not just in the name of revenge, but for him

560
00:30:46,720 --> 00:30:50,880
Speaker 5: to have this life of purpose. But you really do

561
00:30:50,920 --> 00:30:54,680
Speaker 5: tap into I think you mentioned this line earlier. I

562
00:30:54,720 --> 00:30:58,240
Speaker 5: tapped into more this time, Josh, the fact, the real

563
00:30:58,360 --> 00:31:02,040
Speaker 5: weight of the fact that he starts every day with

564
00:31:02,160 --> 00:31:04,920
Speaker 5: the last thing he remembers being his wife, and not

565
00:31:05,000 --> 00:31:07,120
Speaker 5: just starting your day. It's not just when you wake up,

566
00:31:07,280 --> 00:31:10,520
Speaker 5: it's whenever you come out of this sort of spell

567
00:31:10,560 --> 00:31:13,560
Speaker 5: you've been in where you are right processing what you're doing.

568
00:31:13,840 --> 00:31:17,120
Speaker 5: However many minutes that is five, ten, fifteen, you're back

569
00:31:17,160 --> 00:31:22,000
Speaker 5: to the reality of that brutal act that occurred against

570
00:31:22,040 --> 00:31:24,640
Speaker 5: your wife. So that's a horrible place to be. And

571
00:31:24,680 --> 00:31:28,520
Speaker 5: when he has that sequence where he articulates that pain

572
00:31:29,040 --> 00:31:31,400
Speaker 5: and he says that he doesn't even know how long

573
00:31:31,440 --> 00:31:33,920
Speaker 5: she's been gone, it's like I've woken up in bed

574
00:31:33,960 --> 00:31:37,560
Speaker 5: and she's not here. And the way that ends, how

575
00:31:37,600 --> 00:31:40,480
Speaker 5: can I heal? How am I supposed to heal if

576
00:31:40,520 --> 00:31:45,240
Speaker 5: I can't feel time? That is a true, almost sci

577
00:31:45,320 --> 00:31:49,400
Speaker 5: fi like character dilemma. Right to be in a situation

578
00:31:49,440 --> 00:31:53,760
Speaker 5: where you can't process time, because time truly is not

579
00:31:53,840 --> 00:31:56,000
Speaker 5: to be a hallmark card. It truly is the only

580
00:31:56,080 --> 00:31:59,040
Speaker 5: thing that can get you past grief. It's the only

581
00:31:59,120 --> 00:32:03,880
Speaker 5: way you can get over anything that traumatic or said.

582
00:32:04,000 --> 00:32:05,920
Speaker 5: You may never truly get over it, but the only

583
00:32:05,960 --> 00:32:09,080
Speaker 5: way you can go on is to process it through time.

584
00:32:09,440 --> 00:32:13,640
Speaker 5: And he can't ever do that. And as much as

585
00:32:14,120 --> 00:32:18,480
Speaker 5: I understood that, we're supposed to see Leonard as a

586
00:32:18,520 --> 00:32:21,280
Speaker 5: bad person who does some really bad things, and he

587
00:32:21,320 --> 00:32:24,480
Speaker 5: doesn't even fully want to come to terms with that himself.

588
00:32:24,480 --> 00:32:27,120
Speaker 5: This is why he sets himself on this path where

589
00:32:27,160 --> 00:32:30,680
Speaker 5: he can live with the bluepill existence. I suppose I

590
00:32:30,880 --> 00:32:35,200
Speaker 5: understand what's driving that, and I do empathize with what's

591
00:32:35,280 --> 00:32:36,120
Speaker 5: driving that well.

592
00:32:36,160 --> 00:32:38,120
Speaker 3: And the tragedy of his choice at the end, the

593
00:32:38,160 --> 00:32:42,160
Speaker 3: reveal at the end is that it has this decision

594
00:32:42,480 --> 00:32:46,200
Speaker 3: to continue to trick himself into pursuing revenge has not

595
00:32:46,240 --> 00:32:50,560
Speaker 3: provided any sort of closure or healing. No, and yet

596
00:32:50,680 --> 00:32:54,959
Speaker 3: that's something he does not learn and he chooses to

597
00:32:55,080 --> 00:32:57,560
Speaker 3: re experience it. I don't know what other route he

598
00:32:57,560 --> 00:33:01,360
Speaker 3: would have, what sort of healing he could pursue if

599
00:33:01,360 --> 00:33:05,040
Speaker 3: he instead chose to write himself tattoos notes about the

600
00:33:05,320 --> 00:33:07,920
Speaker 3: one you mentioned You've done it, you know, is a

601
00:33:07,920 --> 00:33:10,600
Speaker 3: different route. It's a different path he could have taken,

602
00:33:11,600 --> 00:33:13,240
Speaker 3: but that's not his choice at the end, and that

603
00:33:13,320 --> 00:33:15,960
Speaker 3: makes that's what makes him ultimately a tragic figure, is

604
00:33:16,000 --> 00:33:19,120
Speaker 3: he is still choosing this path that is going to

605
00:33:19,160 --> 00:33:19,880
Speaker 3: repeat the pain.

