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Speaker 2: Wove out on the under three dollars and lem me

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Speaker 2: time only.

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Speaker 3: Prices and participation may very Prices may be higher for

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Speaker 3: delivery bottom up.

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Speaker 1: It's very difficult to keep the line between the past.

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Speaker 4: And the price.

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Speaker 5: You believe that someone out of the past can enter

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Speaker 5: take possession of a living being.

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Speaker 6: We may be through with the past, but the past

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Speaker 6: is not he with us. Welcome back to the next

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Speaker 6: Picture Show. A Movie of the Week podcast devoted to

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Speaker 6: a classic film in the way it's shaped our thoughts

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Speaker 6: on a recent release. I'm Scott Tobias here again with

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Speaker 6: Keith Pepps.

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Speaker 5: Tasha Robinson, and Genevieve Koski.

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Speaker 6: In the first half of this conversation, we talked about

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Speaker 6: the original nineteen eighty four Ghostbusters, henceforth known as Old Busters,

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Speaker 6: in which the Ghostbusters are men, and now will shift

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Speaker 6: to the New Ghostbusters called New Busters, in which the

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Speaker 6: Ghostbusters are women. Director Paul fig whose previous films include Bridesmaids,

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Speaker 6: Heat and Spy, cast two of his favorite stars, Kristin

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Speaker 6: Wigg and Wilsla McCarthy as estranged experts in the paranormal

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Speaker 6: who re team to fight a sudden influx of green

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Speaker 6: specters in New York City. SNL stars Kate McKinnon and

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Speaker 6: Leslie Jones round out the quartet, and Chris Hemsworth does

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Speaker 6: a dumb guy twist on the secretary character played by

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Speaker 6: Annie Potts in the original film. The New Ghostbusters is

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Speaker 6: made with obvious affection and cameos for the nineteen eighty

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Speaker 6: four version, and replicates certain character types and pot points too,

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Speaker 6: but it also breaks from it in significant ways. We'll

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Speaker 6: get into that plus thoughts on the effects, the villains,

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Speaker 6: New York City, blockbuster culture, and more. Do you see

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Speaker 6: that the eyes?

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Speaker 1: All right?

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Speaker 6: Foltzman was opertun in this movie? No, that is unt Hi, Patty,

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Speaker 6: can I get some illumination on this subject?

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Speaker 3: Where are these ghosts coming from? You're taking this pretty

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Speaker 3: boy back to the lad Pultzman yup, power us up? Okay,

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Speaker 3: and the pleasaniest things in here?

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Speaker 5: Okay, Aaron, here exactly this.

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Speaker 1: Why am I operating the untested nuclear laser?

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Speaker 3: You have the longest arms.

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Speaker 5: This is just a little bit of grounding so you

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Speaker 5: don't die immediately.

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Speaker 2: You have done this before, right?

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Speaker 5: Ready? Fire?

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Speaker 6: Oh so let's just get right into this movie. What

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Speaker 6: did everyone think? Was this worth doing a remake?

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Speaker 2: Reboot?

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Speaker 5: What are you going to classify that I'm thinking of

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Speaker 5: as an alternate universe version of Ghostbusters?

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Speaker 2: There was this alternate universe version of Ghostbusters worthwhile?

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Speaker 5: Okay? I love everyone involved in this film. I love

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Speaker 5: what this film is trying to do. I love how

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Speaker 5: Paul Figu has really established himself as someone who takes

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Speaker 5: kind of male dominated movie tropes and does them with women.

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Speaker 5: But I wish this movie hadn't been so beholden to Ghostbusters.

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Speaker 5: I want to see this team do a movie like

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Speaker 5: this that's not Ghostbusters. Because I liked Newbusters about as

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Speaker 5: much as I liked Old Busters, which is with a

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Speaker 5: fair number of reservations and that there's a lot of

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Speaker 5: good stuff in there. But as a complete movie, it

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Speaker 5: was a little disappointing, and that kind of guts me

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Speaker 5: to say.

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Speaker 6: Yeah, I mean, I guess maybe that's something we can

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Speaker 6: get into later. But the stakes for you know, even

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Speaker 6: for liking this film, we're higher than they are for

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Speaker 6: just any old movie, which made it a very curious,

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Speaker 6: you know experience, you know, in the culture before we

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Speaker 6: even got a chance to see the movie.

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Speaker 2: What do you think of it, Tasha?

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Speaker 3: I liked it a lot more than I thought I

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Speaker 3: was going to from the trailers. The trailers were incredibly dispiriting,

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Speaker 3: and maybe it was just it was cutting together of

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Speaker 3: too much special effects stuff and too much stuff that,

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Speaker 3: as Genevieve said, just seemed to beholden to the original.

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Speaker 3: I laughed through most of the movie, and every time

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Speaker 3: I left I felt a tiny twinge of relief because

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Speaker 3: after the trailers I went in kind of dreading the

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Speaker 3: idea that this film was going to turn out to

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Speaker 3: be terrible. I enjoyed a lot of the performances Kate

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Speaker 3: McKinnon more than anything else.

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Speaker 5: Just my eyes turned into hearts when you say her name.

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Speaker 3: Kate McKinnon. Oh my god, that's so cute. I could

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Speaker 3: just do that for the rest of the night. But

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Speaker 3: the podcast people can't see it, so it's barely worth it.

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Speaker 3: We need to post like an Instagram of you with

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Speaker 3: like little hearts in your eyes. The things that I

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Speaker 3: liked most about this movie are the things that took

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Speaker 3: it furthest away from the film. It's remaking and apparently

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Speaker 3: they're they're trying to get released in China, and it

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Speaker 3: looks like China might ban it because they don't want

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Speaker 3: movies that are seen as reinforcing occult beliefs. But they

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Speaker 3: renamed it Superpower Do Or Die Team for the Chinese market,

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Speaker 3: and some part of me thinks, if it came out

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Speaker 3: here as Superpower Do or Die Team, we might have

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Speaker 3: gotten like twenty five percent less like Manchild vitriol about

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Speaker 3: the whole thing because it's called Ghostbusters and it's about

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Speaker 3: the same four characters in the same world with driving around.

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Speaker 6: The same though really, you put a title like that

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Speaker 6: on it, you're still not really going to fool people

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Speaker 6: into thinking of this.

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Speaker 3: Well, then instead of the little ghost with a slash

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Speaker 3: through it, they could have had like a little picture

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Speaker 3: of a superpowered Do or Die team. Nobody would have

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Speaker 3: caught on. No, no, seriously, I enjoyed this movie more

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Speaker 3: than I thought I was going to. I didn't love

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Speaker 3: it the way I would love to have loved the

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Speaker 3: head of Sony has said that he wants this to

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Speaker 3: be a franchise, and he thinks a sequel will happen.

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Speaker 3: If that does happen, I much as I reacted to

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Speaker 3: The Force Awakens, I look forward to this being a

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Speaker 3: platform from which they can jump off and do something new.

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Speaker 2: Yeah.

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Speaker 5: Maybe, or maybe you can just remake Ghostbusters too.

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Speaker 3: I am turning those hearts in your eyes into like

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Speaker 3: little x's and stabbing you with my face.

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Speaker 2: Under my under my.

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Speaker 6: My thing about remakes is that you should always remake

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Speaker 6: bad movies.

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Speaker 2: Why remake? Why do we make something that.

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Speaker 6: Already said Roger Eberts, like, hey do if Ghostbusters two

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Speaker 6: has a strong idea which I don't remember enough.

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Speaker 2: Of it about it?

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Speaker 6: Pink slime, right, so that probably isn't enough to build

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Speaker 6: a whole up.

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Speaker 5: I mean, it's pain. So you got that going for it,

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Speaker 5: evil portrait.

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Speaker 2: Improve I have not. You can say anything happens in

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Speaker 2: that movie, and I will not. I will not be

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Speaker 2: able to challenge.

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Speaker 5: Your stack of dogs. No human could stack dogs that way.

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Speaker 5: That's what I was looking.

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Speaker 2: For, Keith.

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Speaker 6: I want to hear your thoughts on the Newbusters.

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Speaker 4: I have mixed feelings. I want to A writer I

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Speaker 4: work with, Jason Tabris, had had a piece today up

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Speaker 4: Brox about how kind of laid out the impossibility of it.

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Speaker 4: It's like, we want to do a huge, one hundred

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Speaker 4: and forty five million dollar movie that lives up to

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Speaker 4: this beloved classic, and you know, everything has to be

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Speaker 4: perfect but also has that loose has to have that loose,

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Speaker 4: improvisational feel of the original.

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Speaker 2: You know it is.

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Speaker 4: It is a tough needle to thread, and I think

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Speaker 4: it did okay. I really lean on to echo what

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Speaker 4: everyone else to say. I really like this cast, or

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Speaker 4: like Paul Figue, some moments work better than others. I mean,

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Speaker 4: how you want all my thoughts now or just a

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Speaker 4: few of them. I don't know why Molstien McCarthy.

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Speaker 3: Just dump them on us, like like a ghost spinning.

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Speaker 4: All the well, I don't know why. Most of McCarthy

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Speaker 4: is basically the straight woman in this. You know, she's

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Speaker 4: very funny. She has a running about wanton soup and

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Speaker 4: that's kind of our only jokes she has. It seems

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Speaker 4: like there ought to be a lot more emotion between

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Speaker 4: her characters, a stranger from Christian Wiggs character, but there's not.

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Speaker 5: I had one whole conversation about it. What more do

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Speaker 5: you want?

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Speaker 4: Very very quickly. I thought those characters are basically interchangeable.

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Speaker 4: I think Leslie Jones is kind of the only character,

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Speaker 4: is the only one that really has sort of development

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Speaker 4: or an arc to it. But you know, there's parts

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Speaker 4: that made me laugh. I thought it probably doesn't get

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Speaker 4: any less bogged down in the effects finale than the original.

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Speaker 4: Maybe a little bit more, though I thought I found

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Speaker 4: the end kind of dreadful. To be honest, that Scott,

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Speaker 4: you must have you probably have a lot of positive heelings.

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Speaker 6: No, I I'm sorry, I I really I thought it

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Speaker 6: was really bad and I think it really plays to

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Speaker 6: all of Paul Figue's weaknesses as a director, while while

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Speaker 6: missing all of his strengths, you know, his last two movies,

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Speaker 6: The Heat in Spy. What he what he likes to

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Speaker 6: do is to take these genres and then and.

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Speaker 2: Put funny people in front of them.

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Speaker 6: I mean, Heat is a He is a is a

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Speaker 6: take on the on the eighties action comedy. Spy is

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Speaker 6: a is a take on sort of the Jay Fund

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Speaker 6: type thriller. And I thought was Spy, which is my

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Speaker 6: favorite of his movie, is that he really had kind

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Speaker 6: of advanced a little bit more as a filmmaker, and

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Speaker 6: so I was kind of holding out a little bit

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Speaker 6: hope for for Ghostbusters on that front. But the problem

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Speaker 6: I had with The Heat, which is the film otherwise like,

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Speaker 6: is that the action elements of that film, which in

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Speaker 6: the eighties films are very important, were very sloppy and

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Speaker 6: very haphazard and not something that he seemed to consider

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Speaker 6: all that.

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Speaker 2: Important to execute well.

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Speaker 6: And you know, Spy Spy improved on that, but Ghostbusters

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Speaker 6: to me, did not.

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Speaker 2: It was just it felt like situation comedy. To me.

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Speaker 6: It's just it's it's let's put four funny women in,

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Speaker 6: put them in scene after scene and have them you know,

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Speaker 6: improvise or whatever the you know, just have them do

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Speaker 6: their thing, and do the bridesmaids thing, and do the

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Speaker 6: heat thing, and do the spy thing, and do it

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Speaker 6: do it for at a Peach thirteen level. It just

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Speaker 6: is so flat to me, the thing it just never

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Speaker 6: came to life. And I almost sunk in my chair.

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Speaker 6: From the very first scene in the movie, which had

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Speaker 6: Zach Woods from Silicon Valley, who I really liked, and

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Speaker 6: he just was, you know, he was riffing. I was like,

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Speaker 6: Oh no, this isn't just going to be riffing, is it?

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Speaker 6: This whole movie? And you know, things like this, the

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Speaker 6: running joke involving the wanton soup, it's weak sauce. To me,

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Speaker 6: I just it didn't feel like, you know, a good,

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Speaker 6: solid story was being told. And we talked about when

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Speaker 6: we talked about Old Busters, one of the virtues old

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Speaker 6: Old Busters was that it was a very solid piece

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Speaker 6: of storytelling with a lot of discreete scenes that you remembered,

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Speaker 6: and it moved really well and had an interesting pace,

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Speaker 6: and it just felt like as a movie it worked.

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Speaker 6: It wasn't just about placing funny people in a situation

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Speaker 6: where they could be funny, which was what the New

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Speaker 6: Ghostbusus felt like.

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Speaker 5: To me there was an odd rhythm to this movie

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Speaker 5: to New Busters that I could really feel the editing

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Speaker 5: and the stuff being left on the cutting room floor

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Speaker 5: for the sake of time, but then also wanting to

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Speaker 5: maintain that comedic improvisational energy and so letting things go

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Speaker 5: on longer than they probably should have. And I agreed

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Speaker 5: that the big ending set piece is a little bit

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Speaker 5: of a mess, although it does have the only moment

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Speaker 5: in this movie that made me cry, which is Kay

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Speaker 5: McKinnon's like slow motion double double pistol ass kicking. Was

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Speaker 5: the one piece of style that was that was like

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Speaker 5: I did I welld up and so did Steve who

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Speaker 5: was sitting next to me. High again. But it was

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Speaker 5: really choppy in a way that hurt the both the

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Speaker 5: comedic energy and the action movie energy, and really does

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Speaker 5: kind of contribute to the sense that there are a

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Speaker 5: lot of good bits and pieces of this film that

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Speaker 5: I can remember, like the stuff going on with Chris

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Speaker 5: Emsworth character, but as a story, you're right, like, there's

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Speaker 5: not a lot going on there.

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Speaker 3: Unfortunately, well there kind of is it just it gets

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Speaker 3: short shrift a.

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Speaker 5: Little right, yeah, Like it feels like it was left

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Speaker 5: on the cutting room floor.

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Speaker 3: And yeah, I mean it feels like they didn't leave

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Speaker 3: the special effects on the cutting room floor. But that's

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Speaker 3: kind of some of the stuff I'm least interested in.

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Speaker 3: There are all of these hints here, I feel like

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Speaker 3: of a movie that I don't know whether they shot

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Speaker 3: and then cut it down or they conceived of it

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Speaker 3: and then paired it out. But I mean, one of

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Speaker 3: the things Paul Fieg seems to do really well is

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Speaker 3: build movies that care about relationships between women. And you've

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Speaker 3: got something going on here between Kristen Wiggs's character and

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Speaker 3: Melissa McCarthy's character where they had a past together that

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Speaker 3: was really important to both of them, and then they

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Speaker 3: split and now one of them feels betrayed and angry

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Speaker 3: and the other one feels embarrassed, and we spend a

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Speaker 3: little time building that up, and then the resolution is

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Speaker 3: just kind of, hey, look there's a ghost. Like there's

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Speaker 3: a lot more build up here of these characters establishing

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Speaker 3: who these characters are than Oldbusters had, but there's no

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Speaker 3: more payoff for it.

