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Speaker 1: Hey, Welcome to Weird House Cinema. Rewind. This is Rob

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Speaker 1: Lamb today. We have an episode that aired seven eighteen,

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Speaker 1: twenty twenty five. I was on vacation when this episode

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Speaker 1: was recorded. This is a conversation between Joe and our producer,

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Speaker 1: our excellent producer, jaj about the twenty nineteen film Deer Skin.

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Speaker 1: So yeah, well, one of the more recent films that

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Speaker 1: has been covered on Weird House Cinema. So let's jump

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Speaker 1: right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 3: Hello, and welcome to Weird House Cinema. My name is

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Speaker 3: Joe McCormick. My regular co host, Robert Lamb is out

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Speaker 3: today and so sitting in the guest co host chair

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Speaker 3: we have and I'm so excited to welcome him onto

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Speaker 3: the side of the mic for the first time. Our

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Speaker 3: longtime audio producer JJ Posway.

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Speaker 4: Jj. How you doing man?

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Speaker 5: Hey? Doing pretty well? How are you, Joe? I'm doing great.

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Speaker 3: To be honest, actually I'm incredibly tired, but I'm not

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Speaker 3: the same. But I think we're gonna have a great

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Speaker 3: time today. I'm truly, genuinely so excited for you to

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Speaker 3: come on the show. We've been talking about doing this

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Speaker 3: for a while, and I'm glad we're doing it with

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Speaker 3: a with a weird house pick. So today on Weird

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Speaker 3: House Cinema, we're going to be talking about a movie

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Speaker 3: that you selected, and that is the twenty nineteen French

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Speaker 3: black comedy Deer Skin, directed by about to say a

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Speaker 3: French name, Quinton Depew.

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Speaker 4: How's that?

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Speaker 5: Yeah? I think that's probably about how I'm going to

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Speaker 5: say it too. It's okay, Quanton Depew. Q I'll probably

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Speaker 5: say Quentin Depew.

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Speaker 4: Yeah.

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Speaker 3: In English it looks like Quintin so Quentin might say

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Speaker 3: Quentin Depew. So I had never seen a movie by

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Speaker 3: this filmmaker before. Obviously this is more recent than a

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Speaker 3: lot of the films we cover, but nothing wrong with that.

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Speaker 3: So what got you excited about Deer Skin? What's your

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Speaker 3: relationship with this movie?

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Speaker 5: To be completely honest, it's when I only watched a

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Speaker 5: couple of weeks ago. I have a couple of friends

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Speaker 5: named Ian and Terrence who have watched most of Depew's movies,

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Speaker 5: and they started introducing me to his work, and at

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Speaker 5: this point of watched like five or six of them.

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Speaker 5: They're absurd and surreal, they're a lot of fun. Coincidentally,

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Speaker 5: last week watching the movie Incredible but True, I thought

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Speaker 5: one of his movies would make a good Weird House

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Speaker 5: Cinema episode, and I definitely recommend that one, but Deer

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Speaker 5: Skin kind of felt like the best fit for an

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Speaker 5: episode of Weird House.

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Speaker 3: Well, I'm glad you picked this one because I loved it.

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Speaker 3: I thought it was really weird and funny, just fantastic.

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Speaker 3: I liked the pathetic, understated sense of humor in it,

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Speaker 3: and yeah, kind of it's the kind of absurd groove

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Speaker 3: that it gets into. I think you probably know what

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Speaker 3: I mean by this. The pacing of the increase in

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Speaker 3: absurdity is really exquisite here.

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Speaker 5: Absolutely. Yeah, it's it's slow but steady, and I think

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Speaker 5: groove is the right word. There is like a strange

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Speaker 5: musicality to it.

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Speaker 3: Yeah, not to it actually has good music in it. Oh,

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Speaker 3: it's it's not like a musical movie that's like dominated

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Speaker 3: by musical motifs, but it has like a few recurring

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Speaker 3: things like these ominous horns that come in with these

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Speaker 3: little bleats every now and then that are just kind

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Speaker 3: of sound like something's wrong. But sometimes it's just when

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Speaker 3: it's a guy looking in a mirror.

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Speaker 5: Yeah.

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Speaker 3: Yeah, now, Incredible but True. That's another Depew movie. That's

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Speaker 3: the one with the robot penis. We're not talking about

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Speaker 3: that one.

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Speaker 5: Yeah, that one didn't seem right for the show, but

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Speaker 5: I do highly recommend that one. That one has a

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Speaker 5: little more of the like a sci fi thing going on,

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Speaker 5: if you could call it that. I think it's a

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Speaker 5: really good primer. But every movie I've seen of his

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Speaker 5: has been really great and pretty He's got a consistent tone.

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Speaker 5: I read this letterboxed review of Incredible but True, and

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Speaker 5: it was actually a disparaging review, But the way they

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Speaker 5: started off I thought was pretty apt in calling Depew

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Speaker 5: a premise generator. Yeah, and I think he's really great

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Speaker 5: at these just absurd premises, setting them up and letting

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Speaker 5: them play out for usually like an hour and fifteen

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Speaker 5: minutes or so. They're not often long movies.

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Speaker 3: So I guess we could go ahead and say what

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Speaker 3: the absurd premise of Deer Skin is?

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Speaker 4: How would I put it? It's about a.

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Speaker 3: Kind of pathetic middle aged man who goes through some

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Speaker 3: sort of personal crisis and becomes enamored of a new

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Speaker 3: deer skin motorcycle jacket that he paid too much money

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Speaker 3: for and as his love affair with this jacket and

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Speaker 3: how he looks in it deepens, it goes to increasingly

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Speaker 3: bizarre places, and he eventually becomes a co conspirator with

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Speaker 3: the jacket, and they together decide that they must eliminate

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Speaker 3: all other jacket wearing phenomena from planet Earth, and this

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Speaker 3: will be the only jacket human duo that should be

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Speaker 3: allowed to exist.

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Speaker 5: I think that's a great summary.

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Speaker 3: Okay, now, having only seen this Depew film, I can

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Speaker 3: see how somebody might describe his style as premise generator.

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Speaker 4: Because.

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Speaker 3: While the I think you could call this this style

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Speaker 3: of film making like absurdist or absurd comedy, it's actually,

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Speaker 3: I think quite logical. It's just a very be follows

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Speaker 3: a C follows BE kind of logical progression pursuing this

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Speaker 3: absurd premise where if you take the absurd premise on,

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Speaker 3: everything just kind of flows and it makes sense totally.

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Speaker 5: There's a quote I want to share later that I

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Speaker 5: think gets at that same sentiment, and Yeah, what is

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Speaker 5: so fun about it is the just the slow ratcheting

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Speaker 5: up of that absurdity.

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Speaker 3: Another thing I want to establish here at the top.

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Speaker 3: It is hard not to see the main characters increasingly

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Speaker 3: bizarre and toxic relationship with his leather jacket as having

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Speaker 3: something to do with the way lonely people become obsessed

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Speaker 3: with things. And I feel like this is something I've

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Speaker 3: seen in my life has happened with people. I know,

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Speaker 3: in fact, I can feel little threads of it in

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Speaker 3: myself at different times in my life, the way that

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Speaker 3: when when you feel kind of alienated, or you are

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Speaker 3: lacking in a rich, well entangled, you know, sense of

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Speaker 3: human connections and human networks, when you're lacking in friendship

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Speaker 3: and family life and stuff like that, it seems like

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Speaker 3: maybe you are more prone to find a new thing

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Speaker 3: and then make that thing.

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Speaker 4: Your entire personality.

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Speaker 3: This is like all, you know, I've discovered that now

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Speaker 3: I'm into a new hobby or a new artist that

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Speaker 3: I like or something like that, and it's literally all

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Speaker 3: I can think and talk about, and all subject matter

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Speaker 3: is I now relate back to this thing.

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Speaker 5: Yeah. I agree with that completely, and I think Depew

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Speaker 5: from what I've read, has a similar view.

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Speaker 3: Oh okay, well maybe we'll get into that as we

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Speaker 3: go along.

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Speaker 4: Elevator pitch.

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Speaker 3: I guess I've already given the straightforward description of what

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Speaker 3: happens in the movie thematic elevator pitches. I'd say it's

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Speaker 3: a film about loneliness, falsity, and authenticity, obsession, and of

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Speaker 3: course killer style, both in the earnest and the ironic sense.

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Speaker 5: Absolutely. Yeah, alright, we're gonna play a little bit of

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Speaker 5: the trailer audio.

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Speaker 4: Now, j J.

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Speaker 3: We we kind of had to put this episode together fast,

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Speaker 3: so I ended up streaming the movie, but you were

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Speaker 3: able to get a hold of a disc.

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Speaker 5: Yeah, I rented from Videodrome here in Atlanta. It's also

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Speaker 5: available on Apple and Amazon Prime.

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Speaker 3: Though now, as usual on a Weird House Cinema episode,

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Speaker 3: we're gonna end up discussing the plot in a lot

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Speaker 3: of detail. So if you haven't seen the movie and

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Speaker 3: you want to see Deer Skin without knowing everything in advance,

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Speaker 3: there are some fun surprises in it. Here is your

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Speaker 3: warning pause the episode. Here, go watch the movie first.

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Speaker 3: But if you think you'll never see it, or you

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Speaker 3: just don't care if we describe the whole story in advance,

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Speaker 3: let's plow right on ahead. All right, Well, let's move

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Speaker 3: on and talk about the connections and discuss some of

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Speaker 3: the key people involved. I think you had some stuff

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Speaker 3: on Quinton Depew the director writer Also I think yes he's.

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Speaker 5: The director, writer, cinematographer and editor. Depew's a French filmmaker

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Speaker 5: a musician. He makes music under the name mister Wazo

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Speaker 5: and put out his first DP in nineteen ninety seven

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Speaker 5: via the label F Communications. A few years later, in

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Speaker 5: nineteen ninety nine, he'd released a single called flat Beat,

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Speaker 5: which was a hit in Europe. The music video for

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Speaker 5: Flatbeat was directed by Depew himself and featured a puppet

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Speaker 5: named flat Eric. Depew created flat Eric with Jim Henson's

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Speaker 5: Creature Shop, and the puppet, as well as the song

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Speaker 5: flat Beat, were used in a series of Levi's commercials

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Speaker 5: that he directed.

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Speaker 4: What kind of animal is he?

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Speaker 3: He's like a yellow dog but without ears, but with

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Speaker 3: the like little beady bits of coal for eyes.

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Speaker 5: Yeah, I'd say that's an app description. But also little guy.

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Speaker 3: Yeah, yeah, he's cute. I mean, is he cute or

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Speaker 3: is he cruel? And does he wish me harm?

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Speaker 5: I feel like that exact intersection is where his music,

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Speaker 5: as mister waso. At least the stuff I've listened to

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Speaker 5: seems to live.

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Speaker 3: So I haven't listened to any mister waso, what's the

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Speaker 3: what's the style of music? Like, how would you describe it?

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Speaker 5: It falls broadly under the umbrellas of like electro and house.

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Speaker 5: He makes electronic music, And I mean, I think you

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Speaker 5: put it best just in describing Flat Eric. There's like

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Speaker 5: a very playful sinisterness. There's like always a layer of humor.

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Speaker 3: Is it like in Deer Skin when there are those

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Speaker 3: scenes of George sharpening the fan blade to turn it

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Speaker 3: into a machete, But he's like playing with it. He's

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Speaker 3: playing with the with the watermelon and just having a

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Speaker 3: good time. It's like it's like a like a cute

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Speaker 3: having fun montage, but he's making a Jason Vorhees implement.

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Speaker 5: Yeah, yeah, kind of. I linked one of these Levi's

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Speaker 5: commercials that has a I think paints a pretty good

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Speaker 5: picture of Flat Eric that features the song flat Beat.

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Speaker 3: I'm gonna pull this up right now. Hold on, I

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Speaker 3: gotta order some jeans. No, it's good, it's like, uh,

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Speaker 3: I mean it's got that Oh. Here here's where I

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Speaker 3: don't know if the correct terminology. It's got a kind

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Speaker 3: of fuzzy malfunctioning electronics sound to the uh to the

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Speaker 3: tones in there. Uh, there's something that sounds like a

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Speaker 3: like an incomplete connection in the wiring.

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Speaker 1: Uh.

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Speaker 3: But also it's a little bit jaunty, you know. It's

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Speaker 3: it's like something you can nod your head to. It's

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Speaker 3: not like, you know, industrial downbeat kind of stuff.

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Speaker 4: Uh. It's fun.

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Speaker 3: But but but something sounds a little wrong.

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Speaker 5: Yeah. Yeah, it's like a little distorted and ultimately it's fun,

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Speaker 5: but there's just like a tinge of menace to it,

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Speaker 5: the most playful kind of menace though.

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Speaker 3: But also in this Levi's commercial, it's like a guy

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Speaker 3: driving with Flat Eric the puppet. They get pulled over

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Speaker 3: by a cop and Flat Eric quickly tries to make

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Speaker 3: his car look less threatening, so he turns around like

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Speaker 3: a pin up picture, and just on the other side,

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Speaker 3: it's a picture of a horse in a meadow.

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Speaker 5: So he's still active as mister Waso, and some of

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Speaker 5: his movies have featured his music under that name, and

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Speaker 5: he is always credited as mister Waso when he makes

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Speaker 5: music for his movies. His first movie, titled non Film,

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Speaker 5: was released in two thousand and one, but his breakthrough

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Speaker 5: movie was twenty ten's Rubber, a movie about a sentient

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Speaker 5: killer tire with psychokinetic powers.

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Speaker 3: So I've never seen Rubber. I had entirely the wrong

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Speaker 3: idea about what it was, though I'd seen the cover,

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Speaker 3: not the movie itself, and I assumed it was a

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Speaker 3: like self conscious ironic schlock comedy horror movie, something more

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Speaker 3: like Shark Nato, like in like Irony Zone stuff, And

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Speaker 3: now I assume that's not really what it's like. It

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Speaker 3: is probably something a little bit closer to Deer Skin,

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Speaker 3: but more firmly in the absurd horror vein.

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Speaker 5: Yeah, I think it's somewhere in between. I definitely don't

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Speaker 5: think it's a full sort of Shark Nato situation. I

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Speaker 5: actually watched it last night just to get a good

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Speaker 5: sense of what that was, and it is closer to

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Speaker 5: Deer Skin than something like Sharknato, though I do feel

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Speaker 5: like I kind of prefer where he goes after Rubber.

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Speaker 3: Okay, so that's not his peak. It's not all downhill

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Speaker 3: from there.

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Speaker 5: At least, you know, opinion, But I think that that's

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Speaker 5: one that he's pretty well known for, and it was

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Speaker 5: the first of four films he'd make in America, followed

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Speaker 5: by twenty twelve's Wrong, twenty thirteen's Wrong Cops and twenty

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Speaker 5: fourteen's Reality. He returned to France after the release of

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Speaker 5: Reality and put out his first film produced there in

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Speaker 5: twenty eighteen. He's been pretty prolific since, sometimes releasing multiple

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Speaker 5: movies a year, with his most recent at a time

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Speaker 5: of recording being The Piano Accident, which was just released

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Speaker 5: in France a couple weeks ago. The writer Savina Petkova

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Speaker 5: has a piece on deer Skin from twenty twenty one

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Speaker 5: on the publication The Quietest that I think aptly describes

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Speaker 5: to Pew's appeal when she writes his films are laden

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Speaker 5: with characters, situations, and spoofs that produce a hypnagogic effect,

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Speaker 5: but the reality status is never questioned. Deerskin represents the

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Speaker 5: opposite of skepticism in relation to the uncanny, a film

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Speaker 5: that gladly jumps on the bandwagon of unforeseen ideas with

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Speaker 5: an ease that resembles a dream.

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Speaker 1: Yeah.

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Speaker 3: I could agree with that there is something dream like

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Speaker 3: about it, but not in every way. One of the

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Speaker 3: we sort of got into this earlier. But one of

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Speaker 3: the ways I would say it is not like a

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Speaker 3: dream is that dreams often feel more random, like just

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Speaker 3: random new introduction of new elements, whereas it seems to

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Speaker 3: me that once deer Skin gets going, sort of like

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Speaker 3: I was saying earlier, everything just kind.

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Speaker 4: Of follows logically.

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Speaker 3: If if you buy into the initial dream, it's like

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Speaker 3: a real world that operates fully on the logic of

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Speaker 3: like physics and cause and effect, and people behave in

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Speaker 3: some ways normally, except this real world was created by

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Speaker 3: an absurdist demiurge who is like, you know, a man

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Speaker 3: in a jacket will decide that they must be the

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Speaker 3: only man in jacket that can be together.

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Speaker 5: Yeah, I totally agree with that. Moving on to our

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Speaker 5: part agonist. Jean Dujardins plays George born nineteen seventy two

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Speaker 5: French actor and comedian. Worked as a stand up comedian

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Speaker 5: in France and has been in many films as an actor.