606
00:33:20,040 --> 00:33:20,440
Speaker 4: That's it.

607
00:33:20,400 --> 00:33:21,920
Speaker 3: It's not going to help.

608
00:33:22,080 --> 00:33:25,479
Speaker 5: So I do have a few final little mysteries that

609
00:33:25,560 --> 00:33:28,320
Speaker 5: remain for me, and I'm not necessarily expecting you to

610
00:33:28,960 --> 00:33:30,960
Speaker 5: illuminate me, but I do want to throw him out

611
00:33:31,000 --> 00:33:34,440
Speaker 5: to the audience. And obviously we can have a larger

612
00:33:34,440 --> 00:33:37,240
Speaker 5: discussion about this movie and some of these questions, but

613
00:33:37,480 --> 00:33:39,280
Speaker 5: this one maybe not so much a question as much

614
00:33:39,280 --> 00:33:42,000
Speaker 5: as a little tidbit. I loved the way in the

615
00:33:42,040 --> 00:33:46,880
Speaker 5: flashbacks we see missus Jenkis when she makes that decision

616
00:33:47,200 --> 00:33:50,240
Speaker 5: in his memory and Leonard's version of events to test

617
00:33:50,960 --> 00:33:55,120
Speaker 5: her husband Sammy play by Stephen Tabolowski. She does it

618
00:33:55,240 --> 00:33:58,320
Speaker 5: by telling him that it's time for her insulin shot,

619
00:33:59,320 --> 00:34:03,320
Speaker 5: suggesting that it's been some passage of time between the

620
00:34:03,400 --> 00:34:08,400
Speaker 5: last shot. And she actually does rewind her watch every time. Yeah,

621
00:34:08,440 --> 00:34:11,600
Speaker 5: she rewinds the watch almost like Nolan is rewinding the

622
00:34:11,640 --> 00:34:14,319
Speaker 5: watch on this entire film. She doesn't have to, does

623
00:34:14,360 --> 00:34:16,520
Speaker 5: she Is there a reason why she has to do that?

624
00:34:16,640 --> 00:34:18,920
Speaker 5: She's not going to trick him. He doesn't look at

625
00:34:18,960 --> 00:34:20,520
Speaker 5: the watch. Does he take the time?

626
00:34:20,840 --> 00:34:23,200
Speaker 3: Yeah, I think it's just a flourish to emphasize what's

627
00:34:23,239 --> 00:34:25,680
Speaker 3: happening for the viewer, But the coverage is that in

628
00:34:25,760 --> 00:34:29,360
Speaker 3: case he looks. I'll just say those are two great

629
00:34:29,400 --> 00:34:33,040
Speaker 3: performances Tablowski you mentioned, and Harriet Sansom Harris as Sammy

630
00:34:33,120 --> 00:34:37,040
Speaker 3: Jenkis's wife, that again bring an element of humanity into

631
00:34:37,040 --> 00:34:40,759
Speaker 3: the movie that really does a lot. It's very important.

632
00:34:41,239 --> 00:34:43,759
Speaker 3: It pays off when we understand that they're stand ins

633
00:34:44,040 --> 00:34:47,080
Speaker 3: for Leonard and his wife, right, because we've come to

634
00:34:47,200 --> 00:34:50,200
Speaker 3: care about them, and all of that care gets transferred

635
00:34:50,200 --> 00:34:51,880
Speaker 3: to Leonard when we get the reveal.

