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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie de Cherco Daniel Henderson, and we're

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Speaker 2: here with.

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Speaker 1: You to talk about film, as we always do on

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Speaker 1: this podcast.

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Speaker 2: Hello. Hello, how are youll?

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Speaker 3: I'm good.

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Speaker 4: I have a job, and I have am I have

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Speaker 4: two jobs by next week. And I have two jobs.

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Speaker 2: Dude? What two jobs?

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Speaker 4: So I can't mention any names or anything specific yet,

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Speaker 4: but it's two TV shows that.

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Speaker 3: I will be developing from scratch. So that's great.

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Speaker 4: And what that means is that I'll basically be working

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Speaker 4: with the producers and the creators to write the pilots

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Speaker 4: and package it up and write the whole you know,

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Speaker 4: kind of think about what the whole season could be,

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Speaker 4: and then we take it out to sell it to

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Speaker 4: all these networks.

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Speaker 3: So I might be in LA doing meetings soon.

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Speaker 2: Oh okay, okay, do your return to La. How are

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Speaker 2: you feeling about that?

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Speaker 3: I'm feeling all right.

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Speaker 4: I always love going out there for work, and there's

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Speaker 4: definitely like people there that I love.

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Speaker 3: I just don't want to be there for more than

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Speaker 3: I have to be.

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Speaker 2: Oh, you don't want to live there? But you're okay

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Speaker 2: with flying?

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Speaker 5: No?

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Speaker 4: Yeah, Yeah, I'm okay with flying there for sure, And

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Speaker 4: if I ever have to film there again, that's fine

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Speaker 4: because it's if it has an end ding and it's

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Speaker 4: a short term thing, totally fine.

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Speaker 1: Okay, because you're like a famous hater of La living

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Speaker 1: in La, so I just was curious.

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Speaker 4: I am, and people try to make me feel bad

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Speaker 4: about it, but it's just not for me.

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Speaker 3: It's just not for me.

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Speaker 4: And that's like, it's not even like I could hate

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Speaker 4: on it all day long, but I truly just rest

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Speaker 4: at it's not for me.

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Speaker 3: It's not even a hater perspective. I hate Seattle more.

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Speaker 1: I was gonna say, like, I feel like you're sort

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Speaker 1: of a dot in the wool Northeastern gal and the

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Speaker 1: West Coast can fucking fall into the ocean and you'd

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Speaker 1: be fine with it.

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Speaker 4: But what's wild is I've tried to live in every

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Speaker 4: part of the West Coast, oh sure, Like I've tried

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Speaker 4: it all from top to bottom.

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Speaker 3: Yeah, and it's just not for me. It's just not

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Speaker 3: for me.

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Speaker 4: I think that Seattle I disliked more because the people

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Speaker 4: were meaner.

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Speaker 3: I don't know if they.

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Speaker 4: Still are, but when I lived there, they were very mean.

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Speaker 4: And I don't like to live in a cruel place.

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Speaker 4: But La just is just boring and vapid and.

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Speaker 3: Not for me.

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Speaker 4: Sure, like I need a chunkier place with some real

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Speaker 4: shit in it.

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Speaker 2: Yeah. Have you tried did you wait? You lived in

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Speaker 2: San Francisco?

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Speaker 4: Well, a little bit, yep, a little bit outside of

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Speaker 4: San Francisco for a bit. I've tried it, man, I've

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Speaker 4: tried it. And San Francisco is great where it was.

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Speaker 4: I lived there before the dot com boom. I lived

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Speaker 4: there in like nineteen ninety six, so yeah, it was

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Speaker 4: great back then. Yeah, but I haven't been back.

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Speaker 3: In a long, long, long, long long time. Yeah. But yeah,

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Speaker 3: the West Coast, I don't know.

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Speaker 4: I've never thought of it that way, that like maybe

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Speaker 4: the whole West Coast just is not for me.

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Speaker 3: But it might not be. And that's all right, Listen.

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Speaker 2: You just you don't like that pioneer energy of the

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Speaker 2: West Coast that.

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Speaker 4: If it was expansion, if it was pioneer energy, I'd

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Speaker 4: probably love it more. But it was just people like

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Speaker 4: we got to move these rocks today, I'd be like,

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Speaker 4: fucking great, But as it as people who are like,

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Speaker 4: I don't know where I want to get my fifteen

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Speaker 4: dollars coffee this morning so I can be seen by

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Speaker 4: the right people and put on the right outfit and

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Speaker 4: look like the person I'm trying to be instead of

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Speaker 4: being that person.

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Speaker 1: Yeah, I'm now I'm racking my brain for a city

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Speaker 1: on the West Coast that you might like. And I

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Speaker 1: just don't feel like you like San Diego. I feel

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Speaker 1: like you would like San Diego too hot.

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Speaker 4: Too white, too white, too Republicans who too.

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Speaker 2: I was born in San Diego. I don't know if

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Speaker 2: you knew that.

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Speaker 3: I do know that, but I.

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Speaker 1: Only spent six months of my life there, and literally

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Speaker 1: I had never went back. Like I even when I

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Speaker 1: was living an hour north of San Diego, I never went,

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Speaker 1: which is a shame.

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Speaker 3: I know.

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Speaker 4: I have my one of my dear friends lives there,

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Speaker 4: and I haven't. I put it on my Uber list

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Speaker 4: almost every year to go visit her, and I have

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Speaker 4: not pulled.

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Speaker 3: I've not just not been able to do it yet.

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Speaker 3: I don't know why.

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Speaker 4: And she loves it, and she says it's great, and

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Speaker 4: she's not a white Republican and she loves it.

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Speaker 3: So yeah, I think it's just a chill way of life.

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Speaker 4: I think I can't live in chill. Yeah, not in

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Speaker 4: I can be chill. I can't live in a place

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Speaker 4: where the whole energy of the place is just chilling out. Sure,

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Speaker 4: I'm a peaceful person. I've got chill, but I'm not like,

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Speaker 4: I can't go out to town and be like, oh

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Speaker 4: my god, everyone looks like they're taking naps on the

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Speaker 4: like everywhere.

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Speaker 3: Yeah.

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Speaker 1: I was gonna say, you live, I guess theoretically in

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Speaker 1: a rural environment. Yeah, but it's not chill. It's like

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Speaker 1: working hinterland vibes. Right, there's not a chill vibe.

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Speaker 4: No, it is not chill here all it's nicier. People

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Speaker 4: are nice. I think the town is nice. I think

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Speaker 4: that the area is nice. I'm not too far from

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Speaker 4: New York, which, contrary to popular belief, New Yorkers are

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Speaker 4: actually really nice.

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Speaker 1: Yeah.

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Speaker 4: I think that we're annoyed, easily easily annoyed, and very impatient,

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Speaker 4: but nice.

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Speaker 2: Listen, you know where I stand about that.

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Speaker 1: I think Philadelphia is the meanest town I've ever been there,

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Speaker 1: and I don't fuck with them. Listen, no disrespect, no

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Speaker 1: like when I say that, when I say that you're mean,

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Speaker 1: it has nothing to do with you know, the quality

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Speaker 1: of your personage, like you're all you're good people, but

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Speaker 1: the place you know what you want and you don't

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Speaker 1: suffer fools and I and I've heard that loud and

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Speaker 1: clear Philadelphia.

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Speaker 4: Or I love them for like three episodes into the

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Speaker 4: new year and just burning our house down. Here's all

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Speaker 4: the places we fucking hate you, you you, you, and.

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Speaker 3: You well.

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Speaker 1: Lovely Like I loved it, but like the citizens were

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Speaker 1: like hard core, Oh, Philly will kill you.

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Speaker 2: And more more hardcore than New Yorkers.

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Speaker 3: That's that was my observation, one hundred percent.

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Speaker 4: I've been to Philadelphia so many times and it is

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Speaker 4: one place on the planet where I feel like, if

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Speaker 4: you put a foot wrong, you might get stabbed, Like

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Speaker 4: people have no fucking patience for you. And it's not

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Speaker 4: because it's particularly violent. It's just like that energy of like,

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Speaker 4: don't come here and act up.

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Speaker 1: Yeah there's you know, we talked about Pink Bike Ralph

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Speaker 1: because you know, uh, he's a friend of the pod.

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Speaker 2: But he's got the T shirt.

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Speaker 4: I don't know what it actually says, but it says

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Speaker 4: the Philadelphia where the week are killed and eaten.

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Speaker 2: Yes, exactly, And I'm like, yo, that is one hundred

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Speaker 2: percent fact.

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Speaker 1: Like I feel like New York the week in New

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Speaker 1: York would not be killed and eaten.

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Speaker 2: They'd be killed, but not eaten. Eaten is a is

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Speaker 2: the extra step.

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Speaker 3: Eating is the extra step.

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Speaker 4: I feel like in New York we would I don't

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Speaker 4: even think we would kill.

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Speaker 3: I think we'd just like yell.

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Speaker 4: You'll be yelled at until you feel so like bad

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Speaker 4: about yourself to your core, Like we won't read you

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Speaker 4: for fucking filth, just for literally standing on a sidewalk

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Speaker 4: where everyone's walking.

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Speaker 3: Yeah, but I don't think anyone was actively looking to

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Speaker 3: kill you in New York.

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Speaker 4: With Philadelphia, you have you see any sports coverage, You're like, no,

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Speaker 4: I could be killed by accident in Philadelphia. And you

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Speaker 4: know what, I fucking love that energy about Philadelphia. It's

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Speaker 4: one of my favorite places because I'm like, you guys,

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Speaker 4: come correct. They're like, you come here and you assimilate

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Speaker 4: to us. Don't bring your fucking tourist khaki pants shit

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Speaker 4: here and expect us to bend to your will.

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Speaker 3: Yeah, like you will fall in line if you come here.

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Speaker 3: I know.

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Speaker 1: I was like, you know, as a Atlanta Atlanta gal Uh,

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Speaker 1: I was always in deep hatred for the Philadelphia Phillies

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Speaker 1: because they were, you know, our rivals for the NL

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Speaker 1: East baseball people.

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Speaker 2: I'm talking about baseball, but I always.

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Speaker 1: Try to keep my shit talking in check because I

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Speaker 1: was scared of Philadelia, Like I was, like, yo, I

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Speaker 1: fucking hate Bryce Harper, but can't say.

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Speaker 2: Too much because I don't know those people are.

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Speaker 1: They will let you know, they will let you know,

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Speaker 1: and so I don't know. But that's but to your point, Originally,

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Speaker 1: I actually think New York gets this weirdly bad rap

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Speaker 1: for being mean, and.

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Speaker 2: I actually think they're nice totally.

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Speaker 4: I agree with so much nice, Like strike up a

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Speaker 4: conversation with anyone. New York is where I learned my hustle,

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Speaker 4: and being raised by New Yorkers is where I learned how.

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Speaker 3: To talk to people.

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Speaker 4: Yeah, because it's like, you know, you're standing on the

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Speaker 4: line and you're just like you talk to people.

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Speaker 3: Our mutual friend.

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Speaker 4: Sarah sent me a meme on Instagram the other day

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Speaker 4: that I could not stop laughing at. And it's just

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Speaker 4: like me entering an uber. Can you take me to

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Speaker 4: sixth Avenue? Please me leaving an Uber? Well, good luck

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Speaker 4: with your your court dat. I hope you know that

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Speaker 4: all the custody hearing works out well. And she just

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Speaker 4: said it to me.

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Speaker 3: She goes, this is you. Yeah, that's that New York

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Speaker 3: fucking energy.

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Speaker 4: Where I'm like, I will know your whole and it's

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Speaker 4: also just me personally, but like I will find out

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Speaker 4: your life story in ten minutes.

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Speaker 2: Yeah, no, I like this is the thing I think.

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Speaker 1: You know, I always try to keep in mind when

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Speaker 1: to think about New York and the energy of New York.

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Speaker 1: I mean it's a fucking huge, you know, major world

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Speaker 1: city with tons and tons of people, Like you can't

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Speaker 1: just sit around, right like, in order to continue life,

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Speaker 1: the pace of life has to be fast, it has

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Speaker 1: to be efficient.

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Speaker 3: You know.

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Speaker 1: This is the thing Atlanta is really coming to grips with.

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Speaker 1: I feel where they're in this like situation where they're like, oh,

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Speaker 1: remember when we used to be like a really small

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Speaker 1: town and everybody knew each other and like you could

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Speaker 1: just kind of like drive lackadaisically on all the roads. Yeah,

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Speaker 1: Atlanta is now leveled up to where they need to

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Speaker 1: make the decision to be the meaner city.

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Speaker 2: Do you know what I'm saying. And I'm saying to be.

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Speaker 3: A more fast paced city.

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Speaker 1: That's right, like, but meaner in the sense that like, Okay,

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Speaker 1: the South traditionally has a stereotype of being very friendly

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Speaker 1: and very being very warm.

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Speaker 2: Okay, I'm not saying that we shouldn't be that.

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Speaker 1: I'm saying that you need to be more aggressive in

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Speaker 1: the everyday living. If you live in the city proper, right,

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Speaker 1: there's always gonna be people that live in the Warwick

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Speaker 1: of Atlanta that don't want that shit, and they live

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Speaker 1: in a place with it's calmer and sort of easier

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Speaker 1: to manage. But if you live downtown, and you work downtown,

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Speaker 1: and you drive downtown, you have to put on that

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Speaker 1: other hat, that like New Yorker hat, which is like

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Speaker 1: when you're on the road, you don't let people in

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Speaker 1: fucking all willy nilly. You have to drive to your destination.

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Speaker 1: You can't go twenty five miles an hour on the freeway.

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Speaker 2: You know, you have to.

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Speaker 4: Bring that downtown energy energy.

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Speaker 3: You know.

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Speaker 1: I understand that we're friendly in neighborhoodye I mean, trust me,

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Speaker 1: I've lived here almost my entire life. I know everybody.

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Speaker 1: I love fucking having a chat. But when there's a

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Speaker 1: line going out the door for the fucking bagel, don't

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Speaker 1: have the friendly southern chat like.

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Speaker 2: A just there's more people that live here. We got

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Speaker 2: shit to do. It takes forever to get anywhere here,

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Speaker 2: like be more New York is all I'm saying, which

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Speaker 2: is not mean. It's just efficient.

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Speaker 3: It's not mean. It's super fucking efficient.

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Speaker 4: And I'm biased as hell because it's my favorite goddamn city. Yes,

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Speaker 4: but it's also the reason why I did not do

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Speaker 4: well in Los Angeles, because every time I would leave

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Speaker 4: my house, I'd be like, what is the fucking problem?

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Speaker 4: Why can nobody get anything done?

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Speaker 3: Well?

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Speaker 1: There's I feel like, Okay, I also realize that about

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Speaker 1: La where I'm like.

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Speaker 2: Everybody just hangs. There's like I don't know, like even

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Speaker 2: when you're working, you're not working. I knew that firsthand.

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Speaker 1: Like I'm just like, Yo, everybody meets outside of the

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Speaker 1: office and there's like four hour lunches and this is wild.

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Speaker 1: This is not how it works in Atlanta at all.

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Speaker 2: I think it has two things.

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Speaker 1: I think it's abundant sunshine and legal marijuana.

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Speaker 3: Yep, don't tell me twice.

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Speaker 4: That is absolutely where I would pin the tail on

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Speaker 4: the donkey. Yeah, for fucking sure. And it's again personal responsibility.

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Speaker 4: I know that that's not me. I cannot be high

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Speaker 4: all day and I absolutely cannot be in the sun

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Speaker 4: all day, Like I'm not melting my brain, I'm not

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Speaker 4: baking this bean, and I'm not going to be high

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Speaker 4: all day. Yeah, it's just the lifestyle I cannot get into.

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Speaker 4: If you love that lifestyle, more power to you. Yeah,

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Speaker 4: I cannot get into it because I get things done.

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Speaker 3: This is the other thing would drive me fucking crazy.

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Speaker 4: When I lived in LA, people would constantly like I'd

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Speaker 4: be on what I thought was a date or just

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Speaker 4: hanging out with someone new or whatever, and it'd be like, oh, yeah,

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Speaker 4: by the way, could you help me get a job?

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Speaker 4: Like can you help me get break into the industry?

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Speaker 4: And I'm like no, first and foremost.

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Speaker 3: No too.

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Speaker 4: You don't do anything. I'd be like, all right, where's

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Speaker 4: your script? I haven't written it yet.

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Speaker 3: What do you do? I don't know. I just want

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Speaker 3: to be in that life. And I'm like what the fuck?

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Speaker 4: Yeah, no one was doing anything, and they were like, well,

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Speaker 4: I just want what you have.

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Speaker 3: Can you just like give it to me? That energy?

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Speaker 4: I can't fucking stand. And that is all over La,

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Speaker 4: Like I'm not going to actually do anything. I'm not

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Speaker 4: going to write anything, make any music, create anything. Yeah,

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Speaker 4: but I'm living here because I'm a creative but I'm

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Speaker 4: not actually doing anything. But I still want you to

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Speaker 4: get me my break and get me into that life.

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Speaker 3: And I'm like, I'm not the one.

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Speaker 2: Well, I gotta tell you.