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Speaker 5: Some of the most well known include The Artist from

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Speaker 5: twenty eleven, the comedic reboot of the French spy series

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Speaker 5: OSS one hundred and seventeen, and The Wolf of Wall Street.

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Speaker 5: As George, he portrays a bit of an idiot, but

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Speaker 5: he's a confident idiot, and that confidence mostly successfully carries

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Speaker 5: him as he reinvents himself around a new jacket on

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Speaker 5: the fly.

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Speaker 3: Yes, yeah, I like you flagging the confidence there and

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Speaker 3: how much it how much it works. Like he's a

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Speaker 3: pathetic character, but a different kind of movie I think

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Speaker 3: would have more of everybody around him just treating him

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Speaker 3: as a fool and treating him with scorn and actually

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Speaker 3: he you know, he gets some pushback in skepticism, but

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Speaker 3: he also gets pretty far just.

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Speaker 4: On being a.

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Speaker 3: Foolish, overconfident, pathetic person.

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Speaker 5: Yeah, he gets remarkably far. He gets remarkably little pushed back.

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Speaker 5: There's like one exception that isn't even really overt pushed back,

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Speaker 5: and that sort of sends him over the edge.

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Speaker 4: Yeah.

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Speaker 3: So I thought Doujardn was good in this role, and

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Speaker 3: I knew I recognized him from somewhere, but I couldn't

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Speaker 3: place it at first. I actually have not seen the

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Speaker 3: Artist I think he was. Did he win like a

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Speaker 3: Best Actor Oscar for that?

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Speaker 5: Oh man, I'm not sure.

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Speaker 3: Yeah, sorry, we just had to look this up. He

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Speaker 3: did win the Academy Award for Best Actor for his

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Speaker 3: role in the Artist from twenty eleven. Again, I have

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Speaker 3: not seen that one, but I realized what I knew

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Speaker 3: him from was that he is the corrupt Swiss banker.

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Speaker 3: In Wolf of Wall Street, he's the guy who's like

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Speaker 3: trying to telepathically make make slimy deals with Leonardo DiCaprio.

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Speaker 5: It's been a while since I've seen that one, so

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Speaker 5: I don't remember that. But he's great in this.

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Speaker 4: Yeah, he is.

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Speaker 3: There is a there's a soft spoken, matter of factess

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Speaker 3: to the way that he resists anything that challenges his

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Speaker 3: delusions that is so good. One of my favorite moments

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Speaker 3: of the movie is when he's been like doing stuff

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Speaker 3: that's impossible to explain without getting more into the plot first,

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Speaker 3: but doing weird stuff that he's like paying these actors

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Speaker 3: to be in these bizarre scenes. And one of the

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Speaker 3: actors is like, this movie you're making it's a bit weird. No,

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Speaker 3: he says, it's not weird, it's amazing. It's really good

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Speaker 3: delivery on that line. It's in French, but yeah, it

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Speaker 3: comes through.

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Speaker 5: Yeah, I agree completely. I love his delivery. I love

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Speaker 5: his whole demeanor in this movie. It really sells it.

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Speaker 3: Yes, similar things I would say about the next actor

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Speaker 3: we're going to talk about is this Adele nl Yeah.

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Speaker 5: Annelle born nineteen eighty nine is our second lead made

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Speaker 5: her film debut at the age of twelve in the

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Speaker 5: twenty and two movie La Diaba. In twenty fourteen, she

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Speaker 5: won the CESAR Award for Best Supporting Actress for her

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Speaker 5: role in the twenty thirteen movie Suzanne, and in twenty

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Speaker 5: nineteen she appeared in three movies, Deer Skin being one

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Speaker 5: of them and the other two being Heroes Don't Die

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Speaker 5: and Portrait of a Lady on Fire, which is where

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Speaker 5: I knew her from. She retired from the film industry

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Speaker 5: in twenty twenty three, citing that the industry defended a capitalist, patriarchal, racist,

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Speaker 5: sexist world of structural inequality. She's since been active in

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Speaker 5: theater and as a political activist.

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Speaker 3: Well respect her critique of the industry, both from within

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Speaker 3: and without, but I also I think she's so great here.

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Speaker 3: I love the way that our empathy for this character

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Speaker 3: evolves as we come to understand her better, so like

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Speaker 3: the evolution goes something like when we first meet her.

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Speaker 3: In classic comedy terms, this character, Denise is what do

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Speaker 3: you call, like the feed or the straight character, the

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Speaker 3: comedic foil of the act's main buffoon, which is George. Here,

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Speaker 3: this kind of character is the stand in for the audience,

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Speaker 3: the normal person who is there to react skeptically to

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Speaker 3: the funny man's antics, and that is what she feels

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Speaker 3: like in the first few scenes with her. But then

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Speaker 3: as our main weirdo evolves to become more criminal, basically

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Speaker 3: more sinister, the drama shifts and she becomes the victim

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Speaker 3: of his lies and scams, and we feel a totally

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Speaker 3: different way about her. We start to feel pity for

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Speaker 3: her while he's like, you know, lying to her and

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Speaker 3: draining her bank account. And then she reveals that she

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Speaker 3: was actually always aware of the fact that he was

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Speaker 3: a fraud, and then she becomes part of the antics

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Speaker 3: and scams. In essence, she becomes the weirdo, and in fact,

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Speaker 3: maybe even weirder than the weirdo that came before. She

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Speaker 3: starts kind of trying to give orders, and so I

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Speaker 3: love that evolution. You feel like three totally different ways

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Speaker 3: about her as the movie goes on, and it's a

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Speaker 3: very seamless kind of transition.

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Speaker 5: Yeah, I love this too. I was reading an interview

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Speaker 5: on the publication Dazed that Depew did in support of

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Speaker 5: Deer Skin, and to quote that interview, originally Depew planned

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Speaker 5: for Denise to be down to earth every woman to

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Speaker 5: counteract George's quirkiness. However, Annel insisted that Denise should adore,

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Speaker 5: blend and slaughter without changing a line in the script.

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Speaker 5: We decided that she's crazy, the director says, and because

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Speaker 5: she's an amazing actress, you see it in her eyes.

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Speaker 5: Suddenly every scene looks different, and Jean looks stupid in

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Speaker 5: front of her. She's evil and he's just a kid.

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Speaker 3: That's brilliant. Yeah, yeah, I love that, so.

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Speaker 5: Yeah, totally agree. The composer is Yanko Niovich. I think

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Speaker 5: that's how you pronounce it. As far as I can tell.

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Speaker 5: He was born in nineteen forty one. He did the score.

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Speaker 5: He's a prolific Paris based musician who has released over

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Speaker 5: thirty albums since the early nineteen sixties, mostly library music,

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Speaker 5: essentially work for higher albums made to be easily licensed

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Speaker 5: for productions. He's made music under a variety of pseudonyms,

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Speaker 5: one of which was Mad Unity. Under the mad Unity name,

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Speaker 5: he released one of his most well regarded albums, Funky Tramway.

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Speaker 5: I checked out the title track of this one, and

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Speaker 5: it definitely sounds like a funky tramway. Flattering it's frenetic

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Speaker 5: and then there's a bunch of like wah guitar. You

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Speaker 5: gotta check it. It's a funky tramway for sure. His

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Speaker 5: music has been sampled by artists like Jay Z, Doctor

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Speaker 5: Dre the Alchemist, and Freddie Gibbs and Schoolboy Q to

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Speaker 5: name few. He seems to be sampled quite a bit, actually,

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Speaker 5: and as of twenty twenty two, he's still making new music.

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Speaker 5: And I found news from twenty twenty three of a

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Speaker 5: documentary called The Sample Return of Yanko Niovich that's currently

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Speaker 5: in production, I guess. According to an interview Depew did

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Speaker 5: with Dazed during Deerskin's post production, he scrap plans to

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Speaker 5: record an electronic soundtrack himself, saying that quote to me,

401
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Speaker 5: it's a dead serious movie. It's funny, but not what

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Speaker 5: we call it comedy. And actually I never use funny

403
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Speaker 5: comedy music or whatever. I decided to only use music

404
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Speaker 5: from the seventies to match the jacket.

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Speaker 3: Oh that's interesting, because yeah, the music in this movie, well,

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Speaker 3: first of all, there are some there's some great like

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Speaker 3: needle drops in it. In the closing credits, it uses

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Speaker 3: the song by Della Humphrey that I don't know if

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Speaker 3: I'd ever heard before when Good Girls Go Bad, and

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Speaker 3: that one's fantastic excellence.

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Speaker 5: It's a great closing song.

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Speaker 3: Yeah, I loved it, but also the original or for it. Yeah,

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Speaker 3: it doesn't sound like goofy dumpy dump comedy music. It

414
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Speaker 3: sounds like something that could be in a in like

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Speaker 3: a dark Michael Chimino movie from the seventies or something.

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Speaker 5: And finally, I wasn't able to find a ton of

417
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Speaker 5: info on her, but Jean le Breux, the production designer.

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Speaker 5: This is Depew's wife and the production designer on seemingly

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Speaker 5: all of his movies from twenty Twelve's Wrong onward, and

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Speaker 5: according to an interview I read, she's the only person

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Speaker 5: he will run edits the movie by before finalizing them.

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Speaker 4: All Right, are you ready to talk about the plot?

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Speaker 5: Ja? Ja?

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Speaker 4: Yeah, let's do it. Cool.

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Speaker 3: So, I think we're going to talk about a lot

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Speaker 3: of like direct in scene texture in this one, because

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Speaker 3: that's a lot of where the pleasure of the movie lies.

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Speaker 3: So it starts off with the cold open in like

429
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Speaker 3: a big empty room that looks like it could be

430
00:26:01,920 --> 00:26:06,160
Speaker 3: a warehouse or parking garage, and there are several young

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00:26:06,200 --> 00:26:10,040
Speaker 3: men and women they stand lined up behind a car

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Speaker 3: with the car trunk hanging open, and they're all holding

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Speaker 3: piles of clothing in their arms. And the first guy,

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Speaker 3: sort of a guy with red hair and a mustache.

435
00:26:19,440 --> 00:26:21,720
Speaker 3: He looks straight into the camera and he says, I

436
00:26:21,920 --> 00:26:25,040
Speaker 3: swear never to wear a jacket as long as I live.

437
00:26:25,760 --> 00:26:28,280
Speaker 3: And then he's got the stack of clothes in his arms.

438
00:26:28,280 --> 00:26:31,440
Speaker 3: You realize they're all jackets. He dumps the jackets into

439
00:26:31,480 --> 00:26:34,560
Speaker 3: the car's trunk gets out of the way. The next

440
00:26:34,560 --> 00:26:36,800
Speaker 3: man in line steps up to the car. He looks

441
00:26:36,840 --> 00:26:39,159
Speaker 3: into the camera with a kind of smirk, and he

442
00:26:39,200 --> 00:26:41,280
Speaker 3: says the same thing, I swear never to wear a

443
00:26:41,359 --> 00:26:42,640
Speaker 3: jacket as long as I live.

444
00:26:42,960 --> 00:26:46,720
Speaker 4: Dump. A woman steps up from behind. She seems a little.

445
00:26:46,560 --> 00:26:49,320
Speaker 3: Less good humored than the first two guys. She dumps

446
00:26:49,359 --> 00:26:51,480
Speaker 3: in her pile of jackets and says the same thing,

447
00:26:51,560 --> 00:26:53,639
Speaker 3: though she has to be prompted by somebody off screen

448
00:26:53,680 --> 00:26:56,400
Speaker 3: to get the words right. And then a voice behind

449
00:26:56,440 --> 00:26:59,040
Speaker 3: the camera tells them to close the trunk. She slams it,

450
00:26:59,119 --> 00:27:03,000
Speaker 3: and we cut to black. There's a good WTF opening.

451
00:27:03,119 --> 00:27:06,320
Speaker 3: Don't see that every day? And then the action reopens

452
00:27:06,359 --> 00:27:11,280
Speaker 3: on our protagonist, George. This is again is Jean dou Chartin,

453
00:27:11,920 --> 00:27:15,399
Speaker 3: and he is a quiet, bearded man in his forties.

454
00:27:15,600 --> 00:27:19,240
Speaker 3: He's dressed in a corduroy blazer and a button up

455
00:27:19,280 --> 00:27:22,760
Speaker 3: shirt tucked into his pants. He's driving a sedan along

456
00:27:22,760 --> 00:27:26,679
Speaker 3: the highway in France by himself, somewhere in rural France,

457
00:27:27,440 --> 00:27:31,720
Speaker 3: and he passes toll stations. He stops for gas and

458
00:27:31,840 --> 00:27:34,080
Speaker 3: at the service station where he's putting gas in the car,

459
00:27:34,280 --> 00:27:37,320
Speaker 3: he stares at his reflection in the window of his car,

460
00:27:37,800 --> 00:27:40,639
Speaker 3: and it seems like he doesn't like the way he looks.

461
00:27:40,640 --> 00:27:43,159
Speaker 3: He's kind of pulling and adjusting at his jacket to

462
00:27:43,160 --> 00:27:46,119
Speaker 3: try to look better, but just doesn't seem happy. So

463
00:27:46,400 --> 00:27:49,720
Speaker 3: he goes to the bathroom at the service station, where

464
00:27:49,840 --> 00:27:53,000
Speaker 3: he takes off his blazer, wads it up, crams it

465
00:27:53,040 --> 00:27:55,639
Speaker 3: into the toilet, and then tries to flush it down.

466
00:27:56,480 --> 00:27:59,560
Speaker 3: Now this doesn't work. The toilet begins to overflow, and

467
00:27:59,640 --> 00:28:02,320
Speaker 3: he starts it's like stomping on it and the toilet bowl,

468
00:28:02,359 --> 00:28:04,600
Speaker 3: trying to jam it down the hole. But how's that

469
00:28:04,640 --> 00:28:07,320
Speaker 3: going to work. You're not even supposed to flush paper towels.

470
00:28:06,840 --> 00:28:07,040
Speaker 4: You know.

471
00:28:07,200 --> 00:28:09,960
Speaker 3: Are you gonna get a blazer down there? So it

472
00:28:10,000 --> 00:28:12,760
Speaker 3: doesn't work. Everything's just flooding in the bathroom, and he

473
00:28:12,800 --> 00:28:14,600
Speaker 3: flees the scene in his car.

474
00:28:15,400 --> 00:28:17,600
Speaker 4: So George is on a journey.

475
00:28:18,240 --> 00:28:21,440
Speaker 3: We see him sleeping in his car overnight beside the highway,

476
00:28:21,480 --> 00:28:25,280
Speaker 3: and then later he is following a map, winding his

477
00:28:25,320 --> 00:28:29,440
Speaker 3: way up these narrow, twisting country roads, and eventually George

478
00:28:29,440 --> 00:28:33,840
Speaker 3: comes to an old farmhouse on a hillside. At the door,

479
00:28:34,000 --> 00:28:36,760
Speaker 3: he rings the buzzer and he announces that he's following

480
00:28:36,840 --> 00:28:40,640
Speaker 3: up about an advertisement, and an older man lets him inside.

481
00:28:41,440 --> 00:28:44,800
Speaker 3: Inside this house, it's rustic, a lot of simple varnished wood,

482
00:28:45,480 --> 00:28:48,520
Speaker 3: and George is here about a product that this guy

483
00:28:48,960 --> 00:28:53,160
Speaker 3: has advertised for sale. George says he's very anxious to

484
00:28:53,160 --> 00:28:55,280
Speaker 3: see the item. So the old man goes and gets

485
00:28:55,320 --> 00:28:58,640
Speaker 3: it out from a chest, this big treasure chest looking

486
00:28:59,040 --> 00:29:03,240
Speaker 3: thing in the other and then the old man comes

487
00:29:03,280 --> 00:29:07,160
Speaker 3: into the room with George holding up this object like

488
00:29:07,200 --> 00:29:11,400
Speaker 3: a highrafant, showing off the sacred relics. It is a

489
00:29:11,520 --> 00:29:15,400
Speaker 3: leather jacket, tawny brown. I'm not sure what you call

490
00:29:15,480 --> 00:29:18,000
Speaker 3: this cut, but it kind of motorcycle style with a

491
00:29:18,040 --> 00:29:20,600
Speaker 3: wide collar and a zipper in front. But it's the

492
00:29:20,680 --> 00:29:23,080
Speaker 3: zipper's not straight down the middle. It's a little offset

493
00:29:23,120 --> 00:29:27,120
Speaker 3: to the side with big stripes of leather fringe in

494
00:29:27,160 --> 00:29:29,959
Speaker 3: a V shape across the chest, and then the fringe

495
00:29:30,000 --> 00:29:32,520
Speaker 3: wrapping all the way around the back. That I miss

496
00:29:32,520 --> 00:29:35,080
Speaker 3: any important details, JJ, I feel like we've got to

497
00:29:35,120 --> 00:29:36,480
Speaker 3: describe the jacket right right.

498
00:29:36,640 --> 00:29:38,520
Speaker 5: Yeah, No, I think that's a pretty good description.

499
00:29:38,880 --> 00:29:39,240
Speaker 4: Okay.