636
00:34:52,000 --> 00:34:54,160
Speaker 5: Yeah, and depending on your reading of the film, there's

637
00:34:54,160 --> 00:34:59,680
Speaker 5: a possibility that they are actually not just stand ins metaphorically,

638
00:35:00,239 --> 00:35:03,000
Speaker 5: they might actually be right. I mean, there's different ways

639
00:35:03,000 --> 00:35:06,279
Speaker 5: to come at it. Maybe this is where my head

640
00:35:06,320 --> 00:35:08,840
Speaker 5: was exploding, but I swear if you go back, Josh

641
00:35:08,880 --> 00:35:13,319
Speaker 5: and look at the scene where Natalie tells Leonard that

642
00:35:13,400 --> 00:35:16,239
Speaker 5: she lost somebody too, he looks at a picture of

643
00:35:16,280 --> 00:35:21,160
Speaker 5: her and Jimmy, and then after they've I think slept together,

644
00:35:21,680 --> 00:35:23,560
Speaker 5: he comes out to the room on his own and

645
00:35:23,560 --> 00:35:25,880
Speaker 5: he's looking through some things, and he looks at that

646
00:35:25,920 --> 00:35:28,920
Speaker 5: picture again, and I swear in the first cut of

647
00:35:28,960 --> 00:35:31,960
Speaker 5: the picture, we see in this new sequence Jimmy does

648
00:35:32,000 --> 00:35:33,799
Speaker 5: not have a go tee like he did in the

649
00:35:33,800 --> 00:35:36,040
Speaker 5: first one. And then when he looks at the picture again,

650
00:35:36,080 --> 00:35:38,960
Speaker 5: there's a go tee there. Okay, so I'm losing my mind,

651
00:35:38,960 --> 00:35:42,839
Speaker 5: but I want to know what's up with Jimmy's go tea.

652
00:35:43,200 --> 00:35:44,279
Speaker 5: I'm getting crazy, aren't I.

653
00:35:44,640 --> 00:35:46,440
Speaker 3: That's a little too deep for me, But go ahead,

654
00:35:46,440 --> 00:35:47,200
Speaker 3: what's your other one?

655
00:35:47,440 --> 00:35:50,480
Speaker 5: When Leonard goes downstairs, this is early in the film,

656
00:35:50,480 --> 00:35:53,200
Speaker 5: but in the actual chronology would be late in the film.

657
00:35:53,239 --> 00:35:56,319
Speaker 5: It's right before he goes to meet Teddy to take

658
00:35:56,400 --> 00:35:57,640
Speaker 5: him to the warehouse.

659
00:35:58,320 --> 00:36:02,040
Speaker 4: He's kind of a rush. He's definitely frazzled.

660
00:36:02,440 --> 00:36:06,160
Speaker 5: He comes out of his motel room and he comes downstairs,

661
00:36:06,160 --> 00:36:09,880
Speaker 5: and just as he's about to walk into the lobby

662
00:36:10,040 --> 00:36:14,760
Speaker 5: to talk to Bert, we see Guy Pierce stop, catch

663
00:36:14,800 --> 00:36:17,920
Speaker 5: his breath, kind of get his body in a certain

664
00:36:18,680 --> 00:36:23,040
Speaker 5: physical position, and then he walks through the door slowly.

665
00:36:23,080 --> 00:36:26,759
Speaker 5: It's almost as if he's putting himself into character there

666
00:36:26,800 --> 00:36:29,320
Speaker 5: in the moment, as if Leonard is putting himself into character,

667
00:36:29,400 --> 00:36:31,160
Speaker 5: and I haven't been able to figure out yet why

668
00:36:31,480 --> 00:36:33,400
Speaker 5: he would need to do that. My last two and

669
00:36:33,440 --> 00:36:36,839
Speaker 5: these really get it. Bigger questions about this film is

670
00:36:36,840 --> 00:36:41,839
Speaker 5: to ponder why does Teddy even tell Leonard? Why does

671
00:36:41,880 --> 00:36:45,399
Speaker 5: he tell him the truth that prompts him to kill

672
00:36:45,480 --> 00:36:48,120
Speaker 5: him at the end. If he knows what Leonard is

673
00:36:48,200 --> 00:36:51,560
Speaker 5: capable of, and there's a suggestion that he really does,

674
00:36:51,680 --> 00:36:56,800
Speaker 5: because they've done this before, why does he even open

675
00:36:56,840 --> 00:36:59,960
Speaker 5: that possibility right by pushing Leonard to that level?

676
00:37:00,239 --> 00:37:02,640
Speaker 3: Yeah, the Teddy character, at some point, I think, does

677
00:37:02,680 --> 00:37:06,680
Speaker 3: become more about function for this idea to work than

678
00:37:07,120 --> 00:37:09,719
Speaker 3: you know, practicality if it were actually happening in the

679
00:37:09,719 --> 00:37:12,359
Speaker 3: real world. I agree, there's probably some hiccups there.