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Speaker 1: Like I used to think about this when I was

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Speaker 1: working at TCM, Like after I moved out there, I

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Speaker 1: would like, talk to my coworkers in Atlanta. I'm like, y'all,

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Speaker 1: y'all are still like fucking nine to five in this

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Speaker 1: shit like you got come here, it's like a totally

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Speaker 1: different world. I feel like, like, honestly, it's the feeling

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Speaker 1: of when Don Draper from mad Men would go to

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Speaker 1: California and be like mister sunglasses.

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Speaker 2: Guy, like hanging out by the pool. I was like,

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Speaker 2: that's the.

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Speaker 1: Feeling, Like if you work in a really like traditional

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Speaker 1: nine to five city, what if you work in entertainment,

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Speaker 1: for perfect example, if you work in entertainment in Atlanta,

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Speaker 1: you know, you come to LA and you're like, oh wait,

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Speaker 1: Like nobody goes to the office, nobody has a traditional

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Speaker 1: nine to five schedule. So and to me, I was like,

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Speaker 1: I loved it for that, but I also understand if

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Speaker 1: you're the type of person that needs a little bit

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Speaker 1: more action, that's that's gonna be kind of a annoying

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Speaker 1: way to work.

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Speaker 3: Yeah. Yeah, and it's not. It's not agist.

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Speaker 4: I'm not because I know we'll get in trouble if

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Speaker 4: we say there's no hustle amongst the youth. That's not

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Speaker 4: what I'm saying. It transcends age. Yeah, for sure, it's

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Speaker 4: the whole place, the vibe. Rather you hate me for

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Speaker 4: not liking, then think I'm ageist because I'm not.

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Speaker 1: No, no, no, But like I would, I would argue

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Speaker 1: that the older the person is, the less interested they

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Speaker 1: are in contacting you.

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Speaker 4: Absolutely absolutely, But that's also like my whole team is

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Speaker 4: in LA and they are the they are not that

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Speaker 4: and that's the reason we're working together because they are

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Speaker 4: all hustlers.

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Speaker 3: Yeah sound half of them have that New York energy.

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Speaker 3: But that's awesome.

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Speaker 2: No, that's great.

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Speaker 1: Can I ask you kind I ask you a little

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Speaker 1: bit about I know I don't want to, like, I

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Speaker 1: know you probably can't talk about it, but like so,

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Speaker 1: when so when you're talking about development, you're talking about

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Speaker 1: like they have an idea for a story, and they've

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Speaker 1: come to you to help. They want you to help

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Speaker 1: them kind of manage that or write that story. Is

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Speaker 1: that how it works?

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Speaker 2: Sorry?

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Speaker 3: Is that to ask? No, it's okay. One of them

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Speaker 3: is completely reasonable questions.

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Speaker 4: So one of them is, i'd be adapting a book

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Speaker 4: to script, so you take the book that already exists,

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Speaker 4: the fiction, you know, a novel, and turn it into

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Speaker 4: a TV show. So as like the showrunner supervisor, I'd

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Speaker 4: be in this particular instance, I'd be working with another

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Speaker 4: writer who wants to turn it into something, this fantastic writer.

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Speaker 3: Oh my god.

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Speaker 2: And I would just be to me, everybody, it's she's

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Speaker 2: not talking about me.

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Speaker 3: Put it out there, not yet, not yet.

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Speaker 4: But I would just be like kind of putting the

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Speaker 4: helping put the puzzle pieces together of how it could

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Speaker 4: actually be a show, and then doing some writing and

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Speaker 4: doing some some pitching. Really it's just you know, working

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Speaker 4: a lot with the producers, working with the writer to

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Speaker 4: turn this book into a show.

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Speaker 3: The other one would be.

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Speaker 4: More all me directed at first, which is that it's

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Speaker 4: an original idea, not based on anything that already exists,

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Speaker 4: and so but it's based on someone's life, so I

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Speaker 4: would be turning their life into a show and looking

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Speaker 4: at what the story points could be, you know, writing

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Speaker 4: the pilot, packaging the whole show, and then taking.

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Speaker 3: It out to sell. So wow, yeah, and I can

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Speaker 3: do that all from New York.

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Speaker 1: That's great. And so you're saying that you would go

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Speaker 1: back to LA when you start the writing process with

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Speaker 1: other people.

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Speaker 4: Yeah, it's like if we had to, if it gets

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Speaker 4: picked up, if somebody buys these shows, then I would

385
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Speaker 4: have to consider going back to LA for either a

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Speaker 4: writer's room. I still kind of like remote writers' rooms,

387
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Speaker 4: which means I could live and work here, but then

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Speaker 4: when we film, no matter what, I have to go

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Speaker 4: to wherever we're filming for production. So I would rather

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Speaker 4: that be the case, where like I'm writing and working

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Speaker 4: here and then just going for the you know two

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Speaker 4: or three months that were filming.

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Speaker 2: Sure, sure, well that sounds very exciting. I'm glad.

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Speaker 1: Yeah that happened because I know that you and I

395
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Speaker 1: were both unemployed last year, so it's great that you're

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Speaker 1: back to work and putting your creative stuff out there,

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Speaker 1: which is you know, what the world needs.

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Speaker 4: So thank you, And it feels it feels good because

399
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Speaker 4: I also have my own stuff going on. So I

400
00:18:02,520 --> 00:18:04,320
Speaker 4: have like my own show that I'm going to pitch

401
00:18:04,400 --> 00:18:07,960
Speaker 4: and hopefully develop and just based on an idea that

402
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Speaker 4: I have, and I'm going to start on my I

403
00:18:10,119 --> 00:18:14,080
Speaker 4: have to edit my first novel. Hopefully this first novel

404
00:18:14,080 --> 00:18:16,320
Speaker 4: will be sold by the time this episode comes out,

405
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Speaker 4: but then I get to start writing my second novel.

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Speaker 3: So I kind of have my own stuff going on

407
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Speaker 3: as well.

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Speaker 4: And I've also decided you might think I'm insane, but

409
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Speaker 4: tell me, I want to talk this idea through with you.

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Speaker 2: Right.

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Speaker 4: So I've also decided I was walking downtown not too

412
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Speaker 4: long ago, and the best building in town, what I

413
00:18:36,960 --> 00:18:38,920
Speaker 4: consider to be the best building in town, and it's

414
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Speaker 4: on Main Street, was up for lease and for years

415
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Speaker 4: it's had this like prefab furniture store in there that

416
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Speaker 4: like nobody went into. It was awful, but they had

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Speaker 4: the money. It was a chain, so they had the

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Speaker 4: money to keep it going.

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Speaker 3: It's just awful.

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Speaker 4: So my holy shit, thank god this building is now

421
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Speaker 4: emptied of that spirit of prefab furniture and it's the

422
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Speaker 4: best building in town.

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Speaker 3: I should open a fucking bookstore.

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Speaker 2: Oh hell yeah.

425
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Speaker 4: So I started looking into it, and I'm like, oh

426
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Speaker 4: my god, it's going to take like so much money

427
00:19:10,080 --> 00:19:12,480
Speaker 4: and time and energy upfront, and I will not be

428
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Speaker 4: able to have a career if I open a bookstore.

429
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Speaker 4: That is going to be my life, Yes, and it

430
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Speaker 4: should be like you should put your attention into your life.

431
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Speaker 4: But I also know that most new businesses don't turn

432
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Speaker 4: a profit for like the first five to seven years.

433
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Speaker 4: So I'm like, oh, I don't have it like that. Like,

434
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Speaker 4: I can't just live for five years with nothing. I

435
00:19:31,480 --> 00:19:33,840
Speaker 4: can't do it even with a business loan. I can't

436
00:19:33,840 --> 00:19:37,600
Speaker 4: fucking do it. So an idea that I'm going to

437
00:19:37,600 --> 00:19:40,560
Speaker 4: be researching heavily this year that I have already put

438
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Speaker 4: on my Uber list, I think I'm going to create

439
00:19:45,240 --> 00:19:49,960
Speaker 4: a mobile bookshop here, Like get a van, trick it out,

440
00:19:50,480 --> 00:19:53,560
Speaker 4: build in some shelves, get some inventory, take it to

441
00:19:53,600 --> 00:19:56,679
Speaker 4: the farmer's market, take it to little spots around in

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Speaker 4: different counties, and just kind of have that be the start,

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Speaker 4: and if I earn enough money that way, then I

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00:20:04,280 --> 00:20:08,240
Speaker 4: can eventually rent a space and open a proper brick

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Speaker 4: and mortar bookstore.

446
00:20:09,480 --> 00:20:14,720
Speaker 1: Listen, what was an amazing idea has now turned into

447
00:20:15,359 --> 00:20:20,480
Speaker 1: and absolutely must do idea because here, here's why, here's why.

448
00:20:20,760 --> 00:20:24,720
Speaker 1: Number one, I think we all know this band Shadow

449
00:20:24,800 --> 00:20:27,920
Speaker 1: of Doubt. By this point, people love a pop up.

450
00:20:28,240 --> 00:20:30,359
Speaker 1: They fucking love a pop up.

451
00:20:30,760 --> 00:20:31,040
Speaker 3: I don't.

452
00:20:31,080 --> 00:20:34,480
Speaker 1: I think it's just because the world now has like

453
00:20:34,680 --> 00:20:38,080
Speaker 1: little to no energy for traditional brick and mortar places.

454
00:20:38,280 --> 00:20:43,119
Speaker 1: They love the fucking good time vibes of like a mobile.

455
00:20:44,359 --> 00:20:46,760
Speaker 1: They love the thrill of the chase, as we know.

456
00:20:47,000 --> 00:20:49,600
Speaker 1: So it's like, you gotta find the fucking book place.

457
00:20:49,760 --> 00:20:51,600
Speaker 1: Where is it at today? I don't know, Go to

458
00:20:51,640 --> 00:20:55,000
Speaker 1: the Instagram find out it's a riddle, you know, like

459
00:20:55,240 --> 00:20:59,520
Speaker 1: a ah that kind of thing. So people like they

460
00:20:59,520 --> 00:21:03,679
Speaker 1: love any thing that's like exclusive on the move, you know,

461
00:21:04,480 --> 00:21:06,680
Speaker 1: they gotta work a little harder. I mean, people stand

462
00:21:06,680 --> 00:21:10,000
Speaker 1: in the line for a fucking bagel for like three hours.

463
00:21:09,720 --> 00:21:10,959
Speaker 2: You know, like they love it.

464
00:21:11,080 --> 00:21:13,399
Speaker 4: See this is why I need to hear this, because

465
00:21:13,480 --> 00:21:16,720
Speaker 4: I'm not that I no longer stand in line for food.

466
00:21:16,960 --> 00:21:17,840
Speaker 3: You know this about me?

467
00:21:18,040 --> 00:21:20,240
Speaker 4: Yes, And they're like it'll be thirty minutes, and I'm like,

468
00:21:20,240 --> 00:21:21,920
Speaker 4: I will see you next time, goodbye.

469
00:21:22,200 --> 00:21:23,800
Speaker 3: Like I don't stay a line for food and I

470
00:21:23,840 --> 00:21:24,720
Speaker 3: ain't chasing shit.

471
00:21:25,119 --> 00:21:27,320
Speaker 4: So if somebody's like, like, come to my Instagram to

472
00:21:27,359 --> 00:21:28,679
Speaker 4: find out where I'm gonna be, I'll be like, I

473
00:21:28,680 --> 00:21:29,520
Speaker 4: will never see you.

474
00:21:29,600 --> 00:21:30,080
Speaker 3: Bye.

475
00:21:30,160 --> 00:21:32,399
Speaker 4: So I'm glad that the energy is that my energy

476
00:21:32,440 --> 00:21:34,639
Speaker 4: is not the energy that people are bringing towards this

477
00:21:34,720 --> 00:21:35,440
Speaker 4: kind of prospect.

478
00:21:35,760 --> 00:21:38,919
Speaker 1: Listen, I've learned from both living in la and in

479
00:21:38,920 --> 00:21:43,320
Speaker 1: Atlanta right now, people love like a pop up, they

480
00:21:43,359 --> 00:21:46,639
Speaker 1: love like a farmer's market. They love anything that happens

481
00:21:46,680 --> 00:21:48,240
Speaker 1: like irregularly.

482
00:21:50,280 --> 00:21:52,000
Speaker 2: And I don't know what that is.

483
00:21:52,040 --> 00:21:54,760
Speaker 1: It's like a personality that's developed, I think with the

484
00:21:54,760 --> 00:21:55,640
Speaker 1: age of the Internet.

485
00:21:55,720 --> 00:21:56,159
Speaker 3: I don't know.

486
00:21:56,200 --> 00:21:59,280
Speaker 1: But anyway, so there's that. I think that that in

487
00:21:59,320 --> 00:22:03,359
Speaker 1: and of itself would mean success for you. Number two,

488
00:22:04,320 --> 00:22:10,399
Speaker 1: it's a lower entry point than buying a building, having

489
00:22:10,440 --> 00:22:13,959
Speaker 1: a lease, having to like stock a building, having to

490
00:22:14,080 --> 00:22:16,800
Speaker 1: like do renovations on a building. I mean you're basically

491
00:22:16,840 --> 00:22:19,360
Speaker 1: like saying, okay, well, like I'll do a proof of concept.

492
00:22:19,400 --> 00:22:21,560
Speaker 1: I'm just gonna do it in this like contained place.

493
00:22:22,240 --> 00:22:24,720
Speaker 1: You know, we can't have more books than this van

494
00:22:24,800 --> 00:22:28,640
Speaker 1: can fill. And you know, if we sell some shit

495
00:22:28,760 --> 00:22:30,600
Speaker 1: and we make a lot of money, then we can

496
00:22:30,640 --> 00:22:33,960
Speaker 1: move it to you know, a traditional space.

497
00:22:34,560 --> 00:22:38,359
Speaker 4: Absolutely because i'd have to hire employees. Yes, I'd have

498
00:22:38,400 --> 00:22:39,320
Speaker 4: to run the thing.

499
00:22:39,880 --> 00:22:42,080
Speaker 1: Yes, And girl, let me just tell you right now,

500
00:22:42,880 --> 00:22:46,199
Speaker 1: you're the perfect person to like pop out of a

501
00:22:46,240 --> 00:22:46,960
Speaker 1: fucking van.

502
00:22:47,520 --> 00:22:50,639
Speaker 2: That's like, you know, I'm the mobile book lady. Like

503
00:22:50,760 --> 00:22:53,119
Speaker 2: people would fucking love.

504
00:22:53,040 --> 00:22:58,440
Speaker 1: To see you as part of this like roving bookseller.

505
00:22:58,600 --> 00:23:01,480
Speaker 1: Like come on, it's like such an amazing gimmick. And

506
00:23:01,520 --> 00:23:06,679
Speaker 1: you're just the person. You're like, you're the person to

507
00:23:06,760 --> 00:23:09,760
Speaker 1: do it, is what I'm saying. Like, you're not boring,

508
00:23:10,080 --> 00:23:12,840
Speaker 1: You're not you know, You're You're an event in and

509
00:23:12,880 --> 00:23:13,440
Speaker 1: of yourself.

510
00:23:13,560 --> 00:23:15,720
Speaker 2: So I'm just thank you.

511
00:23:15,960 --> 00:23:17,640
Speaker 3: I think it could be cool. I think it could

512
00:23:17,680 --> 00:23:18,680
Speaker 3: be really fucking cool.

513
00:23:18,720 --> 00:23:20,840
Speaker 4: And depending on like the permits and all the stuff

514
00:23:20,840 --> 00:23:22,919
Speaker 4: that I'd have to get, I could invite authors up

515
00:23:22,920 --> 00:23:25,320
Speaker 4: from the city, be like coming to my fucking bookstory

516
00:23:25,359 --> 00:23:27,480
Speaker 4: to hang out in this weird small town, go to

517
00:23:27,480 --> 00:23:29,240
Speaker 4: the farmer's market, and then get on a bus and

518
00:23:29,280 --> 00:23:29,640
Speaker 4: go home.

519
00:23:29,800 --> 00:23:31,760
Speaker 1: Yo, you could do the thing. Oh my god, now,

520
00:23:31,920 --> 00:23:35,280
Speaker 1: wheel the wheels are spending, the entrepreneurial wheels is spending.

521
00:23:35,320 --> 00:23:37,919
Speaker 1: Here's what you can do, girl, do it like an

522
00:23:38,040 --> 00:23:42,679
Speaker 1: RV park where you have like a setup outside of

523
00:23:42,680 --> 00:23:46,040
Speaker 1: the van where there's like a little carpet and some.

524
00:23:46,000 --> 00:23:49,400
Speaker 2: You know, like Adirondack chairs and like, and that'll be like.

525
00:23:49,400 --> 00:23:54,280
Speaker 1: You're live like guests setup. Oh my god, how cute

526
00:23:54,320 --> 00:23:57,320
Speaker 1: is that you can do some like string lights, I mean, listen,

527
00:23:57,520 --> 00:23:58,840
Speaker 1: possibilities are endless.

528
00:23:59,440 --> 00:24:02,080
Speaker 3: I'm just saying this could happen. It could happen in

529
00:24:02,080 --> 00:24:03,679
Speaker 3: my yard. Yeah.