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Speaker 5: One thing that struck me I rewatched old Busters after

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Speaker 5: seeing New Busters, and new Busters follows a lot of

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Speaker 5: the beats of of Old Busters but what struck me

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Speaker 5: as being very different and kind of pointed is the

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Speaker 5: city's reaction, in the public's reaction to the Ghostbusters in

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Speaker 5: each film. And we were talking in the last half

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Speaker 5: about that montage where the Ghostbuster has become famous and

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Speaker 5: beloved and all the magazine covers, and that is not

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Speaker 5: the case for the Ghostbusters in this new film, and

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Speaker 5: there is a lot of kind of backlash and behind

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Speaker 5: the scenes political maneuvering to undermine them. We probably should

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Speaker 5: be reading some underlying statement into that. I think as

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Speaker 5: far as the reaction to this film, we talk about.

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Speaker 6: The plotting of this film in the villain, which Tasha,

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Speaker 6: I think might be your topic. I mean, I think

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Speaker 6: you're looking at this film as a metaphor for the

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Speaker 6: creation of this film in a lot of ways, and

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Speaker 6: the resistance that it faced trying to make its way

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Speaker 6: to the screen and get into release, and just the

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Speaker 6: whole concept of women in this role or in any

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Speaker 6: role really, and that figures into the villain in this film,

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Speaker 6: and that is your topic.

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Speaker 2: Villains.

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Speaker 3: Sure, I wanted to talk about villains in general. Mostly

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Speaker 3: what struck me A friend of mine, Samantha Nelson, who

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Speaker 3: writes for Red Eye and The Daily Herald and quite

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Speaker 3: a bit for the Avy Club about movies and games.

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Speaker 3: Brought up a point to me that I thought was

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Speaker 3: really interesting, which is that the villain here, Rowan played

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Speaker 3: by Neil Casey, has a lot in common with a

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Speaker 3: Christen Wigg character. You know, they both were mocked as children,

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Speaker 3: they both turned to the supernatural. They both feel like

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Speaker 3: disenfranchised and like they didn't make any connections. The big

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Speaker 3: difference between them is that one of them had a

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Speaker 3: friend the other one didn't. But the movie doesn't really

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Speaker 3: do much to highlight that. It's a really trenchant point,

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Speaker 3: I think, and especially it kind of plays into fiaus

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Speaker 3: thing about female friendship. Because Kristen Wwig's character had a friend,

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Speaker 3: she didn't turn out like him. She didn't turn out

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Speaker 3: as this suicidal madman who's out to become a ghost

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Speaker 3: and destroy everything. And it seems like there's a point

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Speaker 3: there that there's like such a thin line between a

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Speaker 3: hero and villain, and it's a point that the movie

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Speaker 3: kind of fumbles by again not picking up on the

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Speaker 3: backstory that it builds. That said, I think it's interesting

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Speaker 3: that Newbusters does have a human villain that actually has

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Speaker 3: someone that puts the plot in motion that isn't a

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Speaker 3: dead guy who's offscreen who we never see as it

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Speaker 3: is in Old Busters. There's kind of a face of

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Speaker 3: evil here, and that face is, as you're pointing out, Scott,

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Speaker 3: kind of the face of the people who hated this

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Speaker 3: movie sight unseen. You know, the angry loaner who can't

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Speaker 3: bear that things are going on in the world, that

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Speaker 3: other people are like living happy lives in the world

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Speaker 3: and kind of wants to bring it all down because

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Speaker 3: he feels left out, because he feels disenfranchised, because he

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Speaker 3: feels like, you know, he had a happy childhood and

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Speaker 3: somebody ruined it for him. So I don't I mean,

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Speaker 3: the backlash of this movie started the second it was announced,

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Speaker 3: so there was certainly enough time for them to take

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Speaker 3: that into consideration when creating this villain. I don't know

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Speaker 3: how much that's a thing or isn't, but I think

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Speaker 3: making the villain kind of a pasty, stubby white dude

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Speaker 3: who feels threatened to disenfranchise by other people's friendships is

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Speaker 3: pretty trenchant, especially considering it's one of the biggest things

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Speaker 3: that marks it at as different from Old Busters, where

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Speaker 3: you're really your primary villain is a cosmic force of nature,

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Speaker 3: a giant, incomprehensible monster that just kind of proceeds on

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Speaker 3: its own timeline without any help. I do like very

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Speaker 3: much that both of these movies have specific concrete reasons

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Speaker 3: why suddenly ghosts in the supernatural are a thing in

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Speaker 3: New York City when they weren't really previously. It's not,

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Speaker 3: you know, a Batman Joker kind of thing where the

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Speaker 3: existence of Ghostbusters suddenly means the existence of ghosts. And

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Speaker 3: the fact that these movies do it both very differently,

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Speaker 3: I think is one of New Buster's strengths. I like

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Speaker 3: that goes out on its own limb. I just I

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Speaker 3: wish it did a little better, like that it developed

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Speaker 3: its ideas a little more.

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Speaker 5: But yeah, and with positing, Rowan is kind of a

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Speaker 5: you know, evil version of the Ghostbusters. Like I need

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Speaker 5: did some explanation on how he became like a one

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Speaker 5: man paranormal super villain, like where he how he was

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Speaker 5: able to build this thing in a hotel, and how

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Speaker 5: he knew about it how to begin with. Like, you know,

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Speaker 5: that's a hell of an autodidac there, you know, Like

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Speaker 5: I just I got his motives. I didn't get how

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Speaker 5: he got there.

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Speaker 2: You know who.

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Speaker 6: Switches He reminds me of is the villain in The Incredibles. Yeah,

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Speaker 6: and that is that is a that is a villain

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Speaker 6: that again he creates his own stuff.

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Speaker 2: He wants to be part of something. But I mean again,

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Speaker 2: that is.

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Speaker 6: A film that takes that handles that so much more

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Speaker 6: elegantly and establishes that he's trying to be part of

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Speaker 6: the team.

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Speaker 2: I guess, I guess it's not totally analogous.

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Speaker 6: This villain in The New Ghostbush is not trying to

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Speaker 6: be part of the team, but.

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Speaker 3: If he does feel rejected in the same surve.

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Speaker 2: Way, Yeah, I really got that sort of vibe from it.

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Speaker 4: But on paper, it's a much more effective villain and

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Speaker 4: much more thematically appropriate villain. But I don't I don't know.

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Speaker 4: I found this guy's never scary. I don't really find

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Speaker 4: his threat all that threatening, whereas Zuls seemed like, you know,

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Speaker 4: maybe he would take down the entire the fabric of reality,

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Speaker 4: you know. So I don't know.

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Speaker 5: I did think it was interesting how Bill Murray factored

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Speaker 5: into this movie into Newbusters, because he is He's not

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Speaker 5: a villain per se he's a little antagonistic figure, but

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Speaker 5: he is possessed by the villain at one point. And

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Speaker 5: being that, you know, we talked about how he is

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Speaker 5: the heart of Old Busters. I found it interesting that

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Speaker 5: the personification of that original film was possessed by the

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Speaker 5: villain in this new films.

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Speaker 4: But that's another idea that I think doesn't really looks

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Speaker 4: good on paper, doesn't really work. And I really didn't

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Speaker 4: care for his scenes at all. And they're they're funny

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Speaker 4: and or he was prickly effective in them or wanted

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Speaker 4: to be there.

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Speaker 2: You know, did any of the cameos in this movie

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Speaker 2: work for you?

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Speaker 4: Hudson was pretty funny.

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Speaker 3: Pots was pretty funny.

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Speaker 5: Yeah, Pots was good.

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Speaker 3: Where was she She's in the behind the desk of

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Speaker 3: the hotel. Yeah, okay, I mean she's not really like

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Speaker 3: like laugh line Olympics or anything. But and you know,

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Speaker 3: I liked seeing Ernie Hudson again.

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Speaker 5: You know what, My favorite came cameo was Ozzy Osbourne

403
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Speaker 5: from two thousand and two yelling Sharon for some reason,

404
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Speaker 5: what was that?

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Speaker 3: That was really weird. It also felt like it was

406
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Speaker 3: a shot like three weeks before or after anything else

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Speaker 3: was you know, Bill Murray in this movie is kind

408
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Speaker 3: of the Walter Pack. He's much more mannered and ridiculous

409
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Speaker 3: than Walter Pack, like Walter Peck's ridiculousness is a very

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Speaker 3: specific kind of like believable, sputtering, functionary, Bureaucraticuliam.

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Speaker 6: Mathton too, you can't stop William Atherton is fantastic.

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Speaker 2: You know, one thing that bothered me. I'm saying nobody.

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Speaker 6: Can do William Atherton like William Mathston. But one thing

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Speaker 6: that kind of bothered me if you want to talk

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Speaker 6: about like the meta narrative of the meta politics of

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Speaker 6: the movie are when they kind of just make it explicit.

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Speaker 6: I mean, it's a really it's a really brief thing,

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Speaker 6: but there's kind of a reference to comments on the internet.

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Speaker 6: It just it just looks like in a moment like

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Speaker 6: that sort of struck me, like are you just making

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Speaker 6: this movie for right now?

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Speaker 2: Or are you making it? Are you making a movie

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Speaker 2: that is going.

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Speaker 6: To last for that we're going to talk about like

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Speaker 6: we talked about the Old Busters. I mean, I just

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Speaker 6: I think, like, just don't settle for the for the

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Speaker 6: for reference, it's gonna going to please people in twenty sixteen,

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Speaker 6: you know, trying to.

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Speaker 3: I don't know if we still have the Internet in

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Speaker 3: twenty twenty six and we're not, they haven't come up

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Speaker 3: with something better that doesn't have Internet forums or comments

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Speaker 3: on it. I think we're still going to be having

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Speaker 3: that conversation, and I would I.

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Speaker 5: Would suggest that children, particularly young girls, who are seeing

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Speaker 5: this film now, they may have a connection to this,

436
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Speaker 5: to this film thirty years down the line, the way

437
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Speaker 5: that you have a connection to original.

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Speaker 3: Ubas, they may also need a connection to the idea

439
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Speaker 3: that you should ignore the haters.

440
00:21:40,640 --> 00:21:43,760
Speaker 6: Sure, sure, I'm just saying I'm thinking it's just it

441
00:21:43,800 --> 00:21:45,000
Speaker 6: feels like sort of a.

442
00:21:44,960 --> 00:21:46,399
Speaker 2: Hot take in the middle of the film, you know

443
00:21:46,440 --> 00:21:46,800
Speaker 2: what I mean?

444
00:21:46,880 --> 00:21:50,240
Speaker 3: Other than you are, are you worried this film is

445
00:21:50,240 --> 00:21:50,919
Speaker 3: going to be dated?

446
00:21:51,160 --> 00:21:52,920
Speaker 5: You know, you loved all the Internet comments and pop

447
00:21:52,960 --> 00:21:56,919
Speaker 5: Star a film you we all praised for being so

448
00:21:57,119 --> 00:21:57,760
Speaker 5: of the moment.

449
00:21:58,160 --> 00:21:59,120
Speaker 3: Yeah, and you know.

450
00:21:59,359 --> 00:22:01,800
Speaker 2: But I mean, but but it was was specific.

451
00:22:01,840 --> 00:22:03,959
Speaker 3: I don't know it was any tunes humor is hugely

452
00:22:04,000 --> 00:22:06,480
Speaker 3: specific to its time, and it's still funny. I mean,

453
00:22:06,760 --> 00:22:09,280
Speaker 3: I totally get what you're saying. But at the same

454
00:22:09,320 --> 00:22:10,919
Speaker 3: time as any of you who says it's.

455
00:22:10,760 --> 00:22:14,359
Speaker 6: A throwaway it's a nitpick, but it was a moment

456
00:22:14,400 --> 00:22:16,919
Speaker 6: that sort of groaned because it's like, just be your

457
00:22:16,960 --> 00:22:18,600
Speaker 6: own thing, and it was. It kind of fed into

458
00:22:18,600 --> 00:22:23,199
Speaker 6: this idea of new Ghostbusters not really just working as

459
00:22:23,200 --> 00:22:26,360
Speaker 6: a story, as a really carefully told piece of storytelling.

460
00:22:26,359 --> 00:22:28,960
Speaker 6: It just seemed like, you know, another joke, another kind

461
00:22:28,960 --> 00:22:33,040
Speaker 6: of throwaway gag, another bit of improvisation that doesn't have

462
00:22:33,440 --> 00:22:34,639
Speaker 6: the architecture.

463
00:22:34,160 --> 00:22:35,120
Speaker 2: To support it.

464
00:22:35,400 --> 00:22:38,719
Speaker 3: I don't know. I think comedies and action movies these

465
00:22:38,800 --> 00:22:41,760
Speaker 3: days both need to be made for the audience and

466
00:22:41,800 --> 00:22:44,400
Speaker 3: for the moment. I don't think you can ever anytime

467
00:22:44,440 --> 00:22:47,160
Speaker 3: you set out to make a movie for the ages,

468
00:22:47,520 --> 00:22:48,879
Speaker 3: I think you're getting yourself in trouble.

469
00:22:49,080 --> 00:22:51,560
Speaker 2: But I just it's just not solid to me. I

470
00:22:51,600 --> 00:22:51,879
Speaker 2: don't know.

471
00:22:52,200 --> 00:22:53,879
Speaker 3: Before we move on from Villains, can we just give

472
00:22:53,920 --> 00:22:58,320
Speaker 3: a shout out to Chris Hensworth as Possessed crazy dancing villain.

473
00:22:58,520 --> 00:23:00,440
Speaker 4: Which I didn't really like him in that that moment,

474
00:23:00,480 --> 00:23:02,920
Speaker 4: I thought I liked liked Unpossessed Kevin a lot though.

475
00:23:02,920 --> 00:23:04,280
Speaker 4: I thought it was really funny, and I thought I

476
00:23:04,280 --> 00:23:07,280
Speaker 4: thought his his you know, his logos he created for

477
00:23:07,280 --> 00:23:10,280
Speaker 4: for I liked his head shots, Yeah, his head shots.

478
00:23:10,920 --> 00:23:16,480
Speaker 2: Ghost cool, hey guys, which one of these makes me

479
00:23:16,480 --> 00:23:22,280
Speaker 2: look more like a doctor? The stone Brook Theater, there's

480
00:23:22,280 --> 00:23:23,160
Speaker 2: a goat on the loose.

481
00:23:24,640 --> 00:23:25,560
Speaker 6: I'm the load of the car.