500
00:29:40,040 --> 00:29:43,720
Speaker 3: The old man says, meet the beast, one hundred percent

501
00:29:43,800 --> 00:29:48,160
Speaker 3: deer skin, and George is obviously impressed. It's it's love

502
00:29:48,160 --> 00:29:51,000
Speaker 3: at first sight. The old man says that he wore

503
00:29:51,040 --> 00:29:53,200
Speaker 3: it for about a year, but then it went out

504
00:29:53,240 --> 00:29:56,040
Speaker 3: of style, so he put it away. He also says that.

505
00:29:56,000 --> 00:29:57,320
Speaker 4: It made him itch a little bit.

506
00:29:57,760 --> 00:30:01,040
Speaker 3: So George takes the jacket, he looks at himself in

507
00:30:01,080 --> 00:30:03,440
Speaker 3: the mirror, He tries it on, looks in the mirror,

508
00:30:03,600 --> 00:30:06,240
Speaker 3: and he loves it. He makes an offer to the

509
00:30:06,280 --> 00:30:08,600
Speaker 3: old man and pays him in cash, and the old

510
00:30:08,640 --> 00:30:13,840
Speaker 3: man is very pleased. He's counting the money while George

511
00:30:13,880 --> 00:30:17,280
Speaker 3: is admiring himself in the mirror, and George is saying,

512
00:30:17,840 --> 00:30:20,000
Speaker 3: look at yourself, how elegant.

513
00:30:20,920 --> 00:30:23,000
Speaker 4: And here I've got a question.

514
00:30:23,800 --> 00:30:25,800
Speaker 3: I think this is a serious question about the craft

515
00:30:25,840 --> 00:30:30,160
Speaker 3: of the film. Is the jacket actually supposed to look

516
00:30:30,240 --> 00:30:34,520
Speaker 3: good on George as in, obviously he likes it, but

517
00:30:34,760 --> 00:30:37,760
Speaker 3: is it supposed to look good to us the audience.

518
00:30:38,760 --> 00:30:42,200
Speaker 3: On one hand, it's it's I think you could say

519
00:30:42,200 --> 00:30:45,920
Speaker 3: it's a cool looking jacket, but it is also ostentatious,

520
00:30:45,920 --> 00:30:49,000
Speaker 3: like it has all this fringe and stuff, and you know,

521
00:30:49,040 --> 00:30:51,640
Speaker 3: the deer skin element is obviously I don't know, maybe

522
00:30:51,640 --> 00:30:54,680
Speaker 3: some people are really into that or not. But it

523
00:30:54,760 --> 00:30:57,200
Speaker 3: also looks kind of short to me, like you can

524
00:30:57,680 --> 00:31:01,120
Speaker 3: see a gap between the jacket and the top of

525
00:31:01,160 --> 00:31:04,080
Speaker 3: his pants where his button up shirt is just kind

526
00:31:04,080 --> 00:31:06,160
Speaker 3: of sticking out in a way that looks silly. Maybe

527
00:31:06,240 --> 00:31:08,640
Speaker 3: that's just the style of how you wear this, but

528
00:31:08,720 --> 00:31:12,400
Speaker 3: I genuinely couldn't tell whether the jacket is supposed to

529
00:31:12,400 --> 00:31:14,680
Speaker 3: look cool on George or not. It's sort of somewhere

530
00:31:14,680 --> 00:31:15,200
Speaker 3: in the middle.

531
00:31:15,600 --> 00:31:20,000
Speaker 5: Yeah, no, I agree, it looks a little goofy. He

532
00:31:20,040 --> 00:31:23,040
Speaker 5: loves the jacket, though he stands up his mouth is

533
00:31:23,200 --> 00:31:26,200
Speaker 5: a gape in its presence and has to sit down

534
00:31:26,440 --> 00:31:29,280
Speaker 5: with his hand over his mouth, just overcome by its beauty.

535
00:31:29,360 --> 00:31:33,080
Speaker 5: When he sees the fringe on the back and speaking

536
00:31:33,120 --> 00:31:35,320
Speaker 5: to whether or not the jacket looks good. I guess

537
00:31:35,480 --> 00:31:39,440
Speaker 5: to Pew tried like ten or twelve jackets on John

538
00:31:40,160 --> 00:31:43,080
Speaker 5: saying that quote. We loved that the jacket was good looking,

539
00:31:43,120 --> 00:31:49,000
Speaker 5: but too short. Something's wrong. Oh okay, yeah, I think

540
00:31:49,000 --> 00:31:51,200
Speaker 5: it looks a little goofy. As I said, I feel

541
00:31:51,240 --> 00:31:54,400
Speaker 5: like he hasn't fully crossed into goofball territory yet, which

542
00:31:54,480 --> 00:31:57,560
Speaker 5: I'm excited for. I also want to point out that

543
00:31:57,600 --> 00:32:01,520
Speaker 5: he pays seventy five hundred euros for this, which today

544
00:32:01,680 --> 00:32:07,040
Speaker 5: converts to roughly eight thousand, six hundred and ninety one dollars, which.

545
00:32:06,840 --> 00:32:08,960
Speaker 4: Is a steal, of course, exactly.

546
00:32:09,040 --> 00:32:11,520
Speaker 5: Yes, And we get a shot of a deer looking

547
00:32:11,560 --> 00:32:13,960
Speaker 5: directly into the camera before he puts on the jacket.

548
00:32:14,600 --> 00:32:16,400
Speaker 3: Okay, I think here's the way I would put it,

549
00:32:17,040 --> 00:32:21,240
Speaker 3: George is he doesn't look clownish in the jacket, but

550
00:32:21,320 --> 00:32:24,560
Speaker 3: he is not quite pulling it off. I think it's

551
00:32:24,600 --> 00:32:27,959
Speaker 3: the kind of jacket that like would look really cool

552
00:32:28,240 --> 00:32:32,800
Speaker 3: on somebody who usually looks really cool. You know that

553
00:32:33,520 --> 00:32:35,640
Speaker 3: it's kind of an unfair thing about fashion, right, Like,

554
00:32:35,920 --> 00:32:38,280
Speaker 3: there are a lot of clothing items that look really

555
00:32:38,280 --> 00:32:41,160
Speaker 3: cool only on people for whom everything they wear looks cool.

556
00:32:41,920 --> 00:32:44,880
Speaker 3: And this jacket might be in that zone on George.

557
00:32:45,000 --> 00:32:45,440
Speaker 4: It is.

558
00:32:45,760 --> 00:32:50,080
Speaker 3: It is definitely somewhere near the border of ridiculousness.

559
00:32:50,560 --> 00:32:53,120
Speaker 5: Yeah, and I think it's funnier for that, Like if

560
00:32:53,160 --> 00:32:55,600
Speaker 5: it was over the top, it wouldn't have the same

561
00:32:55,920 --> 00:32:56,680
Speaker 5: sort of effect.

562
00:32:57,160 --> 00:32:57,560
Speaker 4: Anyway.

563
00:32:57,760 --> 00:33:00,720
Speaker 3: The old man is so happy with the steale, you know.

564
00:33:00,760 --> 00:33:03,200
Speaker 3: George is like, here's seventy five hundred euros for this

565
00:33:03,280 --> 00:33:05,800
Speaker 3: old thing you're getting rid of. He decides to give

566
00:33:05,840 --> 00:33:10,480
Speaker 3: George an extra gift. It is a digital video camera,

567
00:33:10,600 --> 00:33:12,959
Speaker 3: and as he says, digital is the best.

568
00:33:13,320 --> 00:33:14,440
Speaker 5: You can't stop digital.

569
00:33:14,720 --> 00:33:18,840
Speaker 3: Yeah, which is very confusing because admittedly I haven't used

570
00:33:18,840 --> 00:33:22,160
Speaker 3: a lot of digital video cameras, but I assume a

571
00:33:22,200 --> 00:33:25,600
Speaker 3: digital video camera means that you're like recording to a

572
00:33:25,640 --> 00:33:29,080
Speaker 3: memory card or chip or something. But then later in

573
00:33:29,120 --> 00:33:31,800
Speaker 3: the movie there's like a significant plot point about needing

574
00:33:31,840 --> 00:33:35,320
Speaker 3: cassettes for the video camera. So I don't know, I

575
00:33:35,360 --> 00:33:36,560
Speaker 3: didn't know what to make of any of that.

576
00:33:37,120 --> 00:33:39,600
Speaker 5: We're gonna get into this, oh and he pulls the

577
00:33:39,640 --> 00:33:43,360
Speaker 5: camera out. I have a whole tangent to bring us

578
00:33:43,360 --> 00:33:45,240
Speaker 5: down perfect. I can't wait.

579
00:33:45,320 --> 00:33:45,680
Speaker 4: I love it.

580
00:33:45,760 --> 00:33:49,880
Speaker 3: Love a technology run down in movie props. So George

581
00:33:50,000 --> 00:33:53,160
Speaker 3: leaves and he checks in at a nearby hotel, telling

582
00:33:53,200 --> 00:33:55,880
Speaker 3: the clerk that he plans to be there for a month.

583
00:33:56,560 --> 00:33:58,360
Speaker 3: He has no money. I think he spent all his

584
00:33:58,360 --> 00:34:01,720
Speaker 3: money on the jacket, and he says there is a

585
00:34:01,760 --> 00:34:05,080
Speaker 3: problem with his credit card, so he's gonna get that

586
00:34:05,120 --> 00:34:07,360
Speaker 3: sorted out the next day, but in order to stay

587
00:34:07,360 --> 00:34:10,480
Speaker 3: the first night, he takes a gold ring off of

588
00:34:10,520 --> 00:34:12,680
Speaker 3: his finger. I'm pretty sure this is a wedding ring,

589
00:34:13,360 --> 00:34:16,800
Speaker 3: and he leaves it with the clerk as collateral, promising

590
00:34:16,840 --> 00:34:20,160
Speaker 3: to pay the bill the following day. And then George

591
00:34:20,160 --> 00:34:22,440
Speaker 3: goes up to his room and he oogles himself in

592
00:34:22,480 --> 00:34:27,040
Speaker 3: the mirror, offering these quiet little statements of commentary, sort

593
00:34:27,040 --> 00:34:32,560
Speaker 3: of complimenting himself. He's he says things like stoking killer style.

594
00:34:33,520 --> 00:34:37,960
Speaker 3: It's it's really tender, you know, he's it's I like

595
00:34:38,000 --> 00:34:40,879
Speaker 3: these little, these little moments, especially how quietly he says

596
00:34:40,960 --> 00:34:43,799
Speaker 3: these things. And then after checking into his room, we

597
00:34:43,840 --> 00:34:46,760
Speaker 3: also see him leaning out of his window playing around

598
00:34:46,800 --> 00:34:49,279
Speaker 3: with the video camera he got, like he's I think

599
00:34:49,320 --> 00:34:52,080
Speaker 3: he starts focusing it up on the mountain across the

600
00:34:52,120 --> 00:34:53,080
Speaker 3: way from the hotel.

601
00:34:54,040 --> 00:34:57,480
Speaker 5: Yeah, and this movie is heavy on the beige in

602
00:34:57,520 --> 00:34:59,759
Speaker 5: the tan and this hotel room is like maybe the

603
00:34:59,800 --> 00:35:03,040
Speaker 5: bayest thing of all, and it sort of mirrors the jacket.

604
00:35:03,400 --> 00:35:06,080
Speaker 5: I also want to point out that the wallpaper extends

605
00:35:06,120 --> 00:35:09,759
Speaker 5: into the shower. I'm not sure how normal that is.

606
00:35:10,360 --> 00:35:13,759
Speaker 3: Does this hotel room have a bathroom? There is the

607
00:35:13,800 --> 00:35:16,080
Speaker 3: showers in the corner of the room.

608
00:35:16,600 --> 00:35:18,920
Speaker 5: That's a good question. It might just all be in

609
00:35:18,960 --> 00:35:21,960
Speaker 5: one room, okay, because you're right, the shower is just

610
00:35:22,120 --> 00:35:22,800
Speaker 5: in the corner.

611
00:35:23,040 --> 00:35:26,320
Speaker 3: It's like a ned Flanders house, that love built situation

612
00:35:26,400 --> 00:35:30,239
Speaker 3: where the toilet is in the kitchen. Maybe this I

613
00:35:30,280 --> 00:35:32,160
Speaker 3: don't mean to make fun. Actually, I wonder if this

614
00:35:32,239 --> 00:35:34,720
Speaker 3: is something that's actually common in like some French hotel

615
00:35:34,800 --> 00:35:37,840
Speaker 3: rooms or something, maybe maybe in older buildings or something

616
00:35:37,880 --> 00:35:38,200
Speaker 3: like that.

617
00:35:38,320 --> 00:35:41,120
Speaker 5: Yeah, I was wondering the same thing. And this is

618
00:35:41,120 --> 00:35:45,960
Speaker 5: where George removes the almost new digital camquarder from its bag.

619
00:35:46,840 --> 00:35:50,719
Speaker 5: And I spent too long trying to find the exact

620
00:35:50,800 --> 00:35:53,920
Speaker 5: model cam quarterer. This was so I'm gonna go on

621
00:35:53,960 --> 00:35:58,960
Speaker 5: that brief tangent I was mentioning earlier. For some reason

622
00:35:58,960 --> 00:36:02,480
Speaker 5: I needed to know. I think it's a Sony DCR

623
00:36:02,840 --> 00:36:08,040
Speaker 5: PC one T handycam it's a mini DV camquorder and

624
00:36:08,120 --> 00:36:14,400
Speaker 5: according to the camcorder pedia wiki, sorry, it was introduced

625
00:36:14,640 --> 00:36:15,759
Speaker 5: in two thousand and one.

626
00:36:16,120 --> 00:36:17,640
Speaker 4: Oh so it's almost new.

627
00:36:17,960 --> 00:36:21,719
Speaker 3: Is almost new perfect, Most things are almost new if

628
00:36:21,760 --> 00:36:22,520
Speaker 3: you think about it.

629
00:36:23,680 --> 00:36:29,959
Speaker 5: And we talked off Mike earlier too about why this

630
00:36:30,600 --> 00:36:35,799
Speaker 5: digital camcorder uses little tapes. This came up when I

631
00:36:35,840 --> 00:36:38,000
Speaker 5: was watching with my friends Terrence and Ian as well.

632
00:36:38,800 --> 00:36:42,480
Speaker 5: So I'm going to offer a brief, very basic explanation

633
00:36:42,920 --> 00:36:45,920
Speaker 5: of the DV format because I went down a whole

634
00:36:46,080 --> 00:36:48,240
Speaker 5: rabbit hole to be able to talk about this camera

635
00:36:48,280 --> 00:36:48,759
Speaker 5: a little bit.

636
00:36:49,040 --> 00:36:51,840
Speaker 4: Absolutely make it make sense.

637
00:36:52,440 --> 00:36:57,680
Speaker 5: I'm gonna try, Okay, I did some cursory research. DV

638
00:36:58,680 --> 00:37:02,400
Speaker 5: was a format developed by Sony and Panasonic that was

639
00:37:02,480 --> 00:37:06,320
Speaker 5: introduced in nineteen ninety five. DV tapes came in a

640
00:37:06,400 --> 00:37:10,040
Speaker 5: variety of sizes, the smallest of which many DV being

641
00:37:10,200 --> 00:37:14,200
Speaker 5: very popular. That's what we see in this movie. DV

642
00:37:14,320 --> 00:37:19,000
Speaker 5: tape store compressed video in glorious for ADP so DVD

643
00:37:19,160 --> 00:37:23,600
Speaker 5: quality and uncompressed audio at sixteen bit forty eight K

644
00:37:23,800 --> 00:37:27,480
Speaker 5: when recorded in stereo, so that's higher than CD quality.

645
00:37:28,120 --> 00:37:31,719
Speaker 5: While it was mostly a consumer grade format, it was

646
00:37:31,760 --> 00:37:35,680
Speaker 5: also used professionally sometimes, and a notable example is that

647
00:37:35,800 --> 00:37:40,080
Speaker 5: David Lynch actually shot Inland Empire on the DV format

648
00:37:40,560 --> 00:37:43,720
Speaker 5: using a Sony DSR PD one fifty.

649
00:37:44,000 --> 00:37:47,640
Speaker 3: I've actually never seen that Lynch movie. I've heard some

650
00:37:47,680 --> 00:37:49,680
Speaker 3: people who have seen it describe it as one of

651
00:37:49,719 --> 00:37:51,640
Speaker 3: his least accessible films.

652
00:37:51,960 --> 00:37:57,279
Speaker 5: I'd agree with that, but I really love it. I

653
00:37:57,320 --> 00:37:59,120
Speaker 5: could not recommend it more well, of.