530
00:24:04,160 --> 00:24:06,000
Speaker 4: Yeah, I don't want anyone at my house, but it

531
00:24:06,000 --> 00:24:06,880
Speaker 4: could happen in my own.

532
00:24:07,160 --> 00:24:08,560
Speaker 2: But it's portable, do you know what I mean?

533
00:24:08,600 --> 00:24:10,520
Speaker 1: It's like it's portable, and like you said, it's not

534
00:24:10,720 --> 00:24:14,000
Speaker 1: like it's a it's a lower entry point. You wouldn't

535
00:24:14,040 --> 00:24:16,400
Speaker 1: have to put as much money into it. You know,

536
00:24:16,600 --> 00:24:18,320
Speaker 1: you can take it around. I mean, shit, you could

537
00:24:18,359 --> 00:24:20,399
Speaker 1: take it on the road if you wanted to across

538
00:24:20,400 --> 00:24:23,600
Speaker 1: a fuck America. That would be so dope, Like yeah,

539
00:24:23,640 --> 00:24:26,200
Speaker 1: I don't know. It just to me is a cute idea.

540
00:24:26,440 --> 00:24:29,840
Speaker 1: You love traveling, you know, you wouldn't have to spend

541
00:24:30,000 --> 00:24:33,560
Speaker 1: as much money. You can make this real cute. People

542
00:24:33,600 --> 00:24:35,040
Speaker 1: love events and pop ups.

543
00:24:36,160 --> 00:24:36,720
Speaker 2: I feel like you.

544
00:24:36,680 --> 00:24:40,040
Speaker 4: Can't lose so cute, and it's something that I think

545
00:24:40,200 --> 00:24:44,000
Speaker 4: would help me just in terms of being a citizen

546
00:24:44,040 --> 00:24:45,920
Speaker 4: in my own town, Like I want there to be

547
00:24:45,960 --> 00:24:48,560
Speaker 4: a bookstore here. Yes, it's something that I think we

548
00:24:48,600 --> 00:24:50,800
Speaker 4: would benefit from. We have a great library that I

549
00:24:50,800 --> 00:24:53,439
Speaker 4: could partner with. Like, and there are lots of towns

550
00:24:53,520 --> 00:24:56,040
Speaker 4: in the area that also do not have a bookstore.

551
00:24:56,560 --> 00:24:58,960
Speaker 2: So you're saying Warwick does not have a bookstore currently.

552
00:24:59,640 --> 00:24:59,840
Speaker 3: No.

553
00:25:00,200 --> 00:25:02,520
Speaker 4: I think I just saw one pop up. I think

554
00:25:02,520 --> 00:25:05,040
Speaker 4: it's a used bookstore near the pizza place I go

555
00:25:05,119 --> 00:25:08,280
Speaker 4: to sometimes. Yeah, but it's new and I don't know what.

556
00:25:08,359 --> 00:25:09,679
Speaker 4: I haven't been in there, so I don't know like

557
00:25:09,680 --> 00:25:12,399
Speaker 4: what that. But there's no like actual like brand new

558
00:25:12,400 --> 00:25:13,840
Speaker 4: bookstore where you could just go in and buy a

559
00:25:13,880 --> 00:25:14,320
Speaker 4: new book.

560
00:25:14,560 --> 00:25:18,480
Speaker 1: Yes, and bookstores are like gift shops too, right, it's

561
00:25:18,520 --> 00:25:21,920
Speaker 1: like any great bookstore like a Powels or.

562
00:25:21,960 --> 00:25:26,800
Speaker 2: Like a a Sherman's or like you know, Skylight or something.

563
00:25:26,840 --> 00:25:29,480
Speaker 1: You know, Like there's there's like the bookstore part, but

564
00:25:29,520 --> 00:25:33,320
Speaker 1: then there's also places to get like stuff from the town,

565
00:25:33,520 --> 00:25:36,560
Speaker 1: like you can sell like yeah, you know, gifts for

566
00:25:36,720 --> 00:25:39,320
Speaker 1: people that are coming in for the apple pick and shit.

567
00:25:39,520 --> 00:25:42,840
Speaker 2: Like it's it would be a destination. It's it's a

568
00:25:42,840 --> 00:25:43,399
Speaker 2: great idea.

569
00:25:43,480 --> 00:25:45,440
Speaker 4: Yeah, it has to be a personality. Yes, Like I

570
00:25:45,480 --> 00:25:46,760
Speaker 4: think I would. I would be able to give a

571
00:25:46,760 --> 00:25:48,080
Speaker 4: bookstore some personality.

572
00:25:48,359 --> 00:25:50,480
Speaker 3: Yeah, So I'm going to think about it.

573
00:25:50,960 --> 00:25:56,240
Speaker 1: Dude, I say, I say that you lean into this

574
00:25:56,480 --> 00:26:00,080
Speaker 1: heavy in twenty twenty four, Like, I feel like this

575
00:26:00,119 --> 00:26:01,680
Speaker 1: should be at the top of your uber list.

576
00:26:02,520 --> 00:26:04,959
Speaker 4: Get some searchig It's a big part of my uber list.

577
00:26:05,000 --> 00:26:06,200
Speaker 4: I've already done some research.

578
00:26:06,359 --> 00:26:08,880
Speaker 3: Yeah. I think that it's like, I think it's viable.

579
00:26:09,000 --> 00:26:11,600
Speaker 4: It's something that my town needs, it's something that I need,

580
00:26:13,119 --> 00:26:15,800
Speaker 4: And I think that it's the kind of future planning

581
00:26:15,880 --> 00:26:18,080
Speaker 4: that I'm comfortable with where it's not like I'm tying

582
00:26:18,119 --> 00:26:20,840
Speaker 4: myself to something forever. Yeah, but I can plan a

583
00:26:20,840 --> 00:26:23,159
Speaker 4: little bit for the future and give myself a job

584
00:26:23,960 --> 00:26:27,960
Speaker 4: for the times when I'm not working in TV and

585
00:26:28,040 --> 00:26:30,159
Speaker 4: you know, working on a bigger project. But I just

586
00:26:30,200 --> 00:26:32,720
Speaker 4: think it's something that I'm really passionate about. I want

587
00:26:32,760 --> 00:26:35,520
Speaker 4: people to read. I love books, dude.

588
00:26:35,520 --> 00:26:37,520
Speaker 2: I fucking love this idea. I love it.

589
00:26:37,920 --> 00:26:39,960
Speaker 3: Thank you, and you know I love what I love

590
00:26:40,000 --> 00:26:40,159
Speaker 3: for you.

591
00:26:40,200 --> 00:26:42,560
Speaker 4: And I've floated this to you before, and I still

592
00:26:42,560 --> 00:26:45,679
Speaker 4: think we could totally do it here or somewhere else.

593
00:26:46,480 --> 00:26:49,679
Speaker 4: We should open a goddamn movie theater, a revival house

594
00:26:49,840 --> 00:26:51,280
Speaker 4: two screen movie theater.

595
00:26:52,000 --> 00:26:56,280
Speaker 2: Listen, come on, you want to talk about losing money.

596
00:27:00,000 --> 00:27:03,119
Speaker 4: Oh, the concessions would be obscene. It'd be like, oh,

597
00:27:03,200 --> 00:27:05,480
Speaker 4: you think fifteen dollars for coffee in La is Bad,

598
00:27:05,800 --> 00:27:07,960
Speaker 4: try coming here and spending twenty five dollars for a

599
00:27:07,960 --> 00:27:10,200
Speaker 4: small popcorn because we got to pay these bills.

600
00:27:12,240 --> 00:27:14,439
Speaker 2: People want our tensaal popcorn. Now, that's the thing that

601
00:27:14,480 --> 00:27:15,680
Speaker 2: you don't understand.

602
00:27:16,040 --> 00:27:18,120
Speaker 1: People don't want the shitty popcorn that we can mark

603
00:27:18,200 --> 00:27:21,280
Speaker 1: up like four times. People want like the real butter.

604
00:27:22,040 --> 00:27:25,439
Speaker 1: They want the Amish kernels. It's like a new fucking

605
00:27:25,440 --> 00:27:26,160
Speaker 1: world out here.

606
00:27:26,400 --> 00:27:28,640
Speaker 3: I'll give you real butter, but it stops there.

607
00:27:29,280 --> 00:27:32,560
Speaker 4: Yeah, Like you can get real butter on some regular

608
00:27:32,560 --> 00:27:36,159
Speaker 4: ass popcorn and bring your own bag of fucking yeast

609
00:27:36,320 --> 00:27:36,720
Speaker 4: or whatever.

610
00:27:36,760 --> 00:27:37,840
Speaker 3: What's that shit that people?

611
00:27:38,040 --> 00:27:38,920
Speaker 2: Nutritional nutrition?

612
00:27:39,000 --> 00:27:39,560
Speaker 4: Oh? Yeast?

613
00:27:39,680 --> 00:27:41,520
Speaker 3: Yes, you can bring your own fucking spices.

614
00:27:41,840 --> 00:27:43,120
Speaker 2: Yeah, Oh my god.

615
00:27:43,160 --> 00:27:46,000
Speaker 3: But I think so. You think people want the new hotness.

616
00:27:46,040 --> 00:27:47,960
Speaker 4: You don't think they want the They're not They're no

617
00:27:48,000 --> 00:27:50,240
Speaker 4: longer in that nostalgic period of like we want a

618
00:27:50,280 --> 00:27:54,840
Speaker 4: seventies screen and like a seventies popcorn experience.

619
00:27:55,080 --> 00:27:58,879
Speaker 2: Listen. I I think it's a matter of scale, and

620
00:27:58,920 --> 00:28:02,040
Speaker 2: I mean maybe this is another conversation for another time,

621
00:28:02,480 --> 00:28:05,760
Speaker 2: But it depends on what you present up front, right,

622
00:28:05,840 --> 00:28:10,399
Speaker 2: because it's like, if you if you keep the expectations.

623
00:28:09,560 --> 00:28:14,320
Speaker 1: Low, like we're just doing this like old school, you know,

624
00:28:14,440 --> 00:28:18,680
Speaker 1: we're gonna show fun movie, is that there are people

625
00:28:18,720 --> 00:28:22,159
Speaker 1: that will respond in kind. But also movie theaters have

626
00:28:22,520 --> 00:28:26,440
Speaker 1: so gone the other way, like in the recent years,

627
00:28:26,480 --> 00:28:31,000
Speaker 1: which is like the food, the craft beers, the fucking

628
00:28:31,119 --> 00:28:33,679
Speaker 1: recliners with seat warmers, the fucking you know.

629
00:28:33,720 --> 00:28:37,000
Speaker 2: So it's now like people have it in their minds

630
00:28:37,080 --> 00:28:40,560
Speaker 2: that they want the movie theater to be their house.

631
00:28:41,080 --> 00:28:42,160
Speaker 3: You can have that experience.

632
00:28:42,160 --> 00:28:44,960
Speaker 4: But if we're doing like our podcast in movie theater form,

633
00:28:44,960 --> 00:28:48,320
Speaker 4: where we're just like, here's two older films, Yes, some

634
00:28:48,400 --> 00:28:50,720
Speaker 4: of which you may not have ever seen, some of

635
00:28:50,760 --> 00:28:52,719
Speaker 4: which we haven't seen in a long time or in

636
00:28:52,760 --> 00:28:54,840
Speaker 4: some cases have never seen on the big screen.

637
00:28:55,480 --> 00:28:57,440
Speaker 3: Yeah, come for the goddamn experience.

638
00:28:58,000 --> 00:29:02,479
Speaker 1: Yeah, And you know, I'll also mention that it depends

639
00:29:02,520 --> 00:29:03,920
Speaker 1: on the format you want to show.

640
00:29:03,960 --> 00:29:06,040
Speaker 2: If you want to show thirty five, that's going to.

641
00:29:06,080 --> 00:29:10,520
Speaker 1: Be super expensive because shipping thirty five is super expensive now,

642
00:29:10,920 --> 00:29:12,960
Speaker 1: but you know, we can work.

643
00:29:12,840 --> 00:29:13,560
Speaker 2: All this out again.

644
00:29:13,600 --> 00:29:16,320
Speaker 1: These are details that we can talk offline about now

645
00:29:16,360 --> 00:29:19,080
Speaker 1: that we're going to open up a movie theater potentially.

646
00:29:19,120 --> 00:29:21,800
Speaker 3: Oh yeah, we're going to have a fucking a movie theater,

647
00:29:21,880 --> 00:29:22,360
Speaker 3: a bookstore.

648
00:29:22,440 --> 00:29:25,560
Speaker 4: We are going to be business people and our own

649
00:29:25,640 --> 00:29:26,920
Speaker 4: right by twenty twenty five.

650
00:29:27,000 --> 00:29:28,240
Speaker 3: I'm telling you it's happening.

651
00:29:33,520 --> 00:29:37,800
Speaker 2: So you this is your theme, right, it is?

652
00:29:38,120 --> 00:29:38,480
Speaker 3: It is?

653
00:29:39,040 --> 00:29:41,040
Speaker 4: And I came up with this theme after watching my

654
00:29:41,200 --> 00:29:45,520
Speaker 4: movie Yes, because I couldn't believe how much more there was,

655
00:29:45,600 --> 00:29:49,240
Speaker 4: So that the theme for this week is but wait,

656
00:29:49,400 --> 00:29:53,120
Speaker 4: there's more, and it's true stories where the movie leaves

657
00:29:53,160 --> 00:29:54,520
Speaker 4: stuff out.

658
00:29:55,000 --> 00:29:58,920
Speaker 1: Yes, very interesting by the way, Like I had a

659
00:29:58,960 --> 00:30:01,680
Speaker 1: couple of ideas when I was thinking about what movie

660
00:30:01,720 --> 00:30:05,240
Speaker 1: I wanted to present, And I guess, technically my movie

661
00:30:06,040 --> 00:30:10,800
Speaker 1: this week leaves stuff out because we're like in a

662
00:30:10,840 --> 00:30:13,760
Speaker 1: situation where the person who the movie is about may

663
00:30:13,840 --> 00:30:16,040
Speaker 1: have potentially.

664
00:30:15,520 --> 00:30:16,880
Speaker 3: Lied about stuff.

665
00:30:17,120 --> 00:30:20,200
Speaker 1: So technically the movie leaves stuff out because they just

666
00:30:20,200 --> 00:30:20,880
Speaker 1: simply did not.

667
00:30:21,040 --> 00:30:23,000
Speaker 2: Know truth from fiction.

668
00:30:23,480 --> 00:30:26,920
Speaker 4: I guess, right, did it come to late after the

669
00:30:26,960 --> 00:30:27,720
Speaker 4: movie came out?

670
00:30:28,600 --> 00:30:29,160
Speaker 2: Correct?

671
00:30:29,400 --> 00:30:32,680
Speaker 1: And but I think there was also I mean technically,

672
00:30:33,880 --> 00:30:37,800
Speaker 1: there were certain changes made in the movie to the

673
00:30:37,920 --> 00:30:42,280
Speaker 1: original story that it's based off of, like just because

674
00:30:42,360 --> 00:30:46,800
Speaker 1: Hollywood needs to Hollywood, right, which I'll talk about.

675
00:30:46,840 --> 00:30:48,720
Speaker 3: But yeah, but.

676
00:30:48,880 --> 00:30:53,360
Speaker 2: Listen, I'm gonna tell you right now, I have never

677
00:30:54,280 --> 00:30:57,520
Speaker 2: seen your film. I have never heard of.

678
00:30:57,440 --> 00:31:00,320
Speaker 1: Your film, and I have never even heard of the

679
00:31:00,480 --> 00:31:03,200
Speaker 1: story that your film is about. So I am one

680
00:31:03,280 --> 00:31:07,800
Speaker 1: hundred percent a new infant in the world when it

681
00:31:07,840 --> 00:31:10,200
Speaker 1: comes to your stuff.

682
00:31:10,240 --> 00:31:12,600
Speaker 3: This week? What did you think? Oh, I can't wait

683
00:31:12,600 --> 00:31:14,240
Speaker 3: to hear about what you think. We'll save it. We'll see, yeah,

684
00:31:14,240 --> 00:31:15,400
Speaker 3: but I can't wait.

685
00:31:16,200 --> 00:31:19,680
Speaker 1: Yeah, I feel like if we If I don't have

686
00:31:19,880 --> 00:31:23,120
Speaker 1: much to say about my movie this week, it's because

687
00:31:23,120 --> 00:31:26,120
Speaker 1: I'm waiting to dive into your movie.

688
00:31:27,440 --> 00:31:29,800
Speaker 4: Well, and the reason that I came up with this

689
00:31:29,880 --> 00:31:33,160
Speaker 4: theme and thank you for accommodating it, because I was like, wait,

690
00:31:34,120 --> 00:31:36,960
Speaker 4: I know that when people are making biopics or they're

691
00:31:37,240 --> 00:31:40,400
Speaker 4: I know that there's a difference between based on a

692
00:31:40,440 --> 00:31:43,120
Speaker 4: true story and inspired by your true story.

693
00:31:43,680 --> 00:31:44,680
Speaker 3: I totally get it.