482
00:23:26,200 --> 00:23:29,600
Speaker 4: Yeah, I'm sort of like lundont to lead with how

483
00:23:29,600 --> 00:23:31,760
Speaker 4: funny Chris Himsworth is in this movie, because that kind

484
00:23:31,760 --> 00:23:33,800
Speaker 4: of defeats part of the purpose of this movie in

485
00:23:33,840 --> 00:23:35,680
Speaker 4: some ways to It's like, you know, who's really funny

486
00:23:35,800 --> 00:23:38,159
Speaker 4: the guy but he's really funny.

487
00:23:38,200 --> 00:23:42,000
Speaker 5: Yeah, and he's also really hot, which they make good

488
00:23:42,119 --> 00:23:45,320
Speaker 5: use of. I did like kind of the equal opportunity

489
00:23:45,760 --> 00:23:51,000
Speaker 5: oggling by of Kevin by Kristen wigg But yeah, Possessed Kevin.

490
00:23:51,160 --> 00:23:53,360
Speaker 5: I I did like Possessed Kevin. I'm with you there.

491
00:23:53,520 --> 00:23:56,240
Speaker 5: But that dance scene, That's what I'm talking about when

492
00:23:56,240 --> 00:23:57,760
Speaker 5: I say you can tell that this movie is chopped

493
00:23:57,760 --> 00:23:59,560
Speaker 5: to ribbons because the dance scene isn't in the movie.

494
00:23:59,600 --> 00:24:03,040
Speaker 5: It's play over the credits, And it was so clearly

495
00:24:03,440 --> 00:24:05,880
Speaker 5: meant to be in the movie because you see all

496
00:24:06,520 --> 00:24:10,119
Speaker 5: these people on the street like forced into this like

497
00:24:10,240 --> 00:24:14,119
Speaker 5: disco point pose, and it's never explained why in the

498
00:24:14,160 --> 00:24:16,600
Speaker 5: movie itself, and then you see the dance sequence over

499
00:24:16,640 --> 00:24:19,080
Speaker 5: the credit, it's like, oh, well, that clearly was supposed

500
00:24:19,119 --> 00:24:19,680
Speaker 5: to happen there.

501
00:24:19,840 --> 00:24:23,680
Speaker 4: Apparently it was a seven figure cut. The sequence cost

502
00:24:23,760 --> 00:24:25,720
Speaker 4: more than a million dollars, and it was cut from

503
00:24:25,720 --> 00:24:29,439
Speaker 4: the film because it wasn't working. And I can't imagine

504
00:24:29,720 --> 00:24:32,119
Speaker 4: I wouldn't want that finale to be any slower. You know,

505
00:24:32,200 --> 00:24:35,200
Speaker 4: it's probably a good cut, but and what's left there

506
00:24:35,359 --> 00:24:37,040
Speaker 4: does feel very odd, doesn't.

507
00:24:36,880 --> 00:24:38,120
Speaker 5: Yeah, Yeah, it really does.

508
00:24:38,200 --> 00:24:41,280
Speaker 3: It feels very incomplete, and it feels like the action

509
00:24:41,400 --> 00:24:44,000
Speaker 3: climax of the movie happens twenty minutes before the end

510
00:24:44,000 --> 00:24:46,600
Speaker 3: of the movie, when they're actually fighting all those ghosts.

511
00:24:46,880 --> 00:24:49,560
Speaker 6: Yeah, I mean, I think there's a yeah, because again,

512
00:24:49,760 --> 00:24:52,680
Speaker 6: I like Paul's other films to of these acts.

513
00:24:52,720 --> 00:24:54,160
Speaker 2: Christian wigg and Wilson.

514
00:24:53,880 --> 00:24:57,359
Speaker 6: McCarthy's worked with to great effect before, and Chris ken

515
00:24:57,680 --> 00:25:00,320
Speaker 6: Kenon is incredible. I'm sure we'll talk about her more.

516
00:25:00,800 --> 00:25:02,920
Speaker 6: You just almost want to see them do something else

517
00:25:03,960 --> 00:25:07,680
Speaker 6: this movie. This movie really feels hamstrung by so much stuff.

518
00:25:07,760 --> 00:25:11,040
Speaker 4: I think the problem, though, is in twenty sixteen, Paul

519
00:25:11,080 --> 00:25:13,879
Speaker 4: Fieg says, I have an original idea with these women,

520
00:25:14,200 --> 00:25:18,480
Speaker 4: let's say supernatural comedy. It's an original concept, but it's

521
00:25:18,480 --> 00:25:21,040
Speaker 4: some sort of supernatural comedy or whatever. You know, it

522
00:25:21,080 --> 00:25:24,560
Speaker 4: doesn't get made, whereas Ghostbusters gets made a lot more easily.

523
00:25:24,840 --> 00:25:27,879
Speaker 3: Yeah, but I mean some of the original kind of

524
00:25:27,960 --> 00:25:30,040
Speaker 3: we have been led to expect a lot of different

525
00:25:30,119 --> 00:25:33,200
Speaker 3: versions of this movie, And like I wonder, as we're

526
00:25:33,200 --> 00:25:35,679
Speaker 3: talking about, like what the movie looked like before it

527
00:25:35,720 --> 00:25:38,880
Speaker 3: was recut, But I also wonder, like how many ideas

528
00:25:38,880 --> 00:25:40,800
Speaker 3: and iterations they went through, because there was a point

529
00:25:40,840 --> 00:25:42,600
Speaker 3: where they were saying that this was going to be

530
00:25:43,359 --> 00:25:45,960
Speaker 3: like not a remake, not a reboot, but like a

531
00:25:46,080 --> 00:25:49,040
Speaker 3: legitimate sequel. Like that they there was a plan at

532
00:25:49,080 --> 00:25:51,879
Speaker 3: one point to have the original Ghostbusters in the film,

533
00:25:51,960 --> 00:25:54,520
Speaker 3: like not as cameos playing other characters, but to kind

534
00:25:54,560 --> 00:25:57,399
Speaker 3: of have them passing the torch. And it makes sense

535
00:25:57,480 --> 00:26:00,199
Speaker 3: if you've got a world where ghosts exist and this

536
00:26:00,280 --> 00:26:03,760
Speaker 3: technology exists, eventually your heroes are going to age out

537
00:26:03,800 --> 00:26:06,760
Speaker 3: and somebody else has to take over because there's still ghosts,

538
00:26:07,040 --> 00:26:09,080
Speaker 3: And I think that would have made a more interesting story.

539
00:26:09,280 --> 00:26:12,239
Speaker 5: Yeah, I had I had missed the memo that that

540
00:26:12,440 --> 00:26:15,120
Speaker 5: was no longer the case, that it wasn't a sequel,

541
00:26:15,119 --> 00:26:17,159
Speaker 5: because I just tried to like disengage from all the

542
00:26:17,200 --> 00:26:20,560
Speaker 5: pre talk about this this movie as I could, So

543
00:26:20,840 --> 00:26:23,320
Speaker 5: I went into it like not really clear on what

544
00:26:23,520 --> 00:26:27,399
Speaker 5: it was as far as it reboot sequel status went.

545
00:26:27,440 --> 00:26:30,080
Speaker 5: And when I saw Bill Murray, I was like, Oh,

546
00:26:30,240 --> 00:26:32,000
Speaker 5: this is how they're gonna do it, Like it's something

547
00:26:32,080 --> 00:26:35,520
Speaker 5: like New York's forgotten about the Ghostbusters and you know,

548
00:26:35,600 --> 00:26:37,280
Speaker 5: like I was like, this is they're going to turn

549
00:26:37,320 --> 00:26:39,639
Speaker 5: it into a kind of a backdoor sequel here, and

550
00:26:39,680 --> 00:26:41,879
Speaker 5: then it didn't have as like Oh, I felt disappointed

551
00:26:41,920 --> 00:26:43,919
Speaker 5: because I guess I kind of did want it to

552
00:26:43,920 --> 00:26:44,600
Speaker 5: be a sequel.

553
00:26:44,840 --> 00:26:46,399
Speaker 4: You should have been sitting where I was, because the

554
00:26:46,480 --> 00:26:48,840
Speaker 4: kid behind me was explaining everything that was happening as

555
00:26:48,840 --> 00:26:51,640
Speaker 4: it was happening, and even saying jokes that he knew

556
00:26:51,640 --> 00:26:52,840
Speaker 4: from the trailer.

557
00:26:52,600 --> 00:26:56,800
Speaker 5: Before you know what. That kid is gonna be so

558
00:26:57,000 --> 00:26:59,680
Speaker 5: mad when they make an all male Ghostbusters in thirty years.

559
00:27:00,920 --> 00:27:04,480
Speaker 3: I haven't heard anything about new male Ghostbusters in like

560
00:27:04,560 --> 00:27:06,120
Speaker 3: more than a year now. Is that still on?

561
00:27:06,280 --> 00:27:08,800
Speaker 4: I heard some I saw some vague headline referencing that

562
00:27:08,800 --> 00:27:11,640
Speaker 4: it might still do intert of Mail. I don't It's

563
00:27:11,640 --> 00:27:14,120
Speaker 4: not going to happen. Dan Akrott has a lot of ideas,

564
00:27:14,440 --> 00:27:18,920
Speaker 4: lot of ideas about Ghostbusters a lot idea about actual ghosts, aliens.

565
00:27:18,400 --> 00:27:21,040
Speaker 6: And yeah, one of the things if it had, if

566
00:27:21,080 --> 00:27:23,560
Speaker 6: it had been a true sequel or passing of the torch,

567
00:27:23,600 --> 00:27:27,080
Speaker 6: it may might have, you know, it helped to explain

568
00:27:27,119 --> 00:27:31,920
Speaker 6: the evolution of the ghost busting weaponry, for example, and uh,

569
00:27:31,920 --> 00:27:36,480
Speaker 6: which which required some updating effects, which leads.

570
00:27:36,280 --> 00:27:38,560
Speaker 5: Us to your it does. I want to talk about

571
00:27:38,560 --> 00:27:41,800
Speaker 5: the visual effects without getting into a one to one

572
00:27:41,800 --> 00:27:44,479
Speaker 5: comparison of the visual effects in these two films, because

573
00:27:44,880 --> 00:27:48,280
Speaker 5: obviously they're both objects of very different periods in visual

574
00:27:48,320 --> 00:27:50,520
Speaker 5: effects technology, and I don't want to get into a

575
00:27:50,520 --> 00:27:53,160
Speaker 5: situation where we're calling the Old Buster effects dated.

576
00:27:53,240 --> 00:27:53,800
Speaker 4: No, don't do that.

577
00:27:53,880 --> 00:27:56,159
Speaker 5: No, we were not going to do that, But so

578
00:27:56,200 --> 00:27:59,520
Speaker 5: I want to talk instead. I found it interesting that

579
00:27:59,800 --> 00:28:02,760
Speaker 5: both films exhibit the struggle to combine comedy and special effects.

580
00:28:03,040 --> 00:28:06,120
Speaker 5: Old Busters was combining state of the art visual effects

581
00:28:06,119 --> 00:28:08,600
Speaker 5: and comedy way that hadn't been done before, and it

582
00:28:08,640 --> 00:28:12,320
Speaker 5: was reportedly quite an adjustment for Rerightman to make, you know,

583
00:28:12,359 --> 00:28:17,440
Speaker 5: because comedy relies on spotaneity and having multiple takes extra coverage,

584
00:28:17,480 --> 00:28:19,359
Speaker 5: all which is a lot harder to achieve when you

585
00:28:19,400 --> 00:28:22,760
Speaker 5: have to account for post production. Fee had more technology

586
00:28:22,760 --> 00:28:25,480
Speaker 5: on his side with his CGI ghosts, but he reportedly

587
00:28:25,560 --> 00:28:28,159
Speaker 5: was very conscious of having quote unquote real ghosts on

588
00:28:28,200 --> 00:28:31,639
Speaker 5: set with the actors, using actors and stunt performers on

589
00:28:31,680 --> 00:28:35,600
Speaker 5: wires and even puppets, even in one case a led

590
00:28:35,800 --> 00:28:40,080
Speaker 5: festooned drone to cast light in the right way. So

591
00:28:40,160 --> 00:28:42,360
Speaker 5: in theory, this was to allow for the sort of

592
00:28:42,600 --> 00:28:46,680
Speaker 5: spontaneity and improvisational energy his cast thrives in. But I

593
00:28:46,720 --> 00:28:50,000
Speaker 5: don't think I'm alone in finding the end result pretty shoppy.

594
00:28:50,280 --> 00:28:53,480
Speaker 5: Much of the humor and New Busters feels chopped ribbons,

595
00:28:53,520 --> 00:28:55,400
Speaker 5: like we talked about, and there's a lot of ADR

596
00:28:55,560 --> 00:28:58,440
Speaker 5: jokes added over these big CGI set pieces that feel

597
00:28:58,440 --> 00:29:02,120
Speaker 5: like very obvious after thought or attempts to inject comedy

598
00:29:02,160 --> 00:29:04,880
Speaker 5: where it wasn't happening. Looking at the visual effects on

599
00:29:04,880 --> 00:29:06,880
Speaker 5: their own, there's I think a lot to admire both

600
00:29:06,920 --> 00:29:09,560
Speaker 5: of these films, but I think they also both struggle

601
00:29:09,600 --> 00:29:12,480
Speaker 5: a bit when it comes to reconciling those effects with

602
00:29:12,680 --> 00:29:13,360
Speaker 5: their comedy.

603
00:29:14,120 --> 00:29:16,000
Speaker 6: I mean, I think that the first one does it

604
00:29:16,120 --> 00:29:19,760
Speaker 6: fairly elegantly. Give the circumstances, because you know, one of

605
00:29:19,840 --> 00:29:22,920
Speaker 6: my favorite sequences in the film is in the hotel,

606
00:29:23,440 --> 00:29:26,200
Speaker 6: and that that's a very difficult sequence I'm sure to

607
00:29:26,520 --> 00:29:28,840
Speaker 6: choreograph and get right on both an effects level and

608
00:29:28,840 --> 00:29:31,280
Speaker 6: on a comedy level. And I think it works like Gangbusters,

609
00:29:32,040 --> 00:29:37,239
Speaker 6: but Ghostbusters. It works like Ghostbusters, but you know this

610
00:29:37,280 --> 00:29:39,680
Speaker 6: one again. It kind of struggled for me, but almost

611
00:29:39,760 --> 00:29:41,800
Speaker 6: more on a on a scripting level.

612
00:29:41,600 --> 00:29:44,920
Speaker 2: Than on a effects level. Effects didn't strike me as

613
00:29:44,960 --> 00:29:45,960
Speaker 2: particularly memorable.

614
00:29:46,320 --> 00:29:49,040
Speaker 5: I think I think there was definitely some some cool

615
00:29:49,120 --> 00:29:53,480
Speaker 5: effects in the in Newbusters that I will quickly shout out.