654
00:37:59,120 --> 00:38:02,799
Speaker 3: Course I love David Lene So on your recommendation, I'm

655
00:38:02,800 --> 00:38:05,319
Speaker 3: going to reprioritize Inland Empire. I'm gonna move it up

656
00:38:05,320 --> 00:38:07,959
Speaker 3: my list and try to see it sooner. But yeah,

657
00:38:07,960 --> 00:38:11,080
Speaker 3: i'd heard people say it's one of his less accessible movies,

658
00:38:11,120 --> 00:38:15,040
Speaker 3: and I think maybe i'd heard different things about the

659
00:38:15,040 --> 00:38:17,120
Speaker 3: way it looked. I know some people didn't love the

660
00:38:17,120 --> 00:38:19,200
Speaker 3: way that it looked, or found it kind of murky

661
00:38:19,320 --> 00:38:22,799
Speaker 3: or something. And I not that I would really think

662
00:38:22,920 --> 00:38:27,640
Speaker 3: David Lynch would be a part of this wave. I

663
00:38:27,680 --> 00:38:29,839
Speaker 3: don't know, maybe, but I do remember there was sort

664
00:38:29,840 --> 00:38:33,319
Speaker 3: of a thing, wasn't there. In like the early to

665
00:38:33,440 --> 00:38:37,440
Speaker 3: mid two thousands were more mainstream feature film directors were

666
00:38:37,480 --> 00:38:41,640
Speaker 3: experimenting with using digital formats. I remember associating this with

667
00:38:41,840 --> 00:38:44,600
Speaker 3: twenty eight days Later had a kind of digital look.

668
00:38:44,640 --> 00:38:46,480
Speaker 3: I don't know how that was actually shot.

669
00:38:46,920 --> 00:38:49,160
Speaker 5: You know what that one's also shot on DV.

670
00:38:49,600 --> 00:38:50,440
Speaker 4: Oh, okay, cool?

671
00:38:50,560 --> 00:38:53,520
Speaker 3: Well, yeah, I remember associating it with that look and

672
00:38:53,560 --> 00:38:55,920
Speaker 3: some other films of that time getting into that thing,

673
00:38:55,960 --> 00:39:00,080
Speaker 3: And I wonder how film like that is sort of

674
00:39:00,320 --> 00:39:03,480
Speaker 3: being evaluated in retrospect. I haven't read that much about it,

675
00:39:03,520 --> 00:39:07,920
Speaker 3: but I do know it can have its own aesthetic virtues.

676
00:39:08,160 --> 00:39:12,080
Speaker 3: Like there's another film actually that I don't know what

677
00:39:12,120 --> 00:39:14,680
Speaker 3: it was shot on, but it has that digital look,

678
00:39:15,440 --> 00:39:17,759
Speaker 3: and I think it contributes to the aesthetic effect of

679
00:39:17,800 --> 00:39:20,759
Speaker 3: the film. And that is the one of the weirdest

680
00:39:20,920 --> 00:39:24,960
Speaker 3: cop movies I've ever seen, the Michael Man Miami Vice

681
00:39:25,080 --> 00:39:27,360
Speaker 3: movie from what is it like two thousand and six

682
00:39:27,520 --> 00:39:29,440
Speaker 3: or something. Do you know what I'm talking about?

683
00:39:29,600 --> 00:39:31,719
Speaker 5: I do. I know that that has a lot of

684
00:39:32,680 --> 00:39:34,400
Speaker 5: a lot of people really love that movie.

685
00:39:34,880 --> 00:39:38,640
Speaker 3: I saw it a few years back and was mesmerized

686
00:39:38,880 --> 00:39:41,920
Speaker 3: by it. I would call it the cop movie at

687
00:39:41,920 --> 00:39:45,719
Speaker 3: the end of the world. So in content, it is

688
00:39:45,800 --> 00:39:48,680
Speaker 3: a you know, it has a kind of dark romantic subplot,

689
00:39:48,760 --> 00:39:52,040
Speaker 3: but overall it's like a you know, drug busts and

690
00:39:52,719 --> 00:39:56,080
Speaker 3: raids and you know, cops and criminals kind of movie.

691
00:39:56,520 --> 00:39:59,880
Speaker 3: But there is something about it that feels so doom

692
00:40:00,320 --> 00:40:05,040
Speaker 3: and and bleak, and like it takes place in a

693
00:40:05,120 --> 00:40:09,000
Speaker 3: world where where all happiness and meaning has been lost

694
00:40:09,600 --> 00:40:13,200
Speaker 3: and now all that there is left is is cop

695
00:40:13,440 --> 00:40:17,440
Speaker 3: and crime and and maybe and maybe there's there's the

696
00:40:17,480 --> 00:40:20,360
Speaker 3: illusion that there could be love, but but that's really

697
00:40:20,480 --> 00:40:24,440
Speaker 3: also doomed. It's it's a unique film. I would say,

698
00:40:24,480 --> 00:40:26,959
Speaker 3: it's not what you think of when you think Miami Vice.

699
00:40:27,000 --> 00:40:29,440
Speaker 3: At least it's not what I imagined Miami Vice would be.

700
00:40:29,960 --> 00:40:32,720
Speaker 5: Yeah. I mean from watching Inland Empire, I can totally

701
00:40:32,760 --> 00:40:37,360
Speaker 5: see that, because I think the way Inland Empire looks

702
00:40:37,640 --> 00:40:41,600
Speaker 5: gives it that same sort of quality. I definitely think

703
00:40:41,719 --> 00:40:45,000
Speaker 5: it is augmented by looking like that, And I think

704
00:40:45,040 --> 00:40:49,920
Speaker 5: it was something David Lynch went into very deliberately.

705
00:40:50,360 --> 00:40:52,560
Speaker 3: Okay, well I'm going to watch Inland Empire. But wait,

706
00:40:52,719 --> 00:40:55,960
Speaker 3: so we were getting into the technical details here, So

707
00:40:55,960 --> 00:40:57,759
Speaker 3: what's the deal with the tape? So it's digital, but

708
00:40:57,800 --> 00:40:58,840
Speaker 3: there are still tapes.

709
00:40:59,200 --> 00:41:03,360
Speaker 5: Yeah, sorry for the tangent to address the tapes. Tangent

710
00:41:04,680 --> 00:41:08,040
Speaker 5: to address the tapes. The video in the audio info

711
00:41:08,400 --> 00:41:13,480
Speaker 5: is stored digitally. Put very very simply, the video and

712
00:41:13,560 --> 00:41:17,440
Speaker 5: audio information are converted to digital information, so a sequence

713
00:41:17,480 --> 00:41:20,840
Speaker 5: of ones and zeros, and that digital info is encoded

714
00:41:20,960 --> 00:41:24,680
Speaker 5: onto magnetic tape. When you play the tape back on

715
00:41:24,760 --> 00:41:27,799
Speaker 5: the camcorder or on a DV deck like we'll see

716
00:41:27,880 --> 00:41:32,040
Speaker 5: later in the film, that digital information is converted back

717
00:41:32,080 --> 00:41:33,120
Speaker 5: to video and audio.

718
00:41:33,560 --> 00:41:36,719
Speaker 3: Okay, so maybe I just had the wrong idea of

719
00:41:36,760 --> 00:41:41,440
Speaker 3: what digital means in a recording in storage context.

720
00:41:41,880 --> 00:41:45,120
Speaker 5: Totally, this was new to me too, though. I think

721
00:41:45,160 --> 00:41:47,799
Speaker 5: maybe if you like live in camera world and you're

722
00:41:47,840 --> 00:41:50,399
Speaker 5: more involved in film, this might be a little uh

723
00:41:50,719 --> 00:41:53,400
Speaker 5: less novel. But I also thought this was pretty cool

724
00:41:54,120 --> 00:41:56,680
Speaker 5: and I started researching how exactly it works. But I

725
00:41:56,719 --> 00:41:59,319
Speaker 5: got in over my head pretty quickly, and while I

726
00:41:59,320 --> 00:42:02,520
Speaker 5: have a loose graph of it involves magnets, I definitely

727
00:42:02,520 --> 00:42:04,879
Speaker 5: don't understand it well enough to explain it. So if

728
00:42:04,880 --> 00:42:07,160
Speaker 5: you're a listener who wants to elaborate on this or

729
00:42:07,239 --> 00:42:10,840
Speaker 5: roast me on my short explanation, I would love to

730
00:42:10,880 --> 00:42:13,160
Speaker 5: hear about it, and you can write in at contact

731
00:42:13,239 --> 00:42:16,040
Speaker 5: at stuff to blowyermind dot com. But anyways, Yeah, it's

732
00:42:16,040 --> 00:42:19,040
Speaker 5: a mini dvcamquarder, so it is digital video, but it's

733
00:42:19,040 --> 00:42:20,360
Speaker 5: stored on little cassette tapes.

734
00:42:28,480 --> 00:42:31,000
Speaker 3: Okay, so we're coming back to the plot. So, like

735
00:42:31,080 --> 00:42:34,480
Speaker 3: George has been playing with his dvcamquorder and then he

736
00:42:34,520 --> 00:42:37,279
Speaker 3: goes out walking in the evening and we hear voiceover

737
00:42:37,400 --> 00:42:40,920
Speaker 3: of a phone conversation between George and a woman. The

738
00:42:40,960 --> 00:42:44,879
Speaker 3: woman says, why are you calling? What's the point? George says,

739
00:42:44,920 --> 00:42:47,560
Speaker 3: to tell you, I'm far away. I left, it's done.

740
00:42:47,840 --> 00:42:51,840
Speaker 3: Want to know where, And the woman says, no, you're nowhere, George,

741
00:42:51,880 --> 00:42:56,239
Speaker 3: you no longer exist. And then George finishes the conversation

742
00:42:56,440 --> 00:42:59,319
Speaker 3: standing outside a bar in the rain. When it's over,

743
00:42:59,440 --> 00:43:02,160
Speaker 3: he throws his cell phone into the garbage can and

744
00:43:02,239 --> 00:43:04,960
Speaker 3: goes inside. So he's done with the cell phone. No

745
00:43:05,080 --> 00:43:09,799
Speaker 3: more cell phone. And I think we it seems pretty

746
00:43:09,800 --> 00:43:12,239
Speaker 3: clear to me this is to imply that George is

747
00:43:13,160 --> 00:43:15,840
Speaker 3: at some kind of breaking point in a relationship. I

748
00:43:15,840 --> 00:43:18,040
Speaker 3: think this is his wife he's talking to, and it's

749
00:43:18,080 --> 00:43:20,719
Speaker 3: it's the end of their relationship for some reason that

750
00:43:20,760 --> 00:43:24,000
Speaker 3: it's not exactly explained. So at the bar we meet

751
00:43:24,080 --> 00:43:27,520
Speaker 3: a new character, Denise, the bartender played by Adele and

752
00:43:27,719 --> 00:43:31,120
Speaker 3: l and this scene gets funny in subtle ways, like

753
00:43:31,160 --> 00:43:32,879
Speaker 3: a lot of the humor in the movie. It's it's

754
00:43:32,960 --> 00:43:37,960
Speaker 3: understated humor, but so I'll describe it. Denise is speaking

755
00:43:38,000 --> 00:43:39,960
Speaker 3: with a patron at the other end of the bar

756
00:43:40,480 --> 00:43:44,040
Speaker 3: while George is having a whiskey by himself, and they're

757
00:43:44,440 --> 00:43:47,520
Speaker 3: talking about somebody they know. They're just kind of like saying, oh,

758
00:43:47,600 --> 00:43:49,719
Speaker 3: you know, can you believe he said that? No, what's

759
00:43:49,760 --> 00:43:52,920
Speaker 3: she going to do? You know, standard kind of social

760
00:43:53,080 --> 00:43:57,040
Speaker 3: social gossip. And then George suddenly confronts them and says,

761
00:43:57,120 --> 00:44:01,560
Speaker 3: you're talking about my jacket, aren't you. I loved this,

762
00:44:02,320 --> 00:44:05,640
Speaker 3: and they act confused. They're like, no, we were not

763
00:44:05,680 --> 00:44:09,200
Speaker 3: talking about your jacket. And he's like, oh, sorry, people

764
00:44:09,239 --> 00:44:11,680
Speaker 3: always talk about it. Sometimes they stop me in the street.

765
00:44:11,960 --> 00:44:15,400
Speaker 3: I'm just used to getting it noticed. Sorry, And Denise

766
00:44:15,520 --> 00:44:18,319
Speaker 3: is kind of skeptical and she says, really, what do

767
00:44:18,400 --> 00:44:20,640
Speaker 3: they stop you to say about it? And he doesn't

768
00:44:20,680 --> 00:44:23,000
Speaker 3: really answer. He's just like, as you can see, it

769
00:44:23,080 --> 00:44:24,400
Speaker 3: is no ordinary jacket.

770
00:44:25,200 --> 00:44:27,320
Speaker 5: He has like a slight pause where he looks a

771
00:44:27,360 --> 00:44:30,920
Speaker 5: little lost for a second before saying that, yeah.

772
00:44:30,719 --> 00:44:31,520
Speaker 4: It's really good.

773
00:44:32,480 --> 00:44:35,440
Speaker 3: So George, Denise and the other lady start chatting. They

774
00:44:35,440 --> 00:44:37,960
Speaker 3: ask him what he does for a living. He thinks

775
00:44:37,960 --> 00:44:40,520
Speaker 3: back to his video camera and he says, oh, actually,

776
00:44:40,600 --> 00:44:43,319
Speaker 3: I'm a filmmaker, and I might be working on a

777
00:44:43,360 --> 00:44:45,280
Speaker 3: film while I'm here in this little town.

778
00:44:46,120 --> 00:44:47,839
Speaker 4: Yeah, that's the ticket, that's what it is.

779
00:44:48,600 --> 00:44:52,440
Speaker 5: Yeah. They ask if he's shooting now, and he says yeah, possibly,

780
00:44:52,920 --> 00:44:54,400
Speaker 5: totally possibly.

781
00:44:56,440 --> 00:44:59,719
Speaker 3: And then in the next scene, George is walking home,

782
00:45:00,280 --> 00:45:02,800
Speaker 3: is going back to the hotel and the bar, not Denise,

783
00:45:02,840 --> 00:45:06,239
Speaker 3: but the bar patron she was talking to pulls up

784
00:45:06,280 --> 00:45:09,040
Speaker 3: beside him in her car and she's like, you know, hey,

785
00:45:09,280 --> 00:45:11,360
Speaker 3: you know what, I used to act in porn twenty

786
00:45:11,440 --> 00:45:15,680
Speaker 3: years ago. She assumes he's a porn director and he's like,

787
00:45:15,719 --> 00:45:18,440
Speaker 3: why would you assume that I don't make porn? And

788
00:45:18,480 --> 00:45:20,759
Speaker 3: she's like, well, you don't look like you work in

789
00:45:20,840 --> 00:45:24,160
Speaker 3: real film, and he says, I do work in real film,

790
00:45:24,200 --> 00:45:25,640
Speaker 3: don't you see my killer style?

791
00:45:27,960 --> 00:45:30,520
Speaker 4: And she calls him a loser and drives away.

792
00:45:31,239 --> 00:45:33,800
Speaker 3: But back in his hotel room, George is about to

793
00:45:33,840 --> 00:45:36,879
Speaker 3: start working in real film. So he's lying in bed

794
00:45:37,040 --> 00:45:40,200
Speaker 3: playing with the video camera, and across the room from him,

795
00:45:40,400 --> 00:45:42,359
Speaker 3: hanging on the back of the chair where it will

796
00:45:42,400 --> 00:45:46,000
Speaker 3: often be in these little scenes. Is the jacket, and

797
00:45:46,040 --> 00:45:50,600
Speaker 3: he frames it with his camera and he starts talking,

798
00:45:51,440 --> 00:45:56,359
Speaker 3: and as he talks, there are these little modulations of

799
00:45:56,400 --> 00:46:00,600
Speaker 3: his voice, as if in different sentences. It might actually

800
00:46:00,680 --> 00:46:03,279
Speaker 3: be different people talking, if you know what I mean.

801
00:46:03,960 --> 00:46:06,640
Speaker 3: His mouth is always moving, but he's like doing little

802
00:46:06,719 --> 00:46:09,960
Speaker 3: different voices. So he says, hey, you, where are you from?

803
00:46:10,960 --> 00:46:14,200
Speaker 3: I come from Italy. I come from Italy. The jacket

804
00:46:14,239 --> 00:46:18,120
Speaker 3: is Italian, by the way. It comes from Italy. And

805
00:46:18,480 --> 00:46:21,400
Speaker 3: then he says, that's good. From Italy. You're so classy.

806
00:46:21,719 --> 00:46:23,920
Speaker 3: You look great on camera. And who are you?

807
00:46:24,640 --> 00:46:25,680
Speaker 4: I'm your new owner.

808
00:46:26,080 --> 00:46:28,480
Speaker 3: I think we'll make a nice team. I'm fine with

809
00:46:28,520 --> 00:46:31,080
Speaker 3: being teammates, but I'm the one in charge.

810
00:46:31,120 --> 00:46:31,920
Speaker 4: Okay.

811
00:46:32,080 --> 00:46:34,120
Speaker 5: He takes a minute here to kind of figure out

812
00:46:34,160 --> 00:46:36,760
Speaker 5: what the jacket's voice is. It starts off a little

813
00:46:36,800 --> 00:46:41,640
Speaker 5: higher and it slowly falls to a calmer place.

