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Speaker 1: Yo, Casey, Hi Millie. How's it going.

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Speaker 2: Fine?

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Speaker 1: It's going Actually, it's going great because we're about to

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Speaker 1: do an amazing podcast together again.

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Speaker 2: Yeah, it's a thrilling day.

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Speaker 1: It is.

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Speaker 3: So we're gonna do another round of our film diary

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Speaker 3: because I know you all want to know.

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Speaker 1: And yes, we're gonna get really sensitive today because we're

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Speaker 1: talking about a film that is very meaningful to me.

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Speaker 1: It's called Garden State. And we're also gonna touch upon

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Speaker 1: a little thing called the uh Manic Pixie dream Girl,

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Speaker 1: which I have a lot to say. I'm sure you do.

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Speaker 3: I have quite a bit to say as well. And then,

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Speaker 3: because we're gonna be talking about some sense TiVos, I've

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Speaker 3: prepared a wonderful game that I'm gonna make you play

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Speaker 3: about some sensitive boys in film.

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Speaker 1: So well, I am a sensitive boy, So I'm very excited.

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Speaker 3: All of this and more on this episode of Dear Movies,

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Speaker 3: I Love You.

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Speaker 1: I love you, and I've got to know you love me.

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Speaker 1: To check the books.

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Speaker 3: Welcome to Dear Movies, I Love You. This is the

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Speaker 3: podcast for those who are in a doomed relationship with movies.

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Speaker 3: I'm your host, Millie to Jericho and I'm.

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Speaker 2: Your other host, Casey O'Brien.

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Speaker 1: Oh, Millie, Yes, we got a lot to talk about today.

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Speaker 3: We definitely do. This episode is going to feel like

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Speaker 3: I'm gonna learn a lot about you. I just have

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Speaker 3: this weird feeling about it. Would that be fair to say?

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Speaker 2: Are you fearful?

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Speaker 1: No? I feel I'm worried. I'm going to reveal things

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Speaker 1: on this podcast that are going to make you reconsider

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Speaker 1: hosting a podcast with me, knowing me as a human being.

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Speaker 1: Oh so there's that. I mean, we're going to get

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Speaker 1: into it now.

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Speaker 3: I kind of see it as you're like this overgrown

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Speaker 3: garden to discover when it.

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Speaker 1: Comes to to be needed.

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Speaker 3: Because we have a lot of similar tastes in movies,

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Speaker 3: I would say yeah, more than I actually thought. I

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Speaker 3: gotta admit, because you never know, you know, when you

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Speaker 3: meet people in the film streets, you're like, what are

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Speaker 3: they into? And then you're like, oh, they only like

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Speaker 3: I don't know, they only like Michael Bay movies or something,

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Speaker 3: and you're like, oh, okay, gotcha, and they're like, I'm

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Speaker 3: a film freak just like you, and I'm like.

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Speaker 1: We're not the same. But there was a lot of

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Speaker 1: guys I went to film school with that. There's a

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Speaker 1: specific type of film school guy who I steered clear from.

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Speaker 1: But they were everywhere. And it's guys whose favorite movie

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Speaker 1: is Indiana Jones and they would also wear a fedora

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Speaker 1: at film school. And this is like a very specific

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Speaker 1: type of guy and it says a lot about them.

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Speaker 1: I like Indiana Jones.

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Speaker 3: But yeah, sure, sure, But you know, I don't want

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Speaker 3: to say that. There are cinematic red flags when it

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Speaker 3: comes to meeting people, right, Oh, but there are. But yeah,

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Speaker 3: I was gonna say, is there some movie or some

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Speaker 3: director or something that is immediately like when an eyebrow

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Speaker 3: gets raised with you when you talk to someone.

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Speaker 1: Oh, yes, certainly. I feel like I'm gonna be struck

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Speaker 1: dead in the art house world for saying something like this.

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Speaker 1: But when people are like I love Gadard, sure, I

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Speaker 1: find that I'm like, shut the fuck up. His movies

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Speaker 1: are boring and they suck. That's certainly one I would say.

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Speaker 1: I don't hear this. But if someone like loved Lars

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Speaker 1: von Dreer, I think that would be another one for me.

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Speaker 2: Yeah, what about you?

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Speaker 3: I should I'd probably be struck dead if I said this.

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Speaker 1: But I'm gonna go for it. Why not.

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Speaker 3: There's also like people who I have met who only

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Speaker 3: watch A twenty four movies and pretty much nothing else.

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Speaker 1: Oh, A twenty four is becoming that there's a film

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Speaker 1: fandom there that is becoming nasty. It's growing, and I

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Speaker 1: mean in some ways it's like I like that art

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Speaker 1: house cinema is being held up and people are excited

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Speaker 1: for it. But I know exactly the type of man

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Speaker 1: you're talking about.

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Speaker 3: Okay, Incredible movies come out on A twenty four, no

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Speaker 3: doubt about it. Some of the best modern movies have

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Speaker 3: come out on that.

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Speaker 1: I want to say label, but it's a label production production.

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Speaker 1: But that's what I mean.

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Speaker 3: It has become such a branded thing where people are

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Speaker 3: like really only kind of focusing on that and all

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Speaker 3: of the output and not watching other.

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Speaker 1: People's movies, do you know what I mean?

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Speaker 3: Like they just know, oh, well, this is my this

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Speaker 3: is my brand, Like I don't go outside the brand.

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Speaker 3: And it feels very kind of modern capitalism in a

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Speaker 3: way to be like I only watch movies from this

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Speaker 3: one production company.

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Speaker 1: Yeah.

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Speaker 3: Also there's like a vibe associated with it too, which

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Speaker 3: I think people have really bought into.

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Speaker 1: So I don't know.

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Speaker 3: Again, that's it's probably gonna make me persona on grata.

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Speaker 1: I suppose for saying that.

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Speaker 3: But I'm also like, come on, like, there are other

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Speaker 3: movies that come out and have come out beyond this,

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Speaker 3: So I hear you just have some variety, you know.

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Speaker 1: Absolutely, And maybe we can help with that with our

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Speaker 1: film diary section to the podcast where we go through

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Speaker 1: the movies we watched in the last week, we discussed them,

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Speaker 1: and let me just ask you this before we jump in,

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Speaker 1: and this might be its own segment at some point,

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Speaker 1: But what's your like film watching process? Do you have

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Speaker 1: to like have a certain snack with you? Do you

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Speaker 1: have to like turn all the lights off? Are you like,

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Speaker 1: is that like a hallowed space? Or are you like

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Speaker 1: watching you know, Lawrence of Arabi on your phone in bed?

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Speaker 1: Or so where where do you draw the line?

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Speaker 3: Watching Lawrence of Arabia on my phone would be a

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Speaker 3: fucking nightmare?

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Speaker 1: Yes?

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Speaker 3: So are you talking about in the theater or at home?

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Speaker 1: At home?

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Speaker 2: At home the home movie watching experience.

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Speaker 3: So here is the play and truth is that I've

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Speaker 3: become that middle aged person that can easily fall asleep

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Speaker 3: in a movie, even if it's riveting, even if it's

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Speaker 3: Indiana Jones, Do you know what I mean. Yeah, So

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Speaker 3: I've kind of switched things up and started watching movies

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Speaker 3: in the morning.

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Speaker 1: That's good fresh or in the early afternoon.

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Speaker 3: Right, I gotta say I love a morning movie, and

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Speaker 3: even in the theater. I love going to the theater

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Speaker 3: in the morning, like you know before two pm, the

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Speaker 3: Senior Citizens hour where you get the good discounts on things.

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Speaker 1: So I watch things in the morning.

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Speaker 3: And to be honest, the best thing for me is

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Speaker 3: to like get up, make coffee, maybe make some toast, sure,

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Speaker 3: and just watch a movie like within an hour or

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Speaker 3: an hour and a half after I get.

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Speaker 1: Up, when your brain is fresh ready to absorb.

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Speaker 3: Yeah, fresh brain, and it's not as distracting. Yeah, and

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Speaker 3: I don't feel as tired. I just I don't know.

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Speaker 3: I just love that. So that's been me for the

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Speaker 3: past year or so or more. Okay, what about you?

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Speaker 1: You know I used to be like really finicky about

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Speaker 1: like the room has to be completely black, I need

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Speaker 1: to like watch it all in one sitting without stopping

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Speaker 1: the movie. But since I've had a child, things have

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Speaker 1: become real lax. I'm watching on a laptop sometimes I'm

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Speaker 1: watching in fragments, and honestly, it hasn't ruined the overall experience.

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Speaker 1: You know, it's better to watch a movie though any

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Speaker 1: way you can, than not at all. And I was

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Speaker 1: watching them not at all because I didn't have like

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Speaker 1: a you know, a four hour block of time to

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Speaker 1: watch like John Deelman or whatever. Yeah, which is like

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Speaker 1: what I used to do before. It was like, all right,

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Speaker 1: turn my phone off. I'm zoned in on this movie.

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Speaker 1: But I've become more easygoing as I've gotten older. Yes,

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Speaker 1: that's good. That's good.

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Speaker 3: You don't want to get more rigid? Yeah, exactly, life

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Speaker 3: is gonna be harder. They're more rigid.

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Speaker 1: You are. I'm just telling you right now, it's true.

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Speaker 4: Maley.

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Speaker 1: I gotta hear. I want to hear what movies you

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Speaker 1: watched this past week? Please tell me? Yeah?

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Speaker 3: So okay, film diary this week? First up, I watched

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Speaker 3: Anora Seawan Baker's Anora.

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Speaker 1: Fuck.

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Speaker 2: I need to see it.

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Speaker 1: Would you think it's fantastic? Damn? I gotta see it.

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Speaker 3: A huge fan of Sean Baker, me too. I fucking

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Speaker 3: love Red Rocket. See I haven't seen Red Rocks like.

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Speaker 3: I'm a fan more than all of y'all are of

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Speaker 3: Red Rocket. I'm just gonna throw that out there. Wow,

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Speaker 3: like the whole Cybin Rex phenomenon.

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Speaker 1: Yes, I love this.

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Speaker 3: I love this. I love him. I have loved him

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Speaker 3: since the nineties when I used to see him on

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Speaker 3: MTV TV and I just loved the trajectory of his

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Speaker 3: career and like he's sort of like he's really kind

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Speaker 3: of like self effacing and very like no bullshit about

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Speaker 3: things in his life. Yeah, which I really appreciate.

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Speaker 2: He's a dynamic person.

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Speaker 1: Yeah. And I want to see Red Rocket because I

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Speaker 1: want to see him up on the screen. I think

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Speaker 1: he got the call to like be in that movie

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Speaker 1: like a few days before they started shooting. Really. Yes.

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Speaker 3: And also Sean Baker, just because we're friends on Instagram.

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Speaker 3: I mean not that we interact, but.

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Speaker 2: You know, he's a good letterboxed follow he is.

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Speaker 1: Yeah.

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Speaker 3: Yeah, Yeah, he's a huge exploitation fan, which is great.

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Speaker 3: I mean I love that about him. So so I

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Speaker 3: saw Nura, loved it. I thought it was very, very charming.

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Speaker 3: So I then saw Pumping Iron two.

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Speaker 1: The women. Fuck, I didn't know there was a Pumping

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Speaker 1: Iron two.

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Speaker 3: Little of us did.

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Speaker 1: And I will say few of us knew.

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Speaker 3: Shame because it This is my letterbox review, verbatim and

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Speaker 3: all vibes. Masterpiece five stars, five stars, five stars. Pumping

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Speaker 3: Iron to the women is better than pumping iron, and

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Speaker 3: I hold pumping Iron in the highest esteem, like everybody

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Speaker 3: knows why. I mean, you've got young Arnold talking about

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Speaker 3: how working out is like ejaculating exactly, and then you've

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Speaker 3: got like loof Forregno and his dad. I mean, there's

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Speaker 3: so many charring parts to Pumping Iron, but like Pumping

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Speaker 3: Iron two is its own fucking beautiful universe. Like there's glamour,

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Speaker 3: there's lots of backstories, there's this like we speaking of

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Speaker 3: sensitive boys. There's a man in the movie who is

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Speaker 3: a bodybuilder and he's married to one of the bodybuilder

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Speaker 3: women who are competing in the Big competition, and he

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Speaker 3: is a wife guy of the highest order. I'm obsessed

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Speaker 3: with him, but not even like an annoying wife, like

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Speaker 3: a true, beautiful soul wife guy, like an eighty his

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Speaker 3: wife guy, which was hard to do back in the

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Speaker 3: eighties to be that. But he is great, and the

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Speaker 3: whole movie is so good and the music is great,

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Speaker 3: so I had to watch it on YouTube.

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Speaker 1: I think it's on YouTube. Wow.

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Speaker 3: But it is so good, Okay, I encourage everybody to

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Speaker 3: see it.

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Speaker 1: Amazing.

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Speaker 3: I also watched this documentary. This is like a total

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Speaker 3: swing in the other direction. I watched the documentary about

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Speaker 3: merchant Ivory. Oh, okay, the filmmaker's merchant Ivory. Yeah, I

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Speaker 3: think it's just called merchant Ivory. It was directed by

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Speaker 3: Steven Sussie. I think it's his name s ou see

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Speaker 3: why And I don't know if you've had a long

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Speaker 3: history with watching those movies like Room with a.

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Speaker 1: View, I've only seen The Butler. Why am I blanking

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Speaker 1: on the name? I read the book too, Remains of

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Speaker 1: the Day, The Remains of the Day. I love that

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Speaker 1: movie and I love that book. But that's the only

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Speaker 1: merchant Ivory movie I've seen. I guess Call Me by

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Speaker 1: Your Name was written by Yes, James Ivory.

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Speaker 3: Correct, basically if you don't know and Ivory. They were

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Speaker 3: the creators of these very speaking of vibes, viby, sort

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Speaker 3: of Edwardian era England.

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Speaker 2: Gentle kind of movies, would you.

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Speaker 3: Say, gentil lush scenery. It's like a lot of farmhouses

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Speaker 3: in England in the countryside, with like parasols, and big dresses.

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Speaker 3: Helena bottom carter and a messy bun that's just like cascading,

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Speaker 3: you know, down.

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Speaker 1: Her shoulders, caskating messy bun.

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Speaker 3: Yeah, cas skating messy buns, but like that. You know.

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Speaker 3: They've done several movies over the years, and Ismael Merchant

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Speaker 3: and James Ivory were essentially a couple they met. I

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Speaker 3: mean I think Ismail Merchant was maybe twenty four when

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Speaker 3: he met James Ivory, and they met in like, you know,

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Speaker 3: the sixties or the fifties or sixties, and they basically

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Speaker 3: were like a gay couple at a time where gay

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Speaker 3: couples were not chill, especially in England. I mean, you

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Speaker 3: could get arrested for being gay in England back in

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Speaker 3: the sixties. And they were like creative collaborators. They bring

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Speaker 3: in all the usual suspects, so you've got like Emma

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Speaker 3: Thompson and like Hugh Grant and all the people that

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Speaker 3: were in their films. Helen on a bottom carter of course,

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Speaker 3: and then they bring in all of these other people

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Speaker 3: that worked on the films, and then it was just

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Speaker 3: kind of this like oh, they had this farmhouse, like

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Speaker 3: I said, in the English countryside, and they had the

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Speaker 3: ware they edited was in a barn with like Ivy

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Speaker 3: growing up the walls and.

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Speaker 1: God, what a dream.

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Speaker 3: And then people would come and like live there for

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Speaker 3: months at a time to work on their films, you know,

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Speaker 3: like their composers and their you know, story editors and everything.

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Speaker 3: And I was just like every minute that went by,

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Speaker 3: I started getting so in my feelings and I was like,

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Speaker 3: I am depressed that I had never met my life

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Speaker 3: partner at twenty four and made movies with.

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Speaker 1: Them until I died.

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Speaker 3: Like I was literally sitting there going like, why did

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Speaker 3: that not happen for me?

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Speaker 1: You fucked up? I know.

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Speaker 3: And I just was like, I mean, you know, and

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Speaker 3: of course, you know, being in a relationship for that

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Speaker 3: long is very complicated, especially if you work together. But

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Speaker 3: you know, and they talk about that a bit, but

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Speaker 3: I was like, I hate my life.

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Speaker 1: I wish I'd had their life, Relly.

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Speaker 3: I was really in my feelings about it.

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Speaker 1: I was I want it. I want this life sucks?

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Speaker 1: Why am I me?

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Speaker 3: And that's it's a fan If you're a fan, even

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Speaker 3: if you're like a kind of like just curious about them,

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Speaker 3: it's a good watch. And the last movie I watch

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Speaker 3: in my film.

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Speaker 1: Diary this week is.

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Speaker 3: Again another big swing in another direction was the two

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Speaker 3: thousand and nine movie called Obsessed, starring Beyonce.

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Speaker 1: Yep and Interest Elba and Ali Lauter. Beyonce really gave

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Speaker 1: up on acting, didn't she. She was trying to make

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Speaker 1: that happen for a while, and I don't know if

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Speaker 1: she was very good as an actor.

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Speaker 3: We were talking about that as we were watching it,

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Speaker 3: because I had actually seen it before, and I was

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Speaker 3: trying to get my friends and Eddie to watch it

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Speaker 3: because my friend Eddie has this fascination and love for

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Speaker 3: Ali Lauter, And I was like, have you ever seen Obsessed?

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Speaker 3: And he was like no, And I'm like, what, It's

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Speaker 3: only the best milk toast erotic thriller I've ever seen.

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Speaker 3: But that's the thing is that, like Beyonce. We were

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Speaker 3: talking about this because I was like, Okay, should we

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Speaker 3: do a Beyonce film festival? What would be included? And

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Speaker 3: it would be like gold Member? Wasn't she in Goldmember?