616
00:29:54,200 --> 00:29:58,360
Speaker 5: The three D wasn't great. In the three D glasses

617
00:29:58,400 --> 00:30:01,000
Speaker 5: we got were horrible. They were super narrow and you

618
00:30:01,000 --> 00:30:03,640
Speaker 5: could like see around them. It was really strange. I

619
00:30:03,680 --> 00:30:04,880
Speaker 5: don't know if that was just the theater we went

620
00:30:04,920 --> 00:30:05,720
Speaker 5: to or what the theater.

621
00:30:05,800 --> 00:30:07,720
Speaker 4: I thought the three D was particularly poor. When there

622
00:30:07,760 --> 00:30:09,160
Speaker 4: ward effects I felt.

623
00:30:08,920 --> 00:30:09,280
Speaker 2: Like I was like.

624
00:30:11,120 --> 00:30:14,440
Speaker 5: Yeah, and and Fige apparently really wanted to do a

625
00:30:14,440 --> 00:30:17,120
Speaker 5: lot with Matt breaks, which you may have noticed. The

626
00:30:17,120 --> 00:30:20,560
Speaker 5: film was like letterboxed kind of with the the black

627
00:30:20,680 --> 00:30:22,920
Speaker 5: band on the top and bottom, and that was because

628
00:30:23,000 --> 00:30:25,480
Speaker 5: a lot of the three D effects break that box

629
00:30:25,760 --> 00:30:29,080
Speaker 5: to make them like come out of the screen even more.

630
00:30:29,800 --> 00:30:31,640
Speaker 5: And I did notice that like a couple of times

631
00:30:31,720 --> 00:30:36,440
Speaker 5: the proton stream breaking out of the frame and ghosts

632
00:30:36,440 --> 00:30:38,520
Speaker 5: of course, you know, kind of flying out of the frame.

633
00:30:38,600 --> 00:30:41,480
Speaker 5: So I thought that was well done. And I did

634
00:30:41,680 --> 00:30:45,560
Speaker 5: like the bit where the Ghostbusters logo. I don't know

635
00:30:45,600 --> 00:30:49,160
Speaker 5: if that character has a a name, is known by something,

636
00:30:49,240 --> 00:30:56,800
Speaker 5: but okay or Busty, but when ghost when Ghosty Busty

637
00:30:57,000 --> 00:30:59,200
Speaker 5: takes the place of the stave up marshmallow man. There

638
00:30:59,320 --> 00:31:01,479
Speaker 5: there's one like really great shot I loved where you

639
00:31:01,520 --> 00:31:04,560
Speaker 5: see his foot and it kind of like peels off

640
00:31:04,640 --> 00:31:06,880
Speaker 5: the concrete in this way that suggests like kind of

641
00:31:06,880 --> 00:31:10,000
Speaker 5: a deflated garbage bag. And it was just this really

642
00:31:10,040 --> 00:31:13,560
Speaker 5: great kind of like texture and movement that's like, oh yeah,

643
00:31:13,560 --> 00:31:16,400
Speaker 5: like CGFX can be really cool when when they use

644
00:31:16,480 --> 00:31:19,520
Speaker 5: well like that character was just like kind of gross

645
00:31:19,520 --> 00:31:22,760
Speaker 5: and unsettling in a lot of really specific ways I thought.

646
00:31:23,240 --> 00:31:25,840
Speaker 5: As far as Old Busters, I agree that the hotel

647
00:31:25,880 --> 00:31:28,680
Speaker 5: sequence is really well done. I think a lot of

648
00:31:28,720 --> 00:31:32,080
Speaker 5: the stuff on the rooftop one zool appears it does

649
00:31:32,120 --> 00:31:35,960
Speaker 5: feel a little more more choppy because it is so

650
00:31:36,080 --> 00:31:37,960
Speaker 5: dependent on special effects.

651
00:31:38,040 --> 00:31:39,920
Speaker 4: Yeah, that feels very sound stage.

652
00:31:40,080 --> 00:31:42,680
Speaker 5: Yes, And that's where I think when everyone talks about

653
00:31:42,680 --> 00:31:46,000
Speaker 5: how it's such a New York movie. Yeah, I get

654
00:31:46,000 --> 00:31:48,440
Speaker 5: that a lot of like the locations and stuff, But

655
00:31:48,840 --> 00:31:52,800
Speaker 5: the part at the end where where Winston you know shots,

656
00:31:52,800 --> 00:31:54,920
Speaker 5: I love this city that comes right after this like

657
00:31:55,000 --> 00:31:58,040
Speaker 5: long extended sequence that is like it feels very removed

658
00:31:58,080 --> 00:32:00,000
Speaker 5: from New York. It's on this building that doesn't exist.

659
00:32:00,160 --> 00:32:01,880
Speaker 5: It feels like it's not sound stage, just like, oh yeah,

660
00:32:01,880 --> 00:32:03,560
Speaker 5: I forgot they were in New York this whole time.

661
00:32:03,640 --> 00:32:06,040
Speaker 5: So I think like that line always strikes me as

662
00:32:06,080 --> 00:32:07,040
Speaker 5: a little weird.

663
00:32:07,200 --> 00:32:09,320
Speaker 6: I think the effects at the end are really they

664
00:32:09,360 --> 00:32:13,920
Speaker 6: harmed the film, uh Newbusters, because it's just one of

665
00:32:13,960 --> 00:32:17,960
Speaker 6: those things where the new film just takes too much

666
00:32:18,000 --> 00:32:20,120
Speaker 6: from the old film. I mean, you know, with the

667
00:32:20,400 --> 00:32:23,040
Speaker 6: old film you had the stay puffed marshmallow Man, and

668
00:32:23,080 --> 00:32:24,680
Speaker 6: then in the new film you have something like a

669
00:32:24,680 --> 00:32:28,520
Speaker 6: Macy's Day Parade of of of B season.

670
00:32:28,800 --> 00:32:32,000
Speaker 5: They're just too similar, like throwback to the New York

671
00:32:32,040 --> 00:32:35,080
Speaker 5: of yesteryear. I did not get the whole like time

672
00:32:35,200 --> 00:32:38,560
Speaker 5: travel element my topic here.

673
00:32:39,160 --> 00:32:41,880
Speaker 3: Yes, well that's I mean, I think most of us

674
00:32:41,920 --> 00:32:43,440
Speaker 3: haven't talked that much. Yeah, I know, you haven't talked

675
00:32:43,440 --> 00:32:45,040
Speaker 3: about the VFX I haven't talked about the.

676
00:32:45,080 --> 00:32:47,800
Speaker 4: V I mostly I thought they were in the new one.

677
00:32:47,880 --> 00:32:50,800
Speaker 4: I thought they were largely pretty good. I mean, I

678
00:32:50,920 --> 00:32:53,600
Speaker 4: I like the demon on Leslie Jones's shoulder that that

679
00:32:53,720 --> 00:32:55,959
Speaker 4: was that was well done and kind of and her

680
00:32:55,960 --> 00:32:58,280
Speaker 4: reaction was very funny, and yet it was a scary monster.

681
00:32:58,320 --> 00:33:00,120
Speaker 4: It's kind of like everything. That's kind of one of

682
00:33:00,120 --> 00:33:01,840
Speaker 4: moments where I thought the effects in the comedy all

683
00:33:01,880 --> 00:33:05,040
Speaker 4: were working together pretty well. It was a little over overwhelming.

684
00:33:05,400 --> 00:33:06,960
Speaker 4: I'm kind of sorry I saw it in three D,

685
00:33:08,080 --> 00:33:10,720
Speaker 4: but the effects for when the three D worked otherwise.

686
00:33:10,760 --> 00:33:13,120
Speaker 4: I thought the three D conversion of this was may

687
00:33:13,160 --> 00:33:14,880
Speaker 4: have been maybe maybe be where I saw it, but

688
00:33:14,920 --> 00:33:15,800
Speaker 4: it was. It was kind of I.

689
00:33:15,760 --> 00:33:17,360
Speaker 3: Think it was where you saw it because I was

690
00:33:17,400 --> 00:33:19,760
Speaker 3: at a different screening and I didn't have a problem

691
00:33:19,840 --> 00:33:22,000
Speaker 3: with the three D at all. But I also didn't

692
00:33:22,000 --> 00:33:23,040
Speaker 3: notice the letter box thing.

693
00:33:23,080 --> 00:33:25,560
Speaker 2: Would you prefer it that for that format in three D?

694
00:33:25,760 --> 00:33:27,440
Speaker 3: Yeah, it didn't do enough with the three D to

695
00:33:27,480 --> 00:33:29,719
Speaker 3: make it to make the three D memorable for me,

696
00:33:30,080 --> 00:33:31,480
Speaker 3: like one way or the other. Like, I didn't have

697
00:33:31,520 --> 00:33:33,520
Speaker 3: a problem with it, and I wasn't blown away, but

698
00:33:33,920 --> 00:33:35,760
Speaker 3: now I half want to see it again in three D,

699
00:33:35,960 --> 00:33:37,840
Speaker 3: just to look for that letterboxing thing, because I missed

700
00:33:37,840 --> 00:33:38,320
Speaker 3: that entirely.

701
00:33:38,440 --> 00:33:40,680
Speaker 4: I mean it was very CG but at the same time,

702
00:33:41,160 --> 00:33:44,280
Speaker 4: but there was a one thing I liked about the originals,

703
00:33:44,360 --> 00:33:46,800
Speaker 4: the how that like slimmer is, you know, it's glowing

704
00:33:46,800 --> 00:33:48,680
Speaker 4: thing was also a puppet. I think they did try

705
00:33:48,720 --> 00:33:50,680
Speaker 4: to make these effects kind of tactile and like that

706
00:33:50,840 --> 00:33:52,840
Speaker 4: was really there, so you know, I thought it was.

707
00:33:52,960 --> 00:33:54,000
Speaker 4: They were mostly pretty good.

708
00:33:54,200 --> 00:33:56,960
Speaker 3: I actually like the Macy's Day parade thing, and especially

709
00:33:57,080 --> 00:34:02,360
Speaker 3: especially like the weird floppy like army leggy uncle Sam

710
00:34:02,520 --> 00:34:05,120
Speaker 3: thing that kind of leads it. I just I found

711
00:34:05,120 --> 00:34:10,040
Speaker 3: there to be an unsettling unrealness about them that was

712
00:34:10,080 --> 00:34:12,360
Speaker 3: a lot more interesting than all of the people in

713
00:34:12,440 --> 00:34:15,520
Speaker 3: old timey costumes that glowed that were kind of like

714
00:34:15,560 --> 00:34:19,360
Speaker 3: the rest of the old timey New York problem.

715
00:34:19,560 --> 00:34:22,640
Speaker 2: What was that all about, Keith It because topic, Yeah,

716
00:34:22,640 --> 00:34:22,799
Speaker 2: well I.

717
00:34:22,840 --> 00:34:24,400
Speaker 4: Want to talk about New York a little bit, and

718
00:34:24,800 --> 00:34:27,239
Speaker 4: how the first one is a great New York movie.

719
00:34:27,280 --> 00:34:28,839
Speaker 4: There's some things you can't fake, and one of them

720
00:34:28,920 --> 00:34:31,319
Speaker 4: is just showing up and shooting it. And you know,

721
00:34:31,400 --> 00:34:33,680
Speaker 4: maybe this might be nostalgia as well, but It's definitely

722
00:34:33,719 --> 00:34:35,719
Speaker 4: one of those movies that formed an idea of what

723
00:34:35,760 --> 00:34:37,879
Speaker 4: New York was for me as a kid. And and

724
00:34:37,880 --> 00:34:40,279
Speaker 4: and uh, kind of the New York you look for

725
00:34:40,320 --> 00:34:43,320
Speaker 4: when you when you actually go there for their first time.

726
00:34:43,960 --> 00:34:45,799
Speaker 4: But you know it's it's got the look, it's got

727
00:34:45,800 --> 00:34:50,239
Speaker 4: the feel. And I won't say that Newbusters does it.

728
00:34:50,520 --> 00:34:52,400
Speaker 4: You know, this does a bad job. It was largely

729
00:34:52,400 --> 00:34:54,719
Speaker 4: filmed in Boston, and I have no stake in the

730
00:34:54,760 --> 00:34:56,640
Speaker 4: in the rival between those two cities, but I also

731
00:34:56,640 --> 00:34:58,080
Speaker 4: feel like there is sort of a New York no

732
00:34:58,239 --> 00:35:00,680
Speaker 4: you can't fake. I thought the the idea of the

733
00:35:00,680 --> 00:35:03,799
Speaker 4: finale almost redeemed it, though I thought it was really

734
00:35:03,840 --> 00:35:06,520
Speaker 4: badly execute it. But this sort of like this this

735
00:35:06,800 --> 00:35:09,080
Speaker 4: you know, looking at Tasha, you know, the novel Ubiic

736
00:35:09,120 --> 00:35:11,800
Speaker 4: by Philip K. Dick. So this idea like sort of

737
00:35:11,800 --> 00:35:15,560
Speaker 4: the this location that's slipping into this past version of itself,

738
00:35:15,600 --> 00:35:18,600
Speaker 4: I thought was a really neat concept. And I actually

739
00:35:18,640 --> 00:35:20,920
Speaker 4: found myself distracting that climax, like trying to read the

740
00:35:21,000 --> 00:35:23,759
Speaker 4: marquees like, oh they're sharing fist to fury and oh

741
00:35:24,080 --> 00:35:26,400
Speaker 4: there's beyond the fringe just playing.

742
00:35:26,560 --> 00:35:28,239
Speaker 3: I'm glad I'm not the only person that does that

743
00:35:28,239 --> 00:35:30,200
Speaker 3: that just completely drops out of a movie when we

744
00:35:30,200 --> 00:35:31,879
Speaker 3: see a marquee like what's playing, what's playing?

745
00:35:31,920 --> 00:35:34,640
Speaker 4: Yah yah yah, Yeah, exactly exactly. But yeah, the idea

746
00:35:34,680 --> 00:35:37,359
Speaker 4: of the old New Yorkers kind of resurfacing and kind

747
00:35:37,360 --> 00:35:40,160
Speaker 4: of conceptually kind of got into the idea of ghost

748
00:35:40,239 --> 00:35:42,440
Speaker 4: kind of kind of the idea of these these characters

749
00:35:42,440 --> 00:35:44,440
Speaker 4: who had to kind of break the tradition in some ways.

750
00:35:44,440 --> 00:35:47,359
Speaker 4: But the execution of it I didn't think really worked

751
00:35:47,440 --> 00:35:49,839
Speaker 4: very well at all though. But in terms of New

752
00:35:49,920 --> 00:35:52,000
Speaker 4: York movies, I think One is a great time capsule

753
00:35:52,040 --> 00:35:53,320
Speaker 4: of the New York of its area and One is

754
00:35:53,360 --> 00:35:55,799
Speaker 4: a okay simulation of what New York is like in

755
00:35:55,800 --> 00:35:56,560
Speaker 4: twenty sixteen.