680
00:37:12,440 --> 00:37:15,960
Speaker 5: So then the real mind bender is what happens now?

681
00:37:16,719 --> 00:37:20,600
Speaker 5: What happens now? Where does Memento go chronologically? After he

682
00:37:20,640 --> 00:37:25,080
Speaker 5: has killed Teddy slash John G. We could presume, because

683
00:37:26,160 --> 00:37:28,880
Speaker 5: there are suggestions that he's done this before, that this

684
00:37:29,040 --> 00:37:32,480
Speaker 5: is what he always does, that a cycle will continue,

685
00:37:32,520 --> 00:37:34,920
Speaker 5: Like even if you look at the tattoo and Teddy

686
00:37:34,960 --> 00:37:36,640
Speaker 5: says this, but if you look at the tattoo where

687
00:37:36,640 --> 00:37:39,400
Speaker 5: he has John G and then there's another tattoo below

688
00:37:39,440 --> 00:37:41,440
Speaker 5: it that clearly came at a different time and doesn't

689
00:37:41,440 --> 00:37:44,600
Speaker 5: look as good. That says or James. You know, he's

690
00:37:44,640 --> 00:37:47,680
Speaker 5: just going to keep adding jays until what he's done.

691
00:37:47,800 --> 00:37:51,520
Speaker 3: What he's done is he's provided a path, yes, for

692
00:37:51,600 --> 00:37:56,879
Speaker 3: this to continue forever, unless he encounters someone who genuinely

693
00:37:57,120 --> 00:37:59,279
Speaker 3: will help him. But as long as he you know,

694
00:37:59,360 --> 00:38:01,760
Speaker 3: he has this path's ut for himself, and he encounters

695
00:38:01,800 --> 00:38:04,800
Speaker 3: someone who's going to manipulate him, it'll continue forever.

696
00:38:05,000 --> 00:38:07,360
Speaker 5: See now that Josh almost strikes me as a generous

697
00:38:07,400 --> 00:38:09,120
Speaker 5: reading of the film that I don't know that I

698
00:38:09,160 --> 00:38:12,840
Speaker 5: subscribe to, which is I don't think it matters who's

699
00:38:12,880 --> 00:38:15,400
Speaker 5: there to help him or double cross him or not.

700
00:38:15,840 --> 00:38:18,320
Speaker 5: He is always going to pick the path that leads

701
00:38:18,360 --> 00:38:20,759
Speaker 5: to a life where he's not Sammy Jenkis. So he

702
00:38:20,840 --> 00:38:23,120
Speaker 5: is the one that's always going to manipulate a situation

703
00:38:23,680 --> 00:38:27,200
Speaker 5: until he gets what he wants, which is to continue this.

704
00:38:27,480 --> 00:38:30,080
Speaker 5: And so if you look at it that way, then

705
00:38:30,920 --> 00:38:34,080
Speaker 5: the reason I'm asking the question is the license plate

706
00:38:34,239 --> 00:38:37,040
Speaker 5: that belongs to Teddy and those facts that he gave

707
00:38:37,120 --> 00:38:40,400
Speaker 5: him to lead him right to John g Now that

708
00:38:40,480 --> 00:38:42,920
Speaker 5: he's killed this John g. Even if there are others

709
00:38:42,920 --> 00:38:45,399
Speaker 5: out there that he will be able to conjure up

710
00:38:45,880 --> 00:38:48,520
Speaker 5: and seek out and get his revenge, it's gonna be

711
00:38:48,520 --> 00:38:50,319
Speaker 5: a lot harder for him, isn't it. I Mean, he

712
00:38:50,520 --> 00:38:54,360
Speaker 5: kind of put himself on this path to find Teddy

713
00:38:54,400 --> 00:38:57,080
Speaker 5: and the movie ends with him killing him. So where

714
00:38:57,080 --> 00:38:57,480
Speaker 5: does it go?

715
00:38:58,040 --> 00:38:58,160
Speaker 1: Well?