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Speaker 2: She was in gold Member?

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Speaker 1: Yeah, sort of.

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Speaker 3: Playing that like fake Pam mcgreer character. I didn't think

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Speaker 3: she was that good. Gotta be honest and listen, I'm

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Speaker 3: in the Beehive.

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Speaker 2: I didn't think she was good.

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Speaker 3: I'm in the Beehive and I can say this, sure

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Speaker 3: we both are, yes. And then I think she was

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Speaker 3: in like Cadillac Records and a couple of other.

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Speaker 1: Like she played Eda James in Cadillac or right, she's

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Speaker 1: in another kind of like fifties motown adjacent Dreamgirls.

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Speaker 3: Oh yeah, dream Girls. But also what is it called

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Speaker 3: Fighting Temptations or something like.

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Speaker 1: That, I don't know, in The Lion King. She was

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Speaker 1: in The Lion King. Yeah.

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Speaker 3: Well, and so needless to say, I think we were

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Speaker 3: all pressed to find something.

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Speaker 1: I don't know. If i'd be attending that film festival movie.

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Speaker 3: Yeah, I know, And if only she'd been in a

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Speaker 3: merchant Ivory movie, we'd be having a much different discussion.

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Speaker 3: Only But that movie Obsessed is so funny, and I

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Speaker 3: think you know why I'm saying it's funny. It's ridiculous.

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Speaker 3: Like it is a ridiculous movie. It sort of feels

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Speaker 3: like a Tyler Perry movie without Tyler Perry.

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Speaker 1: Kim Kardashian's not in that movie, is she? No no, no,

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Speaker 1: no, no no.

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Speaker 3: But it's supposed to be an erotic thriller, but there's

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Speaker 3: no stakes, there's no eroticness to it at all. So

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Speaker 3: if you want to see a movie rereat Beyonce goes Hay,

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Speaker 3: I'm on Allie latter, you should check it out.

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Speaker 1: And that's it for me. Kim Kardashian was in the

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Speaker 1: movie Temptation Confessions of a Marriage Counselor, which is a

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Speaker 1: movie by Tyler Perry.

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Speaker 3: Okay, that's where we're getting confused.

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Speaker 1: That's where we're crossing wires there. Wow, what a week

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Speaker 1: for you, Elly? Yeah?

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Speaker 3: Real crazy? So what about you?

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Speaker 2: I have a pathetic week compared to you.

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Speaker 1: I saw the movie wish Master from nineteen ninety seven,

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Speaker 1: which is very funny. It's like an evil Genie comes

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Speaker 1: back and basically he can only use his powers if

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Speaker 1: used within a wish, so he's tricking people into making

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Speaker 1: wishes and they'll be like like this woman in a

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Speaker 1: working in a clothing store was like, oh my gosh,

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Speaker 1: that other woman over there is beautiful, and he's like,

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Speaker 1: don't you wish you were the most beautiful woman on earth?

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Speaker 1: And she's like, I guess so, and he's like, then

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Speaker 1: say it, and then he like kills her. It's very

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Speaker 1: bad and stupid.

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Speaker 3: Is stars the late Tony Todd. Am I wrong about that?

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Speaker 1: Tony Todd, I believe does make an appearance, all right,

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Speaker 1: pe King Well doesn't. Maybe he doesn't start.

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Speaker 2: No, he's just in there.

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Speaker 1: So Tony Todd, Robert England is in it a lot,

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Speaker 1: and the guy who played Jason is in it. There's

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Speaker 1: like a lot of other horror movie people in it. Okay.

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Speaker 2: Then I watched The Substance.

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Speaker 1: That was great.

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Speaker 3: I haven't seen it yet. Everybody's like asking me if

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Speaker 3: I had seen it, and I have to say no.

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Speaker 1: I love a horror movie that has a lot of

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Speaker 1: goo in it, and this is a very goo forward movie.

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Speaker 1: I love body horror. It reminded me of Brian Usna's Society.

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Speaker 1: If you've ever seen that movie, it's great cool. I

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Speaker 1: would even consider doing an episode on it. I think

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Speaker 1: there's a lot to say about that movie. Okay. And

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Speaker 1: then I watched the two thousand and two comedy written

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Speaker 1: by Mike White called Orange County. I was just in

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Speaker 1: the mood to see this movie. I remember really liking

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Speaker 1: it when it came out, and it's a fun You know,

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Speaker 1: my wife Tricia is from Orange County and so it

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Speaker 1: was kind of fun to watch that. Yeah, talk about

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Speaker 1: life in Orange County, and it's got a Jack Black

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Speaker 1: before School of Rock, you know, before he blew up,

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Speaker 1: Colin Hanks, Colin Hanks, Catherine O'Hara, John Lithgow, Harold ramis inclined.

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Speaker 2: There's a lot of people in it. Yeah, so Lily Tomlin.

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Speaker 3: I love Mike White, will watch anything he does.

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Speaker 2: So Yeah, I have actually never seen Chuck and Buck.

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Speaker 3: Oh we did it for I saw what you did.

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Speaker 1: I know you did.

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Speaker 2: Yeah, I didn't watch it.

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Speaker 1: Yeah.

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Speaker 3: My favorite of his is Enlightened. I was obsessed with

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Speaker 3: Enlightened when it came out on HBO, to the point

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Speaker 3: where when it ended, I think I actually wrote an

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Speaker 3: email to someonet internally, because at the time that this happened,

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Speaker 3: I was working for Warner Brothers Discovery, which of course

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Speaker 3: owns HBO, and I was like, let me find somebody

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Speaker 3: at HBO write a letter, like just some maniac woman

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Speaker 3: who sends a blind email complaining about a show getting canceled.

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Speaker 3: I was so pissed.

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Speaker 1: Did you get a response?

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Speaker 3: No, of course not.

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Speaker 1: I feel like I make emails like that, like cold

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Speaker 1: emails to random people, and like out of a thousand

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Speaker 1: of them, one of them gets answered or like gets

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Speaker 1: a response, and that so is thrilling. Actually, I have

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Speaker 1: kind of a story related to the movie we're talking

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00:19:59,400 --> 00:20:02,000
Speaker 1: about today, kind of I guess to a cold email

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00:20:02,040 --> 00:20:04,040
Speaker 1: that got responded to that I was going to bring up.

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Speaker 1: But that's great, that's our film Diary. That's it, dear diary.

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Speaker 1: Millie was mean today. Let's move on to the big

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Speaker 1: show of what we're talking about today.

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Speaker 3: So let's I don't know, I'm cracking my knuckles. I

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00:20:32,320 --> 00:20:33,199
Speaker 3: don't know if you can hear it.

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Speaker 1: Yeah, because I'm.

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Speaker 3: Settling in on this movie that we're going to talk

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Speaker 3: about this time period. Like when we talked about potentially

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Speaker 3: bringing this movie to the podcast just to chat it up,

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Speaker 3: I immediately was sent back to a time and place.

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Speaker 1: Yes, well, I floated the idea to you, and I

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Speaker 1: was worried you were gonna pick it up and then

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Speaker 1: throw it back at me and say, we're not talking

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Speaker 1: about this movie. So I was thrilled that you were

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Speaker 1: to talk about it.

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Speaker 3: Oh yeah, listen, I love matching someone's freak. So let's go.

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Speaker 1: Okay, yeah, fabulous. So we're talking about Garden State today.

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00:21:07,400 --> 00:21:09,399
Speaker 1: Two thousand and fours Garden State, written and directed by

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Speaker 1: Zach Braff. Let me take you back in the time machine.

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Speaker 1: It's two thousand and four. I'm sixteen years old. Ooh

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Speaker 1: am I sensitive. I am a sensitive, sad little boy,

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Speaker 1: and this trailer almost more than the movie. The trailer

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Speaker 1: for this movie hit me. I was just getting into

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Speaker 1: art house film, you know. I was going to the

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Speaker 1: lagoon in Minneapolis and this played. I don't remember before

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Speaker 1: what movie, but I was just like, this is made

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Speaker 1: for the music, the imagery, the sensitivity.

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Speaker 2: I was thinking about this. I was like, if the FBI, like.

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Speaker 1: For some reason needed to try to like trick me

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Speaker 1: and kidnap me somehow, they would put this trailer together

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00:21:53,920 --> 00:21:55,840
Speaker 1: and it would be such an easy mark to like

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Speaker 1: show up at a movie theater to watch this movie.

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Speaker 1: I mean, it was like made for me. Yes, and

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Speaker 1: I remember my friends and I were all my sensitive

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00:22:05,160 --> 00:22:09,359
Speaker 1: boyfriends were so thrilled. We went on the first day

439
00:22:09,800 --> 00:22:12,359
Speaker 1: that it came out. We already owned the soundtrack. The

440
00:22:12,400 --> 00:22:15,400
Speaker 1: soundtrack was already a huge thing. We listened to the soundtrack.

441
00:22:15,720 --> 00:22:18,600
Speaker 1: I remember this day very specifically. We listened to the

442
00:22:18,640 --> 00:22:21,000
Speaker 1: soundtrack on the way to the theater and when I

443
00:22:21,080 --> 00:22:23,119
Speaker 1: was watching it, I was like, this is the most

444
00:22:23,160 --> 00:22:26,639
Speaker 1: important movie I've ever seen. It just felt like the

445
00:22:26,680 --> 00:22:32,480
Speaker 1: stakes were so high, and I feel like this movie

446
00:22:32,760 --> 00:22:36,600
Speaker 1: opened it hit me right at the right time. You know.

447
00:22:36,680 --> 00:22:39,080
Speaker 1: I had probably just seen The Four Hundred Blows and

448
00:22:39,200 --> 00:22:42,080
Speaker 1: like The Seventh Seal, and I was seeing more like

449
00:22:43,119 --> 00:22:47,800
Speaker 1: artsy movies, and so I was kind of ready for

450
00:22:47,880 --> 00:22:51,159
Speaker 1: something like this, and it just it became such an

451
00:22:51,240 --> 00:22:54,320
Speaker 1: important part of my life. I look back to things

452
00:22:54,680 --> 00:22:57,480
Speaker 1: that I made and wrote even in college, that are

453
00:22:57,520 --> 00:23:01,640
Speaker 1: heavily influenced by this movie being core and sensitive. And

454
00:23:02,240 --> 00:23:05,399
Speaker 1: when I was in high school, my senior year, I

455
00:23:05,440 --> 00:23:07,720
Speaker 1: was in the theater program. I was very heavily involved

456
00:23:07,760 --> 00:23:09,959
Speaker 1: in the theater program in high school, and my senior

457
00:23:10,080 --> 00:23:13,520
Speaker 1: year my theater director came to me and another guy

458
00:23:13,560 --> 00:23:15,679
Speaker 1: and were like, you guys should write a play that

459
00:23:15,720 --> 00:23:19,520
Speaker 1: will do for the fall play WHOA And we wrote

460
00:23:19,560 --> 00:23:23,040
Speaker 1: a play that, looking back, copied a lot of elements

461
00:23:23,119 --> 00:23:25,359
Speaker 1: of Garden State. It's like about a guy, like a

462
00:23:25,400 --> 00:23:28,440
Speaker 1: grown man coming I went like seventeen oh, and it's

463
00:23:28,480 --> 00:23:30,960
Speaker 1: like we're got like a grown man coming back to

464
00:23:31,000 --> 00:23:34,960
Speaker 1: his hometown after trying to make it in La and

465
00:23:35,960 --> 00:23:39,040
Speaker 1: the dad was in a wheelchair, not the mom, which

466
00:23:39,080 --> 00:23:40,920
Speaker 1: is like in Garden State. I mean it's like such,

467
00:23:41,560 --> 00:23:44,800
Speaker 1: and there's like a medic pixie dream girl esque character

468
00:23:44,960 --> 00:23:47,160
Speaker 1: in it. And I don't even know if I can

469
00:23:47,280 --> 00:23:49,480
Speaker 1: hunt down a copy of that play. It was called

470
00:23:49,600 --> 00:23:53,160
Speaker 1: Prodigal Oh, it's like about the prodigal son coming back.

471
00:23:53,720 --> 00:23:58,719
Speaker 1: So anyways, it was this is a very important movie

472
00:23:59,200 --> 00:24:02,120
Speaker 1: for me in high schoo well, and it's interesting because

473
00:24:02,320 --> 00:24:06,480
Speaker 1: I feel like this movie became a punchline not long

474
00:24:07,080 --> 00:24:11,399
Speaker 1: after it was released. Yes, so after that initial bubble

475
00:24:11,480 --> 00:24:13,919
Speaker 1: of love, like after high school and maybe after college,

476
00:24:14,359 --> 00:24:16,800
Speaker 1: I feel like it was like an embarrassing movie to like,

477
00:24:17,000 --> 00:24:19,119
Speaker 1: especially when I got into film school and we're watching

478
00:24:19,160 --> 00:24:24,959
Speaker 1: movies like Gumo or like you know, like Sallo and

479
00:24:25,000 --> 00:24:27,359
Speaker 1: stuff like that. It's like there's no place for a

480
00:24:27,359 --> 00:24:32,080
Speaker 1: movie like Garden State. But to me, I feel like

481
00:24:32,119 --> 00:24:36,240
Speaker 1: I'm still affected by it in terms of the type

482
00:24:36,240 --> 00:24:39,080
Speaker 1: of movie it is. I've kind of come full circle

483
00:24:39,160 --> 00:24:41,800
Speaker 1: on it, like this type of movie is my kind

484
00:24:41,880 --> 00:24:45,120
Speaker 1: of movie. Whether this is like a totally effective movie

485
00:24:45,200 --> 00:24:47,720
Speaker 1: or not, this kind of movie is my still my

486
00:24:47,840 --> 00:24:52,760
Speaker 1: kind of movie. Yes, So that's my long winded story

487
00:24:52,840 --> 00:24:56,760
Speaker 1: and experience with Garden State, and we're kind of talking

488
00:24:56,760 --> 00:24:59,359
Speaker 1: about it because it came out twenty years ago. It's

489
00:24:59,440 --> 00:25:01,560
Speaker 1: kind of like the twenty a little longer than twenty

490
00:25:01,640 --> 00:25:03,159
Speaker 1: years ago, but I believe it came out in August

491
00:25:03,160 --> 00:25:05,399
Speaker 1: of two thousand and four. Okay, so I thought it

492
00:25:05,520 --> 00:25:07,040
Speaker 1: appropriate to revisit it.

493
00:25:07,000 --> 00:25:09,800
Speaker 3: And I'm glad that you picked it because I'll just go,

494
00:25:09,960 --> 00:25:11,480
Speaker 3: I'm gonna say this right now. You've said all these

495
00:25:11,560 --> 00:25:14,800
Speaker 3: beautiful things about how this was a part of your childhood,

496
00:25:14,840 --> 00:25:17,960
Speaker 3: about your formative years. It inspired you to be a

497
00:25:17,960 --> 00:25:19,560
Speaker 3: filmmaker and to be in movies.

498
00:25:19,600 --> 00:25:21,160
Speaker 1: And yes, I mean this is one of the movies.

499
00:25:21,200 --> 00:25:23,199
Speaker 1: I would say I went to film school because of

500
00:25:23,200 --> 00:25:23,639
Speaker 1: this movie.

501
00:25:23,760 --> 00:25:29,359
Speaker 3: So oh, of course, I totally totally understand. I had

502
00:25:29,680 --> 00:25:33,080
Speaker 3: the complete opposite reaction when this movie came out. Of course,

503
00:25:33,240 --> 00:25:34,960
Speaker 3: I know I'm a little bit older than you. I

504
00:25:35,119 --> 00:25:39,320
Speaker 3: was twenty four, twenty five when this movie came out, So.

505
00:25:39,480 --> 00:25:41,360
Speaker 1: You're out of the you were out of the window.

506
00:25:42,640 --> 00:25:45,280
Speaker 3: I not only was out of the window, but I

507
00:25:45,320 --> 00:25:49,959
Speaker 3: am I immediately saw as sus as the kids say, sus,

508
00:25:50,119 --> 00:25:52,040
Speaker 3: I was like, what is this thing?

509
00:25:52,400 --> 00:25:53,119
Speaker 1: What is happening?

510
00:25:53,240 --> 00:25:55,560
Speaker 3: Because you know, being in my twenties, I think was

511
00:25:55,600 --> 00:25:58,840
Speaker 3: obviously marketed for people in their twenties two And I

512
00:25:58,960 --> 00:26:01,960
Speaker 3: was just like, but I have no connection to Zach Braff.

513
00:26:02,119 --> 00:26:05,400
Speaker 3: I have actually no connection to Natalie Portman because I'm

514
00:26:05,440 --> 00:26:09,560
Speaker 3: not a Star Wars person and I wasn't really I

515
00:26:09,560 --> 00:26:10,840
Speaker 3: didn't really have a connection to her.

516
00:26:12,240 --> 00:26:15,800
Speaker 1: I was a Scrubs for reef or do you my

517
00:26:16,200 --> 00:26:19,159
Speaker 1: favorite show in high school. I was obsessed because it

518
00:26:19,200 --> 00:26:21,000
Speaker 1: was that was like a sitcom, but it had so

519
00:26:21,040 --> 00:26:24,119
Speaker 1: many like emotional emo moments in it too, and I

520
00:26:24,200 --> 00:26:26,399
Speaker 1: was just I was just such a sucker for it.

521
00:26:26,440 --> 00:26:30,280
Speaker 1: So like I was the pump was primed for this

522
00:26:30,400 --> 00:26:32,280
Speaker 1: movie to come out for me. Oh, I was already

523
00:26:32,280 --> 00:26:33,320
Speaker 1: obsessed with Zach Braf.