756
00:35:56,719 --> 00:36:00,680
Speaker 5: Can we at least give Newbusters credit for nowging that

757
00:36:00,800 --> 00:36:05,279
Speaker 5: the Old Busters Firehouse would be wildly out of out

758
00:36:05,280 --> 00:36:08,480
Speaker 5: of their bunch. Yeah. I thought that was one of

759
00:36:08,560 --> 00:36:13,160
Speaker 5: the few explicit Old Busters referencing gags that worked pretty well.

760
00:36:13,120 --> 00:36:13,600
Speaker 4: Pretty good.

761
00:36:14,000 --> 00:36:17,520
Speaker 3: It really frustrates me a lot that they decided to

762
00:36:17,560 --> 00:36:21,040
Speaker 3: go in the direction that they did with Leslie Jones character.

763
00:36:21,200 --> 00:36:25,160
Speaker 3: I do not understand for the life of me why

764
00:36:25,239 --> 00:36:29,000
Speaker 3: they thought, in like this political environment in making this

765
00:36:29,120 --> 00:36:32,160
Speaker 3: movie that it would be a great idea to have

766
00:36:32,239 --> 00:36:35,799
Speaker 3: three white lady scientists and the only black person is

767
00:36:35,840 --> 00:36:38,560
Speaker 3: like a working class woman who comes in late to

768
00:36:38,600 --> 00:36:40,200
Speaker 3: the team. Why did they want to recreate that?

769
00:36:40,600 --> 00:36:46,000
Speaker 5: Yes, but also that character has an incredibly deep understanding

770
00:36:46,040 --> 00:36:47,359
Speaker 5: of New York history.

771
00:36:47,080 --> 00:36:49,040
Speaker 3: Which is why, which is why I bring it up

772
00:36:49,040 --> 00:36:53,120
Speaker 3: as part of this topic. It's it becomes really interesting

773
00:36:53,200 --> 00:36:56,480
Speaker 3: because she has a function in within the story. Her

774
00:36:56,560 --> 00:36:59,800
Speaker 3: knowledge becomes a function, her air udition becomes a function,

775
00:37:00,160 --> 00:37:02,000
Speaker 3: and she gets to bring up a lot of the

776
00:37:02,080 --> 00:37:06,520
Speaker 3: fact that New York is one of the America's older cities,

777
00:37:06,800 --> 00:37:09,640
Speaker 3: and it's got layer of upon layer upon layer of history,

778
00:37:09,920 --> 00:37:13,000
Speaker 3: and it becomes really important in a ghosting environment that

779
00:37:13,080 --> 00:37:16,319
Speaker 3: all of these places have history behind them, which you know,

780
00:37:16,360 --> 00:37:19,000
Speaker 3: we also touch on in ways in Old Busters with

781
00:37:19,040 --> 00:37:21,759
Speaker 3: the history of the building that Dana lives in. So

782
00:37:21,920 --> 00:37:24,080
Speaker 3: I find that a really interesting choice that they kind

783
00:37:24,080 --> 00:37:26,640
Speaker 3: of decided to make her the face of New York,

784
00:37:26,680 --> 00:37:28,719
Speaker 3: the voice of New York, the custodian of New York.

785
00:37:29,080 --> 00:37:31,279
Speaker 3: I don't see any reason whatsoever they had to do

786
00:37:31,320 --> 00:37:35,080
Speaker 3: that by making her a blue collar MTA worker as

787
00:37:35,120 --> 00:37:37,920
Speaker 3: opposed to given that all of that knowledge came from books.

788
00:37:38,200 --> 00:37:40,160
Speaker 3: She could have been a friend of theirs who was

789
00:37:40,200 --> 00:37:42,759
Speaker 3: a scientist, who was in some way educated, and who

790
00:37:42,760 --> 00:37:43,600
Speaker 3: also read books.

791
00:37:44,080 --> 00:37:47,919
Speaker 4: I agree that the optics aren't great, but I thought

792
00:37:47,960 --> 00:37:51,480
Speaker 4: it was played well, and I thought again, I think,

793
00:37:51,520 --> 00:37:53,800
Speaker 4: I think Leslie Jones is the only character that really

794
00:37:53,840 --> 00:37:56,200
Speaker 4: has some kind of kind of development to her. And

795
00:37:57,400 --> 00:38:00,640
Speaker 4: why not have a character who's MTA who kind of

796
00:38:00,640 --> 00:38:02,759
Speaker 4: wants to better herself and move up in the world.

797
00:38:02,800 --> 00:38:05,640
Speaker 4: I mean, that seems like a totally legit character. I

798
00:38:05,640 --> 00:38:07,920
Speaker 4: don't really see the characters the stereotypes. I don't know.

799
00:38:08,000 --> 00:38:10,480
Speaker 4: I'm a middle class white male explaining why this is

800
00:38:10,480 --> 00:38:11,600
Speaker 4: as I know.

801
00:38:11,600 --> 00:38:13,319
Speaker 5: Like, I feel like we're all kind of just like

802
00:38:13,600 --> 00:38:15,879
Speaker 5: clenched what we're talking about this, but it does need

803
00:38:16,000 --> 00:38:16,760
Speaker 5: to be talked about.

804
00:38:16,880 --> 00:38:18,600
Speaker 3: I'm not clenched because I don't like it.

805
00:38:18,719 --> 00:38:20,800
Speaker 5: I agree with Keith it like the optics are bad,

806
00:38:20,880 --> 00:38:23,439
Speaker 5: and I agree with Tasha that, like the she could

807
00:38:23,440 --> 00:38:27,479
Speaker 5: have been a scientist. I think that the version of

808
00:38:27,800 --> 00:38:30,120
Speaker 5: that you're talking about, where that character is, you know,

809
00:38:30,200 --> 00:38:33,480
Speaker 5: also a highly educained scientist, doesn't necessarily fit with the

810
00:38:33,520 --> 00:38:35,680
Speaker 5: casting of Leslie Jones, who I think has a very

811
00:38:35,719 --> 00:38:39,799
Speaker 5: specific type of humor that aligns with that character. And

812
00:38:40,840 --> 00:38:44,719
Speaker 5: I don't think I would want to give up Leslie

813
00:38:44,840 --> 00:38:49,760
Speaker 5: Jones in this movie for a more like erudite, polished, black,

814
00:38:50,040 --> 00:38:52,080
Speaker 5: intellectual ghostbuster.

815
00:38:52,680 --> 00:38:55,160
Speaker 6: If have a third we'd have a third character that's

816
00:38:55,280 --> 00:38:56,440
Speaker 6: just like wig and.

817
00:38:57,520 --> 00:38:59,200
Speaker 5: Or you know, have more than one black person in

818
00:38:59,239 --> 00:39:02,040
Speaker 5: the movie, or any any other person of color in

819
00:39:02,080 --> 00:39:03,600
Speaker 5: the movie, you know, that could also help.

820
00:39:04,040 --> 00:39:07,320
Speaker 6: The one thing this is not. This is just talking

821
00:39:07,360 --> 00:39:10,520
Speaker 6: about more team dynamics. One point that I thought was

822
00:39:11,360 --> 00:39:14,760
Speaker 6: a good one that Alan Schurstel of The Village Voice

823
00:39:15,160 --> 00:39:18,680
Speaker 6: made with regard to this film in comparison to Old Busters,

824
00:39:18,719 --> 00:39:21,920
Speaker 6: is that everybody in this film wants to be a ghostbuster.

825
00:39:22,520 --> 00:39:25,440
Speaker 6: They all are committed to this mission, to working as

826
00:39:25,440 --> 00:39:29,840
Speaker 6: a team. He doesn't have a veankment type, and I

827
00:39:29,840 --> 00:39:31,080
Speaker 6: think he found that refreshing.

828
00:39:31,480 --> 00:39:34,120
Speaker 5: I don't know if I mean, wigs Hitter is pretty

829
00:39:34,120 --> 00:39:36,200
Speaker 5: reluctant at the beginning of the beginning until until she

830
00:39:36,239 --> 00:39:38,279
Speaker 5: gets borrowed on and then she's on board, on board,

831
00:39:38,320 --> 00:39:39,080
Speaker 5: But I mean veng Men.

832
00:39:39,120 --> 00:39:41,560
Speaker 3: Also comes on board really early in the film as

833
00:39:41,600 --> 00:39:43,080
Speaker 3: soon as he sees there's a profit in it.

834
00:39:43,200 --> 00:39:45,400
Speaker 6: Yeah, but he's still all right exactly, but that's not

835
00:39:45,520 --> 00:39:47,440
Speaker 6: But you know, I don't think I don't think that

836
00:39:47,480 --> 00:39:50,960
Speaker 6: necessarily aligns him with the mission and this I think.

837
00:39:51,000 --> 00:39:53,839
Speaker 5: I think it's interesting that an Old Busters bankman comes

838
00:39:53,880 --> 00:39:56,799
Speaker 5: on because he sees a prophet, and in New Busters

839
00:39:56,840 --> 00:39:58,480
Speaker 5: they're all in it to prove themselves.

840
00:39:58,920 --> 00:39:59,239
Speaker 2: Well. O.

841
00:40:00,480 --> 00:40:03,240
Speaker 3: Now, the more I think about that, the deeper get.

842
00:40:03,080 --> 00:40:03,879
Speaker 5: Right to bump.

843
00:40:03,920 --> 00:40:04,680
Speaker 3: Behind the scenes.

844
00:40:05,040 --> 00:40:11,440
Speaker 6: Yeah, so we've all been studiously and I think and

845
00:40:11,520 --> 00:40:14,839
Speaker 6: admirably avoiding some of the conversation that has happened around

846
00:40:14,880 --> 00:40:17,319
Speaker 6: this film. So I actually my little thing is is

847
00:40:17,360 --> 00:40:19,359
Speaker 6: going to get around it a little bit. But I

848
00:40:19,360 --> 00:40:23,520
Speaker 6: feel like I have to do it because because Newbusters

849
00:40:23,800 --> 00:40:27,160
Speaker 6: is kind of an example of blockbuster culture, which is

850
00:40:27,160 --> 00:40:29,840
Speaker 6: my topic that I really felt I wanted to discuss.

851
00:40:30,400 --> 00:40:33,400
Speaker 6: To me, Newbusters has been sort of the grotesque manifestation

852
00:40:33,480 --> 00:40:36,480
Speaker 6: of a common phenomenon, which is the culture of anticipation.

853
00:40:37,040 --> 00:40:41,480
Speaker 6: By the time Newbusters reached theaters, positive and negative opinions

854
00:40:41,800 --> 00:40:45,279
Speaker 6: seem like they were calcifying already on both sides. And

855
00:40:45,320 --> 00:40:47,600
Speaker 6: that's not to say that the two sides are equivalent.

856
00:40:47,840 --> 00:40:49,360
Speaker 6: I think many of us wanted the film to be

857
00:40:49,360 --> 00:40:52,359
Speaker 6: great and successful, just to beat back the troglodites who

858
00:40:52,360 --> 00:40:54,680
Speaker 6: had objected it to it on sexist principle.

859
00:40:55,040 --> 00:40:57,320
Speaker 4: But it's an extreme review.

860
00:40:56,840 --> 00:41:00,319
Speaker 6: I got that thing, and he had like a you know,

861
00:41:00,360 --> 00:41:02,760
Speaker 6: a star Trek five standing in front of him objecting

862
00:41:02,760 --> 00:41:06,160
Speaker 6: to Newbusters anyway. But I think it's an extreme example

863
00:41:06,200 --> 00:41:09,440
Speaker 6: of how little we're allowed to be surprised by the

864
00:41:09,440 --> 00:41:12,879
Speaker 6: movies themselves anymore. You know, when the first Ghostbusters came out,

865
00:41:13,200 --> 00:41:15,840
Speaker 6: the studios were starting to kind of learn to impose

866
00:41:16,200 --> 00:41:20,279
Speaker 6: more control over making commercially appealing product. But you know,

867
00:41:20,360 --> 00:41:22,560
Speaker 6: this was not this is way before the internet. You know,

868
00:41:22,640 --> 00:41:25,360
Speaker 6: if you wanted to see a trailer, you had to

869
00:41:25,360 --> 00:41:27,920
Speaker 6: see it before a movie or maybe a TV commercial,

870
00:41:28,200 --> 00:41:30,480
Speaker 6: you know, and it wasn't common for the average person

871
00:41:30,520 --> 00:41:33,480
Speaker 6: to have you know, information doled out about the film

872
00:41:33,560 --> 00:41:36,400
Speaker 6: during the during the making of the film to them,

873
00:41:36,560 --> 00:41:38,719
Speaker 6: you know, all the way to the moment to the

874
00:41:38,719 --> 00:41:41,880
Speaker 6: moment was released. And now it seems like the narratives

875
00:41:42,040 --> 00:41:45,320
Speaker 6: are written before anyone sees a movie. You know, studios

876
00:41:45,360 --> 00:41:48,960
Speaker 6: have thoroughly market tested their ideas. You know, we've got

877
00:41:49,000 --> 00:41:51,680
Speaker 6: trailers and all these making of details that have come up,

878
00:41:51,680 --> 00:41:55,080
Speaker 6: and they and they all set up expectations and seeing

879
00:41:55,080 --> 00:41:58,880
Speaker 6: the movies themselves can feel almost like an active confirmation bias.

880
00:42:00,040 --> 00:42:04,040
Speaker 6: The fight over Newbusters has been a uniquely miserable experience

881
00:42:04,640 --> 00:42:09,239
Speaker 6: for a lot of reasons, but one is this commonly

882
00:42:09,280 --> 00:42:12,359
Speaker 6: shared feeling that we know what the movie is going

883
00:42:12,400 --> 00:42:15,160
Speaker 6: to be before we see it. You know, we're made

884
00:42:15,200 --> 00:42:18,440
Speaker 6: to anticipate too much, and it encourages, I think, a

885
00:42:18,480 --> 00:42:22,560
Speaker 6: system that has no incentive at all for defying or

886
00:42:22,680 --> 00:42:27,200
Speaker 6: upending our expectations. You know, the old Ghostbusters had a

887
00:42:27,320 --> 00:42:30,040
Speaker 6: chance to surprise us, and to me that the new

888
00:42:30,440 --> 00:42:32,240
Speaker 6: Ghostbusters feels canned.