694
00:31:45,160 --> 00:31:47,240
Speaker 4: But when I was watching my film, I had heard

695
00:31:47,280 --> 00:31:50,800
Speaker 4: of this woman before, and I didn't know much about her.

696
00:31:50,840 --> 00:31:54,120
Speaker 3: I just heard of the the event, Okay, and.

697
00:31:54,600 --> 00:31:58,040
Speaker 4: When I looked up information about her after watching the film,

698
00:31:58,040 --> 00:32:01,800
Speaker 4: because there were things in the film that bothered me,

699
00:32:02,040 --> 00:32:04,440
Speaker 4: that made me feel like they're not telling the whole story,

700
00:32:04,520 --> 00:32:07,080
Speaker 4: or there's things that felt like they were missing to me.

701
00:32:07,560 --> 00:32:09,440
Speaker 4: So I went to look up this information and I

702
00:32:09,520 --> 00:32:13,520
Speaker 4: was shocked to discover that this film that is based

703
00:32:13,560 --> 00:32:15,920
Speaker 4: on a true story, left out what to me are

704
00:32:16,040 --> 00:32:19,760
Speaker 4: crucial parts of this of her story, right, that would

705
00:32:19,760 --> 00:32:21,400
Speaker 4: have explained so much more to me.

706
00:32:21,920 --> 00:32:25,920
Speaker 1: Well, and like, that's that's interesting to talk about. I

707
00:32:25,960 --> 00:32:28,560
Speaker 1: think this is like sort of one of the reasons

708
00:32:28,600 --> 00:32:33,400
Speaker 1: why I love this theme because there's a moment when

709
00:32:33,440 --> 00:32:36,920
Speaker 1: we've talked about this, like when reference to books to film,

710
00:32:37,440 --> 00:32:41,560
Speaker 1: where you know, do we see the film as a

711
00:32:41,760 --> 00:32:47,400
Speaker 1: separate work? Right? It Is it okay if a movie

712
00:32:48,200 --> 00:32:51,640
Speaker 1: isn't one hundred percent faithful to you know, whatever a

713
00:32:51,680 --> 00:32:57,120
Speaker 1: book or a previous ip. But is it okay when

714
00:32:57,120 --> 00:32:59,400
Speaker 1: it's a real story, like a real story of a

715
00:32:59,440 --> 00:33:00,000
Speaker 1: real person.

716
00:33:00,240 --> 00:33:00,480
Speaker 2: Right?

717
00:33:00,920 --> 00:33:04,600
Speaker 1: Is there like an added responsibility for a movie to

718
00:33:05,000 --> 00:33:07,640
Speaker 1: you know, like whatever quote get it right type of thing?

719
00:33:08,640 --> 00:33:14,360
Speaker 2: Or can there be like an artistic license in that way?

720
00:33:14,760 --> 00:33:15,280
Speaker 3: Exactly?

721
00:33:15,360 --> 00:33:16,800
Speaker 4: And I think if it's if there's going to be

722
00:33:16,960 --> 00:33:20,840
Speaker 4: a lot of artistic license taken. Then it should be

723
00:33:20,920 --> 00:33:24,280
Speaker 4: inspired by a true story, or there should be something

724
00:33:24,360 --> 00:33:28,959
Speaker 4: that's clearly indicating that the director and writer kind of

725
00:33:29,120 --> 00:33:32,680
Speaker 4: know that they're going off script into a wilder place,

726
00:33:33,760 --> 00:33:36,240
Speaker 4: so that the viewer can understand that, oh, this may

727
00:33:36,280 --> 00:33:38,440
Speaker 4: not have happened exactly like this. For example, like when

728
00:33:38,480 --> 00:33:42,520
Speaker 4: you're watching something and it's a room, it's a conversation

729
00:33:42,640 --> 00:33:44,640
Speaker 4: happening between two people in a room, and you're like, well,

730
00:33:44,640 --> 00:33:46,840
Speaker 4: there's no way they can know exactly what was said,

731
00:33:47,480 --> 00:33:49,040
Speaker 4: you know, because both of those people are dead now

732
00:33:49,120 --> 00:33:51,640
Speaker 4: or whatever. It is that I understand, like taking the

733
00:33:51,760 --> 00:33:55,680
Speaker 4: artistic license to expand upon what you think that conversation was,

734
00:33:56,040 --> 00:34:00,960
Speaker 4: but leaving out entire chunks of somebody's experience feels like

735
00:34:00,960 --> 00:34:03,440
Speaker 4: a different move to me, and I in terms of

736
00:34:03,480 --> 00:34:06,400
Speaker 4: my film, I can't help but think, and this is

737
00:34:06,400 --> 00:34:07,960
Speaker 4: truly why I wanted to do this theme.

738
00:34:08,040 --> 00:34:09,840
Speaker 3: I do not know if this is fair or not.

739
00:34:10,480 --> 00:34:11,120
Speaker 3: I think my.

740
00:34:11,239 --> 00:34:14,239
Speaker 4: Movie could have been a totally different movie if it

741
00:34:14,280 --> 00:34:16,560
Speaker 4: were written and or directed by a woman.

742
00:34:16,960 --> 00:34:18,279
Speaker 2: You know what. I thought that too.

743
00:34:18,600 --> 00:34:20,840
Speaker 1: To be honest, I thought that as well, because I

744
00:34:20,920 --> 00:34:24,439
Speaker 1: just feel like, yeah, that's something to really talk about

745
00:34:24,440 --> 00:34:26,359
Speaker 1: when we get to your film, because yeah, I think

746
00:34:26,400 --> 00:34:28,800
Speaker 1: I had that instinct as well, And to be honest

747
00:34:28,800 --> 00:34:31,719
Speaker 1: with you, so this has come up for me recent

748
00:34:31,760 --> 00:34:35,160
Speaker 1: semi recently because long story short, I watched this Andrew

749
00:34:35,160 --> 00:34:38,480
Speaker 1: Dominic movie, The Assassination of Jesse James by the coward

750
00:34:39,040 --> 00:34:41,480
Speaker 1: Robert Ford, right, and it got me thinking, you know,

751
00:34:41,520 --> 00:34:45,120
Speaker 1: because he made that movie Blonde, which is that Marilyn

752
00:34:45,200 --> 00:34:47,960
Speaker 1: Monroe movie that came out in twenty twenty two that

753
00:34:48,400 --> 00:34:53,840
Speaker 1: was super highly contested by people because they were like, oh,

754
00:34:53,920 --> 00:34:58,760
Speaker 1: this is like this really horrible, like tragedy porn version

755
00:34:58,800 --> 00:35:01,520
Speaker 1: of the Marilyn Monroe Store and like, you know, what's

756
00:35:01,800 --> 00:35:04,440
Speaker 1: why is this like that the this is not the

757
00:35:04,480 --> 00:35:06,680
Speaker 1: way to honor her, and they got all the stuff wrong,

758
00:35:07,160 --> 00:35:09,080
Speaker 1: and it really did make me think about that where

759
00:35:09,120 --> 00:35:12,319
Speaker 1: I'm just like, is there a way to make like

760
00:35:12,840 --> 00:35:15,080
Speaker 1: a biopic or like a movie about a real life

761
00:35:15,080 --> 00:35:17,960
Speaker 1: person in an artistic way, in a way that's like,

762
00:35:18,560 --> 00:35:22,319
Speaker 1: you know, maybe not telling an entire story or kind

763
00:35:22,360 --> 00:35:24,680
Speaker 1: of taking one piece of the story and really like

764
00:35:24,760 --> 00:35:28,120
Speaker 1: amping that up. And so yeah, this is like totally

765
00:35:28,120 --> 00:35:29,879
Speaker 1: fresh on the brain for me. So I'm really glad

766
00:35:29,880 --> 00:35:31,560
Speaker 1: we're doing this theme this week. But yeah, I can't

767
00:35:31,560 --> 00:35:34,640
Speaker 1: wait to like talk about it because it's it's complicated, right.

768
00:35:34,960 --> 00:35:37,480
Speaker 4: It's very complicated, and I don't like to I don't

769
00:35:37,480 --> 00:35:39,759
Speaker 4: always like to disseminate between like you, well, this person

770
00:35:39,800 --> 00:35:41,480
Speaker 4: should only do this kind of movie, Like that's not

771
00:35:41,680 --> 00:35:43,520
Speaker 4: creatively where I want to come from in my life

772
00:35:43,600 --> 00:35:46,600
Speaker 4: at all. Yeah, But I just think that some subjects matters.

773
00:35:46,600 --> 00:35:48,600
Speaker 4: I just I've been noticing like, oh, this could have

774
00:35:48,600 --> 00:35:51,359
Speaker 4: had a different tinge to it if it had a

775
00:35:51,360 --> 00:35:54,480
Speaker 4: different approach from the onset. Yeah, So I can't help

776
00:35:54,520 --> 00:35:57,600
Speaker 4: And maybe sometimes that's gender, sometimes it's class, sometimes it's race,

777
00:35:57,680 --> 00:35:59,640
Speaker 4: sometimes it's all these different things that I just can't

778
00:35:59,640 --> 00:36:02,760
Speaker 4: help but think like, well, if this was in somebody

779
00:36:02,760 --> 00:36:04,360
Speaker 4: else's hands, would it have been different?

780
00:36:04,520 --> 00:36:06,439
Speaker 3: And it might not have been, but wouldn't have been.

781
00:36:06,880 --> 00:36:09,359
Speaker 1: And the same thing with blonde, like what would have

782
00:36:09,400 --> 00:36:11,279
Speaker 1: been like if there was a woman who had made

783
00:36:11,440 --> 00:36:14,200
Speaker 1: the movie about Marilyn Monroe, how would it be different?

784
00:36:14,600 --> 00:36:17,759
Speaker 2: What would the focus be? So, yeah, this is I

785
00:36:17,760 --> 00:36:19,120
Speaker 2: cannot wait to talk about it.

786
00:36:19,160 --> 00:36:21,600
Speaker 3: Well, let's let's dig the fuck in because we're starting

787
00:36:21,600 --> 00:36:23,840
Speaker 3: with yours. Okay, Okay.

788
00:36:23,920 --> 00:36:27,200
Speaker 1: So my movie for the theme but wait, there's more

789
00:36:27,800 --> 00:36:30,080
Speaker 1: is from two thousand and two. It was written by

790
00:36:30,160 --> 00:36:33,440
Speaker 1: Jeff Nathanson, based on the book of the same name

791
00:36:33,520 --> 00:36:37,280
Speaker 1: by Frank Abagnale Junior and Stan Redding, of course, directed

792
00:36:37,360 --> 00:36:41,880
Speaker 1: by the young independent upstart Steven Spielberg.

793
00:36:44,600 --> 00:36:46,240
Speaker 2: It's called catch Me if you can.

794
00:36:46,360 --> 00:36:50,520
Speaker 3: I'd like to cash this check here and then, and

795
00:36:50,600 --> 00:36:52,400
Speaker 3: I'd like to take you out for a steak dinner.

796
00:36:53,239 --> 00:36:54,880
Speaker 3: Someone finally gave that guy a break.

797
00:36:54,960 --> 00:37:01,080
Speaker 1: God, I mean, he just he literally just graduated from

798
00:37:01,360 --> 00:37:05,000
Speaker 1: film school. I can't believe he already made a movie.

799
00:37:05,239 --> 00:37:07,360
Speaker 3: He did a bunch of music videos in the nineties.

800
00:37:07,360 --> 00:37:08,000
Speaker 3: It was fine.

801
00:37:08,920 --> 00:37:11,399
Speaker 1: Okay, So right off the bat, I have to talk

802
00:37:11,440 --> 00:37:13,040
Speaker 1: about this because I swear to God, I feel like

803
00:37:13,120 --> 00:37:14,160
Speaker 1: this is the movie.

804
00:37:14,360 --> 00:37:20,320
Speaker 2: Okay, the movie that we're gonna talk about really.

805
00:37:20,080 --> 00:37:25,760
Speaker 1: Takes advantage of this pre digital era of check writing.

806
00:37:26,320 --> 00:37:30,680
Speaker 2: Yes, yes, those wonderful damn days.

807
00:37:30,719 --> 00:37:34,680
Speaker 4: I have to say, if I had been born even

808
00:37:34,840 --> 00:37:37,560
Speaker 4: five years earlier, I would have been the world's biggest

809
00:37:37,640 --> 00:37:38,360
Speaker 4: check fraudster.

810
00:37:38,760 --> 00:37:41,799
Speaker 1: Listen, I'm gonna say this right now. I'm gonna I'm

811
00:37:41,800 --> 00:37:45,279
Speaker 1: gonna admit to some of this right Now, so if

812
00:37:45,320 --> 00:37:48,880
Speaker 1: you're younger and you've never experienced writing a check, okay,

813
00:37:49,920 --> 00:37:53,520
Speaker 1: there was this almost like this kind of built in.

814
00:37:53,640 --> 00:37:56,520
Speaker 2: Grace period yep of at least a few days.

815
00:37:56,800 --> 00:38:00,560
Speaker 1: Right, So you would write a check, they would like

816
00:38:00,680 --> 00:38:03,759
Speaker 1: push it through the little register machine.

817
00:38:03,280 --> 00:38:05,000
Speaker 2: Machine thing, and then.

818
00:38:06,920 --> 00:38:10,160
Speaker 1: What would eventually happen is that would get entered into

819
00:38:10,200 --> 00:38:13,200
Speaker 1: a system after the fact, and then the bank would

820
00:38:13,239 --> 00:38:14,120
Speaker 1: process the money.

821
00:38:14,200 --> 00:38:16,280
Speaker 2: Okay, that took a few days.

822
00:38:16,480 --> 00:38:16,960
Speaker 3: Okay.

823
00:38:17,320 --> 00:38:20,839
Speaker 1: So when I was in my fucking twenties and I

824
00:38:20,880 --> 00:38:23,719
Speaker 1: did not have money consistently in my bank account, ye,

825
00:38:24,280 --> 00:38:28,400
Speaker 1: I would write a check for groceries knowing full fucking

826
00:38:28,440 --> 00:38:31,239
Speaker 1: well I did not have the money in my bank account, absolutely,

827
00:38:31,600 --> 00:38:35,680
Speaker 1: and then just pray to God that they wouldn't cash

828
00:38:35,719 --> 00:38:38,160
Speaker 1: the check when I didn't have the money.

829
00:38:38,680 --> 00:38:42,000
Speaker 3: Oh, absolutely I would. And here's the other thing.

830
00:38:42,239 --> 00:38:44,719
Speaker 4: I would write the check knowing, and I would only

831
00:38:44,760 --> 00:38:47,080
Speaker 4: do it if I knew that it would be more

832
00:38:47,120 --> 00:38:48,080
Speaker 4: than the overdraft.

833
00:38:48,080 --> 00:38:50,160
Speaker 3: Like, I'm not doing it for a five dollars.

834
00:38:49,960 --> 00:38:53,759
Speaker 4: Nah, you know meal, yes somewhere, No, I'm doing it

835
00:38:53,800 --> 00:38:56,200
Speaker 4: for like one hundred and twenty dollars, because the overdraft

836
00:38:56,200 --> 00:38:59,480
Speaker 4: fee was only ten dollars or fifteen dollars, so if

837
00:38:59,480 --> 00:39:02,440
Speaker 4: the money I didn't show up, I'm only out fifteen

838
00:39:02,440 --> 00:39:03,040
Speaker 4: extra bucks.

839
00:39:03,120 --> 00:39:06,799
Speaker 1: Yeah, it's like you gotta like over time that overdraft fee.

840
00:39:06,800 --> 00:39:08,560
Speaker 1: You got to be like twenty five bucks. That's when

841
00:39:08,600 --> 00:39:11,000
Speaker 1: I was like, all right, this little grift of mine

842
00:39:11,120 --> 00:39:14,120
Speaker 1: needs to kind of have an end point because it's

843
00:39:14,160 --> 00:39:17,000
Speaker 1: completely I get one hundred and fifty, but I got

844
00:39:17,000 --> 00:39:21,040
Speaker 1: to pay twenty five Is it worth it? But you're

845
00:39:21,080 --> 00:39:24,720
Speaker 1: absolutely right to make that valuation in your head. You're like, yo,

846
00:39:25,120 --> 00:39:26,920
Speaker 1: if I'm out ten bucks, but then I get one

847
00:39:26,960 --> 00:39:28,040
Speaker 1: hundred and fifty bucks.

848
00:39:27,800 --> 00:39:30,960
Speaker 4: We're okay, well, because otherwise it's just stressed the whole

849
00:39:31,000 --> 00:39:33,759
Speaker 4: time while you're waiting for that check to clear. Yes, yes,

850
00:39:33,880 --> 00:39:35,720
Speaker 4: And you're like, all right, I know the money's not there,

851
00:39:35,920 --> 00:39:38,400
Speaker 4: and if the money doesn't show up, I'm gonna be fucked.

852
00:39:38,440 --> 00:39:41,040
Speaker 4: So you might as well, Yeah, write that check so

853
00:39:41,120 --> 00:39:42,840
Speaker 4: you could be comfortable for a couple of weeks with

854
00:39:42,880 --> 00:39:43,799
Speaker 4: food if you need to.