524
00:26:33,760 --> 00:26:36,000
Speaker 3: See that is so interesting to me because Zach Braff,

525
00:26:36,040 --> 00:26:38,240
Speaker 3: to me is the worst part of this movie after

526
00:26:38,640 --> 00:26:42,040
Speaker 3: having seen it again, because I watched it. I think

527
00:26:42,040 --> 00:26:45,200
Speaker 3: I watched it on campus at the campus movie theater

528
00:26:45,640 --> 00:26:48,720
Speaker 3: of my old college, because basically you could see movies

529
00:26:48,760 --> 00:26:51,480
Speaker 3: for a dollar there if you had your student ID,

530
00:26:51,600 --> 00:26:53,200
Speaker 3: and I had my still and my student ideas was

531
00:26:53,240 --> 00:26:56,520
Speaker 3: like why not? And I was like, yo, I hate

532
00:26:56,560 --> 00:26:57,680
Speaker 3: this big time.

533
00:26:57,800 --> 00:26:58,439
Speaker 1: I hate it.

534
00:26:58,480 --> 00:27:01,439
Speaker 3: Even though like some of the soundtrack, which I know

535
00:27:01,440 --> 00:27:03,679
Speaker 3: we're going to get into, there are bands on that

536
00:27:03,720 --> 00:27:05,800
Speaker 3: soundtrack that I liked. I also feel like too, it

537
00:27:05,800 --> 00:27:08,760
Speaker 3: took advantage of like this rediscovery of Nick Drake.

538
00:27:08,880 --> 00:27:10,440
Speaker 1: Yeah, that I'm very resentful.

539
00:27:10,480 --> 00:27:12,280
Speaker 3: I'm actually resentful of it.

540
00:27:12,400 --> 00:27:15,320
Speaker 1: Yeah, because I think Nick Drake was in a car commercial,

541
00:27:15,320 --> 00:27:18,720
Speaker 1: a Volkswagen commercial roughly around this time. Yeah, think Moon.

542
00:27:18,760 --> 00:27:20,119
Speaker 2: I believe the song was used in that.

543
00:27:20,480 --> 00:27:23,359
Speaker 3: Yes, And speaking of sensitive boys, I was a big

544
00:27:23,400 --> 00:27:25,119
Speaker 3: fan of Nick Drake. And then all of a sudden

545
00:27:25,560 --> 00:27:28,480
Speaker 3: here comes like, you know, the cavalry being like, oh

546
00:27:28,600 --> 00:27:31,240
Speaker 3: Nick Drake, Pink Moon, Oh, Garden State Soundtruck. I was like,

547
00:27:31,280 --> 00:27:34,919
Speaker 3: you motherfuckers, Like where have you been? Honestly, where have

548
00:27:35,000 --> 00:27:38,159
Speaker 3: you been? But all of this is to say, my

549
00:27:38,280 --> 00:27:41,520
Speaker 3: thing about it is that like I had those movies

550
00:27:41,600 --> 00:27:44,080
Speaker 3: when I was sixteen, seventeen years old. I mean when

551
00:27:44,119 --> 00:27:46,600
Speaker 3: I was that age, you know, it was a lot

552
00:27:46,640 --> 00:27:49,720
Speaker 3: of like reality bites singles, you know. I was kind

553
00:27:49,720 --> 00:27:51,119
Speaker 3: of like in high school in the nineties.

554
00:27:51,240 --> 00:27:52,200
Speaker 1: Sure, so there.

555
00:27:52,040 --> 00:27:56,639
Speaker 3: Were movies like that were similar for me where I

556
00:27:56,800 --> 00:27:59,000
Speaker 3: was like, I want to adopt the world that it's

557
00:27:59,040 --> 00:28:00,840
Speaker 3: in and yeah, and I want to act like the

558
00:28:00,920 --> 00:28:03,480
Speaker 3: characters and I just want to I'm like all invested

559
00:28:03,560 --> 00:28:07,199
Speaker 3: into this whatever. This movie is a promotion of a

560
00:28:07,280 --> 00:28:07,720
Speaker 3: life that.

561
00:28:07,720 --> 00:28:08,560
Speaker 1: I want or something.

562
00:28:08,680 --> 00:28:13,040
Speaker 3: Yeah, so I'm not begrudging that that is actually like

563
00:28:13,080 --> 00:28:15,680
Speaker 3: a time hon or tradition for most teenagers that they

564
00:28:15,680 --> 00:28:18,320
Speaker 3: find a movie that is kind of their everything and

565
00:28:18,320 --> 00:28:21,120
Speaker 3: then it becomes this like formative moment for them.

566
00:28:21,160 --> 00:28:23,719
Speaker 1: And I also think that movie is not necessarily the

567
00:28:23,920 --> 00:28:27,880
Speaker 1: cool it's kind of the more mainstream that actual cool

568
00:28:27,880 --> 00:28:32,000
Speaker 1: people would be resentful of late. Like I think five

569
00:28:32,080 --> 00:28:34,480
Speaker 1: Hundred Days of Summer is actually a very similar comp

570
00:28:34,600 --> 00:28:36,639
Speaker 1: to this, because when I saw that, I was like

571
00:28:37,640 --> 00:28:39,840
Speaker 1: twenty three, twenty four, and I was like, fuck this.

572
00:28:40,080 --> 00:28:43,360
Speaker 1: I resent them using Pixies music in this. Yes, I

573
00:28:43,400 --> 00:28:46,800
Speaker 1: resent them doing this. But I know younger people who

574
00:28:46,840 --> 00:28:49,400
Speaker 1: are like very affected by that movie. You know. It's

575
00:28:49,440 --> 00:28:53,080
Speaker 1: like there's kind of this window and it's like that

576
00:28:53,120 --> 00:28:56,960
Speaker 1: doesn't mean those things are bad inherently, but it's it's

577
00:28:57,000 --> 00:28:59,479
Speaker 1: almost like the not I don't know how to describe it.

578
00:28:59,480 --> 00:29:02,400
Speaker 1: It's like the n not cool version of something, or

579
00:29:02,480 --> 00:29:06,440
Speaker 1: like the more mainstreamified do you know what I'm saying? Yes?

580
00:29:06,600 --> 00:29:09,920
Speaker 3: Well, and like, okay, so maybe this is an easy

581
00:29:09,960 --> 00:29:14,760
Speaker 3: segue into maybe the larger theme of both what this

582
00:29:14,880 --> 00:29:17,800
Speaker 3: movie represents and maybe the theme of this episode in

583
00:29:17,840 --> 00:29:21,440
Speaker 3: a way, So I am not sure of the actual

584
00:29:21,480 --> 00:29:23,600
Speaker 3: timeline for any of this, and I feel like you

585
00:29:23,720 --> 00:29:26,120
Speaker 3: might no more than me, So just feel free.

586
00:29:25,920 --> 00:29:27,520
Speaker 1: To correct me at any at any point.

587
00:29:27,640 --> 00:29:31,840
Speaker 3: Sure, this movie feels like it ushered in this era

588
00:29:32,360 --> 00:29:35,000
Speaker 3: of the mannic Pixie dream girl, which was a term

589
00:29:35,040 --> 00:29:38,280
Speaker 3: that was coined by Nathan Rabin, who is a film

590
00:29:38,320 --> 00:29:42,800
Speaker 3: writer and a critic very famously created this word that

591
00:29:42,880 --> 00:29:45,360
Speaker 3: has become kind of like the catch all for a

592
00:29:45,400 --> 00:29:47,760
Speaker 3: certain type of female movie character, right.

593
00:29:47,720 --> 00:29:50,080
Speaker 1: Yes, And it's he coined that term in the review

594
00:29:50,200 --> 00:29:53,640
Speaker 1: for the movie Elizabethtown, which is a Cameron Crowe movie.

595
00:29:53,680 --> 00:29:57,560
Speaker 1: Who Cameron Crowe is very filmmaker who has kind of

596
00:29:57,640 --> 00:30:01,400
Speaker 1: utilized that type of character a few times. Yes, well,

597
00:30:01,440 --> 00:30:03,240
Speaker 1: I mean he did singles.

598
00:30:03,520 --> 00:30:05,800
Speaker 3: So it's like, I mean, even if you go back

599
00:30:05,800 --> 00:30:09,640
Speaker 3: to that movie, which was made in like what ninety.

600
00:30:09,280 --> 00:30:10,280
Speaker 1: Two ninety four?

601
00:30:10,680 --> 00:30:14,600
Speaker 3: Yeah, yeah, even though we were not in a Magic

602
00:30:14,640 --> 00:30:18,960
Speaker 3: Pixie dream grow era, theoretically there are elements of the

603
00:30:18,960 --> 00:30:21,160
Speaker 3: male character. I mean, like I would say that Campbell.

604
00:30:21,160 --> 00:30:23,840
Speaker 3: Scott character and singles is very close to the Zach

605
00:30:23,960 --> 00:30:27,160
Speaker 3: Raft character or you know whatever character that would be

606
00:30:27,160 --> 00:30:32,280
Speaker 3: in Elizabethtown, that sort of like good guy, some damage sensitive,

607
00:30:32,520 --> 00:30:38,200
Speaker 3: sensitive inspired to you know, live again via a girl

608
00:30:38,280 --> 00:30:41,600
Speaker 3: who he finds charming and fascinating. Yes, that concept to

609
00:30:41,760 --> 00:30:43,480
Speaker 3: be actually honest.

610
00:30:43,200 --> 00:30:45,120
Speaker 1: Is old school, very old school.

611
00:30:45,160 --> 00:30:48,720
Speaker 3: It's like that is you know, very screwball comedy, early

612
00:30:48,800 --> 00:30:51,440
Speaker 3: days of Hollywood. That's set up. But I feel like

613
00:30:52,120 --> 00:30:55,520
Speaker 3: this movie, Garden State, was the thing that really crystallized

614
00:30:55,680 --> 00:30:58,960
Speaker 3: that new era of it. It felt like then after

615
00:30:59,040 --> 00:31:03,280
Speaker 3: Garden State there was this like proliferation of those types

616
00:31:03,320 --> 00:31:06,080
Speaker 3: of movies like Elizabethtown and is five hundred Days in

617
00:31:06,120 --> 00:31:08,200
Speaker 3: Summer that's after guard State too.

618
00:31:08,320 --> 00:31:11,560
Speaker 1: Yeah, that's like twenty ten, five hundred days of Summer.

619
00:31:11,760 --> 00:31:14,840
Speaker 1: Nick and Nora's Infinite Playlist is one that I comes

620
00:31:14,880 --> 00:31:18,680
Speaker 1: to mind. Scott Pilgrim Versus the World is another one,

621
00:31:19,040 --> 00:31:22,120
Speaker 1: and a lot of these movies. It's a character type,

622
00:31:22,200 --> 00:31:25,400
Speaker 1: but it's also a movie type. This character exists within

623
00:31:25,560 --> 00:31:27,440
Speaker 1: a certain type of movie.

624
00:31:27,480 --> 00:31:31,080
Speaker 2: It's like sensitive boy caught in a rut and this.

625
00:31:32,640 --> 00:31:36,960
Speaker 1: Unhinged woman who's free, a free spirit, gets them out

626
00:31:36,960 --> 00:31:42,520
Speaker 1: of their rut, and it's mildly problematic because it kind

627
00:31:42,520 --> 00:31:46,400
Speaker 1: of is all self serving for the man's journey, and

628
00:31:46,480 --> 00:31:49,719
Speaker 1: a lot of times this female character doesn't really have

629
00:31:49,840 --> 00:31:53,360
Speaker 1: any substance to them other than being kind of quirky

630
00:31:53,520 --> 00:31:54,360
Speaker 1: and weird.

631
00:31:54,360 --> 00:32:00,240
Speaker 3: Right, potentially mentally ill, yes, always hanging in there, which

632
00:32:00,280 --> 00:32:03,040
Speaker 3: is very interesting to me as well. But here's the thing, though,

633
00:32:03,120 --> 00:32:06,640
Speaker 3: I mean, listen, I think, if you know who I am,

634
00:32:07,360 --> 00:32:10,920
Speaker 3: if you've listened to other podcasts I've done, if you

635
00:32:11,040 --> 00:32:13,600
Speaker 3: just know my work or anything, just don't me personally.

636
00:32:13,640 --> 00:32:17,200
Speaker 3: I mean, you know that the manic picture dream Girl

637
00:32:17,280 --> 00:32:20,920
Speaker 3: is you know a little I brace myself anytime we

638
00:32:20,960 --> 00:32:23,640
Speaker 3: talk about it because it is such an archetype that

639
00:32:23,800 --> 00:32:28,920
Speaker 3: doesn't feel necessarily real. It feels like a product of

640
00:32:29,000 --> 00:32:32,680
Speaker 3: a man's brain. Right, yes, But at the same time,

641
00:32:33,280 --> 00:32:36,440
Speaker 3: I want boys to be sensitive. I want them to

642
00:32:36,560 --> 00:32:39,520
Speaker 3: feel deep things, and I want them to fall in

643
00:32:39,560 --> 00:32:43,920
Speaker 3: love in a very like, earnest, beautiful way, Like I mean,

644
00:32:44,040 --> 00:32:48,360
Speaker 3: I want the evolution of men so badly that I

645
00:32:48,400 --> 00:32:53,120
Speaker 3: don't want to say it's totally bullshit that this error exists,

646
00:32:53,160 --> 00:32:55,360
Speaker 3: that this type of filmmaking exists. At one point, because

647
00:32:55,360 --> 00:32:58,000
Speaker 3: I feel like if it makes boys more sensitive and

648
00:32:58,080 --> 00:33:01,400
Speaker 3: in two other feelings, great, But the problem is is

649
00:33:01,440 --> 00:33:05,560
Speaker 3: that like that conversation is never as nuanced as I

650
00:33:05,600 --> 00:33:06,080
Speaker 3: want it to be.

651
00:33:06,240 --> 00:33:07,640
Speaker 1: Yeah, and it certainly.

652
00:33:07,240 --> 00:33:10,479
Speaker 3: Doesn't talk about the women as part of that at

653
00:33:10,520 --> 00:33:12,760
Speaker 3: all in any kind of real nuanced way. Like it's

654
00:33:12,800 --> 00:33:15,680
Speaker 3: just basically like a sensitive boys like projection of who

655
00:33:15,840 --> 00:33:17,960
Speaker 3: he thinks is going to come save him, you know

656
00:33:17,960 --> 00:33:21,440
Speaker 3: what I mean. And also I would add an eternal sunshine, right,

657
00:33:21,440 --> 00:33:22,719
Speaker 3: that's another one of these movies.

658
00:33:22,800 --> 00:33:25,560
Speaker 1: Eternal Sunshine, absolutely.

659
00:33:24,960 --> 00:33:28,560
Speaker 3: Yeah, Eternal Sunshine of the Spotless Mind, as you know,

660
00:33:29,040 --> 00:33:33,120
Speaker 3: Michelle Gondry, you know, Kate Winslet and Jim Carrey. That

661
00:33:33,320 --> 00:33:38,080
Speaker 3: to me was the movie that I was like, oh,

662
00:33:38,160 --> 00:33:40,920
Speaker 3: I understand what's going on now, Like I watched that

663
00:33:41,000 --> 00:33:43,719
Speaker 3: movie several times and I actually think it's a great film. Yeah,

664
00:33:43,760 --> 00:33:47,560
Speaker 3: but it did for me go, okay, yeah, this movie

665
00:33:47,840 --> 00:33:49,880
Speaker 3: alongside all this other stuff, now we're in a vibe

666
00:33:49,920 --> 00:33:52,120
Speaker 3: and I don't know what to think of it. It

667
00:33:52,200 --> 00:33:55,960
Speaker 3: feels very suspect. And also not all women are like that,

668
00:33:56,360 --> 00:34:02,200
Speaker 3: like they're not you know, whimsical and and all these things.

669
00:34:02,240 --> 00:34:05,040
Speaker 3: I mean, it's just like it is a fantasy, and

670
00:34:05,080 --> 00:34:08,799
Speaker 3: I wish that there would be more substance to that,

671
00:34:08,960 --> 00:34:11,680
Speaker 3: or more conversation around what that is to men, you

672
00:34:11,680 --> 00:34:12,160
Speaker 3: know what I mean.

673
00:34:12,320 --> 00:34:15,680
Speaker 1: Yeah, I think that like inherently it's not a bad thing.

674
00:34:15,760 --> 00:34:18,719
Speaker 1: Like The Magic Pixie Dream Girl, I think it's good

675
00:34:18,760 --> 00:34:23,080
Speaker 1: to be able to represent women on screen in a

676
00:34:23,120 --> 00:34:26,399
Speaker 1: way that isn't like demure and quiet. It's like because

677
00:34:26,400 --> 00:34:28,400
Speaker 1: a lot of the times these women are like loud

678
00:34:28,440 --> 00:34:32,160
Speaker 1: and abrasive and like whoa, they're making a scene. And

679
00:34:32,200 --> 00:34:35,799
Speaker 1: I think that isn't necessarily a bad thing on the

680
00:34:35,800 --> 00:34:37,759
Speaker 1: face of it. It's a good thing, you know. But

681
00:34:37,880 --> 00:34:41,880
Speaker 1: it's when there's like all in the service of the

682
00:34:41,960 --> 00:34:46,240
Speaker 1: man and there isn't really a journey that that character

683
00:34:46,440 --> 00:34:48,440
Speaker 1: goes on because a lot of times they're just like

684
00:34:48,480 --> 00:34:54,040
Speaker 1: there being like there to free the main character guy

685
00:34:54,200 --> 00:34:57,280
Speaker 1: from his you know, spot in life, but there isn't

686
00:34:57,360 --> 00:35:00,000
Speaker 1: like they don't have a journey themselves. I was just

687
00:35:00,080 --> 00:35:02,600
Speaker 1: thinking of the movie Something Wild. Yes, that's sort of

688
00:35:02,640 --> 00:35:06,640
Speaker 1: a mannic Pixie dream Girl, but Melanie Griffith's character, you

689
00:35:06,680 --> 00:35:09,239
Speaker 1: get to know her and her troubles and she does

690
00:35:09,320 --> 00:35:11,279
Speaker 1: go on a journey, and so it's yes, there's a

691
00:35:11,280 --> 00:35:14,640
Speaker 1: way to do it correctly, you know, but yeah, I don't.