889
00:42:33,160 --> 00:42:36,759
Speaker 3: I don't engage with an awful lot of the like

890
00:42:36,800 --> 00:42:39,799
Speaker 3: the speculation and the previewing and the here's what we

891
00:42:39,880 --> 00:42:42,359
Speaker 3: know about you know, twenty seven things we know about

892
00:42:42,400 --> 00:42:46,879
Speaker 3: Ghostbusters based on But what I'm saying is it's it's

893
00:42:46,920 --> 00:42:50,080
Speaker 3: doable to not like that stuff is all out there

894
00:42:50,120 --> 00:42:53,320
Speaker 3: for those who want it, but you, like, you don't

895
00:42:53,320 --> 00:42:55,640
Speaker 3: have to dig that deep into it. I'm I really

896
00:42:55,680 --> 00:42:58,839
Speaker 3: don't watch a lot of trailers because I don't want

897
00:42:58,840 --> 00:43:00,400
Speaker 3: to go into a movie spoiled. And I see so

898
00:43:00,520 --> 00:43:05,200
Speaker 3: many movies in screening form or in critic screener form

899
00:43:05,440 --> 00:43:07,920
Speaker 3: that it's actually easier than for me than a lot

900
00:43:07,960 --> 00:43:11,280
Speaker 3: of people to dodge trailers. So that's like an advantage

901
00:43:11,320 --> 00:43:15,000
Speaker 3: I have. But overall, I only walked into this movie

902
00:43:15,280 --> 00:43:16,799
Speaker 3: thinking that I knew what I was going to get

903
00:43:16,840 --> 00:43:19,000
Speaker 3: because I bit the bullet and watched a bunch of

904
00:43:19,000 --> 00:43:22,040
Speaker 3: trailers because I was curious what the conversation was going

905
00:43:22,080 --> 00:43:25,840
Speaker 3: to be. I think it is possible to step away

906
00:43:25,840 --> 00:43:28,200
Speaker 3: from the conversation. And you know, our friend Sam Sam

907
00:43:28,280 --> 00:43:31,879
Speaker 3: Adams kind of made the point when ten Cloverfield Blaine

908
00:43:31,960 --> 00:43:34,280
Speaker 3: came out and people were going gag off for it

909
00:43:34,320 --> 00:43:37,680
Speaker 3: because it was so unspoiled. It was so uncertain what

910
00:43:37,840 --> 00:43:39,960
Speaker 3: that movie was going to be, and we got to

911
00:43:40,040 --> 00:43:41,960
Speaker 3: experience what it was going to be on the screen

912
00:43:42,080 --> 00:43:44,400
Speaker 3: instead of for a year and a half before the

913
00:43:44,400 --> 00:43:48,120
Speaker 3: movie came out on our laptops. And he made the point,

914
00:43:48,239 --> 00:43:51,480
Speaker 3: you can have that experience with any movie by ignoring

915
00:43:51,520 --> 00:43:53,720
Speaker 3: all of the hype leading up to it.

916
00:43:53,719 --> 00:43:56,480
Speaker 6: It's a pretty loud noise to close your ears too,

917
00:43:56,480 --> 00:43:58,200
Speaker 6: and especially in this case though.

918
00:43:58,280 --> 00:44:00,640
Speaker 4: Well especially if you work in entertainment media.

919
00:44:01,520 --> 00:44:03,440
Speaker 6: We're all talking like this in their business, but it's

920
00:44:03,480 --> 00:44:04,239
Speaker 6: their business.

921
00:44:05,040 --> 00:44:08,560
Speaker 3: I'm just saying at like blaming blaming the culture too much,

922
00:44:09,680 --> 00:44:11,640
Speaker 3: there are there is individual choice involved.

923
00:44:12,040 --> 00:44:12,160
Speaker 6: Well.

924
00:44:12,200 --> 00:44:15,839
Speaker 5: The other point to make is that it is impossible

925
00:44:15,880 --> 00:44:19,759
Speaker 5: to go into this movie cold if you've seen Ghostbusters

926
00:44:19,800 --> 00:44:22,920
Speaker 5: like we and that kind of brings up another aspect

927
00:44:23,000 --> 00:44:26,080
Speaker 5: of Blockbuster culture is that everything has to be part

928
00:44:26,120 --> 00:44:28,920
Speaker 5: of something else, whether it is kicking off a universe

929
00:44:29,120 --> 00:44:33,560
Speaker 5: or expanding a universe or you know, and that comes

930
00:44:33,640 --> 00:44:37,640
Speaker 5: with its own host of expectations and limitations on the

931
00:44:37,640 --> 00:44:39,520
Speaker 5: filmmakers who take on these projects.

932
00:44:39,600 --> 00:44:40,319
Speaker 2: Yeah, I mean, I.

933
00:44:40,239 --> 00:44:41,960
Speaker 6: Mean, you get down to it. It is, you know,

934
00:44:42,120 --> 00:44:44,759
Speaker 6: a remake that you think you're a reboot that is

935
00:44:45,480 --> 00:44:49,800
Speaker 6: depending on your opinion, you know, some moderate, moderately inspired

936
00:44:49,840 --> 00:44:51,040
Speaker 6: perhaps or or not.

937
00:44:51,280 --> 00:44:53,319
Speaker 5: In my Yeah, I mean, it's it's trying to do

938
00:44:53,440 --> 00:44:56,560
Speaker 5: its own thing. It's like coloring book filmmaking, you know,

939
00:44:56,640 --> 00:44:58,520
Speaker 5: like the lines are already there and you can get

940
00:44:58,520 --> 00:45:00,960
Speaker 5: as creative as you want and in the lines, but

941
00:45:01,760 --> 00:45:03,360
Speaker 5: don't color outside those lines.

942
00:45:04,000 --> 00:45:06,520
Speaker 4: I know. Is I hope Nope, this is as bad

943
00:45:06,520 --> 00:45:08,200
Speaker 4: as it gets. I hope the build up around this,

944
00:45:08,320 --> 00:45:09,880
Speaker 4: the the the.

945
00:45:10,520 --> 00:45:12,480
Speaker 5: Ghostbusters as bad as it gets.

946
00:45:14,120 --> 00:45:16,640
Speaker 4: No, I don't era of the movie. I hope that

947
00:45:16,719 --> 00:45:18,960
Speaker 4: the discussion, Like I don't even like using the word

948
00:45:19,040 --> 00:45:22,200
Speaker 4: controversy around this movie because it shouldn't be. There's something

949
00:45:22,320 --> 00:45:30,080
Speaker 4: controversial about this is the movie itself is a totally pleasant,

950
00:45:30,360 --> 00:45:35,960
Speaker 4: you know, inoffensive the first one, you know, and like

951
00:45:36,680 --> 00:45:39,719
Speaker 4: what what happened? Like like like why why? Why did

952
00:45:39,760 --> 00:45:41,800
Speaker 4: it come to this? Sort of been my my thinking

953
00:45:41,800 --> 00:45:43,400
Speaker 4: about this for months is I did it did it

954
00:45:43,680 --> 00:45:46,719
Speaker 4: really have to become this flash point that brought out

955
00:45:46,760 --> 00:45:49,440
Speaker 4: the worst, the worst than one side and you know

956
00:45:49,480 --> 00:45:51,600
Speaker 4: the other, you know, let's just leave with that. The

957
00:45:51,600 --> 00:45:53,840
Speaker 4: worst than on one side of this issue.

958
00:45:53,880 --> 00:45:56,160
Speaker 6: I think there were some not great things on the

959
00:45:56,200 --> 00:45:58,759
Speaker 6: other side. I mean, there's something too about I don't

960
00:45:58,760 --> 00:46:01,719
Speaker 6: necessarily think the high point of activism is making sure

961
00:46:01,760 --> 00:46:04,600
Speaker 6: Sony gets money for its one hundred and fifty million

962
00:46:04,600 --> 00:46:07,320
Speaker 6: dollars investment, which has a scene of the eating Papa

963
00:46:07,360 --> 00:46:12,640
Speaker 6: John's pizza and it's like yeah, yeah, it's just like

964
00:46:12,840 --> 00:46:14,480
Speaker 6: it's like you watch that and it's like, Okay, this

965
00:46:14,560 --> 00:46:15,160
Speaker 6: is just product.

966
00:46:15,560 --> 00:46:18,000
Speaker 5: But there's definitely product placement in Old Buster.

967
00:46:18,040 --> 00:46:21,640
Speaker 3: The product places in Old Busters is really surprisingly egregious

968
00:46:21,960 --> 00:46:24,399
Speaker 3: that the number of scenes where they're sitting around eating cheese.

969
00:46:24,440 --> 00:46:25,759
Speaker 3: It's and drinking coke.

970
00:46:25,640 --> 00:46:28,160
Speaker 4: And well, you know, Columbia had just been purchased by

971
00:46:28,160 --> 00:46:29,920
Speaker 4: Coca Cola or something at that point.

972
00:46:30,000 --> 00:46:33,960
Speaker 6: You know, that hasn't changed the no, no, but it

973
00:46:34,000 --> 00:46:36,480
Speaker 6: was a weird as it caused to love well.

974
00:46:36,840 --> 00:46:39,560
Speaker 3: I mean, they didn't have a moment where they held

975
00:46:39,640 --> 00:46:41,320
Speaker 3: up the cheese at box and said, well, we can't

976
00:46:41,320 --> 00:46:44,719
Speaker 3: resist these delicious cheese its. So it has changed a

977
00:46:44,760 --> 00:46:45,160
Speaker 3: little bit.

978
00:46:45,560 --> 00:46:47,439
Speaker 4: This is not like everyone going to see Nucleared any

979
00:46:47,480 --> 00:46:48,760
Speaker 4: film on principle or something.

980
00:46:50,560 --> 00:46:53,839
Speaker 6: But of course now we are we are talking about

981
00:46:53,840 --> 00:46:56,720
Speaker 6: this film the Thursday after it came out.

982
00:46:56,600 --> 00:46:59,759
Speaker 2: And it's like, does this film even exist anymore? I

983
00:46:59,760 --> 00:47:00,560
Speaker 2: mean it was like.

984
00:47:00,520 --> 00:47:02,720
Speaker 6: It was like it was like Leslie Jones got drummed

985
00:47:02,760 --> 00:47:04,799
Speaker 6: off of Twitter by a bunch of.

986
00:47:06,920 --> 00:47:08,960
Speaker 2: Okay, it was for for.

987
00:47:08,560 --> 00:47:11,920
Speaker 6: A bit and it was like and scene, right, I mean, like,

988
00:47:12,000 --> 00:47:12,719
Speaker 6: this is the end of.

989
00:47:12,640 --> 00:47:15,920
Speaker 4: This ridiculous what's the ugliest possible coda we can add

990
00:47:15,960 --> 00:47:20,560
Speaker 4: to this? Oh right? Just blatant racism. You know, it

991
00:47:20,600 --> 00:47:23,040
Speaker 4: was just drummed out by by an awful one of

992
00:47:23,080 --> 00:47:24,640
Speaker 4: the one of the Internet's most awful people.

993
00:47:24,760 --> 00:47:25,520
Speaker 2: Yeah, for sure.

994
00:47:25,640 --> 00:47:28,960
Speaker 5: Well here's a more positive takeaway. Keith and Scott. I know,

995
00:47:29,320 --> 00:47:31,440
Speaker 5: uh sidebar Keith, Scott and I were all in the

996
00:47:31,480 --> 00:47:36,359
Speaker 5: same theater kind of by accident seeing this film, and

997
00:47:36,440 --> 00:47:38,440
Speaker 5: Keith and Scott, I know you were annoyed by the

998
00:47:38,960 --> 00:47:41,960
Speaker 5: young child behind you who was talking through the whole movie.

999
00:47:42,000 --> 00:47:43,760
Speaker 5: I was sitting behind him, so it was a little

1000
00:47:44,040 --> 00:47:46,160
Speaker 5: it was I was still hearing him, but you know,

1001
00:47:46,440 --> 00:47:50,600
Speaker 5: it wasn't next to my ear. But I was encouraged

1002
00:47:50,600 --> 00:47:55,040
Speaker 5: by his enthusiasm. And I'm encouraged by stories of kids

1003
00:47:55,400 --> 00:47:59,760
Speaker 5: quoting you know, Kate McKinnon's character and Leslie Jones's.

1004
00:47:59,440 --> 00:48:01,440
Speaker 4: Character, the two funny characters.

1005
00:48:01,600 --> 00:48:04,960
Speaker 5: Yeah, but you know that in that wonderful picture of

1006
00:48:05,000 --> 00:48:07,799
Speaker 5: the little girl strows up like ghostbusters, like you know,

1007
00:48:08,400 --> 00:48:12,880
Speaker 5: on the red carpet, Like that to me makes it

1008
00:48:12,920 --> 00:48:13,719
Speaker 5: all worth it.

1009
00:48:13,960 --> 00:48:18,120
Speaker 7: Yeah, yeah, Yeah, there's acknowledging that it's okay for the

1010
00:48:18,160 --> 00:48:21,560
Speaker 7: next generation to have things too, like all of this

1011
00:48:21,760 --> 00:48:25,080
Speaker 7: stuff that we're getting from angry people, like raging about

1012
00:48:25,080 --> 00:48:25,839
Speaker 7: their childhoods.

1013
00:48:26,560 --> 00:48:28,480
Speaker 3: You keep coming back to the same point over and over.

1014
00:48:28,800 --> 00:48:31,400
Speaker 3: Not everything He's made for you, and that's okay.

1015
00:48:31,760 --> 00:48:35,040
Speaker 4: I think it's also good to remember that it is

1016
00:48:35,080 --> 00:48:39,360
Speaker 4: a very small however vocal contingent, and the thing reminding

1017
00:48:39,400 --> 00:48:41,440
Speaker 4: me that it was actually about a month before I

1018
00:48:41,480 --> 00:48:43,200
Speaker 4: saw this movie. I'm gonna give you a spoiler for

1019
00:48:43,239 --> 00:48:46,759
Speaker 4: a month old movie that everyone who's wanted to see

1020
00:48:46,840 --> 00:48:49,400
Speaker 4: has already seen it. So I saw the movie Central Intelligence,

1021
00:48:49,480 --> 00:48:52,560
Speaker 4: and throughout the movie, they tease the arrival of this

1022
00:48:52,680 --> 00:48:55,960
Speaker 4: character that Kevin Hard and Dwayne Johnson's characters knew in

1023
00:48:56,040 --> 00:48:57,800
Speaker 4: high school, and like, there's all this build up to

1024
00:48:57,880 --> 00:49:00,880
Speaker 4: this character that Dwayne Johnson had character had to crush on,

1025
00:49:01,360 --> 00:49:03,640
Speaker 4: and like she finally shows up and it's Wilson McCarthy,

1026
00:49:03,760 --> 00:49:06,960
Speaker 4: and the audience I was with was just audibly happy.

1027
00:49:07,040 --> 00:49:09,719
Speaker 4: It's like, Oh, we like Buston McCarthy. There's that funny woman.

1028
00:49:09,800 --> 00:49:10,080
Speaker 3: We like.

1029
00:49:10,360 --> 00:49:11,520
Speaker 4: How happy we are to see her.

1030
00:49:11,520 --> 00:49:13,080
Speaker 5: It's like, oh wait, you know what, there's the star

1031
00:49:13,160 --> 00:49:15,120
Speaker 5: of Mike and Molly, that show that was on for

1032
00:49:15,560 --> 00:49:16,200
Speaker 5: years and years.

1033
00:49:16,320 --> 00:49:18,200
Speaker 4: So it's like, you know, I thought, you know what,

1034
00:49:18,719 --> 00:49:21,920
Speaker 4: maybe we're going to be okay. Maybe not everyone is awful.