855
00:39:44,160 --> 00:39:49,120
Speaker 1: I know, this was kind of the the top to

856
00:39:49,239 --> 00:39:51,280
Speaker 1: tail system that I had in my twenties.

857
00:39:51,360 --> 00:39:53,400
Speaker 3: Okay, absolutely gotta.

858
00:39:53,160 --> 00:39:57,040
Speaker 1: Get groceries, So write in a check for groceries. Some

859
00:39:57,120 --> 00:40:00,200
Speaker 1: grocery stores will let you right up to fifty.

860
00:40:00,080 --> 00:40:03,000
Speaker 2: Dollars over the amount yep, which you could get back

861
00:40:03,000 --> 00:40:04,480
Speaker 2: in cash. Okay.

862
00:40:05,000 --> 00:40:10,960
Speaker 1: Then you run home, go through your CD collection yep,

863
00:40:11,280 --> 00:40:13,319
Speaker 1: figure out which CDs you're gonna go sell at the

864
00:40:13,360 --> 00:40:18,160
Speaker 1: disco round, get that cash, and then run to the

865
00:40:18,200 --> 00:40:19,000
Speaker 1: bank and deposit it.

866
00:40:19,080 --> 00:40:21,480
Speaker 2: Absolutely that was the way it was for me for

867
00:40:22,800 --> 00:40:23,400
Speaker 2: my twenties.

868
00:40:24,160 --> 00:40:27,840
Speaker 3: That is a fucking part time job. And I cannot

869
00:40:27,880 --> 00:40:29,520
Speaker 3: believe so many of us were living that way.

870
00:40:29,640 --> 00:40:32,000
Speaker 2: Oh I know, I know, Oh I would.

871
00:40:31,760 --> 00:40:34,520
Speaker 3: Be selling books, CDs, clothes, anything.

872
00:40:34,680 --> 00:40:40,319
Speaker 2: DVD is like, I've sold so so many DVDs, like

873
00:40:41,200 --> 00:40:43,520
Speaker 2: a lot of DVDs there.

874
00:40:43,560 --> 00:40:45,680
Speaker 4: Do you find that There are times now where you'll

875
00:40:45,680 --> 00:40:47,520
Speaker 4: be like, I know I have that on DBD and

876
00:40:47,520 --> 00:40:48,839
Speaker 4: then you're like, nope, I sold it.

877
00:40:49,120 --> 00:40:53,239
Speaker 1: Yeah, oh I've bought DVDs like four times over, like

878
00:40:53,320 --> 00:40:54,440
Speaker 1: it's just insane.

879
00:40:54,719 --> 00:40:56,560
Speaker 2: And I'll tell you this.

880
00:40:57,320 --> 00:40:59,319
Speaker 1: In the early days in my twenties, when I was

881
00:40:59,360 --> 00:41:03,799
Speaker 1: like starting to like Criterion collection stuff, I knew I

882
00:41:03,800 --> 00:41:08,960
Speaker 1: could get good money for Criterion Yes, So I was like, okay,

883
00:41:09,280 --> 00:41:12,600
Speaker 1: like maybe I come into Criterion somehow, maybe I asked,

884
00:41:12,640 --> 00:41:14,719
Speaker 1: you know, my parents to buy me something for Christmas

885
00:41:14,800 --> 00:41:17,279
Speaker 1: or I get a birthday gift or you know.

886
00:41:17,280 --> 00:41:17,920
Speaker 2: Something like that.

887
00:41:17,960 --> 00:41:19,799
Speaker 1: And then I was like, yo, I know, that's at

888
00:41:19,840 --> 00:41:22,120
Speaker 1: least like twenty dollars in my.

889
00:41:22,040 --> 00:41:25,720
Speaker 3: Pocket per disc, depending on where you sent.

890
00:41:25,560 --> 00:41:27,520
Speaker 1: It before, depending on the store that would buy it

891
00:41:27,560 --> 00:41:30,000
Speaker 1: from me, So it's like good, yeah, And then I'd

892
00:41:30,040 --> 00:41:32,800
Speaker 1: be like, yo, but I really want to watch Peeping Tom.

893
00:41:34,120 --> 00:41:36,359
Speaker 1: Maybe I'll just go buy it, and then I'd sell

894
00:41:36,400 --> 00:41:39,279
Speaker 1: it again. Of course it made no sense because I

895
00:41:39,400 --> 00:41:40,359
Speaker 1: paid more than I.

896
00:41:40,280 --> 00:41:42,080
Speaker 2: Sold it for. It's it was such a.

897
00:41:43,600 --> 00:41:46,600
Speaker 1: When we talk about the pride that we have in

898
00:41:46,640 --> 00:41:49,520
Speaker 1: our current lives to where maybe like we wouldn't have

899
00:41:49,520 --> 00:41:51,960
Speaker 1: to do that kind of stuff anymore, that we worked hard.

900
00:41:52,600 --> 00:41:55,680
Speaker 3: This is why, this is why, this is how we

901
00:41:55,680 --> 00:41:56,200
Speaker 3: were living.

902
00:41:56,480 --> 00:41:59,759
Speaker 4: Yes, Also the grift that I loved the most, which

903
00:41:59,800 --> 00:42:02,120
Speaker 4: I'm I'm not recommending anyone do and legally I don't

904
00:42:02,120 --> 00:42:03,200
Speaker 4: even know if I can tell you this.

905
00:42:03,560 --> 00:42:07,399
Speaker 3: So this might because because it's still possible to do.

906
00:42:08,440 --> 00:42:14,520
Speaker 4: I think my favorite personal grift going to the grocery store.

907
00:42:14,640 --> 00:42:15,480
Speaker 2: Uh huh.

908
00:42:15,560 --> 00:42:17,720
Speaker 4: It was always food. Like this is also how poor

909
00:42:17,760 --> 00:42:19,319
Speaker 4: we were. It wasn't like I'm going to go buy

910
00:42:19,320 --> 00:42:21,040
Speaker 4: a fucking Mercedes. It was like, no, I just want

911
00:42:21,080 --> 00:42:23,160
Speaker 4: to eat a meal, Like.

912
00:42:22,560 --> 00:42:24,840
Speaker 1: Like, oh, like you just wanted to buy ten packs

913
00:42:24,840 --> 00:42:28,400
Speaker 1: of ramen for ten dollars, It's like.

914
00:42:28,040 --> 00:42:31,000
Speaker 3: Maybe throw some bananas in there, yeah, like something.

915
00:42:31,000 --> 00:42:33,160
Speaker 4: So I would go to the grocery store and I

916
00:42:33,160 --> 00:42:37,120
Speaker 4: would just shop whatever I felt like eating, buy you know,

917
00:42:37,320 --> 00:42:40,839
Speaker 4: salami and cheese and all kinds of shit, and then

918
00:42:40,880 --> 00:42:42,680
Speaker 4: I would take it to the self checkout when they

919
00:42:42,719 --> 00:42:45,920
Speaker 4: started coming around. And I think the reason they have

920
00:42:46,080 --> 00:42:49,279
Speaker 4: self checkout monitors now is because of people like me.

921
00:42:49,520 --> 00:42:52,440
Speaker 4: Oh yeah, And I would memorize the number for the

922
00:42:52,520 --> 00:42:57,840
Speaker 4: cheapest vegetables and ring everything up. Everything's bananas are garlic, listen,

923
00:42:57,920 --> 00:42:58,960
Speaker 4: four zero one one.

924
00:42:59,000 --> 00:43:01,239
Speaker 3: I'd be like, here you go. So I'm buying like

925
00:43:01,320 --> 00:43:02,680
Speaker 3: a steak, four zero.

926
00:43:02,600 --> 00:43:06,600
Speaker 4: One one, blocks of cracker, barrel cheese, everything, and it

927
00:43:06,600 --> 00:43:08,880
Speaker 4: would come out to like under thirty bucks.

928
00:43:09,160 --> 00:43:12,239
Speaker 1: I just kept thinking this entire movie, like this would

929
00:43:12,320 --> 00:43:15,280
Speaker 1: never happen now. This obviously would never happen now because

930
00:43:15,840 --> 00:43:21,000
Speaker 1: digital era, there's no checks. It's like everything is instantaneous.

931
00:43:21,120 --> 00:43:24,320
Speaker 1: Like you, he would have to fucking he would shit.

932
00:43:24,719 --> 00:43:27,960
Speaker 1: Frank Abgneil Junior in this movie would shit about Venmo.

933
00:43:28,120 --> 00:43:29,839
Speaker 2: He would not even be able to handle it.

934
00:43:30,040 --> 00:43:32,800
Speaker 3: Oh. Absolutely, And now that's there's no way to grift.

935
00:43:32,800 --> 00:43:33,000
Speaker 3: You go.

936
00:43:33,160 --> 00:43:35,120
Speaker 4: You got for a meal with your friends and you're like,

937
00:43:35,239 --> 00:43:38,080
Speaker 4: they're like, let's split it, and you say okay, and

938
00:43:38,120 --> 00:43:39,680
Speaker 4: you know you don't have any goddamn money.

939
00:43:40,000 --> 00:43:42,719
Speaker 3: They want that Venmo to night before you leave that restaurant.

940
00:43:42,880 --> 00:43:47,200
Speaker 1: Oh yeah, yeah, I mean, trust me, it's a different era.

941
00:43:47,280 --> 00:43:50,040
Speaker 1: They coasted on a lot of charm back then, and

942
00:43:50,120 --> 00:43:52,360
Speaker 1: a lot of a lot of trust.

943
00:43:52,719 --> 00:43:54,440
Speaker 2: As we'll talk about. I'm sure.

944
00:43:56,040 --> 00:43:58,920
Speaker 1: The one sentence synopsis of Catch Maybe you Can, a

945
00:43:59,000 --> 00:44:03,120
Speaker 1: teenage boy in the early nineteen sixties writes two point

946
00:44:03,160 --> 00:44:09,000
Speaker 1: five million dollars in fake checks and somehow scams his

947
00:44:09,120 --> 00:44:14,600
Speaker 1: way into being an airline pilot, a doctor, and a lawyer,

948
00:44:16,360 --> 00:44:21,040
Speaker 1: all while being chased around the world by an obsessed

949
00:44:21,239 --> 00:44:22,080
Speaker 1: FBI agent.

950
00:44:23,040 --> 00:44:25,440
Speaker 4: That was fantastic, Thank you, And it also made me

951
00:44:25,480 --> 00:44:27,680
Speaker 4: think of that eighteen year old who pretended to be

952
00:44:27,719 --> 00:44:30,120
Speaker 4: a doctor in Florida a few years ago.

953
00:44:32,840 --> 00:44:37,080
Speaker 1: Let me like, let me ask America this question, how

954
00:44:37,120 --> 00:44:41,080
Speaker 1: are people still pretending to be doctors? I don't understand

955
00:44:42,400 --> 00:44:46,040
Speaker 1: this at all. Isn't that easy to pretend to be

956
00:44:46,080 --> 00:44:46,640
Speaker 1: a doctor.

957
00:44:46,680 --> 00:44:47,800
Speaker 3: It seems hard.

958
00:44:49,239 --> 00:44:51,520
Speaker 4: And why I think it's harder to pretend to be

959
00:44:51,560 --> 00:44:53,640
Speaker 4: a nurse because, in my opinion, they do a lot

960
00:44:53,640 --> 00:44:54,120
Speaker 4: of the work.

961
00:44:55,160 --> 00:44:57,400
Speaker 3: Yeah, a doctor can just breeze in and be like,

962
00:44:57,440 --> 00:44:58,719
Speaker 3: how are you feeling? All right?

963
00:44:58,800 --> 00:45:01,799
Speaker 4: Maybe we try this, Maybe we tried that. I'm not

964
00:45:01,840 --> 00:45:04,480
Speaker 4: saying they don't have the skill set at all. I mean,

965
00:45:04,560 --> 00:45:07,200
Speaker 4: obviously doctors are incredibly smart people. But I think it's

966
00:45:07,239 --> 00:45:10,160
Speaker 4: easier to fake listening than it is to fake I'm

967
00:45:10,160 --> 00:45:12,799
Speaker 4: gonna put information into your chart, which is what nurses do.

968
00:45:13,520 --> 00:45:15,000
Speaker 4: Like one of the many things that nurses do.

969
00:45:15,280 --> 00:45:19,360
Speaker 1: What was that big like True Crime Juggernaut from like

970
00:45:19,400 --> 00:45:21,759
Speaker 1: a while back of like that doctor.

971
00:45:22,360 --> 00:45:27,760
Speaker 2: No, he was like an antethes dirty John, dirty John John.

972
00:45:28,200 --> 00:45:31,879
Speaker 1: That to me was like I don't understand how there

973
00:45:31,960 --> 00:45:34,120
Speaker 1: can be a dirty John, Like how are people able

974
00:45:34,160 --> 00:45:38,040
Speaker 1: to walk into hospitals and like go to hospital rooms

975
00:45:38,080 --> 00:45:39,919
Speaker 1: and shit, I'm like, what is going on?

976
00:45:40,160 --> 00:45:41,200
Speaker 2: It doesn't make any sense.

977
00:45:41,960 --> 00:45:44,800
Speaker 4: Well, in his case, I think, if I remember correctly,

978
00:45:44,800 --> 00:45:47,359
Speaker 4: it was that he did actually have the training. He

979
00:45:47,480 --> 00:45:50,160
Speaker 4: was just like fired for being a drug addict. Oh

980
00:45:50,200 --> 00:45:52,240
Speaker 4: I say so, he just kept still going to work

981
00:45:52,560 --> 00:45:55,600
Speaker 4: at places and they just never like followed up on that.

982
00:45:55,680 --> 00:45:59,800
Speaker 4: I guess, Wow, But yeah, it seems it weirdly seems

983
00:45:59,840 --> 00:46:00,879
Speaker 4: too easy.

984
00:46:00,600 --> 00:46:02,120
Speaker 3: To pretend to be a doctor in America.

985
00:46:02,320 --> 00:46:05,640
Speaker 1: Yes, I just feel like that to me, because this

986
00:46:05,680 --> 00:46:08,279
Speaker 1: is obviously a huge part of this film, but the

987
00:46:08,320 --> 00:46:11,040
Speaker 1: fact that somebody was doing it as of last.

988
00:46:10,800 --> 00:46:12,359
Speaker 3: Year is too much.

989
00:46:12,480 --> 00:46:14,360
Speaker 2: Like I'm like, something needs to happen to America.

990
00:46:14,440 --> 00:46:18,360
Speaker 1: Y'all need to figure out how to put the kibosh

991
00:46:18,440 --> 00:46:19,760
Speaker 1: on this fucking grift.

992
00:46:19,840 --> 00:46:22,120
Speaker 4: But anyway, well, to me, it's born out of our

993
00:46:22,200 --> 00:46:24,960
Speaker 4: shitty healthcare system because people are so desperate they're like,

994
00:46:25,000 --> 00:46:27,680
Speaker 4: I guess I'll go to this guy who says it's

995
00:46:27,719 --> 00:46:30,080
Speaker 4: only fifty bucks to get a full check up, and

996
00:46:30,200 --> 00:46:32,360
Speaker 4: there's no time to check whether or not that dude

997
00:46:32,440 --> 00:46:34,400
Speaker 4: is or that woman is qualified.

998
00:46:34,560 --> 00:46:37,560
Speaker 1: Okay, so this movie, Okay, we're going to talk about

999
00:46:38,000 --> 00:46:41,279
Speaker 1: the difference between what happens in the movie versus what

1000
00:46:41,480 --> 00:46:43,240
Speaker 1: actually happened in real life.

1001
00:46:43,360 --> 00:46:45,799
Speaker 2: Right, yeah, just a second, But to give you like

1002
00:46:45,840 --> 00:46:47,760
Speaker 2: a basic plot of.

1003
00:46:47,680 --> 00:46:53,160
Speaker 1: The movie, Leonardo DiCaprio plays this man named Frank Abigail Junior.

1004
00:46:54,200 --> 00:46:57,480
Speaker 1: He's a young kid who you know grows up. I

1005
00:46:57,480 --> 00:46:59,719
Speaker 1: guess in like outside of New York or in New York,

1006
00:47:00,080 --> 00:47:03,239
Speaker 1: we're around there. He's got a father and the mother.

1007
00:47:03,760 --> 00:47:07,160
Speaker 1: The father's played by Christopher walk In. The mother's played

1008
00:47:07,160 --> 00:47:10,160
Speaker 1: by Natalie Bay I believe that's how I shared it.

1009
00:47:11,200 --> 00:47:14,600
Speaker 1: She's French, by the way. So this kid kind of

1010
00:47:14,640 --> 00:47:18,799
Speaker 1: grows up in this great home he feels he idolizes

1011
00:47:18,880 --> 00:47:23,239
Speaker 1: his father, right, even though it slowly gets kind of

1012
00:47:23,280 --> 00:47:25,040
Speaker 1: revealed at the beginning of the movie that the dad

1013
00:47:25,160 --> 00:47:27,360
Speaker 1: is kind of caught up in some maybe some shady

1014
00:47:27,440 --> 00:47:33,160
Speaker 1: business practices, which sometimes he involves his son in, right,

1015
00:47:33,880 --> 00:47:37,440
Speaker 1: Like maybe sometimes you know, gets his son to like

1016
00:47:37,560 --> 00:47:43,120
Speaker 1: pose as a limo driver so he could like razzle

1017
00:47:43,400 --> 00:47:45,960
Speaker 1: dazzle some people at the bank or something.