692
00:35:14,480 --> 00:35:16,680
Speaker 3: Know well, and like it feels like a one sided

693
00:35:16,719 --> 00:35:18,839
Speaker 3: thing where it's basically like, here's a fucked up guy

694
00:35:18,880 --> 00:35:20,080
Speaker 3: who it's a fucked up girl.

695
00:35:20,520 --> 00:35:23,200
Speaker 1: But there's not in these movies.

696
00:35:22,840 --> 00:35:25,840
Speaker 3: To me as potentially, you know, seeing this through the

697
00:35:25,880 --> 00:35:28,839
Speaker 3: eyes of the woman, I'm just like, where's you know,

698
00:35:29,040 --> 00:35:33,600
Speaker 3: her story in relation to is he helping her? Is there?

699
00:35:33,920 --> 00:35:37,000
Speaker 3: Like the thing that drove me batshit crazy about Garden

700
00:35:37,040 --> 00:35:39,759
Speaker 3: State for several reasons. Okay, Like, like I said, I

701
00:35:39,800 --> 00:35:43,240
Speaker 3: watched it again for the podcast. I was like, yep,

702
00:35:43,680 --> 00:35:46,480
Speaker 3: now I'm watching this with middle aged eyes, and I'm like,

703
00:35:46,640 --> 00:35:49,200
Speaker 3: this movie I had the right instinct.

704
00:35:49,280 --> 00:35:50,160
Speaker 1: I did not like it.

705
00:35:50,080 --> 00:35:54,520
Speaker 3: Before, maybe not as strongly, but I definitely thought, Okay,

706
00:35:54,520 --> 00:35:58,640
Speaker 3: this is not great to me, and I think part

707
00:35:58,640 --> 00:36:00,680
Speaker 3: of it is that well, I'll just tell you right now.

708
00:36:00,880 --> 00:36:02,600
Speaker 3: I'm not saying this is hard and fast rule for me,

709
00:36:02,600 --> 00:36:06,319
Speaker 3: but I'm just gonna say, immediately suspect. When a filmmaker

710
00:36:06,400 --> 00:36:08,719
Speaker 3: who is the writer, director, and star of his own

711
00:36:08,760 --> 00:36:11,920
Speaker 3: movie is easily able to get in his underwear in

712
00:36:12,040 --> 00:36:15,880
Speaker 3: multiple scenes, I'm like, you are in your underwear and

713
00:36:15,920 --> 00:36:17,800
Speaker 3: shirtless throughout a lot of this movie.

714
00:36:18,080 --> 00:36:19,760
Speaker 1: Interesting, and I'm like, that is bold.

715
00:36:19,960 --> 00:36:21,920
Speaker 3: Yeah, It's almost like he'd been wanting to get in

716
00:36:21,960 --> 00:36:24,600
Speaker 3: his underwear for a long time on camera. Interesting, and

717
00:36:24,760 --> 00:36:28,239
Speaker 3: he was able to do it. And I was like, hmm, interesting, Okay.

718
00:36:28,120 --> 00:36:31,920
Speaker 1: That's fascinating. That didn't cross my mind when I was

719
00:36:31,960 --> 00:36:32,520
Speaker 1: watching this.

720
00:36:32,719 --> 00:36:33,319
Speaker 2: I mean on.

721
00:36:33,400 --> 00:36:35,319
Speaker 1: Scrubs he was shirtless a lot too, So I feel

722
00:36:35,360 --> 00:36:38,080
Speaker 1: like I've seen Zach Braff shirtless. I know it was good.

723
00:36:38,239 --> 00:36:41,720
Speaker 1: It looks good shirtless, and maybe that's why he wanted

724
00:36:41,760 --> 00:36:42,440
Speaker 1: to do it.

725
00:36:42,440 --> 00:36:45,040
Speaker 3: It's like he knows he does, Casey, That's what I'm

726
00:36:45,080 --> 00:36:47,600
Speaker 3: I think I'm hunting at. He knows he looks good shirtless,

727
00:36:47,600 --> 00:36:49,600
Speaker 3: and he's like, Yo, let me get in my underwear

728
00:36:49,680 --> 00:36:51,560
Speaker 3: a lot and let me take my shirt off a lot.

729
00:36:51,640 --> 00:36:53,720
Speaker 1: Can I tell you me watching it? Because I haven't

730
00:36:53,719 --> 00:36:57,160
Speaker 1: seen it in like eighteen years, I don't think suure.

731
00:36:57,400 --> 00:37:00,120
Speaker 1: So the last time I watched this was in my

732
00:37:00,160 --> 00:37:02,239
Speaker 1: freshman year of college, just to kind of like check

733
00:37:02,320 --> 00:37:05,440
Speaker 1: back in with it after a couple of years, and

734
00:37:05,800 --> 00:37:08,399
Speaker 1: I don't think it hit me quite as hard that time,

735
00:37:08,719 --> 00:37:11,800
Speaker 1: and watching it this time, I was like, this is

736
00:37:11,880 --> 00:37:14,800
Speaker 1: kind of a silly little movie. Like there's so many

737
00:37:14,960 --> 00:37:21,120
Speaker 1: visual gags and like cute moments and like well framed shots,

738
00:37:21,960 --> 00:37:24,799
Speaker 1: and visually it's fun to watch it. But I was

739
00:37:24,920 --> 00:37:28,719
Speaker 1: like the underlying emotion because I feel like when I

740
00:37:28,760 --> 00:37:31,080
Speaker 1: first saw it, I was like, this is so emotional,

741
00:37:31,160 --> 00:37:34,719
Speaker 1: and I was like the end was so powerful for me.

742
00:37:35,320 --> 00:37:37,200
Speaker 2: But this time, I was like, this is just.

743
00:37:37,200 --> 00:37:41,920
Speaker 1: Kind of cute and there's not as much. I think

744
00:37:41,960 --> 00:37:43,680
Speaker 1: at the end of the movie, I was a little

745
00:37:43,680 --> 00:37:47,319
Speaker 1: bit like what was this all for? What are we

746
00:37:47,560 --> 00:37:50,000
Speaker 1: doing here? And there were points in the movie where

747
00:37:50,000 --> 00:37:52,160
Speaker 1: I'm like, where are we going? Yes, why are we

748
00:37:52,200 --> 00:37:58,719
Speaker 1: still watching this movie? There wasn't a overarching narrative that

749
00:37:59,160 --> 00:38:02,359
Speaker 1: kept it all together. And at the time, you know,

750
00:38:02,560 --> 00:38:06,239
Speaker 1: I was suffering from depression and anxiety, but in kind

751
00:38:06,280 --> 00:38:10,160
Speaker 1: of a smaller way, sure, And so I was really

752
00:38:10,360 --> 00:38:13,719
Speaker 1: attached to Zach Graft's character and he's like struggling with

753
00:38:14,600 --> 00:38:17,440
Speaker 1: depression and ant and he's on all these pills that

754
00:38:17,480 --> 00:38:19,440
Speaker 1: are numbing him. That was such a big thing. It

755
00:38:19,480 --> 00:38:21,400
Speaker 1: was like I don't want to take these pills because

756
00:38:21,400 --> 00:38:23,480
Speaker 1: they know I feel nothing and I just want to

757
00:38:23,520 --> 00:38:27,759
Speaker 1: feel something. Anyways, flash forward a few years where I

758
00:38:27,800 --> 00:38:32,600
Speaker 1: am medicated for my depression and I'm going to therapy

759
00:38:32,719 --> 00:38:36,600
Speaker 1: and I'm like, I don't find this as cute of

760
00:38:36,640 --> 00:38:40,360
Speaker 1: a problem. Yeah, and I don't think it's as accurate

761
00:38:40,960 --> 00:38:46,120
Speaker 1: and it's depiction of depression. And when I was on medication,

762
00:38:46,400 --> 00:38:49,120
Speaker 1: I was like, Oh, thank god, it's numbing some of

763
00:38:49,160 --> 00:38:52,160
Speaker 1: those feelings. I never felt, like, God, I just want

764
00:38:52,160 --> 00:38:54,680
Speaker 1: to feel. I don't feel anything.

765
00:38:54,280 --> 00:38:54,480
Speaker 4: You know.

766
00:38:54,560 --> 00:38:59,680
Speaker 1: And so that type of storyline I was less affected by,

767
00:38:59,840 --> 00:39:03,200
Speaker 1: or I didn't find as much, you know, I didn't

768
00:39:03,239 --> 00:39:06,840
Speaker 1: connect with the character as much this time, and so

769
00:39:06,960 --> 00:39:08,640
Speaker 1: I was kind of like, this is like a funny,

770
00:39:08,680 --> 00:39:11,960
Speaker 1: cute movie, but I just it didn't have the punch

771
00:39:12,080 --> 00:39:15,600
Speaker 1: it once had, and it kind of made me sad.

772
00:39:15,719 --> 00:39:18,080
Speaker 1: To be honest, I wasn't able to tap into that

773
00:39:18,120 --> 00:39:20,880
Speaker 1: younger version of myself. Yes, and I feel like I

774
00:39:20,960 --> 00:39:24,320
Speaker 1: kind of like, in a way, was letting this movie down.

775
00:39:25,320 --> 00:39:26,759
Speaker 1: I know that's sort of a slight thing to say,

776
00:39:26,800 --> 00:39:29,399
Speaker 1: but I was like, no, no, I feel like you meant

777
00:39:29,400 --> 00:39:30,960
Speaker 1: so much to me and I'm just not able to

778
00:39:30,960 --> 00:39:33,080
Speaker 1: get there with you. I mean, I'm thirty six now

779
00:39:33,160 --> 00:39:37,799
Speaker 1: and I'm still a very emotionally sensitive person. But I

780
00:39:37,960 --> 00:39:42,040
Speaker 1: just didn't connect to this. And I just read this

781
00:39:42,160 --> 00:39:46,000
Speaker 1: graphic novel called Blankets. Have you ever heard of this book? No,

782
00:39:46,160 --> 00:39:49,720
Speaker 1: it's from two thousand and four also, and it's about

783
00:39:49,719 --> 00:39:52,560
Speaker 1: a high school romance. It's similar Garden State. It's like

784
00:39:52,719 --> 00:39:55,719
Speaker 1: so intense and just like every little thing is the

785
00:39:55,760 --> 00:39:58,040
Speaker 1: biggest thing in the world. And reading it as a

786
00:39:58,080 --> 00:40:01,399
Speaker 1: thirty six year old, I was like, can't get into this. Yeah,

787
00:40:01,400 --> 00:40:02,080
Speaker 1: I'm not there.

788
00:40:02,320 --> 00:40:03,320
Speaker 2: I'm not there anymore in it.

789
00:40:03,400 --> 00:40:06,040
Speaker 1: And I feel like I let Blankets down because I

790
00:40:06,080 --> 00:40:08,360
Speaker 1: was like, if I had read this in high school,

791
00:40:08,480 --> 00:40:10,400
Speaker 1: it would have been my world. But I'm just not

792
00:40:10,680 --> 00:40:13,000
Speaker 1: there anymore. And that kind of makes me sad. I

793
00:40:13,400 --> 00:40:15,759
Speaker 1: guess no, Actually, I kind of enjoyed it, and I

794
00:40:15,840 --> 00:40:18,520
Speaker 1: see all the issues with it that you pointed out,

795
00:40:18,600 --> 00:40:20,719
Speaker 1: but still I have such a soft spot for it

796
00:40:20,800 --> 00:40:23,160
Speaker 1: that I was able to overlook that a little bit.

797
00:40:23,400 --> 00:40:25,960
Speaker 3: Like and as much like it may seem funny to

798
00:40:25,960 --> 00:40:30,759
Speaker 3: say you let a movie down, I feel like that's okay,

799
00:40:31,640 --> 00:40:35,640
Speaker 3: Like it's okay to age out of a movie that

800
00:40:35,719 --> 00:40:39,240
Speaker 3: you loved. We have kind of the like opposite problem

801
00:40:39,280 --> 00:40:42,520
Speaker 3: happening within popular culture was that people feel so protective

802
00:40:42,800 --> 00:40:45,520
Speaker 3: over things from their childhood that even if they're like

803
00:40:45,680 --> 00:40:48,399
Speaker 3: I can't even really functionally fuck with this as hard

804
00:40:48,440 --> 00:40:50,400
Speaker 3: as I used to, they'll still protect it to the

805
00:40:50,440 --> 00:40:52,359
Speaker 3: hill because they're just sort of like in it. They've

806
00:40:52,400 --> 00:40:54,960
Speaker 3: invested so much. Yeah, I feel like we should be

807
00:40:54,960 --> 00:40:58,480
Speaker 3: moving away from that instinct, like art is flexible and

808
00:40:58,520 --> 00:41:00,840
Speaker 3: it's you know, sometimes you really cat with things, sometimes

809
00:41:00,840 --> 00:41:04,640
Speaker 3: you don't. I mean, I totally understand how this could

810
00:41:04,640 --> 00:41:07,759
Speaker 3: be somebody's everything at one period of life, and also, yeh,

811
00:41:07,800 --> 00:41:10,560
Speaker 3: I understand how it could still be everyone's someone's everything.

812
00:41:11,000 --> 00:41:12,680
Speaker 3: I mean, this is a question I probably want to

813
00:41:12,719 --> 00:41:15,799
Speaker 3: ask you then, because I feel like maybe this is

814
00:41:15,800 --> 00:41:19,160
Speaker 3: what's happening for me, even though I'm not as strongly

815
00:41:19,200 --> 00:41:23,520
Speaker 3: tied to this movie or this era or anything. Do

816
00:41:23,600 --> 00:41:28,600
Speaker 3: you feel like watching it now because we have moved

817
00:41:28,640 --> 00:41:32,160
Speaker 3: so much further in time twenty years right, Yes? Does

818
00:41:32,160 --> 00:41:35,080
Speaker 3: it seem like Garden State is now almost like a

819
00:41:35,120 --> 00:41:39,759
Speaker 3: parody of itself because we saw the proliferation of these

820
00:41:39,800 --> 00:41:42,719
Speaker 3: types of films, because the Mani Pixie dreamgirl trope has

821
00:41:42,719 --> 00:41:45,279
Speaker 3: been beaten to death so much, because you know twenty

822
00:41:45,360 --> 00:41:46,799
Speaker 3: years past that you're just kind of like, oh, this

823
00:41:46,840 --> 00:41:50,200
Speaker 3: seems a little like corny and derivative and not as

824
00:41:50,360 --> 00:41:53,480
Speaker 3: great because I don't know like time has moved forward

825
00:41:53,920 --> 00:41:54,839
Speaker 3: in that way.

826
00:41:55,040 --> 00:41:56,840
Speaker 1: Honestly, watching it this time, I was like, this is

827
00:41:56,880 --> 00:41:59,239
Speaker 1: such a relic. Yes, Like I like, I actually, like

828
00:41:59,280 --> 00:42:01,839
Speaker 1: really liked watching for that reason. Like I remember like

829
00:42:02,520 --> 00:42:04,680
Speaker 1: shopping at Urban Outfitters in two thousand and four and

830
00:42:04,760 --> 00:42:07,520
Speaker 1: like finding the clothes that everyone was that people were

831
00:42:07,560 --> 00:42:10,239
Speaker 1: like wearing in this movie, And so I feel like

832
00:42:10,280 --> 00:42:12,000
Speaker 1: I can honor it in that way a little bit

833
00:42:12,040 --> 00:42:14,400
Speaker 1: more than like my direct emotional connection to it. I

834
00:42:14,400 --> 00:42:16,239
Speaker 1: can be like, this is like a fun thing to

835
00:42:16,360 --> 00:42:18,520
Speaker 1: like watch just to see how people are dressed and

836
00:42:18,560 --> 00:42:22,000
Speaker 1: the music and the just the overall vibe of it.

837
00:42:22,440 --> 00:42:24,200
Speaker 2: So it's hard. I wouldn't say like it's.

838
00:42:24,080 --> 00:42:27,239
Speaker 1: A parody necessarily of itself, but I do feel like

839
00:42:27,360 --> 00:42:30,319
Speaker 1: I'm like, this is just like a time capsule of

840
00:42:30,360 --> 00:42:33,839
Speaker 1: two thousand and four, and it's kind of in a

841
00:42:33,880 --> 00:42:36,239
Speaker 1: fun way. And I feel like, you know, in terms

842
00:42:36,280 --> 00:42:37,960
Speaker 1: of like defending it, I feel like I have to

843
00:42:38,040 --> 00:42:40,640
Speaker 1: kind of defend the Garden State in a way because

844
00:42:40,880 --> 00:42:44,319
Speaker 1: I feel like it is such a punchline to this day.

845
00:42:44,400 --> 00:42:46,360
Speaker 2: You know, and I think you're guilty of that.

846
00:42:46,400 --> 00:42:47,799
Speaker 1: And I think you said some really weally rude things

847
00:42:47,800 --> 00:42:50,880
Speaker 1: about this movie, and I think that's kind of fucked up.

848
00:42:51,480 --> 00:42:54,879
Speaker 3: Well, listen, I both apologize and don't apologize.

849
00:42:54,920 --> 00:42:56,840
Speaker 2: I think that's fine. I think that's fine.