814
00:46:42,040 --> 00:46:44,520
Speaker 3: Oh that's right. I didn't think about it that way,

815
00:46:44,520 --> 00:46:46,759
Speaker 3: but you're right. He's like experimenting. He's like, yeah, what

816
00:46:46,800 --> 00:46:49,759
Speaker 3: does the jacket sound like? And the jacket actually has

817
00:46:49,800 --> 00:46:53,239
Speaker 3: a different voice than George though he's again his mouth

818
00:46:53,320 --> 00:46:55,719
Speaker 3: is always moving, so he's the one talking, but the

819
00:46:55,800 --> 00:47:00,160
Speaker 3: voice he does for the Jacket is lower and more

820
00:47:00,280 --> 00:47:06,880
Speaker 3: authoritative and confident, self assured and decisive totally. So anyway,

821
00:47:06,880 --> 00:47:09,000
Speaker 3: he closes the camera and he says good night to

822
00:47:09,000 --> 00:47:11,640
Speaker 3: the Jacket, goes to sleep, and then later that night

823
00:47:11,680 --> 00:47:14,200
Speaker 3: there's a little moment where there's like a loud crashing sound.

824
00:47:14,320 --> 00:47:16,840
Speaker 3: George comes out into the hall to investigate what was that,

825
00:47:17,080 --> 00:47:19,880
Speaker 3: but there's no answer, so we'll get follow up on

826
00:47:19,920 --> 00:47:22,120
Speaker 3: that later. So the next day we see George go

827
00:47:22,200 --> 00:47:25,239
Speaker 3: to the atm wearing his jacket of course, and he

828
00:47:25,239 --> 00:47:27,960
Speaker 3: tries to get money out but no money is forthcoming,

829
00:47:28,400 --> 00:47:31,239
Speaker 3: and he's very mad. He digs some food out of

830
00:47:31,239 --> 00:47:34,840
Speaker 3: a trash can and starts eating it while this boy

831
00:47:34,960 --> 00:47:38,320
Speaker 3: stands watching him from across the alley, and he yells

832
00:47:38,320 --> 00:47:39,480
Speaker 3: at the boy to get lost.

833
00:47:40,040 --> 00:47:43,600
Speaker 5: Yeah, the boy's just looking at him completely blankly.

834
00:47:43,480 --> 00:47:48,399
Speaker 3: Doesn't say anything, just stands there, stone faced. Yeah. And

835
00:47:48,440 --> 00:47:51,160
Speaker 3: then after this, George stops at a book shop. He

836
00:47:51,239 --> 00:47:54,680
Speaker 3: checks out a book about filmmaking, and then he shoplifts

837
00:47:54,719 --> 00:47:57,840
Speaker 3: it by stuffing it into his jacket. The Jacket's just

838
00:47:57,880 --> 00:48:01,480
Speaker 3: coming through on all levels. And the next he goes

839
00:48:01,520 --> 00:48:05,000
Speaker 3: to the bank and he speaks to a worker there,

840
00:48:05,600 --> 00:48:07,719
Speaker 3: he finds out that he can't withdraw money from his

841
00:48:07,760 --> 00:48:10,720
Speaker 3: bank account because his wife has placed a security hold

842
00:48:10,800 --> 00:48:11,520
Speaker 3: on the account.

843
00:48:11,520 --> 00:48:12,080
Speaker 4: This morning.

844
00:48:12,440 --> 00:48:15,440
Speaker 3: This was I think, after he withdrew seventy five hundred

845
00:48:15,480 --> 00:48:18,680
Speaker 3: euros the day before to buy the jacket, and George

846
00:48:18,719 --> 00:48:21,480
Speaker 3: does not take this well. Back at the hotel, he

847
00:48:21,600 --> 00:48:24,040
Speaker 3: showers while talking to the jacket, and the jacket is

848
00:48:24,160 --> 00:48:28,400
Speaker 3: kind of watching him while he's rensing his body with

849
00:48:28,440 --> 00:48:31,719
Speaker 3: the detachable shower head, and he's like, don't worry, I'll

850
00:48:31,719 --> 00:48:32,600
Speaker 3: find us some money.

851
00:48:32,760 --> 00:48:34,000
Speaker 4: I'm going to take care of us.

852
00:48:35,120 --> 00:48:37,680
Speaker 3: And then later back at the same bar as he

853
00:48:37,760 --> 00:48:40,840
Speaker 3: was at the night before, George talks with Denise, the bartender.

854
00:48:41,080 --> 00:48:44,200
Speaker 3: She is interested in what kind of film work he's

855
00:48:44,239 --> 00:48:48,400
Speaker 3: doing because she herself is an amateur film editor. She

856
00:48:48,520 --> 00:48:51,760
Speaker 3: talks about how she enjoys re editing other people's finished

857
00:48:51,800 --> 00:48:55,080
Speaker 3: movies just for fun. For example, she says she took

858
00:48:55,360 --> 00:48:58,640
Speaker 3: pulp fiction directed by Quentin Tarantino and put all the

859
00:48:58,719 --> 00:49:04,319
Speaker 3: scenes in chronological order to discover that it sucked. And

860
00:49:04,400 --> 00:49:07,840
Speaker 3: there are plenty of things that should be red flags

861
00:49:07,920 --> 00:49:11,279
Speaker 3: about George in this conversation, like he asks her if

862
00:49:11,320 --> 00:49:14,640
Speaker 3: she has a special machine that allows her to put

863
00:49:14,640 --> 00:49:17,920
Speaker 3: the scenes of a film in order, and she says no,

864
00:49:18,040 --> 00:49:22,600
Speaker 3: she uses a computer like everyone else, but she says

865
00:49:22,600 --> 00:49:25,640
Speaker 3: that film editing is her passion and she would love

866
00:49:25,680 --> 00:49:27,759
Speaker 3: to do it for a living. So here she is

867
00:49:27,880 --> 00:49:31,719
Speaker 3: meeting an actual filmmaker, and she clearly she sees an opportunity.

868
00:49:31,760 --> 00:49:34,920
Speaker 3: I think she's she's so excited about what this could

869
00:49:34,960 --> 00:49:37,520
Speaker 3: mean for her that she's maybe just looking past the

870
00:49:37,560 --> 00:49:38,280
Speaker 3: red flags.

871
00:49:38,880 --> 00:49:42,000
Speaker 5: I love the exchange of her saying I'd love to

872
00:49:42,040 --> 00:49:45,719
Speaker 5: do it as my real job, in George's response being

873
00:49:45,920 --> 00:49:50,120
Speaker 5: something along the lines of they really are amazing jobs.

874
00:49:50,960 --> 00:49:53,520
Speaker 5: For sure.

875
00:49:53,280 --> 00:49:56,479
Speaker 3: There are a number of moments that are of really

876
00:49:56,480 --> 00:50:00,400
Speaker 3: good comedy where what happens is you would expect in

877
00:50:00,480 --> 00:50:03,200
Speaker 3: another script that George would come up with some kind

878
00:50:03,200 --> 00:50:06,000
Speaker 3: of funny bluff or lie, but what he actually does

879
00:50:06,160 --> 00:50:09,120
Speaker 3: is fail to come up with anything to say, so

880
00:50:09,160 --> 00:50:12,800
Speaker 3: he just says like, they are amazing jobs. So later

881
00:50:12,840 --> 00:50:15,719
Speaker 3: we see George walking home and arguing with himself or

882
00:50:15,719 --> 00:50:18,760
Speaker 3: maybe arguing with the jacket about whether he should should

883
00:50:18,760 --> 00:50:21,560
Speaker 3: have claimed to be a movie director or not. You

884
00:50:21,560 --> 00:50:26,320
Speaker 3: can see him having some kind of you know, moral

885
00:50:26,360 --> 00:50:29,080
Speaker 3: dissent within himself. He's like, maybe I shouldn't be lying

886
00:50:29,080 --> 00:50:32,960
Speaker 3: about this. But then he also defends himself to himself, saying,

887
00:50:33,280 --> 00:50:35,399
Speaker 3: a guy who films is like a guy who makes

888
00:50:35,400 --> 00:50:35,800
Speaker 3: a film.

889
00:50:35,840 --> 00:50:37,520
Speaker 4: You could say here a filmmaker. Yeah.

890
00:50:37,960 --> 00:50:40,920
Speaker 3: So, back at his hotel room, George is trying to

891
00:50:41,000 --> 00:50:44,000
Speaker 3: read the book about filmmaking that he stole from the store,

892
00:50:44,640 --> 00:50:46,919
Speaker 3: but the jacket hanging on the chair across the room

893
00:50:47,040 --> 00:50:50,200
Speaker 3: just keeps calling out to him. And again we can

894
00:50:50,239 --> 00:50:53,080
Speaker 3: see that whenever the jacket is speaking, George is the

895
00:50:53,120 --> 00:50:56,160
Speaker 3: one talking. He moves his own mouth, but he's giving

896
00:50:56,160 --> 00:50:58,920
Speaker 3: this different voice to the jacket, the deeper, more confident,

897
00:50:59,080 --> 00:51:02,360
Speaker 3: less emotional than his own voice, is kind of more monotone.

898
00:51:02,800 --> 00:51:05,560
Speaker 3: And the jacket interrupts his reading to ask him, do

899
00:51:05,640 --> 00:51:08,719
Speaker 3: you want to know my greatest dream? Here we getting

900
00:51:08,760 --> 00:51:12,680
Speaker 3: to the here the stews really cooking now. The Jacket's

901
00:51:12,840 --> 00:51:17,440
Speaker 3: greatest dream is to be the only jacket in the world.

902
00:51:17,800 --> 00:51:20,120
Speaker 3: I want us to be able to walk the streets

903
00:51:20,400 --> 00:51:25,360
Speaker 3: without seeing other jackets. Well, George confesses this is perfect

904
00:51:25,440 --> 00:51:28,600
Speaker 3: because his greatest dream is to be the only person

905
00:51:28,640 --> 00:51:31,759
Speaker 3: in the world who can wear a jacket. And the

906
00:51:31,880 --> 00:51:35,440
Speaker 3: jacket asks kind of ominously. How are we going to

907
00:51:35,480 --> 00:51:36,360
Speaker 3: realize this stream?

908
00:51:36,440 --> 00:51:40,680
Speaker 5: George, Yeah, an ominous cut to a deer after, how

909
00:51:40,680 --> 00:51:43,840
Speaker 5: do you intend to realize this dream? I wish I

910
00:51:43,840 --> 00:51:50,160
Speaker 5: could convey his conversations with the jacket in words over

911
00:51:50,200 --> 00:51:53,520
Speaker 5: a podcast. They're just so goofy. He's trying to tell

912
00:51:53,560 --> 00:51:56,240
Speaker 5: the jacket that they can talk later while he's reading,

913
00:51:56,280 --> 00:52:01,200
Speaker 5: but the jacket successfully gets him to talk right now,

914
00:52:01,280 --> 00:52:03,400
Speaker 5: and he like closes the book and tosses it aside

915
00:52:03,440 --> 00:52:06,080
Speaker 5: in the exasperation, Like, as if he has to stop

916
00:52:06,080 --> 00:52:08,479
Speaker 5: reading and listen to this jacket, Yes, as if he's

917
00:52:08,480 --> 00:52:10,920
Speaker 5: not completely in control of the entire situation.

918
00:52:11,280 --> 00:52:12,440
Speaker 4: Yeah, it's really good.

919
00:52:13,719 --> 00:52:16,760
Speaker 3: Okay, So next thing is there's a scene with George

920
00:52:16,760 --> 00:52:21,120
Speaker 3: discussing his payment problems with the hotel manager, and George

921
00:52:21,120 --> 00:52:24,040
Speaker 3: finds out that the first clerk he talked to, the

922
00:52:24,040 --> 00:52:27,080
Speaker 3: guy the day before, the one to whom he gave

923
00:52:27,120 --> 00:52:28,360
Speaker 3: his gold wedding ring.

924
00:52:28,719 --> 00:52:29,440
Speaker 4: Has died.

925
00:52:29,840 --> 00:52:35,279
Speaker 3: He died by suicide two nights before. Bizarrely, the new

926
00:52:35,320 --> 00:52:39,360
Speaker 3: guy at the hotel desk tells George that the clerk's

927
00:52:39,440 --> 00:52:42,520
Speaker 3: body is being stored in one of the hotel rooms

928
00:52:42,680 --> 00:52:46,000
Speaker 3: until the undertaker arrives and that the room is open

929
00:52:46,040 --> 00:52:50,200
Speaker 3: if George would like to go say goodbye. So George

930
00:52:50,280 --> 00:52:53,239
Speaker 3: goes to the room. The guy is laying there with

931
00:52:53,280 --> 00:52:57,120
Speaker 3: a giant bullet hole in his face, but George gets

932
00:52:57,120 --> 00:53:00,000
Speaker 3: fixated on something. He's not looking really at the dead guy.

933
00:53:00,480 --> 00:53:04,200
Speaker 3: He's looking at in the clerk's hands. There is a hat.

934
00:53:04,560 --> 00:53:08,320
Speaker 3: It's clasped over his midsection. It is a wide brimmed

935
00:53:08,520 --> 00:53:13,520
Speaker 3: Fedora style hat made of some kind of leather sueded material.

936
00:53:14,360 --> 00:53:17,160
Speaker 3: And George pries the hat out of the dead man's

937
00:53:17,160 --> 00:53:20,040
Speaker 3: hands and investigates the tag on the inside and it

938
00:53:20,160 --> 00:53:25,040
Speaker 3: says one hundred percent deer skin, and George goes ah bingo,

939
00:53:26,800 --> 00:53:28,799
Speaker 3: and then he's trying it on in the mirror. It's

940
00:53:28,920 --> 00:53:31,840
Speaker 3: killer style, so of course he steals it. He also

941
00:53:31,880 --> 00:53:34,280
Speaker 3: takes his ring back. He has to use his mouth

942
00:53:34,360 --> 00:53:37,000
Speaker 3: to get it off the dead guy's hand, and then

943
00:53:37,080 --> 00:53:39,840
Speaker 3: leaves the ring with the new hotel clerk as collateral.

944
00:53:39,880 --> 00:53:43,239
Speaker 5: Once again, The scene with him putting on the hat

945
00:53:43,239 --> 00:53:47,080
Speaker 5: in the mirror just gets me every time. This is

946
00:53:47,080 --> 00:53:50,600
Speaker 5: where he crosses into total goofball territory. He looks like

947
00:53:50,640 --> 00:53:54,360
Speaker 5: a like a store brand Indiana Jones and he just

948
00:53:54,440 --> 00:53:55,839
Speaker 5: looks so psyched about it.

949
00:53:56,120 --> 00:53:56,640
Speaker 4: Yeah.

950
00:53:56,880 --> 00:54:01,000
Speaker 3: Killer style. So after getting the hat, he has another

951
00:54:01,080 --> 00:54:04,720
Speaker 3: meeting with Denise the bartender. He spins out some lies

952
00:54:04,800 --> 00:54:06,200
Speaker 3: to make it sound like he's in the middle of

953
00:54:06,239 --> 00:54:09,040
Speaker 3: a big, expensive production. He's like, oh, yeah, my producers,

954
00:54:09,080 --> 00:54:13,359
Speaker 3: they're stuck in Siberia filming the big fight scene and

955
00:54:13,440 --> 00:54:16,080
Speaker 3: I can't get they can't get cell reception. But he

956
00:54:16,200 --> 00:54:18,880
Speaker 3: tells her great news, I do not yet have an

957
00:54:19,000 --> 00:54:22,799
Speaker 3: editor for my film, though he accidentally says creditor and

958
00:54:23,760 --> 00:54:25,359
Speaker 3: I don't have a creditor. I don't know if there's

959
00:54:25,360 --> 00:54:28,120
Speaker 3: supposed to be some kind of double meaning there. But

960
00:54:28,160 --> 00:54:31,120
Speaker 3: she's like, do you mean editor, and he's like, oh yeah, yeah, yeah,

961
00:54:31,160 --> 00:54:34,360
Speaker 3: you can have the job. She's very excited and agrees,

962
00:54:34,480 --> 00:54:37,000
Speaker 3: but doesn't he want to see her work first. No,

963
00:54:37,200 --> 00:54:41,200
Speaker 3: no need, He trusts her, but she does need to

964
00:54:41,280 --> 00:54:45,319
Speaker 3: take off her jacket, and she's immediately suspicious. She's like,

965
00:54:45,320 --> 00:54:46,719
Speaker 3: wait a minute, are you trying to get me to

966
00:54:46,800 --> 00:54:49,760
Speaker 3: strip or something. He promises her, No, no, no, nothing

967
00:54:49,840 --> 00:54:53,080
Speaker 3: like that, nothing sexual. It's just very important to him

968
00:54:53,719 --> 00:54:55,520
Speaker 3: that he be the only person who gets to wear

969
00:54:55,520 --> 00:54:56,040
Speaker 3: a jacket.