1018
00:47:46,280 --> 00:47:46,480
Speaker 3: Right.

1019
00:47:47,120 --> 00:47:51,240
Speaker 1: So clearly this is kind of setting the stage maybe

1020
00:47:51,560 --> 00:47:55,840
Speaker 1: for some of Frank Junior's later stunts. All right, but

1021
00:47:56,640 --> 00:48:00,560
Speaker 1: I think what happens is that the father of creates

1022
00:48:00,560 --> 00:48:05,799
Speaker 1: a mythology around himself that his son really internalizes. And

1023
00:48:05,840 --> 00:48:08,200
Speaker 1: you know, there's a couple of different phrases that he

1024
00:48:08,239 --> 00:48:10,239
Speaker 1: kind of throws around a lot. What is the the

1025
00:48:10,280 --> 00:48:12,880
Speaker 1: mouse and the butter thing, which I'm like, what in

1026
00:48:12,920 --> 00:48:16,160
Speaker 1: the world, Like I've never heard.

1027
00:48:15,920 --> 00:48:19,160
Speaker 4: Of this, You're like, is this why I grew up

1028
00:48:19,200 --> 00:48:21,359
Speaker 4: to be a career criminal because you don't have any

1029
00:48:21,400 --> 00:48:23,840
Speaker 4: good analogies for life as a parent.

1030
00:48:25,040 --> 00:48:28,920
Speaker 1: I was like, really, when you break that down, I'm like,

1031
00:48:29,160 --> 00:48:34,120
Speaker 1: why is there mice and butter? Like I don't like

1032
00:48:34,200 --> 00:48:38,600
Speaker 1: this story, Like, dude, like the fact that you've you

1033
00:48:38,640 --> 00:48:43,640
Speaker 1: rest your entire like life's work around it is disturbing.

1034
00:48:44,000 --> 00:48:47,520
Speaker 1: But anyway, the other thing that he tells his son

1035
00:48:47,680 --> 00:48:49,680
Speaker 1: quite often, you know, is this kind of thing about

1036
00:48:49,719 --> 00:48:52,560
Speaker 1: the Yankees, the baseball team, right, and about how the

1037
00:48:52,640 --> 00:48:55,879
Speaker 1: Yankees are really popular and they're like America's team, not

1038
00:48:55,920 --> 00:48:58,239
Speaker 1: because they're good or have good players, but because of

1039
00:48:58,280 --> 00:49:02,799
Speaker 1: the pinstripes, which basically means people are easily distracted by

1040
00:49:02,800 --> 00:49:03,879
Speaker 1: the show and not.

1041
00:49:03,880 --> 00:49:05,680
Speaker 2: The details of what's actually going on.

1042
00:49:05,920 --> 00:49:06,120
Speaker 3: Right.

1043
00:49:06,440 --> 00:49:10,960
Speaker 1: So Frank Junior internalizes this says, Huh, maybe I should

1044
00:49:11,000 --> 00:49:13,640
Speaker 1: start scamming people because it's actually fun and.

1045
00:49:13,600 --> 00:49:14,799
Speaker 3: Easy, right.

1046
00:49:15,239 --> 00:49:18,720
Speaker 4: I Mean, when he was younger, from his point of view,

1047
00:49:19,719 --> 00:49:23,600
Speaker 4: it didn't actually hurt his dad or anyone else, so

1048
00:49:23,640 --> 00:49:24,000
Speaker 4: why not.

1049
00:49:24,360 --> 00:49:26,120
Speaker 3: Yeah, Like his dad kind of made it seem like

1050
00:49:26,160 --> 00:49:27,040
Speaker 3: it was very normal.

1051
00:49:27,280 --> 00:49:30,200
Speaker 1: Yes, of course, So the son's like, Okay, cool, I

1052
00:49:30,239 --> 00:49:32,440
Speaker 1: guess what I'll do then is I'll go to my

1053
00:49:32,520 --> 00:49:37,879
Speaker 1: new school and I'll pretend to be the teacher, which

1054
00:49:37,920 --> 00:49:39,440
Speaker 1: is what happens. I guess this is kind of like

1055
00:49:39,440 --> 00:49:43,000
Speaker 1: an early day story in the film where Frank Junior

1056
00:49:43,040 --> 00:49:45,719
Speaker 1: goes to his school and teacher hasn't shown up yet,

1057
00:49:45,760 --> 00:49:47,960
Speaker 1: so he just decides to jump in front of the

1058
00:49:48,000 --> 00:49:52,360
Speaker 1: class and teach the class. And it's that kind of

1059
00:49:52,360 --> 00:49:55,520
Speaker 1: thing where you're like, remember that this is a sixteen

1060
00:49:55,600 --> 00:50:01,200
Speaker 1: year old child. So the fact that he has this

1061
00:50:01,440 --> 00:50:05,080
Speaker 1: much confidence out the gate is very compelling to me.

1062
00:50:05,680 --> 00:50:07,960
Speaker 4: Oh yeah, because he sends the real teacher away when

1063
00:50:07,960 --> 00:50:08,960
Speaker 4: the teacher shows up.

1064
00:50:09,400 --> 00:50:09,920
Speaker 2: Yeah.

1065
00:50:10,520 --> 00:50:15,799
Speaker 1: Like, if I had maybe like even a sixteenth of

1066
00:50:15,880 --> 00:50:18,120
Speaker 1: this type of confidence at that age, I'd be like

1067
00:50:18,160 --> 00:50:23,120
Speaker 1: a completely different person. Like it's kind of stunning how

1068
00:50:23,280 --> 00:50:26,960
Speaker 1: early this kid in this film is like putting on

1069
00:50:27,000 --> 00:50:27,880
Speaker 1: the razzle dazzle.

1070
00:50:28,080 --> 00:50:29,080
Speaker 3: Okay, totally.

1071
00:50:29,440 --> 00:50:34,080
Speaker 1: So what eventually happens is his parents get a divorce, okay,

1072
00:50:34,560 --> 00:50:37,880
Speaker 1: and Frank Junior is dishot He loves his mom, he

1073
00:50:37,920 --> 00:50:40,040
Speaker 1: loves his dad, he can't deal with the.

1074
00:50:40,040 --> 00:50:41,080
Speaker 2: Fact that they're getting divorced.

1075
00:50:41,080 --> 00:50:42,799
Speaker 1: They actually sit him down and they're like you're gonna

1076
00:50:42,800 --> 00:50:44,960
Speaker 1: have to decide who you want to live with, and

1077
00:50:45,239 --> 00:50:47,560
Speaker 1: it's I mean, I can't even imagine that's an awful

1078
00:50:48,239 --> 00:50:51,359
Speaker 1: choice to have to make for a kid, Right, So

1079
00:50:51,600 --> 00:50:53,919
Speaker 1: his response is that he runs away from home, which

1080
00:50:53,960 --> 00:50:56,680
Speaker 1: is this is what sets off the entire story. Okay,

1081
00:50:57,360 --> 00:51:01,880
Speaker 1: so this is the beginnings of it are very interesting

1082
00:51:01,920 --> 00:51:04,040
Speaker 1: because it's kind of like, first of all, this movie

1083
00:51:04,080 --> 00:51:06,799
Speaker 1: is very long, and then it's something that I completely

1084
00:51:06,840 --> 00:51:07,920
Speaker 1: forgot about.

1085
00:51:08,280 --> 00:51:10,280
Speaker 3: Yeah, maybe it's too long.

1086
00:51:10,480 --> 00:51:11,520
Speaker 2: I'm gonna throw that out there.

1087
00:51:14,160 --> 00:51:17,600
Speaker 1: Like, I'm very intoxicated by the style of this movie.

1088
00:51:17,640 --> 00:51:19,799
Speaker 2: Certainly. I think that's why a lot of people like it.

1089
00:51:19,800 --> 00:51:22,959
Speaker 1: It's very like early sixties and we're talking about mad

1090
00:51:22,960 --> 00:51:24,040
Speaker 1: Men a little bit earlier.

1091
00:51:24,080 --> 00:51:25,720
Speaker 2: But it's like it's got that vibe.

1092
00:51:25,719 --> 00:51:29,160
Speaker 1: It's the production design is great, the costume design is great,

1093
00:51:29,480 --> 00:51:31,200
Speaker 1: and it's it just takes place in this very like

1094
00:51:31,280 --> 00:51:36,160
Speaker 1: free wheeling early sixties, like you know, pan Am Stewardess

1095
00:51:36,320 --> 00:51:40,360
Speaker 1: see you know, cocktails and records on the record player vibe. Okay,

1096
00:51:41,160 --> 00:51:45,120
Speaker 1: but there's moments where I feel like this movie is

1097
00:51:45,200 --> 00:51:47,440
Speaker 1: too long because there's kind of like too much information

1098
00:51:47,520 --> 00:51:49,879
Speaker 1: tucked in there. And I know that it is kind

1099
00:51:49,880 --> 00:51:53,000
Speaker 1: of by design because this guy, the real Frank Abagnale Junior,

1100
00:51:54,080 --> 00:51:59,400
Speaker 1: allegedly have this insane life. Right, We'll get to that

1101
00:51:59,440 --> 00:52:02,640
Speaker 1: in a second, But what happens in the movie is

1102
00:52:02,680 --> 00:52:06,480
Speaker 1: that Frank Junior leaves home and he's just starts scamming

1103
00:52:06,880 --> 00:52:11,360
Speaker 1: everywhere he can. He scams into becoming a pan Am pilot.

1104
00:52:12,400 --> 00:52:16,120
Speaker 1: And he does this by basically like he'll just like

1105
00:52:16,360 --> 00:52:18,840
Speaker 1: go up to somebody and ask them a bunch of

1106
00:52:18,920 --> 00:52:22,000
Speaker 1: questions about their job and then just like that's the

1107
00:52:22,040 --> 00:52:24,560
Speaker 1: research that he needs to fake the job.

1108
00:52:25,520 --> 00:52:27,880
Speaker 4: And that's That's the thing that I found so interesting

1109
00:52:28,000 --> 00:52:31,560
Speaker 4: is I couldn't tell if he was really smart or

1110
00:52:31,600 --> 00:52:35,319
Speaker 4: if he was just really crafty. Yes, like I think

1111
00:52:35,360 --> 00:52:38,160
Speaker 4: he was smart or became smart at some point, but

1112
00:52:38,200 --> 00:52:40,080
Speaker 4: as a kid, I think he was just super crafty.

1113
00:52:40,600 --> 00:52:40,880
Speaker 2: Yeah.

1114
00:52:40,920 --> 00:52:43,680
Speaker 1: I mean there's that moment where you're just like, huh

1115
00:52:43,800 --> 00:52:45,879
Speaker 1: is this like is he like a baby genius here?

1116
00:52:46,080 --> 00:52:48,799
Speaker 1: Like how is he able to or just he just

1117
00:52:48,800 --> 00:52:51,120
Speaker 1: just knows how to put the puzzle together.

1118
00:52:52,560 --> 00:52:55,320
Speaker 2: And the thing about the pilot thing that's interesting.

1119
00:52:55,000 --> 00:52:59,240
Speaker 1: Is that he he he does this thing which I

1120
00:52:59,280 --> 00:53:01,080
Speaker 1: sort of knew what this was, but I didn't know

1121
00:53:01,120 --> 00:53:03,879
Speaker 1: the term, but it's called dead heading flights, and it's

1122
00:53:03,920 --> 00:53:07,000
Speaker 1: basically a pilot that's kind of in a passive position.

1123
00:53:07,080 --> 00:53:09,360
Speaker 1: He just kind of like rides with the crew but

1124
00:53:09,480 --> 00:53:14,000
Speaker 1: doesn't actually like fly the plane. I actually looked up

1125
00:53:14,239 --> 00:53:17,360
Speaker 1: this term on Wikipedia, and I'll have to say for

1126
00:53:17,400 --> 00:53:23,080
Speaker 1: the record that the entry for dead heading is so

1127
00:53:23,680 --> 00:53:25,920
Speaker 1: wild you have to read it when you get a chance,

1128
00:53:26,080 --> 00:53:28,400
Speaker 1: because it tells you a little bit about what it is.

1129
00:53:28,480 --> 00:53:30,160
Speaker 1: What you know as a concept is like okay, we

1130
00:53:30,200 --> 00:53:32,520
Speaker 1: get it, but then it gives you this entire section

1131
00:53:32,600 --> 00:53:38,200
Speaker 1: of like famous dead head flights what And it's like

1132
00:53:39,600 --> 00:53:44,239
Speaker 1: there are so many instances in history where people like

1133
00:53:44,280 --> 00:53:47,760
Speaker 1: whoever was the dead head on the flight did something

1134
00:53:47,920 --> 00:53:51,560
Speaker 1: wild like either save the plane or try to hijack

1135
00:53:51,640 --> 00:53:53,840
Speaker 1: the plane or trying to kill somebody.

1136
00:53:53,600 --> 00:53:54,000
Speaker 3: In the plane.

1137
00:53:54,000 --> 00:53:55,080
Speaker 2: I'm like, what the fuck?

1138
00:53:55,480 --> 00:53:59,279
Speaker 1: Like this well open door.

1139
00:53:59,080 --> 00:54:01,560
Speaker 2: To like knowledge I had no idea about.

1140
00:54:02,120 --> 00:54:05,000
Speaker 3: It's really shit. Yeah, I will be reading about it.

1141
00:54:05,000 --> 00:54:07,440
Speaker 2: Don't worry, everybody, Go look up dead heading flights of Wikipedia.

1142
00:54:07,480 --> 00:54:08,080
Speaker 2: It's so funny.

1143
00:54:08,080 --> 00:54:11,480
Speaker 1: It's like totally a depths of Wikipedia type of thing.

1144
00:54:11,600 --> 00:54:16,759
Speaker 1: If you if you follow that Instagram account. So he's

1145
00:54:16,800 --> 00:54:19,759
Speaker 1: pretending to be a pilot. He also at some point

1146
00:54:19,800 --> 00:54:28,319
Speaker 1: pretends to be an emergency room doctor in Atlanta, and

1147
00:54:29,160 --> 00:54:36,160
Speaker 1: more specifically, he was a doctor in the hospital that

1148
00:54:36,280 --> 00:54:42,040
Speaker 1: was in my hometown. Oh sh Marietta, Georgia, Cobb County.

1149
00:54:42,320 --> 00:54:45,879
Speaker 1: And I'm like, I how did I not know this

1150
00:54:46,680 --> 00:54:47,359
Speaker 1: history at all?

1151
00:54:47,440 --> 00:54:47,840
Speaker 2: I didn't know.

1152
00:54:48,040 --> 00:54:49,440
Speaker 3: I'm sure they're not proud of it.

1153
00:54:49,480 --> 00:54:52,040
Speaker 4: They're not gonna announce like, hey, we had a fucking

1154
00:54:52,040 --> 00:54:54,560
Speaker 4: teenager pretending to be a doctor here for like a year.

1155
00:54:57,640 --> 00:55:01,240
Speaker 1: Maybe some of you who are living right now, maybe

1156
00:55:01,480 --> 00:55:06,440
Speaker 1: somebody I don't know, maybe like Frank Abigail Junior delivered

1157
00:55:06,480 --> 00:55:07,560
Speaker 1: you as a child.

1158
00:55:07,800 --> 00:55:08,320
Speaker 3: Who knows.

1159
00:55:08,360 --> 00:55:09,840
Speaker 2: I mean, this is wild stuff.

1160
00:55:10,280 --> 00:55:14,480
Speaker 1: But like again, like kind of like impossible to comprehend, right,

1161
00:55:14,640 --> 00:55:16,200
Speaker 1: just the idea that he became a.

1162
00:55:16,160 --> 00:55:18,640
Speaker 4: Doctor, and he only becomes these things because he's good

1163
00:55:18,640 --> 00:55:22,759
Speaker 4: at copy and paste, pasting real paper documents onto other

1164
00:55:22,800 --> 00:55:23,600
Speaker 4: paper documents.

1165
00:55:23,680 --> 00:55:26,600
Speaker 1: Yes, again, we're in a check writing era. We're in

1166
00:55:26,640 --> 00:55:29,400
Speaker 1: an era where you could like cut out like a

1167
00:55:29,400 --> 00:55:32,480
Speaker 1: little symbol of something and then like stick it on

1168
00:55:32,760 --> 00:55:35,200
Speaker 1: a piece of paper and then like photo copy and

1169
00:55:35,239 --> 00:55:39,319
Speaker 1: it's like there's your passport, Like it's there's no checks

1170
00:55:39,360 --> 00:55:41,800
Speaker 1: and balances here whatsoever with the paperwork.

1171
00:55:41,880 --> 00:55:44,160
Speaker 4: Okay, I just want to say that Frank Abagnail would

1172
00:55:44,160 --> 00:55:46,880
Speaker 4: have had a fucking amazing zine in the Oh.