850
00:42:56,880 --> 00:42:58,920
Speaker 1: I'm just kidding obviously.

851
00:42:58,680 --> 00:43:02,680
Speaker 3: Like listen, Casey, you have to say maybe, maybe not.

852
00:43:02,840 --> 00:43:03,279
Speaker 1: I don't know.

853
00:43:03,320 --> 00:43:07,960
Speaker 3: I'm dangling this one. Yeah, that ending drove me fucking bananas.

854
00:43:08,200 --> 00:43:10,799
Speaker 3: Where hither in the airport on the stairs, he's like

855
00:43:10,880 --> 00:43:14,719
Speaker 3: cupping her tiny little bird face in his hands, and

856
00:43:14,719 --> 00:43:18,080
Speaker 3: he's just like she's crying her fucking eyes out because

857
00:43:18,120 --> 00:43:21,680
Speaker 3: he's leaving. He's going back to lay because she fixed him,

858
00:43:21,880 --> 00:43:24,719
Speaker 3: and now he's got to go off, you know, fly

859
00:43:24,880 --> 00:43:28,360
Speaker 3: the coop, fly her bird coop, and she's fucking beside

860
00:43:28,360 --> 00:43:30,520
Speaker 3: herself with the idea that they're gonna be a part,

861
00:43:30,680 --> 00:43:33,960
Speaker 3: and he's just like, I gotta go, gotta go fucking

862
00:43:34,239 --> 00:43:37,000
Speaker 3: wipe the tears away, and then he just like walks away.

863
00:43:37,239 --> 00:43:39,560
Speaker 3: She ends up like going into a phone booth and crying,

864
00:43:39,600 --> 00:43:41,200
Speaker 3: and of course, you know, like we all know what's

865
00:43:41,239 --> 00:43:41,680
Speaker 3: gonna happen.

866
00:43:41,880 --> 00:43:45,400
Speaker 1: Spoiler alert. I think I think he comes back and

867
00:43:45,440 --> 00:43:46,280
Speaker 1: realizes he's.

868
00:43:46,120 --> 00:43:50,680
Speaker 3: Been an idiot, but that moment felt so I wanted

869
00:43:50,719 --> 00:43:53,279
Speaker 3: to stab him in the fucking eyeball for that.

870
00:43:53,640 --> 00:43:55,040
Speaker 1: Yeah, it felt a little cold.

871
00:43:55,160 --> 00:43:58,520
Speaker 3: It felt very like I'm being cavalier now that you

872
00:43:58,560 --> 00:44:00,440
Speaker 3: know we've had this have to go.

873
00:44:00,600 --> 00:44:01,799
Speaker 1: It's just what's gonna happen?

874
00:44:01,840 --> 00:44:04,600
Speaker 3: And I was like, fuck that bitch, what the fuck?

875
00:44:04,800 --> 00:44:07,880
Speaker 3: Like he's not healed, he's just as a cerbic and

876
00:44:07,920 --> 00:44:09,479
Speaker 3: abrasive as he always has been.

877
00:44:09,560 --> 00:44:12,680
Speaker 1: But he comes back, Milly, he came back.

878
00:44:12,960 --> 00:44:14,840
Speaker 3: That felt so stupid.

879
00:44:14,920 --> 00:44:17,920
Speaker 1: I know the ending is I think in my little

880
00:44:18,000 --> 00:44:20,800
Speaker 1: sixteen year old heart, I was kind of like, this ending,

881
00:44:20,960 --> 00:44:23,600
Speaker 1: there is a realization, but we don't see it, and

882
00:44:23,640 --> 00:44:26,279
Speaker 1: it's just kind of like, hey, I'm gonna go, you

883
00:44:26,320 --> 00:44:28,839
Speaker 1: know what, maybe I shouldn't go. That's essentially that's how

884
00:44:28,840 --> 00:44:31,120
Speaker 1: it goes. But there's a lot of cool shots and

885
00:44:31,239 --> 00:44:35,080
Speaker 1: music playing that Frufreu song really, because I think, like

886
00:44:35,280 --> 00:44:40,000
Speaker 1: the trailer is with that Frufru song. It's like, so

887
00:44:40,080 --> 00:44:41,960
Speaker 1: that was so big in the trailer, and then when

888
00:44:42,000 --> 00:44:43,719
Speaker 1: you heard it in the movie. I think I was

889
00:44:43,760 --> 00:44:47,520
Speaker 1: able to just forgive whatever happened. I was like, whatever, God,

890
00:44:47,880 --> 00:44:48,600
Speaker 1: let's talk about a.

891
00:44:48,560 --> 00:44:51,720
Speaker 3: Little bit of the soundtrack, because that was like a huge.

892
00:44:51,719 --> 00:44:55,000
Speaker 1: Huge you want a Grammy for it? Who did Zack Braff?

893
00:44:55,320 --> 00:44:57,120
Speaker 2: Zack Braff want a Grammy for that movie?

894
00:44:57,400 --> 00:45:00,520
Speaker 1: Oh my gosh. Okay, you should see Millie's face right now.

895
00:45:00,520 --> 00:45:01,960
Speaker 1: She's scowling. I know.

896
00:45:02,040 --> 00:45:03,440
Speaker 3: I think it's just because I want to win a

897
00:45:03,480 --> 00:45:07,160
Speaker 3: Grammy for a soundtrack that I put together aka Spotify playlist.

898
00:45:07,160 --> 00:45:08,440
Speaker 1: Maybe you win it for a podcast.

899
00:45:08,520 --> 00:45:12,799
Speaker 3: Yeah, well, okay, so the soundtrack, you know, I just

900
00:45:13,040 --> 00:45:15,880
Speaker 3: like two thousand and four, I was like, actually started

901
00:45:15,920 --> 00:45:18,279
Speaker 3: my grown up job in two thousand and four, but

902
00:45:18,360 --> 00:45:21,319
Speaker 3: I was kind of fresh out of undergrad and I'd

903
00:45:21,360 --> 00:45:24,400
Speaker 3: worked at the college radio station when I was in school,

904
00:45:24,680 --> 00:45:29,279
Speaker 3: and so this soundtrack was kind of percolating as I

905
00:45:29,400 --> 00:45:32,760
Speaker 3: was leaving college radio, right, Yeah, certainly all these bands

906
00:45:32,800 --> 00:45:34,279
Speaker 3: were all over college radio.

907
00:45:34,480 --> 00:45:34,600
Speaker 4: Like.

908
00:45:35,160 --> 00:45:38,080
Speaker 3: It includes a track from the first track off of

909
00:45:38,160 --> 00:45:40,399
Speaker 3: the very first cold Play album, which is pretty much

910
00:45:40,400 --> 00:45:42,959
Speaker 3: the only cold Play album that I fuck with. Yeah,

911
00:45:42,960 --> 00:45:44,680
Speaker 3: I kind of like the second one, but the first

912
00:45:44,719 --> 00:45:45,800
Speaker 3: one is great.

913
00:45:46,200 --> 00:45:47,680
Speaker 2: That was the only cold Play I've ever listened to

914
00:45:47,760 --> 00:45:49,520
Speaker 2: this Yes two album, and then.

915
00:45:49,440 --> 00:45:51,359
Speaker 3: Of course you know what happened to Coldplay, But it's

916
00:45:51,400 --> 00:45:52,560
Speaker 3: like that thing where I was.

917
00:45:52,520 --> 00:45:54,759
Speaker 1: Like, oh, I was brought back to that like.

918
00:45:54,719 --> 00:45:58,200
Speaker 3: First cold Play album era. Then of course the Shins,

919
00:45:58,239 --> 00:46:01,680
Speaker 3: which I feel like the Shins got super popular because

920
00:46:01,680 --> 00:46:03,000
Speaker 3: of the soundtrack they did.

921
00:46:03,080 --> 00:46:06,400
Speaker 1: Yeah, absolutely, And that's like I'd never heard the Shins before.

922
00:46:06,440 --> 00:46:07,640
Speaker 1: So when she's like, you want to hear a movie

923
00:46:07,760 --> 00:46:10,680
Speaker 1: song that will change your life, Oh I heard that,

924
00:46:10,719 --> 00:46:12,560
Speaker 1: I was like, this is changing my life. They really

925
00:46:12,600 --> 00:46:14,719
Speaker 1: picked a song that is changing my life. Yeah, that

926
00:46:15,080 --> 00:46:16,080
Speaker 1: worked for me too well.

927
00:46:16,120 --> 00:46:17,920
Speaker 3: And like here and here's another part of the movie

928
00:46:18,440 --> 00:46:20,520
Speaker 3: that it features a song that I actually really love,

929
00:46:21,239 --> 00:46:22,880
Speaker 3: but the part of the movie that it played and

930
00:46:23,040 --> 00:46:27,200
Speaker 3: drove me bananas. It was the Simon gar vocal song

931
00:46:27,239 --> 00:46:29,160
Speaker 3: The Only Living Boy in New York, which actually think

932
00:46:29,239 --> 00:46:29,720
Speaker 3: is such.

933
00:46:29,520 --> 00:46:31,560
Speaker 1: A sweet song. I love, yes, I love that, love

934
00:46:31,600 --> 00:46:31,960
Speaker 1: that song.

935
00:46:32,360 --> 00:46:37,960
Speaker 3: But the part that it plays in was like the big, sweet,

936
00:46:37,960 --> 00:46:42,440
Speaker 3: big romantic moment thing in the movie because basically, you know,

937
00:46:42,800 --> 00:46:46,440
Speaker 3: it's like there's a section where they're coming out of

938
00:46:46,880 --> 00:46:50,760
Speaker 3: somebody's weird house in a rock quarry and Zach braff

939
00:46:50,840 --> 00:46:53,439
Speaker 3: Is I think finally it's kind of the like manifestation

940
00:46:53,560 --> 00:46:55,680
Speaker 3: of all of his like feelings that he's been feeling

941
00:46:55,719 --> 00:46:58,200
Speaker 3: since he's been back home, and he has this for

942
00:46:58,280 --> 00:47:01,160
Speaker 3: this manic pixie dream girl, and it's like him the

943
00:47:01,239 --> 00:47:04,160
Speaker 3: Natalie Portman character, and then the Peter sarsar character, who

944
00:47:04,160 --> 00:47:06,160
Speaker 3: I actually love. Peter Sarsgard, by the way, he's a

945
00:47:06,160 --> 00:47:09,160
Speaker 3: great too. He's a great dude. They're like standing on

946
00:47:09,239 --> 00:47:12,600
Speaker 3: top of like a like an excavator or something.

947
00:47:12,280 --> 00:47:14,320
Speaker 1: Like yeah, and next to a quarry.

948
00:47:14,480 --> 00:47:16,759
Speaker 3: Yeah, into Corey and there were in trash bags because

949
00:47:16,800 --> 00:47:19,000
Speaker 3: it's raining, and then all of a sudden, Zach Braff's

950
00:47:19,040 --> 00:47:21,880
Speaker 3: character is like, I gotta kiss this woman. Yeah, and

951
00:47:21,920 --> 00:47:24,680
Speaker 3: I'll do it in front of my friend who was

952
00:47:24,800 --> 00:47:26,960
Speaker 3: just watching us, which is so awkward.

953
00:47:27,160 --> 00:47:31,319
Speaker 1: Mellie. This is after they screamed into the quarry emotionally

954
00:47:31,440 --> 00:47:33,480
Speaker 1: to let it out. I mean, that was on it.

955
00:47:33,600 --> 00:47:36,759
Speaker 1: I admittedly a powerful moment for me in twenty four.

956
00:47:36,920 --> 00:47:40,120
Speaker 1: Twenty twenty four, I was like, it'll be Yeah.

957
00:47:40,160 --> 00:47:44,719
Speaker 3: There was a lot of this like dorky excising of emotions,

958
00:47:44,960 --> 00:47:46,800
Speaker 3: like the part where she's in front of the fucking

959
00:47:46,800 --> 00:47:49,480
Speaker 3: fireplace and she's like doing a tap dance.

960
00:47:49,320 --> 00:47:51,120
Speaker 2: Tap dance for you. I'd love for you to tap

961
00:47:51,200 --> 00:47:51,680
Speaker 2: dance for me.

962
00:47:51,840 --> 00:47:54,200
Speaker 3: I was like, Yo, that's her avoiding intimacy.

963
00:47:54,280 --> 00:47:56,359
Speaker 1: By the way, did you know that? Yes, I mean

964
00:47:56,360 --> 00:47:58,520
Speaker 1: I think we could do a whole section on her,

965
00:47:58,760 --> 00:48:02,440
Speaker 1: uh being a non sexual entity and him being a

966
00:48:02,480 --> 00:48:06,240
Speaker 1: nonsense sexual entity, and like the infantilizing of Natalie Portman,

967
00:48:06,320 --> 00:48:09,040
Speaker 1: there's a lot to get into there. But yeah, anyways, continue.

968
00:48:08,719 --> 00:48:11,360
Speaker 3: It's like when he admits something to her that's any

969
00:48:11,440 --> 00:48:13,680
Speaker 3: kind of real vulnerability, She's like, I'm just gonna do

970
00:48:13,719 --> 00:48:15,520
Speaker 3: a weird dance. You know.

971
00:48:15,560 --> 00:48:17,840
Speaker 1: It just fucking drives me crazy. But in that moment,

972
00:48:18,239 --> 00:48:19,320
Speaker 1: there was this moment.

973
00:48:19,080 --> 00:48:21,160
Speaker 3: Where I was like, Okay, he just decides that he's

974
00:48:21,200 --> 00:48:23,759
Speaker 3: like swept away. In the moment he's on the excavator,

975
00:48:24,040 --> 00:48:26,000
Speaker 3: the only living boy in New York is playing. It's

976
00:48:26,000 --> 00:48:28,479
Speaker 3: a very romantic scene, and then Peter Sarsguard's just looking

977
00:48:28,520 --> 00:48:31,880
Speaker 3: at them, and I'm like he should have left that excavator.

978
00:48:31,920 --> 00:48:32,600
Speaker 3: He's like, oh, my.

979
00:48:32,560 --> 00:48:33,399
Speaker 1: Friends are making out.

980
00:48:33,440 --> 00:48:35,319
Speaker 3: I gotta go, like, I don't want to watch them.

981
00:48:35,480 --> 00:48:39,000
Speaker 1: Or if I was directing that scene, and I've directed

982
00:48:39,000 --> 00:48:42,360
Speaker 1: some things so I could say this. If I was

983
00:48:42,400 --> 00:48:45,520
Speaker 1: directing that scene Peter Sar's Guard, I would have not.

984
00:48:45,560 --> 00:48:47,120
Speaker 2: Had that character go up there.

985
00:48:47,600 --> 00:48:50,040
Speaker 1: Yes, yes, and that could have been a motivating he

986
00:48:50,080 --> 00:48:51,880
Speaker 1: could have you know, he's a cigarette smoker. Maybe he's

987
00:48:51,880 --> 00:48:53,640
Speaker 1: smoking a cigarette down there. He doesn't want to climb

988
00:48:53,719 --> 00:48:56,240
Speaker 1: this thing. Yeah, and then Natalie Portman and Zach Braff

989
00:48:56,280 --> 00:48:58,320
Speaker 1: could scream into the quarry and make out and it

990
00:48:58,320 --> 00:48:59,200
Speaker 1: would be less awkward.

991
00:48:59,320 --> 00:48:59,480
Speaker 4: Yeah.

992
00:48:59,520 --> 00:49:00,960
Speaker 2: I noticed that when we were watching.

993
00:49:01,080 --> 00:49:04,560
Speaker 3: I would have had the drone fly over the two

994
00:49:05,080 --> 00:49:10,640
Speaker 3: Peter sarsguard exits stage wherever, why climbs off the excitator, Like, Yo,

995
00:49:10,680 --> 00:49:13,000
Speaker 3: my friends are in a moment, I'm gonna leave because,

996
00:49:13,360 --> 00:49:16,759
Speaker 3: as a person who has been the third wheel for

997
00:49:16,880 --> 00:49:19,640
Speaker 3: many romantic encounters in my life, I'm.

998
00:49:19,440 --> 00:49:22,399
Speaker 1: Like, I ain't watching these two. I'm fucking off. Yes,

999
00:49:22,560 --> 00:49:24,680
Speaker 1: I have been in the same situations where I think

1000
00:49:24,719 --> 00:49:27,160
Speaker 1: I'm hanging out with two friends and I turn around

1001
00:49:27,200 --> 00:49:29,840
Speaker 1: and they are making out and I'm like, WHOA. So

1002
00:49:30,040 --> 00:49:33,000
Speaker 1: I have been in that situation where it's been a

1003
00:49:33,040 --> 00:49:37,040
Speaker 1: sneak attack makeout that I didn't know was gonna happen. Yeah,

1004
00:49:37,080 --> 00:49:39,960
Speaker 1: So I've been there. But it's too silly of a

1005
00:49:40,000 --> 00:49:41,840
Speaker 1: moment to have in the movie.

1006
00:49:41,960 --> 00:49:42,320
Speaker 2: Yeah.

1007
00:49:42,360 --> 00:49:45,480
Speaker 3: Well, like I said, I could truly go on with

1008
00:49:45,520 --> 00:49:47,680
Speaker 3: some of the stuff. But the soundtrack to me, I

1009
00:49:47,680 --> 00:49:50,239
Speaker 3: mean it was kind of like a mixed bag in

1010
00:49:50,320 --> 00:49:52,000
Speaker 3: terms of how I was feeling at the time when

1011
00:49:52,000 --> 00:49:53,640
Speaker 3: I was rewatching it, because I was like, oh, this

1012
00:49:53,760 --> 00:49:58,320
Speaker 3: Coldplay song still hits oh frough frough Wow, Okay, this

1013
00:49:58,440 --> 00:50:02,480
Speaker 3: happening at this really important in time, Like the lyrics

1014
00:50:02,520 --> 00:50:05,480
Speaker 3: of it are so appropriate for the scene that it's

1015
00:50:05,480 --> 00:50:09,600
Speaker 3: happening in, and you know. Then there was also like, I

1016
00:50:09,920 --> 00:50:13,200
Speaker 3: don't know these bands that I remember that I haven't

1017
00:50:13,239 --> 00:50:14,719
Speaker 3: heard since this.