970
00:54:56,680 --> 00:54:59,879
Speaker 5: Yeah, he says, it's as important to me as editing is.

971
00:55:00,120 --> 00:55:03,919
Speaker 3: You Bravo, And so she's suspicious, but she really wants

972
00:55:03,960 --> 00:55:07,120
Speaker 3: this job, so she agrees, and once the jacket is off,

973
00:55:07,120 --> 00:55:10,480
Speaker 3: you can see George relaxes. He kind of like settles down,

974
00:55:10,560 --> 00:55:14,160
Speaker 3: like okay, and he gives her something. It is a

975
00:55:14,200 --> 00:55:16,840
Speaker 3: cassette from his video camera. He tells her that it

976
00:55:16,920 --> 00:55:20,240
Speaker 3: is stuff for her to edit, and she's like, okay,

977
00:55:20,560 --> 00:55:25,680
Speaker 3: I need a copy of the script though, and he's like, yeah.

978
00:55:24,400 --> 00:55:26,319
Speaker 4: We'll talk about that. We'll talk about that later.

979
00:55:26,400 --> 00:55:29,719
Speaker 3: So somebody stole my credit card and next thing, they're

980
00:55:29,719 --> 00:55:32,319
Speaker 3: in an ATM and she's getting money out to loan him.

981
00:55:32,680 --> 00:55:35,359
Speaker 3: Of course, the producers will reimburse her once they get

982
00:55:35,440 --> 00:55:38,279
Speaker 3: cell phone reception again after they get off of the

983
00:55:38,280 --> 00:55:41,640
Speaker 3: glacier in Siberia. And then we see Denise at home

984
00:55:41,680 --> 00:55:45,080
Speaker 3: getting out some old video equipment cassette reader and maybe

985
00:55:45,120 --> 00:55:46,680
Speaker 3: a digitizer of some kind.

986
00:55:47,239 --> 00:55:49,400
Speaker 5: Yeah, I think that's right. She has to dig it

987
00:55:49,480 --> 00:55:51,759
Speaker 5: out of a drawer. And I'm a little less sure

988
00:55:51,760 --> 00:55:54,440
Speaker 5: on this than the camera, but I think it's a

989
00:55:55,200 --> 00:56:02,240
Speaker 5: Sony gv HD seven hundred HDV video walk manh Yeah,

990
00:56:02,320 --> 00:56:04,480
Speaker 5: it seems to be like a VCR with a built

991
00:56:04,480 --> 00:56:07,319
Speaker 5: in screen that allows for some basic editing. I was

992
00:56:07,320 --> 00:56:09,040
Speaker 5: gonna look a little more into this thing, but I

993
00:56:09,080 --> 00:56:11,759
Speaker 5: got totally sidetracked by the camera rabbit hole.

994
00:56:12,040 --> 00:56:14,960
Speaker 3: So yeah, she starts reviewing his footage. She's seeing like

995
00:56:15,040 --> 00:56:18,799
Speaker 3: scenery of the mountain beside the village, shots of the

996
00:56:18,880 --> 00:56:22,160
Speaker 3: fringe on the deerskin jacket, George posing in the mirror

997
00:56:22,160 --> 00:56:27,279
Speaker 3: with the jacket, and Denise seems amused. George meanwhile, it's

998
00:56:27,360 --> 00:56:30,680
Speaker 3: it's time to go shopping. Is shopping spree? And what

999
00:56:30,840 --> 00:56:32,480
Speaker 3: is he gonna get? Is he gonna get some more

1000
00:56:32,520 --> 00:56:37,800
Speaker 3: cassette tapes? No, he gets some deer skin boots, killer style,

1001
00:56:38,360 --> 00:56:40,960
Speaker 3: and it's time for an incredible montage. So with the

1002
00:56:40,960 --> 00:56:44,440
Speaker 3: deerskin jacket, the deer skin hat, and the boots, George

1003
00:56:44,560 --> 00:56:49,520
Speaker 3: starts filming scenes. He hires he like, puts out ads,

1004
00:56:49,600 --> 00:56:54,000
Speaker 3: and he hires local non actors to be in his movie.

1005
00:56:54,719 --> 00:56:57,319
Speaker 3: He tells them to bring all the jackets they own,

1006
00:56:57,719 --> 00:57:00,200
Speaker 3: and then he films them putting the jackets in the

1007
00:57:00,200 --> 00:57:03,120
Speaker 3: trunk of his car and vowing never to wear a

1008
00:57:03,200 --> 00:57:05,520
Speaker 3: jacket again as long as they live. This is what

1009
00:57:05,560 --> 00:57:08,239
Speaker 3: we saw in the cold opening of the film. And

1010
00:57:08,320 --> 00:57:11,799
Speaker 3: this is where we get that amazing exchange where one

1011
00:57:11,800 --> 00:57:14,600
Speaker 3: guy after doing this says, sorry, but isn't your movie weird?

1012
00:57:14,680 --> 00:57:16,800
Speaker 3: And he says, it's enough weird, it's amazing.

1013
00:57:17,920 --> 00:57:20,480
Speaker 5: Yeah, you can't make sense of it now, but it rocks,

1014
00:57:20,840 --> 00:57:21,640
Speaker 5: but it rocks.

1015
00:57:23,080 --> 00:57:25,280
Speaker 3: And then once the scene is over and the actors

1016
00:57:25,320 --> 00:57:28,320
Speaker 3: have been paid, George steals the jackets. He just drives

1017
00:57:28,320 --> 00:57:29,800
Speaker 3: away with them while people are like.

1018
00:57:29,760 --> 00:57:31,320
Speaker 4: Wait, I need that back.

1019
00:57:31,960 --> 00:57:35,600
Speaker 3: So after one of these shoots, George notices a kid

1020
00:57:35,640 --> 00:57:38,200
Speaker 3: watching him. It's the same kid who is staring at

1021
00:57:38,320 --> 00:57:40,440
Speaker 3: him while he was eating out of the garbage can earlier,

1022
00:57:41,000 --> 00:57:43,000
Speaker 3: and George yells at him to go away, but the

1023
00:57:43,040 --> 00:57:45,960
Speaker 3: kid just stands there, stone faced, looking at him, and

1024
00:57:45,960 --> 00:57:48,960
Speaker 3: then getting really annoyed, George picks up a rock and

1025
00:57:49,160 --> 00:57:53,080
Speaker 3: throws it at the kid, hitting him in the face. Oh,

1026
00:57:53,080 --> 00:57:55,760
Speaker 3: and then also says to the actor the jacket donor,

1027
00:57:55,800 --> 00:57:57,960
Speaker 3: who's just standing there, He says, you saw nothing, and

1028
00:57:58,000 --> 00:57:59,480
Speaker 3: then George drives away.

1029
00:58:00,160 --> 00:58:02,080
Speaker 5: Yeah, this is kind of what I was referring to

1030
00:58:02,600 --> 00:58:08,720
Speaker 5: before about there being one notable exception to people buying

1031
00:58:08,880 --> 00:58:15,320
Speaker 5: his whole persona this kid that does not even really

1032
00:58:15,400 --> 00:58:18,440
Speaker 5: seem to be questioning him as much as he's staring blankly,

1033
00:58:18,640 --> 00:58:22,640
Speaker 5: and George is projecting something onto this kid.

1034
00:58:22,920 --> 00:58:26,479
Speaker 3: I feel like all of the other characters either they

1035
00:58:26,800 --> 00:58:30,800
Speaker 3: buy into George enough and like they either kind of

1036
00:58:30,800 --> 00:58:34,400
Speaker 3: play along with him, or they ignore him and move on.

1037
00:58:35,240 --> 00:58:38,000
Speaker 3: This kid is the only person who doesn't do one

1038
00:58:38,040 --> 00:58:42,800
Speaker 3: of those two things. This kid is continuing to engage

1039
00:58:42,800 --> 00:58:45,560
Speaker 3: with George, but not by like playing along with him,

1040
00:58:45,560 --> 00:58:48,760
Speaker 3: instead just by staring at him and making him feel weird.

1041
00:58:49,360 --> 00:58:51,120
Speaker 5: Yeah. I think that's a better way of putting it.

1042
00:58:51,240 --> 00:58:51,800
Speaker 5: I agree.

1043
00:58:52,240 --> 00:58:54,600
Speaker 3: Oh, but also the actor as George is driving away,

1044
00:58:54,640 --> 00:58:56,440
Speaker 3: he's like, wait, what about my jackets there in new

1045
00:58:56,480 --> 00:58:59,160
Speaker 3: trunk and George says, you swore never to wear a

1046
00:58:59,200 --> 00:59:03,040
Speaker 3: jacket again, I have filmed proof their mind now. I

1047
00:59:03,040 --> 00:59:08,800
Speaker 3: think he says, your f to their mind now. And

1048
00:59:08,840 --> 00:59:11,800
Speaker 3: then there's a creepy scene outside of movie theater. I

1049
00:59:11,920 --> 00:59:14,360
Speaker 3: like this where he pulls up alongside a guy walking

1050
00:59:14,360 --> 00:59:17,320
Speaker 3: in the snow. He's filming the guy. The guy's wearing

1051
00:59:17,360 --> 00:59:20,560
Speaker 3: a jacket, he's confused about what George is doing, and

1052
00:59:20,600 --> 00:59:22,760
Speaker 3: then we cut away before we see how it resolves.

1053
00:59:22,800 --> 00:59:26,080
Speaker 3: We'll see more of this scene later. But then George

1054
00:59:26,120 --> 00:59:29,360
Speaker 3: meets back up with Denise at the bar, and she

1055
00:59:29,520 --> 00:59:32,200
Speaker 3: has been editing his film the stuff he already gave her.

1056
00:59:32,800 --> 00:59:34,840
Speaker 3: I don't think this includes the new stuff, all of

1057
00:59:34,880 --> 00:59:37,960
Speaker 3: the jacket, theft, and the pledges of never Again. It's

1058
00:59:38,000 --> 00:59:40,560
Speaker 3: the earlier tape, and she says she likes his movie.

1059
00:59:40,600 --> 00:59:44,080
Speaker 3: She says it's like a mockumentary, so we get the

1060
00:59:44,120 --> 00:59:46,480
Speaker 3: sense that maybe she's going along with it because she

1061
00:59:46,640 --> 00:59:50,160
Speaker 3: thinks it's supposed to be funny, or she's interpreting it

1062
00:59:50,240 --> 00:59:54,240
Speaker 3: in a different spirit than he is. But she does

1063
00:59:54,240 --> 00:59:56,040
Speaker 3: say it's hard to figure out what to do with

1064
00:59:56,080 --> 00:59:58,840
Speaker 3: the footage without a script, but she put it together

1065
00:59:58,880 --> 01:00:01,400
Speaker 3: in a way that made sense to her, and she says,

1066
01:00:01,440 --> 01:00:04,160
Speaker 3: this is just my interpretation, but the real subject of

1067
01:00:04,200 --> 01:00:08,400
Speaker 3: the film is the jacket, or the fact that we

1068
01:00:08,560 --> 01:00:12,120
Speaker 3: all hide behind a shell to protect ourselves from the world.

1069
01:00:12,800 --> 01:00:15,560
Speaker 3: And he seems intrigued. He asks her, should that be

1070
01:00:15,680 --> 01:00:19,160
Speaker 3: what it's about? Good question? Should that be what it's about?

1071
01:00:20,280 --> 01:00:22,440
Speaker 3: And then next thing, they're like back at the ATM

1072
01:00:22,520 --> 01:00:24,880
Speaker 3: and she's trying to withdraw more funds to give him,

1073
01:00:24,880 --> 01:00:26,960
Speaker 3: but I think she's maxed out at this point. She

1074
01:00:27,440 --> 01:00:29,919
Speaker 3: can't get more than like eighty euros, and he gets

1075
01:00:29,960 --> 01:00:33,439
Speaker 3: angry and starts freaking out and eventually just says chow

1076
01:00:33,600 --> 01:00:44,920
Speaker 3: and storms off into the night. So here's where things

1077
01:00:44,960 --> 01:00:48,080
Speaker 3: are about to start getting darker. George later reviews the

1078
01:00:48,120 --> 01:00:50,280
Speaker 3: footage he took of the man in the street by

1079
01:00:50,280 --> 01:00:52,640
Speaker 3: the movie theater, and we see more of the conversation.

1080
01:00:53,200 --> 01:00:55,960
Speaker 3: George starts badgering the man to take off his jacket,

1081
01:00:56,040 --> 01:00:59,720
Speaker 3: the man refuses. They become increasingly hostile to each other

1082
01:01:00,040 --> 01:01:02,680
Speaker 3: before the guy eventually says George will have to kill

1083
01:01:02,760 --> 01:01:04,880
Speaker 3: him to make him do it, and then the filming

1084
01:01:04,920 --> 01:01:08,720
Speaker 3: stops and in the room, the jacket speaks to George.

1085
01:01:09,080 --> 01:01:11,960
Speaker 3: The jacket says, the plan is not working at this rate.

1086
01:01:12,000 --> 01:01:14,080
Speaker 3: It's going to take a thousand years for us to

1087
01:01:14,320 --> 01:01:17,160
Speaker 3: have the only jacket in the world, and George tries

1088
01:01:17,200 --> 01:01:20,000
Speaker 3: to argue, He's like, our dream is not reasonable. There

1089
01:01:20,000 --> 01:01:21,880
Speaker 3: are so many jackets it will take a lot of

1090
01:01:21,920 --> 01:01:25,880
Speaker 3: time to accomplish, But the jacket, after a long pause, says,

1091
01:01:26,360 --> 01:01:31,240
Speaker 3: I know what we'll do, and George then begins taking

1092
01:01:31,240 --> 01:01:35,320
Speaker 3: apart the appliances. He disassembles the ceiling fan in his

1093
01:01:35,400 --> 01:01:39,480
Speaker 3: hotel room and removes one of its blades and then

1094
01:01:39,520 --> 01:01:41,680
Speaker 3: goes out driving in the night, leaning out of the

1095
01:01:41,680 --> 01:01:44,200
Speaker 3: door of his car, dragging the fan blade along the

1096
01:01:44,280 --> 01:01:46,960
Speaker 3: road as he drives, and you can hear it grinding

1097
01:01:47,040 --> 01:01:49,040
Speaker 3: and see it like shooting up sparks in the dark.

1098
01:01:49,440 --> 01:01:52,760
Speaker 3: And I was like, wait, is he sharpening it? And yes,

1099
01:01:52,880 --> 01:01:55,080
Speaker 3: in fact, that is exactly what he's doing. Next there

1100
01:01:55,160 --> 01:01:58,440
Speaker 3: is like a there's a watermelon chopping scene where we

1101
01:01:58,680 --> 01:02:02,920
Speaker 3: learned he has turned this fan blade into a deadly machete,

1102
01:02:03,000 --> 01:02:07,160
Speaker 3: and he drives around some more, eating the watermelon. Eventually

1103
01:02:07,200 --> 01:02:10,360
Speaker 3: he finds a couple of guys standing outside talking in

1104
01:02:10,400 --> 01:02:13,600
Speaker 3: the snow. He drives up to them, gets out, approaches

1105
01:02:13,640 --> 01:02:16,000
Speaker 3: with his fan blade, and asks if they would like

1106
01:02:16,040 --> 01:02:17,800
Speaker 3: to help him realize his dream.

1107
01:02:18,120 --> 01:02:18,960
Speaker 4: Then we cut away.

1108
01:02:19,800 --> 01:02:22,800
Speaker 3: So here's where things sort of take a twist, because

1109
01:02:22,880 --> 01:02:26,160
Speaker 3: next thing we see is Denise. She receives a letter

1110
01:02:26,240 --> 01:02:29,960
Speaker 3: in her mailbox, along with a drawing of George in

1111
01:02:30,000 --> 01:02:32,320
Speaker 3: the jacket, presumably by George.

1112
01:02:32,560 --> 01:02:32,720
Speaker 4: Yeah.

1113
01:02:32,760 --> 01:02:35,200
Speaker 5: They show this just sort of briefly, and I love

1114
01:02:35,240 --> 01:02:35,760
Speaker 5: this drawing.

1115
01:02:36,160 --> 01:02:39,880
Speaker 3: Yeah, the letter goes Denise despite not having money. I

1116
01:02:39,920 --> 01:02:42,160
Speaker 3: shot a scene tonight by the sweat of my brow

1117
01:02:42,600 --> 01:02:45,120
Speaker 3: enjoy these images, for they may be the last. I

1118
01:02:45,160 --> 01:02:48,600
Speaker 3: think something awful must have happened in Siberia for the

1119
01:02:48,640 --> 01:02:51,400
Speaker 3: producers to leave me with no news. I doubt I

1120
01:02:51,440 --> 01:02:54,800
Speaker 3: can finish this film without the financing it deserves, unless,

1121
01:02:54,800 --> 01:02:57,040
Speaker 3: of course, you can find a way to help. And

1122
01:02:57,080 --> 01:03:00,000
Speaker 3: then he includes another cassette tape of himself.

1123
01:03:00,400 --> 01:03:01,200
Speaker 4: On this tape, he.