1173
00:55:46,800 --> 00:55:51,080
Speaker 1: My god, he he would make everything look seamless.

1174
00:55:51,600 --> 00:55:54,680
Speaker 2: There would be the most print line magazine, like a

1175
00:55:54,719 --> 00:55:57,680
Speaker 2: real magazine. Oh my god, genius.

1176
00:55:58,480 --> 00:56:01,600
Speaker 1: So Okay, while he's pretending to be a doctor in

1177
00:56:01,680 --> 00:56:04,840
Speaker 1: com County, he meets this nurse who's played by Amy

1178
00:56:04,880 --> 00:56:07,839
Speaker 1: Adams and decides that he wants to marry her. So

1179
00:56:08,000 --> 00:56:10,920
Speaker 1: they go back to her hometown of New Orleans to

1180
00:56:11,160 --> 00:56:14,080
Speaker 1: meet her parents. You know, her dad is played by

1181
00:56:14,680 --> 00:56:20,680
Speaker 1: Martin Sheen, and her dad is a lawyer, and somehow Frank,

1182
00:56:21,880 --> 00:56:24,719
Speaker 1: through meeting the family, decides that now he wants to

1183
00:56:24,719 --> 00:56:27,560
Speaker 1: be a lawyer too, So he like takes the bar

1184
00:56:27,680 --> 00:56:32,280
Speaker 1: exam and somehow passes and becomes a fucking like assistant

1185
00:56:32,280 --> 00:56:33,520
Speaker 1: prosecutor or something for.

1186
00:56:33,560 --> 00:56:36,200
Speaker 3: The for the working for her dad.

1187
00:56:37,640 --> 00:56:39,600
Speaker 2: Wild wild stuff.

1188
00:56:39,640 --> 00:56:42,960
Speaker 1: And again you've got this like it's this very free wheeling.

1189
00:56:44,160 --> 00:56:47,160
Speaker 1: You know, young Leonardo DiCaprio, I think he was like

1190
00:56:47,239 --> 00:56:49,759
Speaker 1: twenty eight when he made this movie, although he could

1191
00:56:49,800 --> 00:56:51,960
Speaker 1: also legit pass for sixteen.

1192
00:56:52,440 --> 00:56:54,640
Speaker 2: Like there was like well, in the beginning of the movie,

1193
00:56:54,640 --> 00:56:54,960
Speaker 2: they're like.

1194
00:56:54,960 --> 00:56:57,600
Speaker 1: Oh, here's our like sixteen year old high school son.

1195
00:56:57,719 --> 00:57:00,480
Speaker 1: I was like, oh, yeah, he could play that. He

1196
00:57:00,600 --> 00:57:02,759
Speaker 1: was still like young looking in that era, but he

1197
00:57:02,840 --> 00:57:05,680
Speaker 1: was actually like twenty eight. But imagine, like, you know,

1198
00:57:05,800 --> 00:57:08,920
Speaker 1: young Leonardo DiCaprio when his like Pilot's outfits, and you know,

1199
00:57:09,000 --> 00:57:11,960
Speaker 1: it's like everything is very like sixties mod and you know,

1200
00:57:12,080 --> 00:57:16,200
Speaker 1: so as all these things are happening, you're very entertained

1201
00:57:16,240 --> 00:57:17,720
Speaker 1: and enchanted by all of it.

1202
00:57:17,880 --> 00:57:22,120
Speaker 2: Right, So Frank's out here running scams all over the place.

1203
00:57:22,160 --> 00:57:24,760
Speaker 1: And then you've got this agent, this FBI agent named

1204
00:57:24,960 --> 00:57:26,960
Speaker 1: Han Raddy, who.

1205
00:57:28,160 --> 00:57:31,040
Speaker 2: Is from Boston. Now that I know more about.

1206
00:57:30,800 --> 00:57:35,160
Speaker 4: Boston, yes, he is absolutely from Boston. That accent and

1207
00:57:35,240 --> 00:57:38,919
Speaker 4: name alone. Okay, I knock, knock, who's there?

1208
00:57:39,000 --> 00:57:39,360
Speaker 3: Fuck you?

1209
00:57:39,880 --> 00:57:43,280
Speaker 2: Yeah, yeah, I swear to fucking god, Ricky if.

1210
00:57:43,200 --> 00:57:44,160
Speaker 3: You don't stop writing.

1211
00:57:48,520 --> 00:57:50,880
Speaker 2: So after our Boston episode, I know a lot more.

1212
00:57:50,960 --> 00:57:55,280
Speaker 1: I can clock it more now. But but Han Raddy

1213
00:57:55,400 --> 00:57:58,760
Speaker 1: is played by Tom Hanks. Okay, and you know Tom

1214
00:57:58,800 --> 00:58:01,400
Speaker 1: Hanks is this weird guy too in his own world.

1215
00:58:01,480 --> 00:58:04,200
Speaker 1: Like so in the FBI, he's like a bank fraud

1216
00:58:04,320 --> 00:58:08,160
Speaker 1: expert and pretty much everybody in his officings. He's like

1217
00:58:08,200 --> 00:58:12,120
Speaker 1: a huge nerd and he's really dull, and he's also

1218
00:58:12,720 --> 00:58:15,919
Speaker 1: a guy that is divorced and he has a kid,

1219
00:58:15,960 --> 00:58:18,080
Speaker 1: and he lives away from his family, and so it's

1220
00:58:18,160 --> 00:58:20,920
Speaker 1: just kind of, you know, the messaging is, here's this

1221
00:58:20,960 --> 00:58:24,560
Speaker 1: kind of like lonely, weird FBI guy, Okay, and now

1222
00:58:24,600 --> 00:58:27,919
Speaker 1: he's obsessed with trying to catch Frank Junior because he's

1223
00:58:27,960 --> 00:58:31,000
Speaker 1: out there making a fool out of his profession.

1224
00:58:30,600 --> 00:58:31,640
Speaker 2: And all this shit.

1225
00:58:31,680 --> 00:58:35,320
Speaker 1: Okay, So this kind of b story of the film

1226
00:58:35,720 --> 00:58:39,320
Speaker 1: is that these are two guys, like it's a cat

1227
00:58:39,320 --> 00:58:41,840
Speaker 1: and mouse game. Obviously that's the a story, but the

1228
00:58:42,200 --> 00:58:44,080
Speaker 1: cat and the mouse are kind of they have a

1229
00:58:44,120 --> 00:58:46,480
Speaker 1: lot in common, right, Like they're both kind of lonely,

1230
00:58:46,920 --> 00:58:50,360
Speaker 1: and they were kind of displaced from families, and so

1231
00:58:50,400 --> 00:58:52,640
Speaker 1: there's this kind of weird almost kind of like a

1232
00:58:52,680 --> 00:58:54,720
Speaker 1: father son thing going on with the two of them,

1233
00:58:55,280 --> 00:58:58,440
Speaker 1: which you know, is I think was by design, Like

1234
00:58:58,480 --> 00:59:01,280
Speaker 1: I had read that like Spielberg's parents were divorced, and

1235
00:59:01,320 --> 00:59:05,920
Speaker 1: like there was a lot of like divorce trauma injected

1236
00:59:06,040 --> 00:59:10,800
Speaker 1: into this film, right, So yeah, this is this is

1237
00:59:10,800 --> 00:59:13,320
Speaker 1: how the film plays out. It's basically, you know, hand

1238
00:59:13,400 --> 00:59:16,920
Speaker 1: ready trying to track down Frank. Frank just kind of

1239
00:59:16,960 --> 00:59:18,960
Speaker 1: getting away with it, getting away with it until he

1240
00:59:19,040 --> 00:59:23,680
Speaker 1: doesn't obviously. And yeah, based on a true story this

1241
00:59:23,800 --> 00:59:26,320
Speaker 1: kind of stuff, right, I mean, I will I'll spoil

1242
00:59:26,360 --> 00:59:29,440
Speaker 1: the ending because it's based on a true story. So

1243
00:59:29,480 --> 00:59:31,720
Speaker 1: I don't feel like it's like a spoiler necessarily, but

1244
00:59:31,720 --> 00:59:32,600
Speaker 1: if you don't want to hear it.

1245
00:59:32,640 --> 00:59:33,360
Speaker 2: Fast forward.

1246
00:59:33,760 --> 00:59:37,400
Speaker 1: Basically, you know, Frank Junior gets caught, but then at

1247
00:59:37,400 --> 00:59:41,200
Speaker 1: some point becomes like gets asked to join the FBI

1248
00:59:42,200 --> 00:59:47,880
Speaker 1: as you know, an expert in bad checks, right, and

1249
00:59:47,920 --> 00:59:51,400
Speaker 1: so you're like, huh, yeah, that's interesting, okay, and now

1250
00:59:51,640 --> 00:59:54,040
Speaker 1: and then you know, there's like a coda at the

1251
00:59:54,120 --> 00:59:56,440
Speaker 1: end of the film that's like, you know, Frank is

1252
00:59:56,800 --> 00:59:59,680
Speaker 1: living you know, a quiet life, and he's now an

1253
00:59:59,680 --> 01:00:04,600
Speaker 1: expert security and you know he's making his own money

1254
01:00:04,640 --> 01:00:06,600
Speaker 1: and this kind of stuff. So like it all wrapped

1255
01:00:06,640 --> 01:00:09,840
Speaker 1: up in a nice little package. Yeah, so you've got that.

1256
01:00:10,560 --> 01:00:14,480
Speaker 1: Then he got like the real story, right yeah, wait,

1257
01:00:14,920 --> 01:00:17,720
Speaker 1: which is like, dare I say we're in like a

1258
01:00:17,840 --> 01:00:20,360
Speaker 1: Frank Duke's blood sports scenario?

1259
01:00:22,480 --> 01:00:23,800
Speaker 2: Dare I say it? I don't know.

1260
01:00:23,880 --> 01:00:28,280
Speaker 1: And again, this is all based on reporting from like journalism.

1261
01:00:28,360 --> 01:00:28,640
Speaker 2: Okay.

1262
01:00:28,680 --> 01:00:33,439
Speaker 1: So it's like I'm saying, allegedly because Frank Abigail Junior

1263
01:00:33,520 --> 01:00:36,000
Speaker 1: is still alive from what I understand as if this recording,

1264
01:00:36,240 --> 01:00:38,120
Speaker 1: and I ain't trying to get sued, I'm just saying,

1265
01:00:38,120 --> 01:00:41,120
Speaker 1: I'm this is all information that I've read on the Internet.

1266
01:00:41,520 --> 01:00:44,720
Speaker 2: It's out there and it's alleged information. Okay.

1267
01:00:45,800 --> 01:00:51,040
Speaker 1: So apparently Frank Abgnel Junior's story, according to these journalists

1268
01:00:51,080 --> 01:00:55,480
Speaker 1: that have done the research, is ninety to ninety five

1269
01:00:55,600 --> 01:00:56,280
Speaker 1: percent fake.

1270
01:00:56,720 --> 01:00:58,000
Speaker 3: Okay. Oh shit.

1271
01:01:01,360 --> 01:01:03,880
Speaker 1: So the majority of this movie is taking place in

1272
01:01:04,120 --> 01:01:09,400
Speaker 1: Frank's sixteen to twenty late teens, early twenties. Okay, according

1273
01:01:09,440 --> 01:01:12,360
Speaker 1: to the research that I read done by these journalists,

1274
01:01:12,360 --> 01:01:17,040
Speaker 1: he was actually in jail, So he was not sixteen

1275
01:01:18,000 --> 01:01:20,400
Speaker 1: being a pilot like he was actually a cars ride.

1276
01:01:20,560 --> 01:01:22,720
Speaker 1: So he during the time frame of this film, he

1277
01:01:22,800 --> 01:01:26,240
Speaker 1: wasn't even around to do any of this stuff.

1278
01:01:26,560 --> 01:01:28,919
Speaker 3: What was he in jail for that?

1279
01:01:29,360 --> 01:01:29,960
Speaker 2: I don't know.

1280
01:01:30,080 --> 01:01:33,280
Speaker 1: I mean, okay, I have a feeling it is check

1281
01:01:33,360 --> 01:01:36,360
Speaker 1: fraud related or something to that effect, but don't wrote

1282
01:01:36,400 --> 01:01:39,560
Speaker 1: me on that. So there's that, the fact that the

1283
01:01:39,560 --> 01:01:45,320
Speaker 1: timeline is way off okay. Two, that they allege that

1284
01:01:45,400 --> 01:01:49,520
Speaker 1: he did not actually steal millions of dollars right, probably

1285
01:01:49,640 --> 01:01:53,040
Speaker 1: just thousands. But the way Frank tells it is in

1286
01:01:53,080 --> 01:01:55,040
Speaker 1: the film especially is that he's still like two point

1287
01:01:55,080 --> 01:01:59,439
Speaker 1: five million dollars okay, That he did not actually work

1288
01:01:59,480 --> 01:02:03,600
Speaker 1: for the FB after he was rehabilitated.

1289
01:02:04,520 --> 01:02:07,400
Speaker 2: He did not pass the bar in Louisiana.

1290
01:02:07,760 --> 01:02:10,360
Speaker 3: And maybe a.

1291
01:02:10,280 --> 01:02:14,280
Speaker 1: Little bit more sinister is the idea that so there

1292
01:02:14,320 --> 01:02:17,040
Speaker 1: is a journalist named Alan Logan who actually wrote an

1293
01:02:17,160 --> 01:02:19,760
Speaker 1: entire book about this thing called it's called the Greatest

1294
01:02:19,760 --> 01:02:23,960
Speaker 1: Hoax on Earth, Catching Truth while we can. So he

1295
01:02:24,520 --> 01:02:28,440
Speaker 1: did very hard research wrote a book about frank story. Okay,

1296
01:02:28,920 --> 01:02:35,680
Speaker 1: So basically like Frank's embellishing, the for his book, which

1297
01:02:35,760 --> 01:02:38,560
Speaker 1: is what the movie was based on, is.

1298
01:02:39,240 --> 01:02:41,520
Speaker 2: Pretty much majority and untrue.

1299
01:02:41,640 --> 01:02:46,080
Speaker 1: Okay, But that maybe there the moments that were true

1300
01:02:46,120 --> 01:02:49,400
Speaker 1: weren't as honorable as it shows in the film. Like

1301
01:02:49,720 --> 01:02:53,560
Speaker 1: in the film, Frank Junior is stealing money from corporations,

1302
01:02:53,600 --> 01:02:55,440
Speaker 1: from banks, you know, people that have a lot of

1303
01:02:55,440 --> 01:02:58,040
Speaker 1: money and maybe ruin all of our lives. And so

1304
01:02:58,200 --> 01:02:59,840
Speaker 1: I don't know, if somebody scams them out of some

1305
01:03:00,560 --> 01:03:01,360
Speaker 1: maybe that's.

1306
01:03:01,400 --> 01:03:02,040
Speaker 2: Not too bad.

1307
01:03:02,200 --> 01:03:07,640
Speaker 1: Okay, but according to this journalist, he says that Frank

1308
01:03:07,760 --> 01:03:11,800
Speaker 1: actually did steal from individuals and smaller businesses, like so

1309
01:03:12,000 --> 01:03:15,520
Speaker 1: you know, people that need money, right, they're maybe not

1310
01:03:15,560 --> 01:03:19,720
Speaker 1: the greatest thing to do. And that also there was

1311
01:03:20,080 --> 01:03:25,160
Speaker 1: a period where Frank allegedly, you know, sort of like

1312
01:03:25,240 --> 01:03:29,640
Speaker 1: met this flight attendant in one of the airlines that

1313
01:03:29,680 --> 01:03:32,640
Speaker 1: he was posing as a pilot for and actually like

1314
01:03:32,840 --> 01:03:35,040
Speaker 1: pestered the shit out of her for many months and

1315
01:03:35,080 --> 01:03:37,520
Speaker 1: like followed her around and was basically like annoying to

1316
01:03:37,560 --> 01:03:39,880
Speaker 1: her to like as part of his grift.

1317
01:03:40,000 --> 01:03:43,680
Speaker 4: I don't know, harassing, just harassing her, yes, So not

1318
01:03:44,000 --> 01:03:46,280
Speaker 4: like so these things that are happening in the movie

1319
01:03:46,320 --> 01:03:48,320
Speaker 4: of like dicapro being like, oh I'm going and like

1320
01:03:48,400 --> 01:03:51,240
Speaker 4: getting all these like beautiful young women to like walk

1321
01:03:51,440 --> 01:03:53,439
Speaker 4: me through the airport, and it's like a very free

1322
01:03:53,440 --> 01:03:54,760
Speaker 4: wheeling thing.