1018
00:50:15,040 --> 00:50:17,200
Speaker 1: Yeah, like no, totally, Remy.

1019
00:50:17,080 --> 00:50:21,440
Speaker 3: Zero, I have not heard Remy zero since two thousand

1020
00:50:21,440 --> 00:50:21,759
Speaker 3: and four.

1021
00:50:22,000 --> 00:50:24,920
Speaker 1: Yeah, I mean at the time, I was like, every

1022
00:50:25,000 --> 00:50:26,920
Speaker 1: song on this hits so hard, And now when I

1023
00:50:26,920 --> 00:50:29,120
Speaker 1: listened to it, I was like a few of these hits. Yeah,

1024
00:50:29,160 --> 00:50:32,799
Speaker 1: the rest of bit Millie, we we kind of got

1025
00:50:32,800 --> 00:50:35,640
Speaker 1: to get moving on here. Is there any last thoughts

1026
00:50:36,160 --> 00:50:37,279
Speaker 1: you have? Yes, I will.

1027
00:50:37,320 --> 00:50:40,160
Speaker 3: I will say this. As much as I've shipped.

1028
00:50:39,920 --> 00:50:44,520
Speaker 1: On your me as a person, all over me.

1029
00:50:44,600 --> 00:50:48,000
Speaker 3: As a person, your interior life, your feelings, your childhood,

1030
00:50:48,120 --> 00:50:53,680
Speaker 3: all of that, I actually think it's insanely adorable that

1031
00:50:53,800 --> 00:50:55,040
Speaker 3: you loved.

1032
00:50:54,719 --> 00:50:56,760
Speaker 1: This movie as much as you did.

1033
00:50:56,360 --> 00:50:59,120
Speaker 3: And could admit to it. And can talk about it

1034
00:50:59,400 --> 00:51:03,040
Speaker 3: with no has because we should not be embarrassed by

1035
00:51:03,080 --> 00:51:06,040
Speaker 3: the things. There is no cringe to me. I don't

1036
00:51:06,040 --> 00:51:06,800
Speaker 3: believe in cringe.

1037
00:51:06,920 --> 00:51:09,200
Speaker 1: Yes, I mean you and I have talked off record.

1038
00:51:09,239 --> 00:51:11,319
Speaker 1: We are cringe, but we are free, you know, and

1039
00:51:12,880 --> 00:51:16,040
Speaker 1: there is no cringe. We moved through the cringe.

1040
00:51:16,160 --> 00:51:16,640
Speaker 2: That's right.

1041
00:51:17,080 --> 00:51:20,680
Speaker 3: Like, it's wonderful that you're like this is I was

1042
00:51:20,719 --> 00:51:23,120
Speaker 3: shaped by a film like this, and I know everybody

1043
00:51:23,480 --> 00:51:26,560
Speaker 3: thinks it's lame, but I will defend it. Steah, I

1044
00:51:26,560 --> 00:51:29,680
Speaker 3: don't know, there's something very sweet about that, and I

1045
00:51:29,719 --> 00:51:33,200
Speaker 3: feel like it ends up making me like people more

1046
00:51:33,840 --> 00:51:36,200
Speaker 3: when they can say stuff like that, Like, I don't know,

1047
00:51:36,239 --> 00:51:39,239
Speaker 3: I just I appreciate it as much as I did

1048
00:51:39,239 --> 00:51:41,799
Speaker 3: not have that experience. You know, I was already in

1049
00:51:41,840 --> 00:51:46,160
Speaker 3: my like stupid idiot edge lord, twenty five year old,

1050
00:51:46,520 --> 00:51:49,799
Speaker 3: you know, smoking cigarettes, watching cannibal movies from Italy type

1051
00:51:49,800 --> 00:51:55,800
Speaker 3: of modes. I hold space for you having the passion

1052
00:51:56,160 --> 00:51:58,120
Speaker 3: and the appreciation for Garden State.

1053
00:51:58,280 --> 00:52:04,200
Speaker 1: Well, thank you. I understand all the criticism of it,

1054
00:52:04,280 --> 00:52:08,640
Speaker 1: and even I have grown. I did buy it on

1055
00:52:08,719 --> 00:52:11,480
Speaker 1: Blu Ray. Oh, so I now own this movie. So

1056
00:52:11,520 --> 00:52:13,680
Speaker 1: if the apocalypse comes, and I'm having to watch movie

1057
00:52:13,719 --> 00:52:17,240
Speaker 1: via generator in my you know, shack out in the woods.

1058
00:52:17,440 --> 00:52:20,240
Speaker 2: I will be able to watch Garden State forever.

1059
00:52:20,600 --> 00:52:23,520
Speaker 3: Is there a Zach Braff commentary on that blu ray?

1060
00:52:23,800 --> 00:52:25,720
Speaker 1: I believe there is, and I think I've actually watched

1061
00:52:25,719 --> 00:52:28,799
Speaker 1: the Zach Braff commentary already at some point. I don't

1062
00:52:28,840 --> 00:52:30,440
Speaker 1: really want to like elaborate on this, but it is

1063
00:52:30,440 --> 00:52:34,520
Speaker 1: sort of interesting that Zach Braff didn't become a bigger filmmaker.

1064
00:52:34,520 --> 00:52:37,240
Speaker 1: He didn't make another movie for ten years. Oh wow,

1065
00:52:37,360 --> 00:52:39,120
Speaker 1: this was a hit. Yeah, you know, and it's a

1066
00:52:39,160 --> 00:52:41,480
Speaker 1: movie he wrote and directed and started. You'd think he

1067
00:52:41,520 --> 00:52:44,799
Speaker 1: would have had another one lined up in a year

1068
00:52:44,920 --> 00:52:48,759
Speaker 1: or two. But his legacy is odd too, as I

1069
00:52:48,800 --> 00:52:51,840
Speaker 1: see him in commercials for a cell phone company now

1070
00:52:51,880 --> 00:52:55,440
Speaker 1: with the other guy from Scrubs, and it makes me

1071
00:52:55,520 --> 00:52:59,160
Speaker 1: sort of sad, yeah too, because I'm like, you could

1072
00:52:59,200 --> 00:53:03,120
Speaker 1: have been, like, I don't know, A two thousand's Hal

1073
00:53:03,239 --> 00:53:05,920
Speaker 1: hartleyer sure, which I have more to say about Hal

1074
00:53:05,920 --> 00:53:10,960
Speaker 1: Hartley and my recommendation section. I just think there's space

1075
00:53:11,000 --> 00:53:16,520
Speaker 1: for this type of movie, a sensitive, romantic, funny movie,

1076
00:53:16,760 --> 00:53:19,600
Speaker 1: and I don't think we get movies like this anymore.

1077
00:53:19,640 --> 00:53:21,879
Speaker 1: And like you can say what you will about Garden State,

1078
00:53:22,120 --> 00:53:24,279
Speaker 1: I wish there were more movies that were kind of

1079
00:53:24,640 --> 00:53:28,279
Speaker 1: like Garden State. We just don't have those anymore, and

1080
00:53:28,320 --> 00:53:30,600
Speaker 1: that makes me sad. Yeah, I would agree with that.

1081
00:53:30,719 --> 00:53:34,480
Speaker 3: I feel like earnestness isn't a weird place right now generally.

1082
00:53:34,239 --> 00:53:43,480
Speaker 2: Yeah, I agree.

1083
00:53:45,400 --> 00:53:49,319
Speaker 1: All right. Moving on to something that I'm interested in

1084
00:53:50,080 --> 00:53:53,400
Speaker 1: scared of. Really presented the idea of doing a sensitive

1085
00:53:53,480 --> 00:53:56,279
Speaker 1: boy as quiz to me, and I feel like I'm

1086
00:53:56,280 --> 00:53:57,840
Speaker 1: the authority on sensitive boys.

1087
00:53:57,840 --> 00:53:58,879
Speaker 2: I am a sensitive boy.

1088
00:53:59,000 --> 00:54:01,440
Speaker 1: Yes, you know, I am a straight white male, but

1089
00:54:01,520 --> 00:54:06,080
Speaker 1: I like to identify as a soft strait however you want.

1090
00:54:07,400 --> 00:54:10,440
Speaker 1: I am a soft straight and you know I mean

1091
00:54:10,520 --> 00:54:14,680
Speaker 1: that in every way of that you know meaning. And

1092
00:54:14,760 --> 00:54:18,160
Speaker 1: so I feel like I am the authority on this

1093
00:54:18,239 --> 00:54:21,440
Speaker 1: type of stuff. So Millie, take it away. What are

1094
00:54:21,480 --> 00:54:23,080
Speaker 1: we doing today? All right?

1095
00:54:23,120 --> 00:54:25,080
Speaker 3: So we're playing a little game here. It's gonna be

1096
00:54:25,120 --> 00:54:30,920
Speaker 3: five questions. Each question is gonna be basically a synopsis

1097
00:54:31,040 --> 00:54:33,200
Speaker 3: or log line or something about a movie that has

1098
00:54:33,200 --> 00:54:36,000
Speaker 3: come out in the past. I would say thirty to

1099
00:54:36,080 --> 00:54:40,000
Speaker 3: forty years, so nothing, nothing that's super old. I would say,

1100
00:54:40,080 --> 00:54:43,840
Speaker 3: keep it in like the seventies, eighties, nineties, and beyond

1101
00:54:44,200 --> 00:54:44,800
Speaker 3: two thousands.

1102
00:54:44,840 --> 00:54:45,200
Speaker 1: Perhaps.

1103
00:54:45,200 --> 00:54:47,280
Speaker 3: Okay, I'm gonna read you the synopsis of the film,

1104
00:54:47,280 --> 00:54:49,880
Speaker 3: and I need you to name the film. And then

1105
00:54:50,160 --> 00:54:53,080
Speaker 3: if you can remember the character's name or who played

1106
00:54:53,120 --> 00:54:56,359
Speaker 3: the character or characters in some of us, then that'd

1107
00:54:56,400 --> 00:54:58,759
Speaker 3: be great. But just name the name the movie. So

1108
00:54:58,840 --> 00:55:01,319
Speaker 3: this is basically a a game where you have to

1109
00:55:01,440 --> 00:55:05,560
Speaker 3: guess what movie features you know, a sensitive boy, a

1110
00:55:05,640 --> 00:55:10,080
Speaker 3: sensitivevo bro, or a you know, some kind of beautiful

1111
00:55:10,200 --> 00:55:11,399
Speaker 3: male creature in a film.

1112
00:55:11,480 --> 00:55:14,399
Speaker 2: A beautiful male creature. I love that.

1113
00:55:15,000 --> 00:55:17,920
Speaker 1: And so I get a point for naming the movie,

1114
00:55:18,000 --> 00:55:21,640
Speaker 1: and I get a point for naming the actor. Is

1115
00:55:21,640 --> 00:55:21,960
Speaker 1: that right?

1116
00:55:22,120 --> 00:55:24,600
Speaker 3: Yeah, Well, if you just name the movie, you get

1117
00:55:24,640 --> 00:55:26,880
Speaker 3: a point. Okay, if you remember the character name or

1118
00:55:26,880 --> 00:55:29,680
Speaker 3: of the person who played them, great, But just name

1119
00:55:29,760 --> 00:55:33,120
Speaker 3: the movie. That's that's the meat of this game. Okay, okay,

1120
00:55:33,120 --> 00:55:35,400
Speaker 3: all right, Question number one in our sensitive Boys.

1121
00:55:35,160 --> 00:55:38,400
Speaker 1: Game, I'm listening. I have my listening face.

1122
00:55:40,040 --> 00:55:45,240
Speaker 3: A group of thoughtful young men attempting a prep school

1123
00:55:45,320 --> 00:55:49,880
Speaker 3: in the late nineteen fifties create a secret club inspired

1124
00:55:49,880 --> 00:55:54,000
Speaker 3: by their favorite teacher, where they explore writing, poetry and

1125
00:55:54,080 --> 00:55:55,839
Speaker 3: the pursuit of their true.

1126
00:55:55,800 --> 00:55:57,640
Speaker 2: Passions dead poet society.

1127
00:55:57,719 --> 00:56:00,480
Speaker 1: Correct. Yeah, lots of sensitive boys. They love the theater

1128
00:56:01,600 --> 00:56:04,680
Speaker 1: film and they love making a scene by standing up

1129
00:56:04,719 --> 00:56:08,160
Speaker 1: on a desk and reciting to their favorite teacher. Yes, God,

1130
00:56:08,239 --> 00:56:10,760
Speaker 1: I went, and it's so a tumnal and like East Coast.

1131
00:56:10,800 --> 00:56:12,440
Speaker 1: I really wanted to be on the East Coast as

1132
00:56:12,440 --> 00:56:13,680
Speaker 1: a kid. I mean maybe that's why I like Garden

1133
00:56:13,680 --> 00:56:14,759
Speaker 1: steakecause I was like, well, I want to be a

1134
00:56:14,760 --> 00:56:18,400
Speaker 1: New Jersey. I want to be out of Minneapolis. But yeah,

1135
00:56:18,480 --> 00:56:19,120
Speaker 1: yeah I would.

1136
00:56:19,360 --> 00:56:22,480
Speaker 3: If you were to say Ethan Hawk or Robert Sean Leonard.

1137
00:56:22,480 --> 00:56:25,799
Speaker 3: He was kind of the most sensitive Sean Leonard. Yes,

1138
00:56:25,920 --> 00:56:28,600
Speaker 3: he was kind of like a gay coded character, wouldn't

1139
00:56:28,600 --> 00:56:31,279
Speaker 3: you say? Maybe Ethan Hawk's character too was a little

1140
00:56:31,320 --> 00:56:34,320
Speaker 3: gay coded. So anyway, absolutely right, So you got one.

1141
00:56:34,200 --> 00:56:35,680
Speaker 1: Right, great fabulous fabulus.

1142
00:56:35,760 --> 00:56:42,640
Speaker 3: Number two sensitive boy, a sports agent decides to adopt

1143
00:56:42,760 --> 00:56:46,800
Speaker 3: a more personal, ethical approach to his career after being

1144
00:56:46,920 --> 00:56:51,560
Speaker 3: fired from his job, navigating both professional struggles and a

1145
00:56:51,640 --> 00:56:54,680
Speaker 3: complicated relationship with a single.

1146
00:56:54,560 --> 00:56:59,520
Speaker 1: Mother and her child. Jerry McGuire. It's interesting you bring

1147
00:56:59,600 --> 00:57:04,040
Speaker 1: up Jerry McGuire because that's another Cameron Chrome movie. US

1148
00:57:04,080 --> 00:57:07,880
Speaker 1: a sensitive dude, and I think it's funny. He also

1149
00:57:08,200 --> 00:57:11,600
Speaker 1: it gets name checked, but the ultimate sensitive boy book

1150
00:57:11,800 --> 00:57:15,800
Speaker 1: Catcher in the Rye is name checked in that movie.

1151
00:57:16,320 --> 00:57:19,240
Speaker 3: So anyways, to right, you got that second one, right?

1152
00:57:19,320 --> 00:57:20,080
Speaker 3: How could you not?

1153
00:57:20,400 --> 00:57:25,240
Speaker 1: Tom Cruise, Cuba Gooding, Junior, Rene ze Elwiger, Jonathan Lipnikki.

1154
00:57:27,120 --> 00:57:30,280
Speaker 3: I forgot about that name. Wow you get bonus for that?

1155
00:57:30,760 --> 00:57:36,760
Speaker 1: Yeah, my goodness. J Moore Moore, Yeah, man, it's been

1156
00:57:36,760 --> 00:57:39,520
Speaker 1: a while since I've seen that. There's a there's a

1157
00:57:39,600 --> 00:57:42,600
Speaker 1: video collective in La called Everything Is Terrible?

1158
00:57:42,760 --> 00:57:43,920
Speaker 2: Yes, have you seen them?

1159
00:57:44,000 --> 00:57:44,240
Speaker 4: I have?

1160
00:57:44,440 --> 00:57:46,680
Speaker 1: Yeah, they do tours, okay, and they had a thing

1161
00:57:46,720 --> 00:57:51,880
Speaker 1: where they were like collecting every VHS copy of Jerry McGuire.

1162
00:57:51,920 --> 00:57:54,439
Speaker 1: I think they have like thousands of Jerry McGuire because

1163
00:57:54,480 --> 00:57:58,200
Speaker 1: I think it's a frequent one in like a goodwill

1164
00:57:58,440 --> 00:58:00,840
Speaker 1: VHS spin it's like every but he had Jerry mcguarre

1165
00:58:00,880 --> 00:58:02,520
Speaker 1: on VHS. So anyways, that's.

1166
00:58:03,880 --> 00:58:07,240
Speaker 3: Weirdly enough, my family did not. Even though my parents

1167
00:58:07,400 --> 00:58:10,760
Speaker 3: had the weirdest VHS tapes, they only had like twelve

1168
00:58:10,920 --> 00:58:12,840
Speaker 3: or something, ten or twelve and they were all weird

1169
00:58:13,040 --> 00:58:13,360
Speaker 3: as shit.

1170
00:58:13,480 --> 00:58:13,880
Speaker 1: It's fun.