1035
00:49:22,000 --> 00:49:24,680
Speaker 4: Maybe I just we've just spent too long paying too

1036
00:49:24,760 --> 00:49:27,840
Speaker 4: much attention and listening to too hard to awful people

1037
00:49:27,880 --> 00:49:31,719
Speaker 4: who don't represent the way most right tacking people.

1038
00:49:31,800 --> 00:49:34,760
Speaker 3: Do you know one of the things about those awful people.

1039
00:49:35,320 --> 00:49:37,800
Speaker 3: When I was running my Ghostbosters review, I wanted to

1040
00:49:37,880 --> 00:49:42,280
Speaker 3: pin down the the actual date that new Ghostbosters was announced,

1041
00:49:42,640 --> 00:49:45,120
Speaker 3: and I found that all of the pieces pointed back

1042
00:49:45,160 --> 00:49:48,040
Speaker 3: to Paul Feeing tweeting about it, like he actually like

1043
00:49:48,520 --> 00:49:50,800
Speaker 3: dropped that release on Twitter. So I went back to

1044
00:49:50,880 --> 00:49:54,040
Speaker 3: his original tweet and looked at the comments, and the

1045
00:49:54,160 --> 00:49:59,280
Speaker 3: first couple hundred responses are so excited and so enthused

1046
00:49:59,320 --> 00:50:01,480
Speaker 3: and talking about like all of the funny women who

1047
00:50:01,560 --> 00:50:03,160
Speaker 3: might be in it and that they hope to see

1048
00:50:03,640 --> 00:50:06,280
Speaker 3: and talking about how excited they are. And I actually

1049
00:50:06,320 --> 00:50:09,120
Speaker 3: had a moment I write about culture for a living

1050
00:50:09,160 --> 00:50:11,520
Speaker 3: moment of is there a story in this about how

1051
00:50:11,520 --> 00:50:14,200
Speaker 3: the backlash took a while to form? But then, like

1052
00:50:14,320 --> 00:50:16,080
Speaker 3: you get a few hundred comments in and all of

1053
00:50:16,120 --> 00:50:19,480
Speaker 3: a sudden, it's rage, rage, frothing rage. But a lot

1054
00:50:19,560 --> 00:50:23,720
Speaker 3: of that frothing rage was repeated when the casting was announced,

1055
00:50:23,760 --> 00:50:25,640
Speaker 3: and I read a little bit of that, and so

1056
00:50:25,840 --> 00:50:28,479
Speaker 3: much of it was focused on things like why would

1057
00:50:28,520 --> 00:50:30,800
Speaker 3: you cast these women who don't even have good tits?

1058
00:50:31,680 --> 00:50:34,239
Speaker 3: And when you read a comment like that, suddenly it

1059
00:50:34,320 --> 00:50:36,800
Speaker 3: becomes incredibly easy to dismiss it and let it go.

1060
00:50:37,320 --> 00:50:39,360
Speaker 3: The person who said that was not going to be

1061
00:50:39,360 --> 00:50:41,640
Speaker 3: happy about this movie, no matter what form it took.

1062
00:50:42,280 --> 00:50:45,120
Speaker 3: It's not for him. We don't have to please him.

1063
00:50:45,160 --> 00:50:46,839
Speaker 3: We don't have to care about what he thinks. He's

1064
00:50:46,880 --> 00:50:49,640
Speaker 3: a mad frother on the internet. Eh, he can go.

1065
00:50:50,400 --> 00:50:53,600
Speaker 3: He can go to the place that Kristin Wiggs says

1066
00:50:53,680 --> 00:50:56,120
Speaker 3: that the real estate agent can go when she says

1067
00:50:56,200 --> 00:50:58,920
Speaker 3: that the firehouse is twenty two thousand dollars a month

1068
00:50:59,640 --> 00:51:02,719
Speaker 3: and don't need to worry about it. We touched on

1069
00:51:02,800 --> 00:51:04,800
Speaker 3: this in the first episode briefly and then we skimmed

1070
00:51:04,840 --> 00:51:07,160
Speaker 3: by it, but we were kind of talking about why

1071
00:51:07,239 --> 00:51:09,759
Speaker 3: did the original Ghostbusters make such a mark on so

1072
00:51:09,840 --> 00:51:12,480
Speaker 3: many people. I really do think that it has something

1073
00:51:12,520 --> 00:51:15,120
Speaker 3: to do with the fact that you have the original

1074
00:51:15,160 --> 00:51:19,279
Speaker 3: three characters are kind of these rejected geeks who use

1075
00:51:19,800 --> 00:51:22,880
Speaker 3: rejected nerdy geek stuff to become heroes. You have a

1076
00:51:22,960 --> 00:51:26,080
Speaker 3: spasy dork who's in love with a beautiful woman across

1077
00:51:26,120 --> 00:51:28,200
Speaker 3: the way, and in a weird sort of way, he

1078
00:51:28,280 --> 00:51:30,560
Speaker 3: gets to get with her. It's a payoff for all

1079
00:51:30,600 --> 00:51:33,360
Speaker 3: of the rejected dorks out there. And I think that

1080
00:51:33,480 --> 00:51:36,839
Speaker 3: people latch onto that and they feel like this movie

1081
00:51:37,000 --> 00:51:39,160
Speaker 3: was meant for me. It was made for me, and

1082
00:51:39,239 --> 00:51:41,759
Speaker 3: now they're remaking it for somebody else, and that's not fair.

1083
00:51:42,520 --> 00:51:44,040
Speaker 3: And we don't have to worry about what they think

1084
00:51:44,280 --> 00:51:46,560
Speaker 3: because it's not for them, and that's okay.

1085
00:51:47,160 --> 00:51:47,320
Speaker 2: You know.

1086
00:51:47,560 --> 00:51:51,360
Speaker 6: And in contrary to fanboy concerns, copies of the nineteen

1087
00:51:51,400 --> 00:51:54,800
Speaker 6: eighty four Ghostbusters have not been burned. It's still widely

1088
00:51:54,840 --> 00:51:57,080
Speaker 6: available on DVD, in Blu Ray and in all the

1089
00:51:57,120 --> 00:52:00,600
Speaker 6: streaming services. The New Ghostbusters, or New bu as we

1090
00:52:00,680 --> 00:52:03,560
Speaker 6: call it, is still in theaters everywhere except maybe China.

1091
00:52:04,080 --> 00:52:07,400
Speaker 6: And we will be right back with our usual recommendation segment,

1092
00:52:07,640 --> 00:52:16,120
Speaker 6: Your Next Picture Show. Finally, it's time to catch each

1093
00:52:16,120 --> 00:52:18,799
Speaker 6: other up on films or film related items we've seen

1094
00:52:18,880 --> 00:52:21,520
Speaker 6: in the interim since our last podcast. We call it

1095
00:52:21,920 --> 00:52:23,759
Speaker 6: Your Next Picture Show and the hopes that we'll put

1096
00:52:23,760 --> 00:52:26,880
Speaker 6: something interesting on your radar. Genevieve, do you want.

1097
00:52:26,719 --> 00:52:27,279
Speaker 2: To kick us off?

1098
00:52:27,640 --> 00:52:31,400
Speaker 5: Sure? I wrote a short film. Okay, short films. I

1099
00:52:31,640 --> 00:52:34,960
Speaker 5: want to recommend a short film by Emily Carmichael called

1100
00:52:35,080 --> 00:52:39,440
Speaker 5: Streika for those unfamiliar. Carmichael is an indie director animator

1101
00:52:39,560 --> 00:52:42,520
Speaker 5: who used to produce a Penny Arcade web series, and

1102
00:52:43,440 --> 00:52:46,080
Speaker 5: partially as a result of this short, Strika, she was

1103
00:52:46,120 --> 00:52:48,640
Speaker 5: recently tapped to co write the Pacific Rim sequel, and

1104
00:52:48,760 --> 00:52:51,120
Speaker 5: she's also writing and directing a feature produced by Steven

1105
00:52:51,120 --> 00:52:55,480
Speaker 5: Spielberg and conceived by Colin Trevarro called Powerhouse, and she

1106
00:52:55,640 --> 00:52:58,360
Speaker 5: was recently rumored to be in talks Marvel's upcoming Captain

1107
00:52:58,400 --> 00:53:01,840
Speaker 5: Marvel movie. So basically, she's a pretty good bet to

1108
00:53:01,920 --> 00:53:04,040
Speaker 5: be a pretty talked about name and action in sci

1109
00:53:04,120 --> 00:53:06,560
Speaker 5: fi film making in the near future, and Stryka is

1110
00:53:06,600 --> 00:53:09,080
Speaker 5: a really good display of her talents. It's a nine

1111
00:53:09,120 --> 00:53:11,799
Speaker 5: minute short set in the near future that follows an

1112
00:53:11,880 --> 00:53:15,760
Speaker 5: alien petty thief played by Amy Mullens as she struggles

1113
00:53:15,800 --> 00:53:18,360
Speaker 5: to choose between her loyalty to her longtime partner in

1114
00:53:18,440 --> 00:53:21,040
Speaker 5: crime and a new figure who pushes her outside of

1115
00:53:21,080 --> 00:53:24,200
Speaker 5: her comfort zone. It's very well executed on a technical level,

1116
00:53:24,320 --> 00:53:27,880
Speaker 5: making judicious use of practical effects and production design as

1117
00:53:27,920 --> 00:53:30,200
Speaker 5: well as a little bit of CGI, but it's also

1118
00:53:30,320 --> 00:53:34,600
Speaker 5: really warm and funny in some unexpected ways. Carmichael creates

1119
00:53:34,640 --> 00:53:37,840
Speaker 5: a believable world and inhabitants in just a few short minutes,

1120
00:53:37,920 --> 00:53:39,920
Speaker 5: and it's definitely left me excited to see more from

1121
00:53:39,960 --> 00:53:43,280
Speaker 5: her in this vein Stryka. It debuted on Arts Technica

1122
00:53:43,360 --> 00:53:45,520
Speaker 5: this week and it should be available elsewhere online by

1123
00:53:45,560 --> 00:53:48,160
Speaker 5: the time this episode comes outing.

1124
00:53:48,200 --> 00:53:50,760
Speaker 2: That does sound exciting. What about you, Tasha?

1125
00:53:51,040 --> 00:53:53,040
Speaker 3: I was going to talk about a film, but given

1126
00:53:53,080 --> 00:53:54,640
Speaker 3: the amount of trivia I was bringing in that you

1127
00:53:54,719 --> 00:53:57,120
Speaker 3: guys had not heard, I'm not a pivot and throw

1128
00:53:57,239 --> 00:53:59,399
Speaker 3: this out at you. There's a peace on Entertainment Weekly

1129
00:53:59,480 --> 00:54:02,880
Speaker 3: called ghost Busters and Oral History by Jeff Lebreck. And

1130
00:54:03,280 --> 00:54:05,400
Speaker 3: this was not the source of much of the stuff

1131
00:54:05,440 --> 00:54:07,759
Speaker 3: I talked about here, but it is a gold mine

1132
00:54:07,800 --> 00:54:11,560
Speaker 3: of interesting trivia. They talked to Akroyd and Rightman and

1133
00:54:11,840 --> 00:54:16,319
Speaker 3: Weaver and Andy Potts and uh the producer and Artie

1134
00:54:16,360 --> 00:54:20,480
Speaker 3: Hudson and other than just sounds like, yeah, but Bill

1135
00:54:20,560 --> 00:54:23,960
Speaker 3: Murray is not there. But the Bill Murray stories are

1136
00:54:24,040 --> 00:54:27,920
Speaker 3: pretty good. Apparently Bill Murray has a tendency to wander

1137
00:54:27,960 --> 00:54:29,799
Speaker 3: off with anyone who comes up to him and says, Hey,

1138
00:54:29,800 --> 00:54:33,240
Speaker 3: I've got a cool record collection or my apartments across

1139
00:54:33,239 --> 00:54:35,120
Speaker 3: the street. You want to see my etchings, And they

1140
00:54:35,160 --> 00:54:37,360
Speaker 3: had to keep pulling him back for the movie. He's

1141
00:54:37,400 --> 00:54:41,560
Speaker 3: apparently the wacky dude that he is today photo bombing

1142
00:54:41,600 --> 00:54:44,680
Speaker 3: people's birthday parties. He was back in the nineteen eighties too.

1143
00:54:45,080 --> 00:54:47,080
Speaker 3: There's so much fun stuff in here. There's a thing

1144
00:54:47,080 --> 00:54:51,200
Speaker 3: about the cigarette. Weaver tells about going into Rightman thinking

1145
00:54:51,400 --> 00:54:54,360
Speaker 3: that she's going to be playing an actual dog, that

1146
00:54:54,480 --> 00:54:56,040
Speaker 3: she's going to be possessed and turned into a dog.

1147
00:54:56,280 --> 00:54:59,839
Speaker 3: So she talks about running around the like the screen test,

1148
00:55:00,280 --> 00:55:02,719
Speaker 3: barking and chewing on the curtains until he went and

1149
00:55:02,800 --> 00:55:05,040
Speaker 3: turned the camera off and said, you don't want this

1150
00:55:05,160 --> 00:55:06,879
Speaker 3: on film. It might end up in the wrong place.

1151
00:55:07,239 --> 00:55:10,000
Speaker 3: There are so many really great production stories and interaction

1152
00:55:10,160 --> 00:55:14,320
Speaker 3: stories and behind the scenes kind of stuff. Ghostbusters the

1153
00:55:14,480 --> 00:55:16,879
Speaker 3: Oral History on Entertainment Weekly. It's a really good readon

1154
00:55:16,960 --> 00:55:19,600
Speaker 3: It's free and it is. It is free for anyone.

1155
00:55:19,680 --> 00:55:21,080
Speaker 3: Tell us to read it, Scott, what do you have?

1156
00:55:21,600 --> 00:55:21,799
Speaker 2: Yeah?

1157
00:55:21,840 --> 00:55:24,920
Speaker 6: I wanted to recommend a movie called Our Little Sister.

1158
00:55:25,400 --> 00:55:28,560
Speaker 6: This is the new film from director hiro Kazu Correata,

1159
00:55:29,120 --> 00:55:32,160
Speaker 6: who made his name on a movie called Afterlife, but

1160
00:55:32,320 --> 00:55:35,840
Speaker 6: has sense established himself as a subtle chronicler of family

1161
00:55:35,880 --> 00:55:39,359
Speaker 6: drama and movies like Nobody Knows, Still Walking and Like Father,

1162
00:55:39,520 --> 00:55:42,880
Speaker 6: Like Son, Our Little Sister is about three sisters, the

1163
00:55:43,000 --> 00:55:46,160
Speaker 6: oldest probably in her mid to late twenties, the youngest

1164
00:55:46,280 --> 00:55:49,320
Speaker 6: is nineteen. They all lived together in their grandmother's old house.