1124
01:03:01,160 --> 01:03:05,080
Speaker 3: Has filmed himself going on a murder spree, whacking people

1125
01:03:05,080 --> 01:03:08,280
Speaker 3: with his fan sword and then stealing the jackets of

1126
01:03:08,320 --> 01:03:12,160
Speaker 3: the people he kills. Denise watches this footage and she

1127
01:03:12,360 --> 01:03:16,240
Speaker 3: is thrilled. She's watching it there. Her eyes are big,

1128
01:03:16,280 --> 01:03:17,959
Speaker 3: and she says to herself, yes.

1129
01:03:18,760 --> 01:03:19,640
Speaker 4: So she comes to his.

1130
01:03:19,640 --> 01:03:22,000
Speaker 3: Hotel room and she's like, you know, George, I saw

1131
01:03:22,000 --> 01:03:22,720
Speaker 3: the new footage.

1132
01:03:22,720 --> 01:03:23,320
Speaker 4: It's wild.

1133
01:03:23,400 --> 01:03:27,200
Speaker 3: She says, I'm into it. And before they discuss any further,

1134
01:03:27,760 --> 01:03:29,240
Speaker 3: he does make her take off her jacket.

1135
01:03:29,600 --> 01:03:29,800
Speaker 4: Yeah.

1136
01:03:29,840 --> 01:03:32,320
Speaker 5: Before she enters the room, he says, you know why.

1137
01:03:33,840 --> 01:03:35,040
Speaker 4: But she is now.

1138
01:03:35,440 --> 01:03:39,080
Speaker 3: She's now all in on his film project. She's got

1139
01:03:39,080 --> 01:03:41,400
Speaker 3: an advance from her boss at the bar, so she

1140
01:03:41,480 --> 01:03:45,040
Speaker 3: has more money now. She also has brought a present

1141
01:03:45,120 --> 01:03:48,280
Speaker 3: for George, wrapped in newspaper. It is a pair of

1142
01:03:48,400 --> 01:03:52,680
Speaker 3: one hundred percent deer skin pants with fringes running down

1143
01:03:52,720 --> 01:03:56,840
Speaker 3: the leg, and George he says, damn classy.

1144
01:03:57,160 --> 01:03:58,600
Speaker 4: I love my life. Thanks.

1145
01:04:00,080 --> 01:04:00,520
Speaker 5: I love that.

1146
01:04:00,720 --> 01:04:03,320
Speaker 3: It sounds like a Facebook post somebody would make.

1147
01:04:05,680 --> 01:04:06,200
Speaker 4: I love that.

1148
01:04:06,240 --> 01:04:10,000
Speaker 5: She gives him the pants as an apology for my

1149
01:04:10,160 --> 01:04:11,760
Speaker 5: card maxing out yesterday.

1150
01:04:11,960 --> 01:04:14,160
Speaker 4: Yeah. Yeah.

1151
01:04:14,200 --> 01:04:17,120
Speaker 3: So they go on to discuss the project, and you know,

1152
01:04:17,200 --> 01:04:18,640
Speaker 3: for a while in the middle of the movie here

1153
01:04:18,640 --> 01:04:22,280
Speaker 3: we've been thinking like, oh no, poor Denise, Like George

1154
01:04:22,280 --> 01:04:25,440
Speaker 3: is scamming her, exploiting her. But the tables are kind

1155
01:04:25,480 --> 01:04:28,200
Speaker 3: of turning. Denise is like, Okay, I think I can

1156
01:04:28,240 --> 01:04:30,720
Speaker 3: get a lot more money soon, enough to finance the

1157
01:04:30,760 --> 01:04:33,960
Speaker 3: whole movie. But she's like, George, I need you to

1158
01:04:34,000 --> 01:04:36,560
Speaker 3: shoot more footage so that I can edit a teaser.

1159
01:04:37,200 --> 01:04:39,840
Speaker 3: And then she starts giving him notes on style. She's like,

1160
01:04:39,880 --> 01:04:42,280
Speaker 3: you've got a position the camera closer to the subject,

1161
01:04:42,600 --> 01:04:46,959
Speaker 3: needs more action, more blood. Is she giving the orders now? Yes,

1162
01:04:47,000 --> 01:04:50,320
Speaker 3: she is, And she hands him some money and it

1163
01:04:50,360 --> 01:04:52,440
Speaker 3: seems like she may be the boss of.

1164
01:04:52,400 --> 01:04:56,360
Speaker 4: This film suddenly. So at this point George is Jason Vorhees.

1165
01:04:56,400 --> 01:04:59,480
Speaker 3: He goes out into the night, following random people filming

1166
01:04:59,520 --> 01:05:02,480
Speaker 3: them killing them with the fan blade, chopping the heads

1167
01:05:02,480 --> 01:05:04,720
Speaker 3: in half, like stabbing them through the guts and everything,

1168
01:05:05,000 --> 01:05:08,920
Speaker 3: and of course always stealing their jackets. And he's like

1169
01:05:09,000 --> 01:05:11,440
Speaker 3: wearing a rain slicker, of course to avoid getting blood

1170
01:05:11,480 --> 01:05:14,800
Speaker 3: on his deer skin. And there were some funny music choices,

1171
01:05:14,840 --> 01:05:17,480
Speaker 3: I mean throughout the film, but especially here. There's groovy

1172
01:05:17,560 --> 01:05:20,640
Speaker 3: lounge music in this montage where he's whacking people with

1173
01:05:20,640 --> 01:05:25,120
Speaker 3: the machete. And eventually the Jacket starts talking at George

1174
01:05:25,120 --> 01:05:27,760
Speaker 3: while he's asleep. It's like saying his name over and over,

1175
01:05:27,800 --> 01:05:30,320
Speaker 3: as if it's impatient he's not moving fast enough.

1176
01:05:30,960 --> 01:05:34,120
Speaker 5: Yeah, my friend Ian pointed this part out to me

1177
01:05:34,280 --> 01:05:36,640
Speaker 5: is maybe secretly the funniest part of the movie, and

1178
01:05:37,240 --> 01:05:40,560
Speaker 5: just the fact that George is either not waking up

1179
01:05:40,680 --> 01:05:43,560
Speaker 5: or pretending to not wake up while he like voices

1180
01:05:43,640 --> 01:05:45,840
Speaker 5: the Jacket trying to rouse him from his sleep.

1181
01:05:46,600 --> 01:05:49,040
Speaker 3: Oh yeah, it's earlier. It's like when he was doing

1182
01:05:49,120 --> 01:05:51,280
Speaker 3: the voice of the Jacket trying to get his attention

1183
01:05:51,400 --> 01:05:53,280
Speaker 3: to make him stop reading and he has to put

1184
01:05:53,280 --> 01:06:00,720
Speaker 3: the book away. Yeah, so George, he's out with his camera.

1185
01:06:01,520 --> 01:06:03,840
Speaker 3: There's another scene where he like directs a man who

1186
01:06:03,920 --> 01:06:06,680
Speaker 3: operates an excavator and he makes this guy dig a

1187
01:06:06,680 --> 01:06:08,880
Speaker 3: big hole in the ground, and I was thinking, what

1188
01:06:09,000 --> 01:06:11,120
Speaker 3: is he going to bury a bunch of bodies in there? Nope,

1189
01:06:11,200 --> 01:06:13,440
Speaker 3: he's gonna bury the jackets. He's got to get rid

1190
01:06:13,440 --> 01:06:15,600
Speaker 3: of all the jackets. His car is full of them.

1191
01:06:16,080 --> 01:06:17,600
Speaker 3: The bodies he just leaves wherever.

1192
01:06:18,000 --> 01:06:18,640
Speaker 4: So oh.

1193
01:06:18,680 --> 01:06:21,600
Speaker 3: And also he sort of beats and abuses the jackets

1194
01:06:21,640 --> 01:06:23,920
Speaker 3: before he covers them with earth, like he's beating one

1195
01:06:23,960 --> 01:06:26,840
Speaker 3: of the jackets with a pipe, and then he covers

1196
01:06:26,880 --> 01:06:27,600
Speaker 3: them up with earth.

1197
01:06:28,560 --> 01:06:29,200
Speaker 1: And then.

1198
01:06:31,040 --> 01:06:32,920
Speaker 3: There's kind of an interesting moment after this where he

1199
01:06:33,160 --> 01:06:36,080
Speaker 3: leans over a rushing mountain stream and drinks from the

1200
01:06:36,120 --> 01:06:37,560
Speaker 3: water like a wild.

1201
01:06:37,200 --> 01:06:39,760
Speaker 4: Animal, like a deer. Yeah.

1202
01:06:39,880 --> 01:06:43,320
Speaker 3: So George meets with Denise yet again. Now she's got

1203
01:06:43,360 --> 01:06:46,320
Speaker 3: a ton of cash, she says, her father sold his

1204
01:06:46,360 --> 01:06:49,320
Speaker 3: butcher shop and now she's loaded. She has fifty thousand

1205
01:06:49,360 --> 01:06:53,720
Speaker 3: euros and she announces that she is officially taking over production.

1206
01:06:53,920 --> 01:06:56,480
Speaker 3: She's the producer. Now what can he do about it?

1207
01:06:56,800 --> 01:07:00,000
Speaker 3: She's bringing the money. How can he argue? She said,

1208
01:07:00,240 --> 01:07:02,520
Speaker 3: he needs guidance in his work. It's a mess, and

1209
01:07:02,560 --> 01:07:04,440
Speaker 3: she's going to have to instruct him on the art

1210
01:07:04,480 --> 01:07:05,280
Speaker 3: of filmmaking.

1211
01:07:05,840 --> 01:07:06,919
Speaker 4: He's frustrated.

1212
01:07:06,960 --> 01:07:09,000
Speaker 3: He kind of tries to resist, but he also just

1213
01:07:09,040 --> 01:07:12,880
Speaker 3: wants the money, and she explains, look, the money is

1214
01:07:12,920 --> 01:07:15,840
Speaker 3: not for you, it is for the film. This is

1215
01:07:15,920 --> 01:07:19,400
Speaker 3: business here, and she says that in fact, she knows

1216
01:07:19,480 --> 01:07:22,360
Speaker 3: he's been lying about being a filmmaker, lying about the

1217
01:07:22,360 --> 01:07:25,720
Speaker 3: producers in Siberia, and there's a great cover here where

1218
01:07:25,720 --> 01:07:27,880
Speaker 3: he's like, I'm not lying. They sent a fax this

1219
01:07:27,960 --> 01:07:30,680
Speaker 3: morning telling me they had died in an avalanche. That's

1220
01:07:30,680 --> 01:07:32,040
Speaker 3: why I couldn't reach them.

1221
01:07:32,360 --> 01:07:33,360
Speaker 4: And I don't know.

1222
01:07:33,400 --> 01:07:35,480
Speaker 3: Something's not lying up there. They died, but they sent

1223
01:07:35,520 --> 01:07:40,040
Speaker 3: a fax, and he says we but she's known since

1224
01:07:40,080 --> 01:07:43,320
Speaker 3: the beginning that it was all a fraud and she says,

1225
01:07:43,360 --> 01:07:47,040
Speaker 3: you're nothing, no one, no producers, just a guy alone.

1226
01:07:47,520 --> 01:07:50,160
Speaker 3: He points out that she is in fact alone too,

1227
01:07:50,720 --> 01:07:52,760
Speaker 3: and then she says everyone is alone.

1228
01:07:53,160 --> 01:07:54,160
Speaker 4: Oh good, come back.

1229
01:07:55,200 --> 01:07:57,640
Speaker 3: But she does want to make a film, and that's

1230
01:07:57,640 --> 01:07:59,760
Speaker 3: what they're gonna do. She says, we can be alone

1231
01:07:59,760 --> 01:08:02,120
Speaker 3: to get other and we can make a great movie.

1232
01:08:02,960 --> 01:08:03,200
Speaker 4: Now.

1233
01:08:03,240 --> 01:08:06,360
Speaker 3: He tentatively agrees, but first he needs to do something.

1234
01:08:06,720 --> 01:08:10,080
Speaker 3: He needs deer skin gloves, so she's got to buy

1235
01:08:10,120 --> 01:08:12,800
Speaker 3: them for him. So the next thing, they're like at

1236
01:08:12,840 --> 01:08:15,600
Speaker 3: a clothing shop and he's trying on deer skin gloves

1237
01:08:15,640 --> 01:08:18,280
Speaker 3: in the mirror, getting all hyped up, and Denise is

1238
01:08:18,360 --> 01:08:19,120
Speaker 3: encouraging him.

1239
01:08:19,120 --> 01:08:20,920
Speaker 4: She's like, yeah, yeah, And.

1240
01:08:21,000 --> 01:08:24,040
Speaker 3: The shop worker asks if he's interested maybe in trying

1241
01:08:24,040 --> 01:08:27,360
Speaker 3: on some synthetic leather gloves. He says, do I look

1242
01:08:27,439 --> 01:08:30,120
Speaker 3: like the synthetic type? Denise says, don't you see his

1243
01:08:30,200 --> 01:08:34,679
Speaker 3: killer style? So next George and Denise, he's like fully

1244
01:08:34,720 --> 01:08:38,280
Speaker 3: suited now, head to toe deer skin, and they go

1245
01:08:38,320 --> 01:08:42,439
Speaker 3: out driving on the mountain roads and George he stops

1246
01:08:42,560 --> 01:08:45,280
Speaker 3: at one point along the highway and gives the camera

1247
01:08:45,360 --> 01:08:49,120
Speaker 3: to Denise and tells her to film him. So he

1248
01:08:49,200 --> 01:08:52,679
Speaker 3: climbs up on a hill beside the highway and dances around,

1249
01:08:53,000 --> 01:08:56,360
Speaker 3: showing off his glorious head to toe deer skin outfit

1250
01:08:56,960 --> 01:08:59,680
Speaker 3: and saying over and over again for Denise to film him.

1251
01:09:00,040 --> 01:09:03,120
Speaker 3: And then suddenly, from out of nowhere, a shot rings

1252
01:09:03,160 --> 01:09:06,040
Speaker 3: out and George falls over dead. He's been hitting the

1253
01:09:06,080 --> 01:09:08,719
Speaker 3: head by a bullet, and we see from far away

1254
01:09:08,880 --> 01:09:12,000
Speaker 3: a man holding a rifle who shot George. It was

1255
01:09:12,240 --> 01:09:15,080
Speaker 3: the father of the boy who George hit with the rock.

1256
01:09:15,200 --> 01:09:17,600
Speaker 3: The other day, the boy is in the car with

1257
01:09:17,680 --> 01:09:19,920
Speaker 3: like a bandage on his head.

1258
01:09:19,880 --> 01:09:21,759
Speaker 5: And he's sitting there eating a sandwich.

1259
01:09:22,360 --> 01:09:24,920
Speaker 3: I didn't notice the sandwich. I should go back and

1260
01:09:24,960 --> 01:09:29,920
Speaker 3: look for that. Yeah, eating a sandwich at the execution? Yeah,

1261
01:09:29,960 --> 01:09:32,679
Speaker 3: so But anyway, so George gets hit with the bullet.

1262
01:09:32,840 --> 01:09:36,919
Speaker 3: He falls down and Denise keeps filming. She approaches George's

1263
01:09:37,000 --> 01:09:39,960
Speaker 3: body and begins to take off his deer skin. She

1264
01:09:40,200 --> 01:09:43,479
Speaker 3: takes off the gloves and the jacket, filming the whole time.

1265
01:09:43,960 --> 01:09:46,679
Speaker 3: Then she puts the jacket on herself and looks into

1266
01:09:46,760 --> 01:09:50,040
Speaker 3: the camera and it's, you know, there's a transformation. It's

1267
01:09:50,040 --> 01:09:53,080
Speaker 3: like I am deer skin now. And that's the end

1268
01:09:53,120 --> 01:09:55,920
Speaker 3: of the main actions. She dons the deer skin. We

1269
01:09:56,000 --> 01:09:58,519
Speaker 3: get the credits. There is a post credit scene where

1270
01:09:58,520 --> 01:10:01,920
Speaker 3: we see video footage playing on a TV screen and

1271
01:10:02,000 --> 01:10:04,479
Speaker 3: it shows a herd of deer wandering on a ridge

1272
01:10:04,479 --> 01:10:06,600
Speaker 3: in the woods, and then the camera turns back and

1273
01:10:06,640 --> 01:10:09,960
Speaker 3: we see George's holding it. But after this we go

1274
01:10:10,040 --> 01:10:12,679
Speaker 3: to the closing credits music, which is a great needle

1275
01:10:12,760 --> 01:10:16,240
Speaker 3: drop of I can't remember if we mentioned this already

1276
01:10:16,240 --> 01:10:18,960
Speaker 3: on Mike, but it's a wonderful song that I was

1277
01:10:19,000 --> 01:10:21,960
Speaker 3: not familiar with before called Don't Make the Good Girls

1278
01:10:22,000 --> 01:10:23,559
Speaker 3: Go Bad by Della Humphrey.