1171
00:58:13,920 --> 00:58:16,120
Speaker 3: I'm surprised Jerry McGuire wasn't one of them anyway. That's

1172
00:58:16,200 --> 00:58:19,960
Speaker 3: the second one. Great got you right number three in

1173
00:58:20,080 --> 00:58:25,520
Speaker 3: our Sensitive Boys quiz. In this nineteen eighties coming of

1174
00:58:25,600 --> 00:58:30,400
Speaker 3: age classic, a sensitive and mature young boy from a

1175
00:58:30,440 --> 00:58:34,360
Speaker 3: troubled family becomes the emotional leader of a group of

1176
00:58:34,360 --> 00:58:38,120
Speaker 3: friends who are on a journey to find a dead body.

1177
00:58:39,080 --> 00:58:44,360
Speaker 1: Oh stand by Me, Yes, Oh man, this is a weeper.

1178
00:58:44,640 --> 00:58:47,960
Speaker 1: This isn't just like a sensitive boy. I feel like

1179
00:58:48,040 --> 00:58:50,959
Speaker 1: this is just I can't really even watch this movie anyway. Wow,

1180
00:58:51,000 --> 00:58:53,919
Speaker 1: it was like that monologue of River Phoenix talking about

1181
00:58:54,000 --> 00:58:55,960
Speaker 1: stealing the lunch money. I think you guys covered this song.

1182
00:58:56,000 --> 00:58:58,080
Speaker 1: Oh we did. I saw what you did. I mean,

1183
00:58:58,160 --> 00:59:02,000
Speaker 1: it's so just such a gut punch, And like, I

1184
00:59:02,080 --> 00:59:06,200
Speaker 1: remember being really affected when the epilogue when they're like,

1185
00:59:06,360 --> 00:59:09,160
Speaker 1: this is what happened to the characters? Oh, and you're like.

1186
00:59:09,200 --> 00:59:14,040
Speaker 3: God, spoiler alert, me fucking dies And I was like shook.

1187
00:59:14,320 --> 00:59:15,840
Speaker 3: That haunted me forever.

1188
00:59:16,440 --> 00:59:19,160
Speaker 1: Yes, you know, it's kind of similar to the end

1189
00:59:19,400 --> 00:59:24,200
Speaker 1: of American Graffiti, where it's like their lives sucked after

1190
00:59:24,240 --> 00:59:26,880
Speaker 1: this kind of yeah, And it's like the main character

1191
00:59:27,240 --> 00:59:29,840
Speaker 1: in Standby Me becomes a successful writer, but it's like

1192
00:59:30,200 --> 00:59:33,919
Speaker 1: one guy lost his mind in Vietnam. One guy. It's

1193
00:59:33,960 --> 00:59:40,560
Speaker 1: just kind of like, man, fuck, that is so fucking depressing.

1194
00:59:40,080 --> 00:59:42,520
Speaker 3: So depressing. I was like, is this why Stephen King

1195
00:59:42,720 --> 00:59:45,880
Speaker 3: is because this horrible fact has been brought in here

1196
00:59:45,960 --> 00:59:47,920
Speaker 3: and now I'm mully it over for the rest of

1197
00:59:47,920 --> 00:59:48,240
Speaker 3: my life.

1198
00:59:48,360 --> 00:59:50,800
Speaker 1: You got stabbed in the neck standing in line, like

1199
00:59:50,880 --> 00:59:52,280
Speaker 1: at a fast food restaurant.

1200
00:59:52,680 --> 00:59:55,000
Speaker 2: There was something like that. It's like, God almighty.

1201
00:59:55,120 --> 00:59:55,760
Speaker 4: Yeah.

1202
00:59:55,800 --> 00:59:58,440
Speaker 3: Well, but I would argue that River Phoenix was like

1203
00:59:58,760 --> 01:00:01,600
Speaker 3: one of the og sens of boys from my childhood.

1204
01:00:01,880 --> 01:00:05,280
Speaker 1: So would I would have literally I would have killed

1205
01:00:05,280 --> 01:00:08,040
Speaker 1: the person if I could have had his hair. Oh God,

1206
01:00:08,080 --> 01:00:11,120
Speaker 1: I had such a curly hair in the nineties, and

1207
01:00:11,160 --> 01:00:13,600
Speaker 1: it was all about that River Phoenix, cool guy hair.

1208
01:00:13,960 --> 01:00:16,680
Speaker 1: If someone was like one person on earth could die,

1209
01:00:16,680 --> 01:00:18,480
Speaker 1: but you'd have that hair, I would be like, do

1210
01:00:18,520 --> 01:00:20,280
Speaker 1: I have to know that person? And they were like no.

1211
01:00:20,480 --> 01:00:22,520
Speaker 1: I might have said yes because I was like, I

1212
01:00:22,600 --> 01:00:24,240
Speaker 1: wanted that hair so badly.

1213
01:00:24,600 --> 01:00:26,920
Speaker 3: I mean, listen his whole mythology at this point. I mean,

1214
01:00:26,960 --> 01:00:28,880
Speaker 3: it's it's kind of interesting to call it a mythology,

1215
01:00:29,120 --> 01:00:31,120
Speaker 3: but it is. I mean, he was like a famous

1216
01:00:31,280 --> 01:00:33,720
Speaker 3: young actor that died young. So of course there's just

1217
01:00:33,880 --> 01:00:36,480
Speaker 3: like an aura and a mythology around him in his life.

1218
01:00:36,560 --> 01:00:41,160
Speaker 3: Right in this era when he became like nineties famous,

1219
01:00:41,800 --> 01:00:45,240
Speaker 3: when he was dating Martha Plimpton, who to me was

1220
01:00:45,280 --> 01:00:48,600
Speaker 3: like she was she symbolized with the actual cool girl

1221
01:00:48,960 --> 01:00:52,040
Speaker 3: because she was kind of like Tom boyish. She was

1222
01:00:52,160 --> 01:00:56,280
Speaker 3: like alternative, you know, she wasn't like this. She just

1223
01:00:56,320 --> 01:00:58,680
Speaker 3: seemed like a girl that I would know from my

1224
01:00:58,760 --> 01:01:00,920
Speaker 3: high school and be friends with. So when she was

1225
01:01:01,040 --> 01:01:03,960
Speaker 3: dating River Phoenix, and you know it was like rumored

1226
01:01:03,960 --> 01:01:06,160
Speaker 3: that he was bisexual or whatever, I was like, this

1227
01:01:06,200 --> 01:01:09,200
Speaker 3: is who I want to thrive forever. I wanted to

1228
01:01:09,240 --> 01:01:12,479
Speaker 3: live together in a Brownstone in New York and grow

1229
01:01:12,560 --> 01:01:15,120
Speaker 3: old together. Yeah, they were going to be my you know,

1230
01:01:15,360 --> 01:01:18,800
Speaker 3: the model for my life. It was such a magical

1231
01:01:18,840 --> 01:01:20,720
Speaker 3: time when they were together. And I know that he

1232
01:01:20,840 --> 01:01:23,400
Speaker 3: was probably going through demons and there was a lot

1233
01:01:23,400 --> 01:01:27,120
Speaker 3: of tucked in there, but like, honestly, for my money,

1234
01:01:27,160 --> 01:01:31,600
Speaker 3: that was the eternal couple for me. Fascinating anyway, Okay,

1235
01:01:31,760 --> 01:01:33,919
Speaker 3: moving on, So you got three right, number four.

1236
01:01:34,120 --> 01:01:35,560
Speaker 1: I thought you're gonna make this hard.

1237
01:01:37,040 --> 01:01:39,080
Speaker 3: I know, Listen, I had to softball it because I

1238
01:01:39,120 --> 01:01:39,880
Speaker 3: wasn't sure what.

1239
01:01:39,800 --> 01:01:40,360
Speaker 1: You were going to think.

1240
01:01:40,440 --> 01:01:41,840
Speaker 2: Yeah, if I had done badly, I might have gotten

1241
01:01:41,840 --> 01:01:42,360
Speaker 2: too sensitives.

1242
01:01:42,400 --> 01:01:43,640
Speaker 1: Yeah, cried about it.

1243
01:01:43,680 --> 01:01:45,680
Speaker 3: I should I should have pulled in some gudar and

1244
01:01:45,720 --> 01:01:52,200
Speaker 3: really rocked you. Number four A compassionate, sensitive, and unorthodox

1245
01:01:52,280 --> 01:01:56,360
Speaker 3: therapist helps a troubled young genius working as a jenner

1246
01:01:56,640 --> 01:02:01,560
Speaker 3: at MIT past and realize his full potential.

1247
01:02:02,040 --> 01:02:06,080
Speaker 1: See. I thought, I was like, oh, this is a

1248
01:02:06,080 --> 01:02:10,400
Speaker 1: good one. She's doing ordinary people. Oh but I also

1249
01:02:10,920 --> 01:02:14,040
Speaker 1: I love that movie Sensitive Boy in the Hall of

1250
01:02:14,080 --> 01:02:15,520
Speaker 1: Fame for sensitive boy movies of course.

1251
01:02:15,560 --> 01:02:16,400
Speaker 2: Oh goodwille Hunting.

1252
01:02:16,880 --> 01:02:17,400
Speaker 4: Uh.

1253
01:02:17,440 --> 01:02:20,920
Speaker 1: Speaking of River Phoenix, gus Fan Sant directed My Own

1254
01:02:21,000 --> 01:02:24,640
Speaker 1: Private Idaho with River Phoenix, and he's kind of a

1255
01:02:24,720 --> 01:02:27,280
Speaker 1: sensitive boy director too. Well.

1256
01:02:27,320 --> 01:02:30,160
Speaker 3: And here's the thing, this is technically the second Robin

1257
01:02:30,160 --> 01:02:31,240
Speaker 3: Williams in this quiz.

1258
01:02:31,480 --> 01:02:32,560
Speaker 1: Yeah, and it's not very long.

1259
01:02:33,040 --> 01:02:36,720
Speaker 3: But his character is the sensitive Yes. As much as

1260
01:02:36,760 --> 01:02:39,040
Speaker 3: like people focus on Matt Damon and sort of his

1261
01:02:39,320 --> 01:02:43,600
Speaker 3: evolution in the movie, No, the therapist is a sensitive boy.

1262
01:02:43,640 --> 01:02:47,400
Speaker 1: He's the soft boy. Yeah, you know, the soft boy. Yeah.

1263
01:02:47,440 --> 01:02:50,080
Speaker 3: His whole speech about talking about his late wife is

1264
01:02:50,080 --> 01:02:53,760
Speaker 3: on TikTok like all the time and every fucking time

1265
01:02:54,280 --> 01:02:56,080
Speaker 3: I watch it all the way through.

1266
01:02:56,240 --> 01:02:59,080
Speaker 1: We need to do an episode about movies on TikTok.

1267
01:02:59,240 --> 01:03:02,840
Speaker 3: Oh, my god, that would blow the doors off. We

1268
01:03:02,880 --> 01:03:06,320
Speaker 3: would have what two million downloads.

1269
01:03:05,760 --> 01:03:08,120
Speaker 1: Easily, we'd have so many gen Z followers.

1270
01:03:10,160 --> 01:03:13,200
Speaker 3: Put a pit in that casey Jesus. Okay, last one,

1271
01:03:13,240 --> 01:03:15,360
Speaker 3: last one, Okay, bring up the caboose. Here we go,

1272
01:03:15,800 --> 01:03:18,520
Speaker 3: last and the Sensitive Boys quiz number five. A high

1273
01:03:18,560 --> 01:03:21,880
Speaker 3: school graduate falls deeply in love with a girl from

1274
01:03:21,880 --> 01:03:25,919
Speaker 3: his class, famously holding a boombox above his head while

1275
01:03:25,920 --> 01:03:28,360
Speaker 3: it plays Peter Gabriels in your eyes outside of her

1276
01:03:28,360 --> 01:03:31,720
Speaker 3: window as the ultimate expression of his true feelings.

1277
01:03:31,920 --> 01:03:33,600
Speaker 1: Say anything, yes?

1278
01:03:33,960 --> 01:03:35,640
Speaker 4: Now? Uh?

1279
01:03:36,600 --> 01:03:42,240
Speaker 1: Lots of sensitive boys in this movie. John Cusack obviously

1280
01:03:42,440 --> 01:03:43,439
Speaker 1: ultimate sensitive boy.

1281
01:03:43,560 --> 01:03:47,600
Speaker 3: Do you think that Lloyd Dobbler is the prototype for

1282
01:03:47,680 --> 01:03:50,920
Speaker 3: the sensitive boy? And maybe like the Zach Braff iteration

1283
01:03:51,040 --> 01:03:51,840
Speaker 3: of the sensitive boy?

1284
01:03:51,960 --> 01:03:52,200
Speaker 2: Yeah?

1285
01:03:52,240 --> 01:03:57,600
Speaker 1: Oh, I definitely the prototype for the sensitive boy. I

1286
01:03:57,640 --> 01:04:00,400
Speaker 1: didn't bring this up, but I feel like a could

1287
01:04:00,440 --> 01:04:03,760
Speaker 1: be made for Harold from Harold and Mont. Yes. Absolutely, okay,

1288
01:04:03,920 --> 01:04:07,720
Speaker 1: the graduate, Yes, he's a sensitive boy, sure, but John

1289
01:04:07,760 --> 01:04:13,680
Speaker 1: Cusack is in that lineage certainly. I actually know someone

1290
01:04:13,840 --> 01:04:18,360
Speaker 1: who did this sort of unironically and held music outside

1291
01:04:18,400 --> 01:04:21,680
Speaker 1: somebody's window like this. What It's one of those things.

1292
01:04:21,720 --> 01:04:27,200
Speaker 1: It's kind of like Garden State where you're like really really,

1293
01:04:28,480 --> 01:04:31,680
Speaker 1: but it's still touching and it's a it's a good movie.

1294
01:04:32,200 --> 01:04:35,240
Speaker 1: It's a little bit darker than I think. Like the

1295
01:04:35,280 --> 01:04:38,840
Speaker 1: whole thing was like the dad going to jail, yes

1296
01:04:39,240 --> 01:04:40,720
Speaker 1: and saying anything is odd?

1297
01:04:40,920 --> 01:04:42,120
Speaker 3: And is that Cameron Crowe?

1298
01:04:42,320 --> 01:04:44,560
Speaker 1: Oh, I'm just saying I.

1299
01:04:44,440 --> 01:04:47,320
Speaker 3: Think Cavin Crowe was responsible for a lot of this,

1300
01:04:47,680 --> 01:04:48,800
Speaker 3: a lot of this malarkey.

1301
01:04:49,000 --> 01:04:53,080
Speaker 1: The architect, he directed it. He is the architect for

1302
01:04:53,160 --> 01:04:59,200
Speaker 1: the Sensitive Boy Boy. What has Cameron crow done recently?

1303
01:04:59,440 --> 01:04:59,880
Speaker 1: I don't know.

1304
01:05:00,080 --> 01:05:03,120
Speaker 3: Is he still married to the one of the Heart sisters?

1305
01:05:03,280 --> 01:05:06,000
Speaker 1: Oh, Nancy Wilson, No, oh no.

1306
01:05:06,840 --> 01:05:09,040
Speaker 3: Well you got all five right, just like I thought.

1307
01:05:09,040 --> 01:05:13,439
Speaker 1: Wow, thank you, Millie, Wow fabulous, Thank you so much

1308
01:05:13,440 --> 01:05:15,800
Speaker 1: for putting that together. Of course I knew I would

1309
01:05:15,800 --> 01:05:18,640
Speaker 1: ace it, but it still feels good to get a

1310
01:05:18,640 --> 01:05:19,640
Speaker 1: good score on that.

1311
01:05:20,080 --> 01:05:30,800
Speaker 4: Yeah.

1312
01:05:31,440 --> 01:05:35,160
Speaker 1: Now it's time for employee picks. This is where we

1313
01:05:35,320 --> 01:05:38,520
Speaker 1: recommend movies based on, you know, the things we talked

1314
01:05:38,520 --> 01:05:41,200
Speaker 1: about in this very episode. Millie, what do you got?

1315
01:05:41,680 --> 01:05:44,760
Speaker 3: You know, I was thinking, what is one of my

1316
01:05:44,800 --> 01:05:48,000
Speaker 3: favorite sensitive boys? And maybe this is a bit dark.

1317
01:05:48,440 --> 01:05:50,960
Speaker 3: I'm taking it in the darker direction. I would have

1318
01:05:51,040 --> 01:05:53,840
Speaker 3: to say that my film recommendation for this week would

1319
01:05:53,920 --> 01:05:58,320
Speaker 3: have to be a Psycho from nineteen sixty because Norman Bates. Wow,

1320
01:05:58,440 --> 01:05:59,640
Speaker 3: it is a sensitive boy.

1321
01:06:00,200 --> 01:06:04,640
Speaker 1: Yes, certainly, I would say too sensitive, very much, very much.

1322
01:06:04,680 --> 01:06:06,200
Speaker 3: So here's the thing.

1323
01:06:06,240 --> 01:06:06,520
Speaker 1: I mean.

1324
01:06:06,960 --> 01:06:10,919
Speaker 3: Recommending Psycho is like recommending that you drink water every day.

1325
01:06:11,040 --> 01:06:14,760
Speaker 1: I know it's such a layup, but it's so good.

1326
01:06:15,000 --> 01:06:17,400
Speaker 1: I've watched it in the last two years and it's

1327
01:06:17,440 --> 01:06:19,880
Speaker 1: so I went through a bit of a Hitchcock thing, yes,

1328
01:06:20,080 --> 01:06:23,400
Speaker 1: a little while back, but Psycho is so good.