1165
00:55:49,960 --> 00:55:51,920
Speaker 6: Their father left their mother for another woman, and then

1166
00:55:51,960 --> 00:55:55,880
Speaker 6: their mother left them for another man. And when their

1167
00:55:55,920 --> 00:55:58,640
Speaker 6: father dies, they go to his funeral and meet their

1168
00:55:58,680 --> 00:56:01,840
Speaker 6: half sister who's thirteen, and they wind up persuading the

1169
00:56:01,960 --> 00:56:05,040
Speaker 6: kid to come back and live with them. This seems

1170
00:56:05,080 --> 00:56:09,040
Speaker 6: like a potentially explosive situation because there's so much abandonment

1171
00:56:09,120 --> 00:56:11,160
Speaker 6: and betrayal in the family, and the older sisters are

1172
00:56:11,239 --> 00:56:13,799
Speaker 6: all at an age where their lives are in flux too,

1173
00:56:14,640 --> 00:56:19,719
Speaker 6: but Coreata downplays the drama to kind of a remarkable extreme.

1174
00:56:20,320 --> 00:56:23,719
Speaker 6: You know, our Little Sister is full of emotion and

1175
00:56:23,840 --> 00:56:27,080
Speaker 6: does have a few big revelations, but the tone is

1176
00:56:27,400 --> 00:56:31,359
Speaker 6: largely serene and observational. It's a real just a it's

1177
00:56:31,400 --> 00:56:33,239
Speaker 6: not a reverie isn't the right word, but it kind

1178
00:56:33,239 --> 00:56:36,000
Speaker 6: of feels that way. It's it's pleasant, it's episodic, it's

1179
00:56:36,040 --> 00:56:39,359
Speaker 6: it's it's quite subtle, well performed, beautiful to look at,

1180
00:56:39,920 --> 00:56:41,480
Speaker 6: and it's kind of trickling about the country.

1181
00:56:41,520 --> 00:56:41,600
Speaker 3: Now.

1182
00:56:41,680 --> 00:56:46,800
Speaker 6: Sonny Pictures Classics, which has been nobly releasing foreign language

1183
00:56:46,800 --> 00:56:50,959
Speaker 6: films like no other major studio, you know, boutique label

1184
00:56:51,000 --> 00:56:53,040
Speaker 6: has has done that. They've they've got a handle on

1185
00:56:53,120 --> 00:56:55,560
Speaker 6: this one, and they're they're bringing out around the country.

1186
00:56:55,760 --> 00:56:59,719
Speaker 2: Totally recommended. Our Little Sister hasn't been yet. Yes, it is.

1187
00:56:59,840 --> 00:57:02,160
Speaker 2: I I saw it at Landmarks Century Central.

1188
00:57:02,800 --> 00:57:05,160
Speaker 5: I saw a pre before it at Landmarks Century CenTra

1189
00:57:05,320 --> 00:57:10,160
Speaker 5: before Finding Dory, which was very strange. But it was

1190
00:57:10,200 --> 00:57:11,959
Speaker 5: a really good trailer, and I mean, we're very curious

1191
00:57:11,960 --> 00:57:12,239
Speaker 5: about it.

1192
00:57:12,840 --> 00:57:15,680
Speaker 2: It's a really nice movie. His movies are always terrific.

1193
00:57:16,800 --> 00:57:18,360
Speaker 4: I missed the last too. I haven't seen Like Father

1194
00:57:18,440 --> 00:57:19,120
Speaker 4: Like Son yet either.

1195
00:57:19,160 --> 00:57:19,480
Speaker 2: That's good.

1196
00:57:19,640 --> 00:57:20,920
Speaker 3: That's a good one. It's a really good one.

1197
00:57:21,240 --> 00:57:23,520
Speaker 2: This is unique, I think, I think really just his.

1198
00:57:25,240 --> 00:57:28,320
Speaker 6: You know, it really just avoids being all that dramatic,

1199
00:57:28,360 --> 00:57:30,400
Speaker 6: which is it takes them getting used to, but it

1200
00:57:30,440 --> 00:57:33,040
Speaker 6: makes for a really pleasant movie going experience.

1201
00:57:33,280 --> 00:57:35,480
Speaker 4: What have you got, Keith, Jenny. We've had a short movie.

1202
00:57:35,480 --> 00:57:38,680
Speaker 4: I had a very long movie, a movie called It

1203
00:57:38,800 --> 00:57:42,360
Speaker 4: Touches then by the director of King Who. After I

1204
00:57:42,440 --> 00:57:45,720
Speaker 4: turned director King Who Who. This is nineteen seventy one

1205
00:57:45,800 --> 00:57:48,160
Speaker 4: film and it's really pointed to a Lot as one

1206
00:57:48,200 --> 00:57:52,400
Speaker 4: of the key films in changing changing the course of

1207
00:57:52,520 --> 00:57:56,280
Speaker 4: Chinese filmmaking and changing the course of wujia filmmaking for

1208
00:57:56,360 --> 00:57:59,440
Speaker 4: of the historical kung fu martial arts films, and it

1209
00:57:59,600 --> 00:58:03,560
Speaker 4: is it is great. I'm late to King Who. This

1210
00:58:03,720 --> 00:58:06,200
Speaker 4: is my first King Who film. Apart from the scene

1211
00:58:06,280 --> 00:58:10,400
Speaker 4: from dragon In glimpsed in the Siming Liang movie Goodbye

1212
00:58:10,440 --> 00:58:13,360
Speaker 4: dragon In, this is filmed largely in Taiwan and is

1213
00:58:13,400 --> 00:58:16,800
Speaker 4: set during the Ming dynasty, and it is three hours long,

1214
00:58:17,240 --> 00:58:19,760
Speaker 4: and it has so many great action sequences in it, guys,

1215
00:58:19,880 --> 00:58:21,600
Speaker 4: and you know what, none of them show up until

1216
00:58:21,600 --> 00:58:24,080
Speaker 4: an hour into the movie. The first hours is very

1217
00:58:24,800 --> 00:58:27,640
Speaker 4: it's lovely and it's important and it sets the tone.

1218
00:58:27,680 --> 00:58:32,160
Speaker 4: But it's a sort of a small village life, unambitious

1219
00:58:32,200 --> 00:58:35,280
Speaker 4: scholar slash artist whose mother wants him to marry off

1220
00:58:35,800 --> 00:58:40,000
Speaker 4: and he doesn't. He meets somebody, he meets this woman

1221
00:58:40,120 --> 00:58:44,160
Speaker 4: across the way, and it's all moves fairly deliberately, and

1222
00:58:44,280 --> 00:58:46,919
Speaker 4: you find out she is a princess or noble woman

1223
00:58:47,280 --> 00:58:50,760
Speaker 4: or someone who is running from the authorities. And suddenly

1224
00:58:50,880 --> 00:58:53,840
Speaker 4: it's fights and there's all kinds of beautifully staged fight scenes,

1225
00:58:54,120 --> 00:58:56,320
Speaker 4: and it just gets more cinematic, and it goes along

1226
00:58:56,440 --> 00:58:58,920
Speaker 4: and it's on a new criterion Blu ray, and it

1227
00:58:59,000 --> 00:59:01,560
Speaker 4: goes into the making of it and how he would

1228
00:59:01,720 --> 00:59:06,200
Speaker 4: just he achieved his lighting effects by just waiting until

1229
00:59:06,280 --> 00:59:08,680
Speaker 4: the lighting was right for if it didn't work that day,

1230
00:59:08,760 --> 00:59:10,240
Speaker 4: then come back tomorrow and shoot it.

1231
00:59:10,360 --> 00:59:10,800
Speaker 5: And it is.

1232
00:59:11,240 --> 00:59:13,600
Speaker 4: You know, the artistry is quite good. It's one of

1233
00:59:13,640 --> 00:59:16,600
Speaker 4: the key to give you a contemporary touchdown. It's one

1234
00:59:16,640 --> 00:59:20,480
Speaker 4: of the things Angley has cited as the major influence

1235
00:59:20,520 --> 00:59:22,920
Speaker 4: on Crouching Tiger, Hitten Dragon, and this is that's all

1236
00:59:22,960 --> 00:59:25,240
Speaker 4: over this movie. This Crouching Tiger would not happen without

1237
00:59:25,280 --> 00:59:27,640
Speaker 4: this movie. And I suspect the other King who movies

1238
00:59:27,680 --> 00:59:29,840
Speaker 4: that I haven't seen I need to go watch, Like

1239
00:59:29,920 --> 00:59:31,080
Speaker 4: maybe now are we done yet?

1240
00:59:32,600 --> 00:59:33,880
Speaker 2: Yes, Keith, we are done.

1241
00:59:38,840 --> 00:59:40,520
Speaker 6: And that's it for this week's edition of The Next

1242
00:59:40,560 --> 00:59:43,840
Speaker 6: Picture Show. Our next episodes come out August ninth and

1243
00:59:43,960 --> 00:59:46,400
Speaker 6: August eleventh. Tasha, what do we have lined up?

1244
00:59:46,560 --> 00:59:48,880
Speaker 3: After what seems like years of hearing about Jared Leto's

1245
00:59:48,920 --> 00:59:52,520
Speaker 3: deranged method acting style, Suicide Squad is finally hitting theaters,

1246
00:59:52,720 --> 00:59:55,520
Speaker 3: bringing together a bunch of imprisoned supervillains like dead Shot,

1247
00:59:55,680 --> 00:59:58,000
Speaker 3: Killer Croc and Harley Quinn on a mission to save

1248
00:59:58,120 --> 01:00:01,400
Speaker 3: the world. On our next episode, Parrot with Robert aldrichx

1249
01:00:01,520 --> 01:00:04,760
Speaker 3: nineteen sixty seven action movie The Dirty Dozen starring Lee

1250
01:00:04,840 --> 01:00:07,680
Speaker 3: Marvin as a US Army major who gathers a dozen

1251
01:00:07,760 --> 01:00:10,480
Speaker 3: convicted murderers for of mission against the Germans during World

1252
01:00:10,520 --> 01:00:12,720
Speaker 3: War Two. It'll be a rogue team up, just like

1253
01:00:12,800 --> 01:00:14,040
Speaker 3: the Next Picture Show podcast.

1254
01:00:16,080 --> 01:00:17,960
Speaker 6: In the meantime, we'd love to hear your feedback on

1255
01:00:18,000 --> 01:00:20,640
Speaker 6: this week's discussion of the two Ghostbusters and anything else

1256
01:00:20,720 --> 01:00:23,360
Speaker 6: film related. We want to include your thoughts on future

1257
01:00:23,400 --> 01:00:25,920
Speaker 6: episodes of the show. You can leave a short voicemail

1258
01:00:25,960 --> 01:00:29,600
Speaker 6: at seven seven three two three four nine seven three

1259
01:00:29,760 --> 01:00:34,360
Speaker 6: zero or email us at comments at next Pictureshow dot net. Finally,

1260
01:00:34,720 --> 01:00:37,640
Speaker 6: before closing out this week's episode, where can we find

1261
01:00:37,720 --> 01:00:38,640
Speaker 6: everyone these days?

1262
01:00:38,880 --> 01:00:39,480
Speaker 2: Keith Phipps.

1263
01:00:39,640 --> 01:00:42,000
Speaker 4: You can find me at up Rocks, where I run

1264
01:00:42,080 --> 01:00:44,800
Speaker 4: the film and TV sections, and on Twitter at kfips

1265
01:00:44,840 --> 01:00:45,360
Speaker 4: three thousand.

1266
01:00:45,600 --> 01:00:46,600
Speaker 2: Tasha, you can.

1267
01:00:46,520 --> 01:00:48,720
Speaker 3: Find me writing about film at the Verge dot com,

1268
01:00:48,880 --> 01:00:51,479
Speaker 3: where I just realized I wrote about Ghostbusters. We didn't

1269
01:00:51,480 --> 01:00:53,800
Speaker 3: talk about Kate McKinnon. This is a really long show

1270
01:00:53,800 --> 01:00:55,400
Speaker 3: and we can't get back to her, but I write

1271
01:00:55,400 --> 01:00:57,479
Speaker 3: about how awesome Kate McKinnon is in my piece about

1272
01:00:57,480 --> 01:01:00,200
Speaker 3: Ghostbusters at the Verge dot com. And you can find

1273
01:01:00,200 --> 01:01:02,800
Speaker 3: me on Twitter and tell me how great Kate McKinnon

1274
01:01:02,920 --> 01:01:04,800
Speaker 3: is at Tasha Robinson Scott.

1275
01:01:05,400 --> 01:01:05,560
Speaker 2: Yeah.

1276
01:01:05,600 --> 01:01:09,120
Speaker 6: You can find me on Twitter at Scott Underscore Tobias,

1277
01:01:09,400 --> 01:01:13,080
Speaker 6: and you can find my work at NPR, up rocks

1278
01:01:13,520 --> 01:01:17,160
Speaker 6: in New York Times, Washington Post, Rolling Stone, Vulture, Musings

1279
01:01:17,160 --> 01:01:18,200
Speaker 6: and other places.

1280
01:01:18,360 --> 01:01:19,160
Speaker 2: Genevie, what about You.

1281
01:01:19,360 --> 01:01:21,760
Speaker 5: You can find me on Twitter at Genevieve Koski and

1282
01:01:22,120 --> 01:01:23,240
Speaker 5: soon elsewhere as well.

1283
01:01:23,600 --> 01:01:23,800
Speaker 2: MM.

1284
01:01:24,440 --> 01:01:27,760
Speaker 3: Very intriguing, so extremely promising.

1285
01:01:28,480 --> 01:01:30,480
Speaker 6: So you can stay updated on the Next Picture Show

1286
01:01:30,560 --> 01:01:33,520
Speaker 6: via Twitter at Next Picture Pod, via Facebook at Facebook

1287
01:01:33,560 --> 01:01:36,200
Speaker 6: dot com, slash Next Picture Show, or by visiting Next

1288
01:01:36,240 --> 01:01:38,919
Speaker 6: Picture Show dot net. And if you haven't already, please

1289
01:01:38,960 --> 01:01:41,440
Speaker 6: subscribe to the show on iTunes, and while you're there,

1290
01:01:41,760 --> 01:01:44,720
Speaker 6: think about rating and reviewing us. Every thumbs up helps

1291
01:01:44,800 --> 01:01:47,040
Speaker 6: us find new listeners and keeps the show going. Thanks

1292
01:01:47,080 --> 01:01:50,000
Speaker 6: to Colin the Animal Griffith for his assistants producing the show,

1293
01:01:50,320 --> 01:01:52,960
Speaker 6: and thanks to Delmark Records for providing recording space at

1294
01:01:53,000 --> 01:01:56,360
Speaker 6: their home Base Riverside Studios. The Next Picture Show is

1295
01:01:56,400 --> 01:01:58,400
Speaker 6: proud to be part of the Film Spotting family of

1296
01:01:58,480 --> 01:02:01,880
Speaker 6: podcasts and the panpline at work. Please tune in next

1297
01:02:01,920 --> 01:02:02,120
Speaker 6: time