716
00:38:58,239 --> 00:39:00,319
Speaker 3: Yeah, but that's why I mean, the discrepancy in his

717
00:39:00,400 --> 00:39:03,879
Speaker 3: clues allow for him to invent and you wonder at

718
00:39:03,880 --> 00:39:06,960
Speaker 3: some point in his consciousness, somewhere down below, he just

719
00:39:07,040 --> 00:39:10,200
Speaker 3: wants it to keep going, right, So there's always it's

720
00:39:10,239 --> 00:39:13,120
Speaker 3: a it's the conspiracy mindset. You You know, if you

721
00:39:13,200 --> 00:39:16,359
Speaker 3: have that sort of mindset, you can always invent a

722
00:39:16,400 --> 00:39:19,520
Speaker 3: new path to keep you going the direction you want

723
00:39:19,520 --> 00:39:21,200
Speaker 3: to go. Yes, And the reason I say, if he

724
00:39:21,280 --> 00:39:24,399
Speaker 3: encounters someone who who would not manipulate him but care

725
00:39:24,480 --> 00:39:27,520
Speaker 3: for his mental well being, that's I only say it's

726
00:39:27,520 --> 00:39:30,719
Speaker 3: a possibility because we haven't seen that fail yet. We've

727
00:39:30,760 --> 00:39:33,399
Speaker 3: only seen him encounter people who are going to use

728
00:39:33,480 --> 00:39:37,000
Speaker 3: him for their own purposes. So I have one logistical

729
00:39:37,080 --> 00:39:40,200
Speaker 3: question to ask you. It's the only open question, and

730
00:39:40,239 --> 00:39:41,840
Speaker 3: I'm not trying to trick the film out because I

731
00:39:42,000 --> 00:39:43,879
Speaker 3: don't like to play those games with movies. This thing

732
00:39:43,960 --> 00:39:46,719
Speaker 3: works as beautifully as it needs to. But I did

733
00:39:46,760 --> 00:39:50,759
Speaker 3: wonder how does he remember he even has those polarites,

734
00:39:51,239 --> 00:39:55,560
Speaker 3: Because if he's supposed to wake up not know anything

735
00:39:55,600 --> 00:39:59,640
Speaker 3: except for the incident, he will all he'll often go

736
00:39:59,680 --> 00:40:02,719
Speaker 3: for the polaroids to orient himself. And so I'm just

737
00:40:02,760 --> 00:40:06,319
Speaker 3: wondering if I missed something where he or maybe it's

738
00:40:06,360 --> 00:40:08,680
Speaker 3: just a short cut, you know, it's a storytelling shortcut,

739
00:40:08,680 --> 00:40:11,800
Speaker 3: because otherwise he would watch, he'd be dazed, he'd notice

740
00:40:11,840 --> 00:40:13,960
Speaker 3: a tattoo, he'd look at other tattoos, he'd go to

741
00:40:14,000 --> 00:40:15,920
Speaker 3: the mirror, and rather than have us go through that

742
00:40:15,960 --> 00:40:19,359
Speaker 3: whole process every time, you know, the Nolans, have him

743
00:40:19,360 --> 00:40:22,200
Speaker 3: grab the polaroids, look at them, and start the path.

744
00:40:22,000 --> 00:40:25,120
Speaker 5: Right, Yeah, Yeah, I think the only potential answer is

745
00:40:25,160 --> 00:40:28,279
Speaker 5: that he knows what condition he suffers from, and so

746
00:40:28,560 --> 00:40:32,399
Speaker 5: knowing that by habit, and this opens up another whole

747
00:40:32,440 --> 00:40:35,400
Speaker 5: line of questioning with this film, because that dovetails with

748
00:40:35,480 --> 00:40:38,399
Speaker 5: Sammy and what he could or couldn't learn from from

749
00:40:38,480 --> 00:40:41,160
Speaker 5: habit and ritual. The way Leonard does, right, that's what

750
00:40:41,280 --> 00:40:44,000
Speaker 5: distinguishes him. One of the habits he's picked up. Is

751
00:40:44,360 --> 00:40:46,920
Speaker 5: he knows to look around him and look at his

752
00:40:47,000 --> 00:40:50,640
Speaker 5: pockets immediately, right, Yeah, to find anything, right, to find

753
00:40:50,680 --> 00:40:53,800
Speaker 5: anything that might orient him whatsoever. But there's no doubt

754
00:40:53,840 --> 00:40:56,600
Speaker 5: there are a ton of those little questions that this

755
00:40:56,680 --> 00:41:00,200
Speaker 5: movie makes you ask and will continue to make us,

756
00:41:00,320 --> 00:41:00,640
Speaker 5: I think.

757
00:41:00,680 --> 00:41:00,759
Speaker 4: So.

758
00:41:01,120 --> 00:41:02,560
Speaker 5: I love the fact that we got a chance to

759
00:41:02,600 --> 00:41:06,319
Speaker 5: revisit Memento as part of this OUV review. Next up

760
00:41:06,560 --> 00:41:09,840
Speaker 5: is two thousand and two's Insomnia, a remake of the

761
00:41:09,920 --> 00:41:14,760
Speaker 5: nineteen ninety seven Norwegian thriller starring Al Pacino and Robin Williams.