1279
01:10:23,640 --> 01:10:24,439
Speaker 4: It's awesome.

1280
01:10:24,880 --> 01:10:27,880
Speaker 5: Yeah, I really enjoyed this too, and I wasn't sure

1281
01:10:27,920 --> 01:10:31,599
Speaker 5: how to exactly how to take that post credits scene.

1282
01:10:31,600 --> 01:10:34,320
Speaker 5: He's also sort of like either pointing or reaching back

1283
01:10:34,400 --> 01:10:35,320
Speaker 5: towards the deer.

1284
01:10:35,800 --> 01:10:38,080
Speaker 3: Yeah, yeah, I didn't know exactly what to make of

1285
01:10:38,120 --> 01:10:40,759
Speaker 3: it either. I mean it's like he was so he's

1286
01:10:40,880 --> 01:10:44,080
Speaker 3: putting on these deer skinned products. So in one sense,

1287
01:10:44,080 --> 01:10:47,439
Speaker 3: he's putting on a deer suit, but you could also

1288
01:10:48,160 --> 01:10:50,360
Speaker 3: so it's like he's becoming a deer, but you could

1289
01:10:50,400 --> 01:10:54,840
Speaker 3: also think that he's consuming deer. I mean, like deer

1290
01:10:54,920 --> 01:10:57,240
Speaker 3: have to be killed to make these products, and so

1291
01:10:57,920 --> 01:11:00,800
Speaker 3: he is. We could be looking at them in a

1292
01:11:00,840 --> 01:11:03,160
Speaker 3: predatory way, like he wants to harvest all of their

1293
01:11:03,200 --> 01:11:05,880
Speaker 3: skin and wear it all, or if I don't know,

1294
01:11:05,960 --> 01:11:09,479
Speaker 3: I don't know what the sense of identification there is

1295
01:11:09,520 --> 01:11:12,840
Speaker 3: it a predatory gaze and a gaze of identification and

1296
01:11:12,920 --> 01:11:16,160
Speaker 3: becoming like I wouldn't to be you. I'm not quite

1297
01:11:16,240 --> 01:11:22,200
Speaker 3: sure what is it George wants? Is it seems to

1298
01:11:22,200 --> 01:11:25,360
Speaker 3: me what he wants? You know, you could imagine versions

1299
01:11:25,400 --> 01:11:31,640
Speaker 3: of this story that have a more mature and meaningful

1300
01:11:31,720 --> 01:11:35,080
Speaker 3: and identifiable sense of longing. You know, people who want

1301
01:11:35,200 --> 01:11:38,120
Speaker 3: kind of freedom, or people in middle age who are

1302
01:11:38,240 --> 01:11:41,439
Speaker 3: unhappy with their choices and want another chance at life and.

1303
01:11:41,640 --> 01:11:42,120
Speaker 4: Things like that.

1304
01:11:42,240 --> 01:11:45,160
Speaker 3: So you maybe you can see little flashes of that

1305
01:11:45,240 --> 01:11:47,800
Speaker 3: here and there in George, But it seems like the

1306
01:11:47,800 --> 01:11:51,360
Speaker 3: main thing he wants is killer style. He wants to

1307
01:11:51,360 --> 01:11:54,400
Speaker 3: be He wants to look cool and be seen as cool,

1308
01:11:54,960 --> 01:11:58,960
Speaker 3: and there is a fundamental kind of childishness and like

1309
01:11:59,360 --> 01:12:01,400
Speaker 3: boyish maturity to him.

1310
01:12:02,040 --> 01:12:05,760
Speaker 5: Yeah, he makes a lot of jacket first decisions was

1311
01:12:05,800 --> 01:12:09,160
Speaker 5: the way I kept thinking about it, Like, I agree

1312
01:12:09,160 --> 01:12:11,760
Speaker 5: with you that, and I feel like I started off

1313
01:12:12,760 --> 01:12:15,679
Speaker 5: maybe even the first or second time I watched this movie.

1314
01:12:15,720 --> 01:12:18,080
Speaker 5: I watched it a couple times just to prepare for this,

1315
01:12:19,200 --> 01:12:21,320
Speaker 5: But on my initial viewing of it, I think I

1316
01:12:21,760 --> 01:12:24,800
Speaker 5: read a little more into it, and I saw it

1317
01:12:24,840 --> 01:12:31,360
Speaker 5: as something more akin to this person obsessed with like

1318
01:12:31,640 --> 01:12:36,519
Speaker 5: the identity of being a filmmaker or an artist over

1319
01:12:36,880 --> 01:12:42,600
Speaker 5: the substance of actually doing that art or that filmmaking.

1320
01:12:42,920 --> 01:12:44,600
Speaker 4: Oh yeah, okay.

1321
01:12:44,280 --> 01:12:46,920
Speaker 5: And when he does start to do some of the

1322
01:12:46,960 --> 01:12:49,600
Speaker 5: work he likes to do the stuff that will reinforce

1323
01:12:50,479 --> 01:12:55,240
Speaker 5: his identity as Jacket where exactly all Jacket first decisions.

1324
01:12:55,439 --> 01:12:57,439
Speaker 3: I can see what you're saying there, Yeah, there are

1325
01:12:57,800 --> 01:13:04,280
Speaker 3: I mean, people have vocational or artistic dreams.

1326
01:13:03,840 --> 01:13:06,240
Speaker 4: For themselves or is like I want to be a filmmaker.

1327
01:13:06,439 --> 01:13:08,760
Speaker 3: I want to be an artist or a writer, or

1328
01:13:09,000 --> 01:13:12,559
Speaker 3: you know, a musician or something like that. And I

1329
01:13:12,600 --> 01:13:17,000
Speaker 3: think a lot of those desires really can be decomposed

1330
01:13:17,000 --> 01:13:19,400
Speaker 3: into very different kinds of desires.

1331
01:13:19,479 --> 01:13:20,679
Speaker 4: Like somebody who.

1332
01:13:20,560 --> 01:13:25,040
Speaker 3: Wants to be a musician could be somebody who loves

1333
01:13:25,080 --> 01:13:28,280
Speaker 3: the act of like playing and writing music. They like

1334
01:13:28,320 --> 01:13:31,439
Speaker 3: being in the process. It's like the doing that they're

1335
01:13:31,479 --> 01:13:34,559
Speaker 3: excited about. Or somebody could be like I want to

1336
01:13:34,560 --> 01:13:36,920
Speaker 3: be a musician because I want to be up on

1337
01:13:37,120 --> 01:13:40,120
Speaker 3: stage and look cool and have people think I'm cool,

1338
01:13:40,280 --> 01:13:43,560
Speaker 3: and you know, I want to have my identity associated

1339
01:13:44,040 --> 01:13:46,160
Speaker 3: with the things that I associate with.

1340
01:13:46,280 --> 01:13:47,200
Speaker 4: Being a musician.

1341
01:13:48,080 --> 01:13:50,960
Speaker 3: And those are like different desires. And I'm sure that

1342
01:13:51,120 --> 01:13:53,560
Speaker 3: in you know, many people, they can sort of intermingle

1343
01:13:53,600 --> 01:13:57,120
Speaker 3: in different ad mixtures, like very different amounts. But I

1344
01:13:57,120 --> 01:14:00,519
Speaker 3: think you're exactly right that there's something in here about

1345
01:14:00,640 --> 01:14:03,120
Speaker 3: that that like he he does get very hung up

1346
01:14:03,160 --> 01:14:07,120
Speaker 3: on this idea of being a filmmaker, but, like Denise

1347
01:14:07,160 --> 01:14:10,000
Speaker 3: points out, like he doesn't. He doesn't seem to be

1348
01:14:10,040 --> 01:14:13,639
Speaker 3: paying any attention to style, Like he's not paying attention

1349
01:14:13,760 --> 01:14:16,760
Speaker 3: to the art of filmmaking and doesn't seem to care

1350
01:14:16,880 --> 01:14:20,479
Speaker 3: much about it. It's more about being able to say

1351
01:14:20,520 --> 01:14:24,639
Speaker 3: he's a filmmaker in service of being the coolest looking

1352
01:14:24,640 --> 01:14:26,479
Speaker 3: guy in the world, the only guy in the world

1353
01:14:26,520 --> 01:14:28,479
Speaker 3: who can wear this jacket, right.

1354
01:14:28,520 --> 01:14:30,640
Speaker 5: I mean, the whole reason he even says he's a

1355
01:14:30,760 --> 01:14:33,120
Speaker 5: filmmaker is it's the first thing he thinks of when

1356
01:14:33,120 --> 01:14:35,759
Speaker 5: he's put in a situation where he has to justify

1357
01:14:36,080 --> 01:14:37,439
Speaker 5: why he's wearing the jacket.

1358
01:14:37,680 --> 01:14:39,200
Speaker 4: Yes, yeah, you know.

1359
01:14:39,280 --> 01:14:42,880
Speaker 3: By contrast, it seems like Denise really does love the

1360
01:14:43,000 --> 01:14:47,200
Speaker 3: doing of the filmmaking, Like when she's talking about enjoying

1361
01:14:47,240 --> 01:14:50,160
Speaker 3: being an editor, it sounds like she likes being in

1362
01:14:50,200 --> 01:14:52,920
Speaker 3: the process, even if it is not necessarily a great

1363
01:14:53,000 --> 01:14:55,040
Speaker 3: end product, like she talks about how much she liked

1364
01:14:55,400 --> 01:14:59,200
Speaker 3: re editing pulp fiction when she says the final product sucked,

1365
01:14:59,680 --> 01:15:03,080
Speaker 3: right yeah, yeah, And one more thing before we wrap up,

1366
01:15:03,160 --> 01:15:05,400
Speaker 3: I wanted to come back to it. Does seem also

1367
01:15:05,479 --> 01:15:09,120
Speaker 3: like something here is about an interaction between these these

1368
01:15:09,160 --> 01:15:10,560
Speaker 3: pursuits and loneliness.

1369
01:15:10,640 --> 01:15:10,800
Speaker 1: Right.

1370
01:15:10,880 --> 01:15:12,200
Speaker 4: I think we talked about this at the.

1371
01:15:12,160 --> 01:15:16,160
Speaker 3: Beginning, that Denise and George both seem like characters who

1372
01:15:16,200 --> 01:15:22,840
Speaker 3: aren't not having fulfilling functional relationships. They're they're both they

1373
01:15:22,840 --> 01:15:25,599
Speaker 3: both seem like loners or lonely people in a way,

1374
01:15:27,000 --> 01:15:30,559
Speaker 3: and not necessarily by choice. And it does seem like

1375
01:15:30,720 --> 01:15:34,080
Speaker 3: that is contributing to or manifesting in some way as

1376
01:15:34,120 --> 01:15:38,800
Speaker 3: these these bizarre obsessions that end up kind of blossoming

1377
01:15:38,840 --> 01:15:40,120
Speaker 3: into aberrant behavior.

1378
01:15:41,040 --> 01:15:45,280
Speaker 5: Yeah, totally. And to Pew himself said that we're all

1379
01:15:45,320 --> 01:15:47,519
Speaker 5: a little bit George, any of us can have that

1380
01:15:47,600 --> 01:15:52,160
Speaker 5: moment where something snaps and everything collapses into obsession.

1381
01:15:52,680 --> 01:15:54,719
Speaker 3: Okay, does that do it for deer Skin?

1382
01:15:55,240 --> 01:15:56,120
Speaker 5: I think so.

1383
01:15:56,240 --> 01:15:56,479
Speaker 4: Jj.

1384
01:15:56,640 --> 01:15:58,880
Speaker 3: I really hope you have enjoyed your first turn on

1385
01:15:59,040 --> 01:16:01,360
Speaker 3: Mike on Weird House, and I hope you'll do it

1386
01:16:01,360 --> 01:16:02,160
Speaker 3: again in the future.

1387
01:16:02,400 --> 01:16:04,519
Speaker 5: Yeah, for sure. It is fun talking about this movie

1388
01:16:04,560 --> 01:16:04,720
Speaker 5: with you.

1389
01:16:05,360 --> 01:16:07,599
Speaker 3: Absolutely, I'm glad you picked it. I don't know if

1390
01:16:07,600 --> 01:16:10,280
Speaker 3: I would have seen it otherwise, but it's a hit.

1391
01:16:10,800 --> 01:16:12,880
Speaker 4: All right. Well, I guess that does it. So.

1392
01:16:13,200 --> 01:16:15,080
Speaker 3: Hey, if you are new to the show, let me

1393
01:16:15,120 --> 01:16:17,479
Speaker 3: explain a little bit about what we do here. So

1394
01:16:17,600 --> 01:16:20,880
Speaker 3: our main show is Stuff to Blow your Mind. That

1395
01:16:21,120 --> 01:16:25,519
Speaker 3: is our core science and culture show, where most episodes

1396
01:16:25,560 --> 01:16:27,280
Speaker 3: have something to do with science, but we also have

1397
01:16:27,320 --> 01:16:32,200
Speaker 3: a kind of interdisciplinary approach. We like to talk about history, mythology,

1398
01:16:32,240 --> 01:16:35,880
Speaker 3: and religion, literature and things like that, and those are

1399
01:16:35,880 --> 01:16:39,439
Speaker 3: our Tuesday Thursday episodes. Every week on Fridays we do

1400
01:16:39,600 --> 01:16:42,280
Speaker 3: this show, Weird House Cinema, where usually my co host

1401
01:16:42,400 --> 01:16:45,759
Speaker 3: Rob Lamb and I just talk about a weird movie

1402
01:16:45,920 --> 01:16:48,719
Speaker 3: and they can These movies can be old or new,

1403
01:16:48,960 --> 01:16:51,519
Speaker 3: good or bad, well known or obscure. The only real

1404
01:16:51,560 --> 01:16:55,240
Speaker 3: criterion is that it has to be weird. So we

1405
01:16:55,280 --> 01:16:57,880
Speaker 3: do these every Fridays. On Wednesdays, we do a short

1406
01:16:57,880 --> 01:17:02,600
Speaker 3: form episode on Saturday and Mondays we feature older episodes

1407
01:17:02,640 --> 01:17:05,320
Speaker 3: of the show. So yeah, if you're new, stick around,

1408
01:17:05,479 --> 01:17:09,160
Speaker 3: listen to some more, and of course subscribe wherever you

1409
01:17:09,200 --> 01:17:12,400
Speaker 3: get your podcasts. You can also if you would like

1410
01:17:12,479 --> 01:17:15,720
Speaker 3: to get just the Weird House Cinema episodes by themselves

1411
01:17:16,040 --> 01:17:18,439
Speaker 3: without everything else, you can look up Weird House Cinema

1412
01:17:18,479 --> 01:17:20,439
Speaker 3: and I think you can subscribe to that as its

1413
01:17:20,479 --> 01:17:23,439
Speaker 3: own playlist or feed. Though of course, I encourage you

1414
01:17:23,479 --> 01:17:26,559
Speaker 3: to check out all of our offerings. If you want

1415
01:17:26,600 --> 01:17:28,960
Speaker 3: to follow us on social media, we're on some of

1416
01:17:28,960 --> 01:17:31,759
Speaker 3: those I think we're on I think. I think we've

1417
01:17:31,840 --> 01:17:34,639
Speaker 3: been building up a new Instagram page after we got

1418
01:17:34,640 --> 01:17:36,800
Speaker 3: somehow locked out of our old one a while back.

1419
01:17:37,280 --> 01:17:40,840
Speaker 3: We're on some of the other socials you can find

1420
01:17:40,920 --> 01:17:46,519
Speaker 3: us on Letterboxed. Letterboxed is a sort of community film

1421
01:17:46,560 --> 01:17:49,519
Speaker 3: sharing site. You can find us there under weird House

1422
01:17:50,000 --> 01:17:52,040
Speaker 3: and let's see. I guess that's it for now, so

1423
01:17:52,760 --> 01:17:56,439
Speaker 3: JJ thanks once again, thanks as always for being our

1424
01:17:56,520 --> 01:17:59,519
Speaker 3: excellent audio producer, but double thanks today for joining me

1425
01:17:59,560 --> 01:18:01,559
Speaker 3: on Mike. I really really appreciate it and I had

1426
01:18:01,600 --> 01:18:04,960
Speaker 3: a great time talking to you and let's see. Oh

1427
01:18:05,120 --> 01:18:07,040
Speaker 3: last thing, of course, if you would like to get

1428
01:18:07,040 --> 01:18:09,600
Speaker 3: in touch with us with feedback on this episode or

1429
01:18:09,640 --> 01:18:12,160
Speaker 3: any other, to suggest a topic for the future, or

1430
01:18:12,240 --> 01:18:15,040
Speaker 3: just to say hello, you can email us at contact

1431
01:18:15,120 --> 01:18:23,880
Speaker 3: at stuff to Blow your Mind dot com.

1432
01:18:24,080 --> 01:18:27,000
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1433
01:18:27,120 --> 01:18:29,880
Speaker 2: more podcasts from My Heart Radio, visit the iHeartRadio app,

1434
01:18:30,040 --> 01:18:33,280
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.