1329
01:06:23,800 --> 01:06:26,880
Speaker 3: I think so too. If you're a person who sort

1330
01:06:26,920 --> 01:06:29,160
Speaker 3: of like again, like feels a little suss about the

1331
01:06:29,240 --> 01:06:32,080
Speaker 3: kind of Cannon film Cannon, classic film Cannon, and you

1332
01:06:32,160 --> 01:06:37,320
Speaker 3: think Alfred Hitchcock, Ugh, why what I he seems like

1333
01:06:37,360 --> 01:06:40,360
Speaker 3: such a dude or whatever. I think Psycho is one

1334
01:06:40,360 --> 01:06:44,280
Speaker 3: of his best and feels like a slightly different take

1335
01:06:44,720 --> 01:06:48,760
Speaker 3: than certain things. I mean, honestly, it's great. It's like

1336
01:06:48,800 --> 01:06:52,080
Speaker 3: a great character study. I think Norman Bates as a

1337
01:06:52,160 --> 01:06:55,400
Speaker 3: character is super fascinating obviously for many reasons. Yeah, but

1338
01:06:55,440 --> 01:06:58,560
Speaker 3: I also think, like if you ever read about Anthony

1339
01:06:58,560 --> 01:07:01,880
Speaker 3: Perkins and the actor who Playedrman Bates obviously and sort

1340
01:07:01,880 --> 01:07:05,360
Speaker 3: of his life before and after he played Norman Bates

1341
01:07:05,480 --> 01:07:08,240
Speaker 3: is really fascinating, Like he really couldn't shake it. Yeah,

1342
01:07:08,280 --> 01:07:11,440
Speaker 3: and he tried a lot. He actually tried and then

1343
01:07:11,480 --> 01:07:14,200
Speaker 3: didn't try because then he started the Psycho remakes. We

1344
01:07:14,320 --> 01:07:14,920
Speaker 3: did all of them.

1345
01:07:14,960 --> 01:07:16,640
Speaker 2: I think I have not seen these movies.

1346
01:07:16,720 --> 01:07:19,920
Speaker 3: A Psycho four is kind of great, dude, Like it's weird.

1347
01:07:20,240 --> 01:07:20,960
Speaker 1: Check it out.

1348
01:07:21,080 --> 01:07:24,360
Speaker 3: So it's like there's something to the idea of like

1349
01:07:24,480 --> 01:07:30,640
Speaker 3: him remaining tied to a film as the franchise destroys

1350
01:07:30,680 --> 01:07:33,880
Speaker 3: the original legacy of the film. Like it's that funny

1351
01:07:33,920 --> 01:07:35,720
Speaker 3: thing of like that's a person who just wants to

1352
01:07:35,760 --> 01:07:38,560
Speaker 3: keep going and keep making worse and worse iterations of

1353
01:07:38,600 --> 01:07:39,360
Speaker 3: this classic.

1354
01:07:39,520 --> 01:07:40,560
Speaker 1: Yeah, I love that.

1355
01:07:40,720 --> 01:07:42,800
Speaker 3: But I also think that he did try to do

1356
01:07:42,880 --> 01:07:45,040
Speaker 3: some interesting stuff after, and I think people just thought

1357
01:07:45,040 --> 01:07:46,439
Speaker 3: he was creepy for the rest of his life.

1358
01:07:46,560 --> 01:07:48,439
Speaker 1: I think it's sad because I feel like it's much

1359
01:07:48,480 --> 01:07:51,520
Speaker 1: easier to pivot to a different type of thing now,

1360
01:07:52,040 --> 01:07:54,000
Speaker 1: Like people are much more forgiving of Like there was

1361
01:07:54,040 --> 01:07:56,000
Speaker 1: a time not too long ago when it was like, oh,

1362
01:07:56,080 --> 01:07:57,560
Speaker 1: you're on TV, you can't be in movies.

1363
01:07:57,760 --> 01:07:59,080
Speaker 2: Yeah, you'd never be a movie star.

1364
01:07:59,320 --> 01:08:02,880
Speaker 1: And it's like people are much more accepting of that now,

1365
01:08:03,040 --> 01:08:05,520
Speaker 1: or like, oh, you started off as this one specific

1366
01:08:05,560 --> 01:08:08,560
Speaker 1: thing and now you do something else. But like back then,

1367
01:08:09,000 --> 01:08:12,160
Speaker 1: if you're like known as Norman Bates, you're Norman Bates.

1368
01:08:12,240 --> 01:08:16,280
Speaker 1: There's no way to get away from that. Yeah.

1369
01:08:16,479 --> 01:08:19,200
Speaker 3: And also I mean his son, Oz Perkins, who's out

1370
01:08:19,240 --> 01:08:21,160
Speaker 3: here making a shit ton of horror movies. He did

1371
01:08:21,240 --> 01:08:24,120
Speaker 3: Long Legs. Yeah, the movie The Monkey is about to

1372
01:08:24,120 --> 01:08:24,519
Speaker 3: come out.

1373
01:08:24,720 --> 01:08:28,799
Speaker 1: He did the Pretty Little Thing in the House. I think, yeah, yeah, yeah,

1374
01:08:28,840 --> 01:08:31,120
Speaker 1: So I like his movies. He's good.

1375
01:08:31,280 --> 01:08:33,439
Speaker 3: So it's kind of cool that his son is a

1376
01:08:33,640 --> 01:08:34,960
Speaker 3: kind of a horror director now.

1377
01:08:35,080 --> 01:08:39,719
Speaker 1: Anthony Perkins also wrote a great who done it called

1378
01:08:39,840 --> 01:08:44,120
Speaker 1: The Last of Sheila, which he co wrote with Stephen Sondheu. Yeah,

1379
01:08:44,120 --> 01:08:46,200
Speaker 1: which is a great movie. Love that movie. That's not

1380
01:08:46,240 --> 01:08:48,479
Speaker 1: my wreck, not my wreck, but it's good. Well what

1381
01:08:48,600 --> 01:08:49,200
Speaker 1: is your wreck?

1382
01:08:49,280 --> 01:08:49,479
Speaker 4: Then?

1383
01:08:50,000 --> 01:08:55,760
Speaker 1: Smarty Pants, sensitive Boy, smarty pants sky over here. So

1384
01:08:56,280 --> 01:08:58,800
Speaker 1: I brought this guy up already. There's a filmmaker named

1385
01:08:58,920 --> 01:09:03,840
Speaker 1: Hal Hartley, and he is kind of a nineties indie king.

1386
01:09:04,560 --> 01:09:08,360
Speaker 2: I would say his most famous movie is what would

1387
01:09:08,400 --> 01:09:10,599
Speaker 2: you say, Henry, Henry Fool.

1388
01:09:11,560 --> 01:09:14,479
Speaker 1: He's made a ton of movies, but he is a

1389
01:09:14,840 --> 01:09:18,720
Speaker 1: very independent filmmaker, Like he owns his own movies, and

1390
01:09:18,760 --> 01:09:21,280
Speaker 1: he like distributed his own movies. I think he like

1391
01:09:21,320 --> 01:09:24,439
Speaker 1: funded his own movies. And he's just like a really

1392
01:09:24,479 --> 01:09:27,960
Speaker 1: interesting guy. And I don't think he's celebrated enough because

1393
01:09:27,960 --> 01:09:31,200
Speaker 1: a lot of his movies are about sensitive boys, yes,

1394
01:09:31,320 --> 01:09:34,759
Speaker 1: and they're romantic, and they're kind of silly and cute,

1395
01:09:35,040 --> 01:09:38,200
Speaker 1: but also kind of dark. And he made a lot

1396
01:09:38,200 --> 01:09:42,479
Speaker 1: of his stuff just like on Long Island, and he's great.

1397
01:09:42,520 --> 01:09:45,080
Speaker 1: I haven't seen all of his movies. Some of them

1398
01:09:45,120 --> 01:09:47,639
Speaker 1: are a bit eye rolly, you might say, a little

1399
01:09:47,680 --> 01:09:51,640
Speaker 1: bit like just they're earnest and they're sincere, and that

1400
01:09:51,680 --> 01:09:56,400
Speaker 1: can sometimes come across as cringey, as Millie said. But

1401
01:09:56,920 --> 01:10:00,000
Speaker 1: I'm gonna recommend one of his first movies, Trust. Yeah.

1402
01:10:00,200 --> 01:10:01,360
Speaker 3: I love that movie.

1403
01:10:01,760 --> 01:10:05,560
Speaker 2: I love Trust And I mentioned he's independent.

1404
01:10:05,800 --> 01:10:10,120
Speaker 1: Stream it on his website go to Helhartley dot com.

1405
01:10:10,360 --> 01:10:12,959
Speaker 1: You can stream it there, don't rent it from Amazon

1406
01:10:12,960 --> 01:10:16,519
Speaker 1: if you can just to support the filmmaker. And a

1407
01:10:16,600 --> 01:10:18,960
Speaker 1: quick story about Hal Hartley. I'm in the midst of

1408
01:10:19,000 --> 01:10:21,200
Speaker 1: making an independent film right now and I was trying

1409
01:10:21,240 --> 01:10:23,600
Speaker 1: to raise money and it was really hard. And I

1410
01:10:23,800 --> 01:10:27,519
Speaker 1: wrote to him on his website what and he wrote

1411
01:10:27,560 --> 01:10:32,960
Speaker 1: me back what with a very thoughtful email. Wow. Now,

1412
01:10:33,640 --> 01:10:36,439
Speaker 1: I was basically like, how do you do this? I'm

1413
01:10:36,439 --> 01:10:36,840
Speaker 1: in hell?

1414
01:10:37,000 --> 01:10:37,599
Speaker 2: This sucks.

1415
01:10:37,680 --> 01:10:39,280
Speaker 1: I don't think you'll ever write me back, but I

1416
01:10:39,320 --> 01:10:41,439
Speaker 1: just had to like express that to somebody, you know,

1417
01:10:41,479 --> 01:10:43,519
Speaker 1: trying to raise money for this. He wrote me back

1418
01:10:43,560 --> 01:10:47,280
Speaker 1: the sweetest email, and he was laying basically was like, yep,

1419
01:10:47,600 --> 01:10:50,720
Speaker 1: raising money even now a successful filmmaker as I am,

1420
01:10:50,880 --> 01:10:56,200
Speaker 1: it is hell and it sucks, and it was really sweet. Now,

1421
01:10:56,320 --> 01:10:57,720
Speaker 1: I don't know if I would if I ever wrote

1422
01:10:57,800 --> 01:10:59,439
Speaker 1: him back, you'd write me back. It was just like

1423
01:10:59,760 --> 01:11:01,759
Speaker 1: maybe I just caught him on the right day. Yes,

1424
01:11:02,000 --> 01:11:04,760
Speaker 1: it made me like him even more. And so he's

1425
01:11:04,840 --> 01:11:08,680
Speaker 1: like my sensitive boy king watch trust Yeah. On his

1426
01:11:08,720 --> 01:11:10,719
Speaker 1: website Hal Hartley dot com. He's awesome.

1427
01:11:10,760 --> 01:11:13,120
Speaker 3: You know what I love about Hal Hartley. One of

1428
01:11:13,120 --> 01:11:18,200
Speaker 3: the things of many things is that his like muse

1429
01:11:18,439 --> 01:11:21,559
Speaker 3: or something was Martin Donovan, who was like this cool actor.

1430
01:11:21,920 --> 01:11:24,320
Speaker 3: You know what, I what I kind of think it's

1431
01:11:24,360 --> 01:11:28,439
Speaker 3: in the same way. It's kind of like Hal Hartley

1432
01:11:28,920 --> 01:11:32,240
Speaker 3: used Martin Donovan in the same way that with Stillman

1433
01:11:32,680 --> 01:11:35,599
Speaker 3: uses Chris Eigman for his films. It's kind of like this,

1434
01:11:36,080 --> 01:11:38,559
Speaker 3: you know actor that they work with in many movies,

1435
01:11:38,600 --> 01:11:41,680
Speaker 3: but that that actor becomes kind of the archetype for

1436
01:11:41,800 --> 01:11:43,719
Speaker 3: that director's movie.

1437
01:11:43,760 --> 01:11:45,240
Speaker 1: Totally like the Martin.

1438
01:11:44,960 --> 01:11:48,519
Speaker 3: Donovan characters that are in the Hall Hartley movies. Becomes

1439
01:11:48,520 --> 01:11:51,519
Speaker 3: a guy that you just associate with Hal Hartley and

1440
01:11:51,560 --> 01:11:53,880
Speaker 3: the same thing I feel with with Stillman and Chris Aigman,

1441
01:11:54,000 --> 01:11:54,920
Speaker 3: same vibe.

1442
01:11:55,200 --> 01:11:56,400
Speaker 1: Yeah, all this is.

1443
01:11:56,360 --> 01:12:00,240
Speaker 3: To say I missed the nineties so much because this

1444
01:12:00,439 --> 01:12:02,600
Speaker 3: was like a thing that I felt like happened a

1445
01:12:02,600 --> 01:12:06,160
Speaker 3: lot in nineties movies, and I just wish it would

1446
01:12:06,160 --> 01:12:06,679
Speaker 3: happen more.

1447
01:12:07,000 --> 01:12:11,439
Speaker 1: Yes, So yeah, that's my recommendation. Trust God to hell

1448
01:12:11,479 --> 01:12:14,559
Speaker 1: Heartley dot com and support him. He had a Kickstarter

1449
01:12:14,720 --> 01:12:16,880
Speaker 1: like a year ago for his newest movie. I mean

1450
01:12:16,920 --> 01:12:19,360
Speaker 1: it's hard out there, even for someone who's made a

1451
01:12:19,360 --> 01:12:22,400
Speaker 1: bunch of movies. Yeah, Wow, what a cool dude. Well,

1452
01:12:22,479 --> 01:12:25,080
Speaker 1: that's our show. In the future. We would love to

1453
01:12:25,080 --> 01:12:27,160
Speaker 1: be giving out film advice at the end of our show,

1454
01:12:27,240 --> 01:12:29,080
Speaker 1: sort of a mail bag of sorts, but to give

1455
01:12:29,120 --> 01:12:32,080
Speaker 1: you all advice. If you need a specific recommendation, if

1456
01:12:32,120 --> 01:12:35,559
Speaker 1: you need help navigating a director's filmography, or if you

1457
01:12:35,600 --> 01:12:39,400
Speaker 1: need a film gripe resolved, please write in. You can

1458
01:12:39,479 --> 01:12:45,000
Speaker 1: email us at Deer Movies at exactly rightmedia dot com.

1459
01:12:45,280 --> 01:12:47,759
Speaker 3: Yes, and for some reason you want to do it

1460
01:12:47,800 --> 01:12:49,840
Speaker 3: with a voicemail. Even if you want to ask for

1461
01:12:49,880 --> 01:12:52,360
Speaker 3: advice or if you just want to say something to us,

1462
01:12:53,120 --> 01:12:55,880
Speaker 3: you can do a voicemail and all I gotta do

1463
01:12:56,000 --> 01:12:59,000
Speaker 3: is record it on your phone. Make sure it's under

1464
01:12:59,240 --> 01:13:02,599
Speaker 3: one minute law please and email it to us at

1465
01:13:02,600 --> 01:13:05,360
Speaker 3: Dearmovies at exactlyrightmedia dot com.

1466
01:13:05,640 --> 01:13:08,559
Speaker 1: You can follow us on our socials at dear Movies,

1467
01:13:08,600 --> 01:13:10,840
Speaker 1: I love you on Instagram and Facebook.

1468
01:13:11,200 --> 01:13:14,640
Speaker 3: Yes, and if you are a letterboxed user and you

1469
01:13:14,680 --> 01:13:17,639
Speaker 3: want to follow us, we are at Casey le O'Brien

1470
01:13:17,960 --> 01:13:20,280
Speaker 3: and at m to Jericho.

1471
01:13:20,800 --> 01:13:24,000
Speaker 1: Well, Millie, thank you so much for letting me talk

1472
01:13:24,040 --> 01:13:27,559
Speaker 1: about the most important movie of the twenty first century,

1473
01:13:27,600 --> 01:13:32,040
Speaker 1: Garden State, and uh being patient with me, and you know,

1474
01:13:32,120 --> 01:13:34,479
Speaker 1: being patient rewatching a movie. I don't know if you

1475
01:13:34,640 --> 01:13:38,880
Speaker 1: necessarily absolutely loved upon your first viewing, So I appreciate that.

1476
01:13:39,160 --> 01:13:42,680
Speaker 3: Listen, I appreciate that you appreciate it, and I appreciate you,

1477
01:13:42,920 --> 01:13:44,040
Speaker 3: and that's all that matters.

1478
01:13:44,400 --> 01:13:47,000
Speaker 1: Thank you, Milly, Bye, everybody, goodbye.

1479
01:13:49,080 --> 01:13:52,280
Speaker 3: This has been an exactly right production hosted by me

1480
01:13:52,680 --> 01:13:56,360
Speaker 3: Millie to Cherico and produced by my co host, Casey O'Brien.

1481
01:13:56,560 --> 01:13:59,960
Speaker 1: This episode was mixed by Tom Bryfocal. Our associate for

1482
01:14:00,400 --> 01:14:03,720
Speaker 1: is Christina Chamberlain, our guest booker is Patrick Cottner, and

1483
01:14:03,800 --> 01:14:05,679
Speaker 1: our artwork is by Vanessa Lilac.

1484
01:14:05,840 --> 01:14:08,760
Speaker 3: Our incredible theme music is by the best man in

1485
01:14:08,760 --> 01:14:10,640
Speaker 3: the entire world, The Softies.

1486
01:14:10,920 --> 01:14:14,840
Speaker 1: Thank you to our executive producers Karen Kilgarriff, Georgia Hardstark,

1487
01:14:15,000 --> 01:14:17,880
Speaker 1: Daniel Kramer and Millie to Jerico, we love you.

1488
01:14:17,960 --> 01:14:21,120
Speaker 3: Goodbye, Beker