762
00:41:14,800 --> 00:41:19,160
Speaker 5: As I've said before, the only Nolan film I suppose

763
00:41:19,200 --> 00:41:22,040
Speaker 5: I feel like I don't like based on one viewing,

764
00:41:22,080 --> 00:41:24,120
Speaker 5: it was a disappointment for me, So I can't wait

765
00:41:24,200 --> 00:41:25,919
Speaker 5: to watch now in this order.

766
00:41:26,440 --> 00:41:29,040
Speaker 3: Well, I'm fascinating after Memento too, because my memory of

767
00:41:29,080 --> 00:41:33,680
Speaker 3: it is being fairly conventional in terms of narrative and filmmaking,

768
00:41:33,760 --> 00:41:35,960
Speaker 3: so it'll be interesting to revisit that after we've seen

769
00:41:36,000 --> 00:41:36,759
Speaker 3: Memento now.

770
00:41:36,840 --> 00:41:40,680
Speaker 5: Last week we went through our whole Nolan filmography ranking

771
00:41:40,719 --> 00:41:44,759
Speaker 5: as it currently stands, Memento after this watch still my

772
00:41:44,840 --> 00:41:45,239
Speaker 5: number one.

773
00:41:45,280 --> 00:41:45,959
Speaker 4: Christopher Nolan.

774
00:41:46,000 --> 00:41:48,160
Speaker 5: Again, we're only two films into the OUV review, so

775
00:41:48,400 --> 00:41:51,879
Speaker 5: we'll see if that does change as we move ahead here,

776
00:41:51,960 --> 00:41:54,160
Speaker 5: Any changes for you with your list?

777
00:41:54,320 --> 00:41:56,160
Speaker 3: Yeah, the way I'm gonna do this is because I

778
00:41:56,200 --> 00:41:58,800
Speaker 3: have thought about it. I'm going to like start from scratch.

779
00:41:59,120 --> 00:42:03,000
Speaker 3: So basically, right now, it's a boring way because we've

780
00:42:03,040 --> 00:42:05,799
Speaker 3: only had two films. I have a Mento number one

781
00:42:06,000 --> 00:42:08,359
Speaker 3: and I have Following two, and so when I get

782
00:42:08,400 --> 00:42:12,000
Speaker 3: to Insomnia, I'm I'm gonna see where it fits compared

783
00:42:12,040 --> 00:42:12,480
Speaker 3: to those two.

784
00:42:12,560 --> 00:42:14,480
Speaker 5: If only it was that easy, we'll just keep it

785
00:42:14,520 --> 00:42:16,759
Speaker 5: two films. And yes, I know where Memento ranks, and

786
00:42:16,800 --> 00:42:17,960
Speaker 5: we're following ranks.

787
00:42:18,400 --> 00:42:21,520
Speaker 3: I like a plan. I like an organized path. I

788
00:42:21,600 --> 00:42:22,280
Speaker 3: like a procedure.

789
00:42:22,360 --> 00:42:24,920
Speaker 5: Out of course, mind of course you do, Lenny, I mean, Josh,

790
00:42:25,560 --> 00:42:29,360
Speaker 5: we'll get to following here in a few weeks. And Josh,

791
00:42:29,360 --> 00:42:32,279
Speaker 5: that is our show from April twenty twenty. That was

792
00:42:32,280 --> 00:42:36,319
Speaker 5: our conversation about Memento. A reminder that access to the

793
00:42:36,320 --> 00:42:40,239
Speaker 5: Film Spotting Archive, including monthly bonus shows, is available to

794
00:42:40,400 --> 00:42:44,000
Speaker 5: every member of the Film Spotting family, including monthly bonus shows.

795
00:42:44,040 --> 00:42:47,640
Speaker 5: And we do have a discussion of Paul Thomas Anderson's

796
00:42:47,640 --> 00:42:51,480
Speaker 5: Boogie Nights dropping soon in that feed. Again, that's exclusive

797
00:42:51,520 --> 00:42:54,640
Speaker 5: to film Spotting Family members. You can join at Filmspotting

798
00:42:54,680 --> 00:42:56,799
Speaker 5: Family dot com and you can get twenty percent off

799
00:42:56,880 --> 00:43:00,800
Speaker 5: through the month of January if you use promo code Supreme.

800
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801
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802
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803
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804
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805
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806
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