1323
01:03:55,520 --> 01:03:59,080
Speaker 1: Like it was actually a lot darker than I think

1324
01:03:59,080 --> 01:04:05,200
Speaker 1: that was presented in Yeah. But to the point that

1325
01:04:05,240 --> 01:04:08,720
Speaker 1: I was making earlier about liberties, the film took from

1326
01:04:08,840 --> 01:04:11,960
Speaker 1: the actual book that Frank wrote, Yeah, which we know

1327
01:04:12,160 --> 01:04:14,640
Speaker 1: is like now we know the book may have been

1328
01:04:14,720 --> 01:04:19,360
Speaker 1: sort of bullshit allegedly, right, But in the movie the

1329
01:04:19,400 --> 01:04:21,280
Speaker 1: movie actually takes a little bit of liberty with the

1330
01:04:21,760 --> 01:04:25,720
Speaker 1: story that Frank originally presented, which is that Frank was

1331
01:04:25,720 --> 01:04:29,200
Speaker 1: actually not an only child, so he had brothers and

1332
01:04:29,240 --> 01:04:32,080
Speaker 1: sisters or something. He actually never did see his father

1333
01:04:32,120 --> 01:04:34,560
Speaker 1: again after he left the house. So you know, there's

1334
01:04:34,600 --> 01:04:39,240
Speaker 1: moments in the movie where the DiCaprio character connects back

1335
01:04:39,280 --> 01:04:43,240
Speaker 1: with the with the Christopher Walking character who plays his father,

1336
01:04:43,760 --> 01:04:46,000
Speaker 1: and there's kind of this like running like, Dad, I

1337
01:04:46,040 --> 01:04:47,680
Speaker 1: want to help you. Why don't you be proud of me?

1338
01:04:47,720 --> 01:04:49,480
Speaker 1: And look what I've done, and his dad's kind of

1339
01:04:49,520 --> 01:04:54,320
Speaker 1: like not interested. But apparently, in real life, according to

1340
01:04:54,400 --> 01:04:57,920
Speaker 1: Frank in the book that he wrote, he actually never saw.

1341
01:04:57,720 --> 01:04:59,080
Speaker 2: His dad again after he ran away.

1342
01:05:00,800 --> 01:05:03,400
Speaker 4: So Frank took liberties with his own story, and then

1343
01:05:03,440 --> 01:05:05,200
Speaker 4: the movie took liberties with that story.

1344
01:05:05,400 --> 01:05:10,120
Speaker 2: Correct. So it's like a Russian nesting doll of misinformation.

1345
01:05:10,840 --> 01:05:13,240
Speaker 2: That's crazy.

1346
01:05:13,640 --> 01:05:16,560
Speaker 1: Yeah, So basically, the movie said that he was an

1347
01:05:16,560 --> 01:05:19,080
Speaker 1: only child, that he saw his father repeatedly after he

1348
01:05:19,160 --> 01:05:22,560
Speaker 1: left the house, and according to Frank's quote unquote real

1349
01:05:22,600 --> 01:05:26,520
Speaker 1: life story, his mother did not remarry.

1350
01:05:26,920 --> 01:05:30,040
Speaker 2: Her husband's rotary club friend or whoever. The James Brolin

1351
01:05:30,120 --> 01:05:34,040
Speaker 2: character like that did not happen. There was actually no

1352
01:05:34,360 --> 01:05:39,760
Speaker 2: Asian Hanratty, the real agent apparently did not want his real.

1353
01:05:39,680 --> 01:05:42,320
Speaker 1: Name to be used in the movie. Oh shit, so

1354
01:05:42,920 --> 01:05:46,080
Speaker 1: they created a fake agent. It was based on a

1355
01:05:46,080 --> 01:05:49,440
Speaker 1: real person, but you know the character was not named that, right,

1356
01:05:49,560 --> 01:05:53,120
Speaker 1: not Han. Ready disturbing to me and maybe only me.

1357
01:05:53,960 --> 01:05:57,919
Speaker 1: Apparently Frank Abigail Junior did not escape a plane through

1358
01:05:57,920 --> 01:05:58,520
Speaker 1: a toilet.

1359
01:05:59,480 --> 01:06:02,360
Speaker 3: Why, but which bums.

1360
01:06:02,000 --> 01:06:03,720
Speaker 2: Me the fuck out. If you want to get down

1361
01:06:03,760 --> 01:06:05,000
Speaker 2: to brass tacks.

1362
01:06:05,240 --> 01:06:07,280
Speaker 3: That's one of the funniest fucking parts.

1363
01:06:07,840 --> 01:06:10,480
Speaker 1: Yes, I was like, I wanted that to be true

1364
01:06:10,640 --> 01:06:14,680
Speaker 1: so badly that when I read it in the thing,

1365
01:06:14,720 --> 01:06:16,960
Speaker 1: when I was like reading the article about it, I

1366
01:06:17,000 --> 01:06:20,000
Speaker 1: was like, Frank Abigail Junior is like, no, I actually

1367
01:06:20,000 --> 01:06:23,000
Speaker 1: did not leave a plane through a toilet. I left

1368
01:06:23,000 --> 01:06:26,040
Speaker 1: through like a service entry for food or something. I

1369
01:06:26,080 --> 01:06:29,040
Speaker 1: was like, God, damn it, Hollywood what I feel.

1370
01:06:29,040 --> 01:06:32,640
Speaker 3: But he escaped the plane, but not in that way.

1371
01:06:32,800 --> 01:06:36,360
Speaker 1: No, Yeah, he escaped the plane, which again TBD if

1372
01:06:36,360 --> 01:06:40,080
Speaker 1: that's actually true at all. But according to his original story,

1373
01:06:40,120 --> 01:06:43,280
Speaker 1: he escaped from like a service.

1374
01:06:42,960 --> 01:06:47,240
Speaker 2: Door and a plane, right, that's crazy, and not the toilet.

1375
01:06:47,000 --> 01:06:50,240
Speaker 1: Which bums me out, and again, I not the level

1376
01:06:50,280 --> 01:06:53,000
Speaker 1: of betrayal you will probably talk about.

1377
01:06:54,800 --> 01:06:55,040
Speaker 3: To me.

1378
01:06:55,120 --> 01:06:57,000
Speaker 1: I was like, yo, I really wanted that guy to

1379
01:06:57,160 --> 01:07:01,640
Speaker 1: like crawl through the fucking toilet. Didn't happen, And I

1380
01:07:01,640 --> 01:07:04,959
Speaker 1: feel Spielberg owes me, man, what the fuck?

1381
01:07:06,120 --> 01:07:09,480
Speaker 2: Anyway, So so there's a lot of that. So, like

1382
01:07:09,560 --> 01:07:12,400
Speaker 2: what I like my point is is that this movie

1383
01:07:12,440 --> 01:07:16,160
Speaker 2: is so interesting because there's all these layers of like

1384
01:07:16,760 --> 01:07:20,600
Speaker 2: what's true what's not true? Right, you know, because there

1385
01:07:20,640 --> 01:07:22,640
Speaker 2: was a musical that was based off this movie at a.

1386
01:07:22,520 --> 01:07:26,360
Speaker 1: Certain point, so you know, I think my take is

1387
01:07:27,080 --> 01:07:30,959
Speaker 1: if you see the film as like this closed universe, right,

1388
01:07:31,400 --> 01:07:35,240
Speaker 1: it's very entertaining. It has great costumes and sets, you know,

1389
01:07:35,800 --> 01:07:38,680
Speaker 1: Like I said, DiCaprio is kind of firing all cylinders

1390
01:07:38,680 --> 01:07:41,560
Speaker 1: in his like late twenties dude way. I mean, the

1391
01:07:41,560 --> 01:07:43,360
Speaker 1: only thing that I will say it didn't really hit

1392
01:07:43,400 --> 01:07:45,760
Speaker 1: for me is that there's a scene where Jennifer Gardner

1393
01:07:45,800 --> 01:07:48,360
Speaker 1: plays a high priced call girl, and I'm like, I'm

1394
01:07:48,360 --> 01:07:49,280
Speaker 1: not buying this at all.

1395
01:07:49,320 --> 01:07:51,160
Speaker 2: I don't know, why not at all?

1396
01:07:51,920 --> 01:07:53,880
Speaker 3: Yeah, not buying her as a sex worker at all.

1397
01:07:54,120 --> 01:07:54,440
Speaker 3: I'm not.

1398
01:07:54,760 --> 01:07:57,760
Speaker 2: I don't know. I think like we've seen too much

1399
01:07:57,800 --> 01:07:59,760
Speaker 2: of her. I just couldn't. I couldn't do it. And

1400
01:07:59,800 --> 01:08:01,920
Speaker 2: so it's like, but it goes back to that question

1401
01:08:02,000 --> 01:08:03,680
Speaker 2: we originally asked the beginning of the episode. It's like,

1402
01:08:03,960 --> 01:08:05,520
Speaker 2: isn't weird to know the real story?

1403
01:08:05,800 --> 01:08:06,680
Speaker 3: Yeah?

1404
01:08:06,960 --> 01:08:09,480
Speaker 1: The layers of like what's true and untrue is very

1405
01:08:09,480 --> 01:08:12,320
Speaker 1: complicated in this film. I mean it's like, I guess

1406
01:08:12,360 --> 01:08:14,640
Speaker 1: it sort of tracks that like a real life con

1407
01:08:14,680 --> 01:08:18,920
Speaker 1: man might have conned everybody into thinking his story was

1408
01:08:19,120 --> 01:08:20,519
Speaker 1: more interesting than it actually is.

1409
01:08:20,920 --> 01:08:22,799
Speaker 2: That feels right to a certain degree.

1410
01:08:23,560 --> 01:08:25,959
Speaker 1: And the fact that everything kind of ends up nicely

1411
01:08:26,040 --> 01:08:27,960
Speaker 1: at the end, I mean, I guess that is it

1412
01:08:28,000 --> 01:08:31,000
Speaker 1: does make me feel weird knowing that it wasn't like that.

1413
01:08:32,080 --> 01:08:35,640
Speaker 1: But again, if you kind of pull back and you

1414
01:08:35,760 --> 01:08:38,200
Speaker 1: just see the movie for what it is, and you

1415
01:08:38,240 --> 01:08:42,040
Speaker 1: see it as a contained environment of story that's kind

1416
01:08:42,040 --> 01:08:45,240
Speaker 1: of independent of the real story, it can be a

1417
01:08:45,240 --> 01:08:46,160
Speaker 1: fun film to watch.

1418
01:08:46,600 --> 01:08:49,080
Speaker 4: Yeah, totally, I think it's super fun to watch. It's

1419
01:08:49,160 --> 01:08:52,760
Speaker 4: just again wild that the con man conned everyone on

1420
01:08:52,840 --> 01:08:56,360
Speaker 4: his own story. Like his own story was wild enough.

1421
01:08:56,560 --> 01:09:00,559
Speaker 4: It sounds like that he didn't need to lie about

1422
01:09:00,600 --> 01:09:04,360
Speaker 4: it so so intensely, like you could have just told

1423
01:09:04,400 --> 01:09:07,000
Speaker 4: the one or two things that were true and talked

1424
01:09:07,000 --> 01:09:08,920
Speaker 4: about like how that felt or what it was like.

1425
01:09:08,960 --> 01:09:11,080
Speaker 4: I mean, you could have just expanded on that and

1426
01:09:11,120 --> 01:09:14,120
Speaker 4: had it been Yeah, a great story, but then to

1427
01:09:14,120 --> 01:09:17,040
Speaker 4: have a movie based on it is crazy.

1428
01:09:17,040 --> 01:09:17,719
Speaker 3: It's wild.

1429
01:09:18,000 --> 01:09:18,360
Speaker 2: Yeah.

1430
01:09:18,600 --> 01:09:20,599
Speaker 1: Sometimes I would catch myself thinking about it too much

1431
01:09:20,640 --> 01:09:22,800
Speaker 1: and be like, knowing what I know now, it's like,

1432
01:09:22,880 --> 01:09:24,040
Speaker 1: what the fuck this movie?

1433
01:09:24,560 --> 01:09:26,000
Speaker 2: Like what is this now to me?

1434
01:09:26,120 --> 01:09:29,080
Speaker 1: I don't know, but I think I'm gonna try to

1435
01:09:29,120 --> 01:09:31,639
Speaker 1: stay in that space of like seeing this movie as

1436
01:09:31,640 --> 01:09:32,120
Speaker 1: a text.

1437
01:09:32,920 --> 01:09:36,200
Speaker 2: It's its own little universe. It wraps up in the

1438
01:09:36,200 --> 01:09:36,920
Speaker 2: way it wraps up.

1439
01:09:36,960 --> 01:09:39,080
Speaker 1: It may not have been true to life, but you

1440
01:09:39,120 --> 01:09:41,680
Speaker 1: know know this too. I mean this kind of how

1441
01:09:41,680 --> 01:09:44,320
Speaker 1: I felt about blood Sport as well. To go back

1442
01:09:44,360 --> 01:09:47,920
Speaker 1: to that, it's like, I fucking love blood Sport, right.

1443
01:09:48,160 --> 01:09:51,960
Speaker 2: Like I want to believe that a Kuma Tate is fuck.

1444
01:09:56,200 --> 01:09:59,640
Speaker 1: So I'm just gonna like remember, like stay in the

1445
01:09:59,640 --> 01:10:02,800
Speaker 1: fan I see of the Kuma te and try to

1446
01:10:02,800 --> 01:10:05,040
Speaker 1: pretend that I don't know that.

1447
01:10:04,960 --> 01:10:06,120
Speaker 2: There's not a Koomit.

1448
01:10:06,320 --> 01:10:06,880
Speaker 4: Oh good.

1449
01:10:07,240 --> 01:10:08,840
Speaker 3: So I think you're right.

1450
01:10:09,120 --> 01:10:11,679
Speaker 4: This movie works on its own as just a film.

1451
01:10:11,840 --> 01:10:14,600
Speaker 4: If you don't think of it as a true life story.

1452
01:10:14,760 --> 01:10:16,320
Speaker 3: It's an entertaining film.

1453
01:10:16,280 --> 01:10:18,679
Speaker 4: Yes, but you get I get annoyed when I realized

1454
01:10:18,720 --> 01:10:20,760
Speaker 4: there's so much about what like hearing that ninety to

1455
01:10:20,840 --> 01:10:23,880
Speaker 4: ninety five percent of it was fake is annoying.

1456
01:10:24,080 --> 01:10:26,200
Speaker 1: Yeah, it's yeah, I have to say, it's annoying as

1457
01:10:26,240 --> 01:10:28,360
Speaker 1: shit and like, and the funny thing is is that

1458
01:10:28,439 --> 01:10:31,439
Speaker 1: I feel like this movie, like a lot of people

1459
01:10:31,880 --> 01:10:35,120
Speaker 1: love this movie in the Spielberg universe, Like people are like, oh,

1460
01:10:35,160 --> 01:10:36,600
Speaker 1: this is like kind of a movie.

1461
01:10:36,320 --> 01:10:39,599
Speaker 2: That everybody forgets that he did. But it's actually like.

1462
01:10:39,640 --> 01:10:44,280
Speaker 1: Really charming and entertaining, and I get that it can be.

1463
01:10:44,640 --> 01:10:45,880
Speaker 1: I mean, you know, like I said, I think it's

1464
01:10:45,920 --> 01:10:49,840
Speaker 1: a little too long tbh. But yeah, but yeah, it

1465
01:10:49,960 --> 01:10:52,600
Speaker 1: is disappointing to know some of this other stuff. And

1466
01:10:52,640 --> 01:10:55,759
Speaker 1: then it's kind of also to that question of Okay,

1467
01:10:55,800 --> 01:10:59,000
Speaker 1: so we've made this like really fun, cool guy that

1468
01:10:59,040 --> 01:11:01,640
Speaker 1: we want to win character out of a guy that

1469
01:11:02,120 --> 01:11:04,200
Speaker 1: I don't know. It's more complicated for him, and the

1470
01:11:04,240 --> 01:11:06,000
Speaker 1: real life character may have been shadier.

1471
01:11:06,080 --> 01:11:06,920
Speaker 2: Who knows?

1472
01:11:07,400 --> 01:11:09,360
Speaker 3: So fascinating.

1473
01:11:09,880 --> 01:11:12,520
Speaker 4: Oh my god, Well, thank you for bringing that information

1474
01:11:13,160 --> 01:11:15,120
Speaker 4: to the pod, because I did not know that when

1475
01:11:15,160 --> 01:11:16,080
Speaker 4: I saw this movie.

1476
01:11:15,840 --> 01:11:17,800
Speaker 3: The first time, or when I was watching it again

1477
01:11:17,960 --> 01:11:18,479
Speaker 3: for the pod.

1478
01:11:18,800 --> 01:11:21,000
Speaker 2: Well, and like truly I didn't. I'm only like skimming

1479
01:11:21,000 --> 01:11:21,639
Speaker 2: the surface here.

1480
01:11:21,680 --> 01:11:26,200
Speaker 1: There's so much info about this story, like there's a

1481
01:11:26,439 --> 01:11:29,960
Speaker 1: six part at least a six part podcast I started

1482
01:11:29,960 --> 01:11:33,400
Speaker 1: listening to when I was doing research. So you guys

1483
01:11:33,400 --> 01:11:35,920
Speaker 1: can dive in if you want. I mean, it's out

1484
01:11:35,920 --> 01:11:36,360
Speaker 1: there for you.

1485
01:11:36,400 --> 01:11:38,200
Speaker 2: I'm sure you probably have to be honest because this

1486
01:11:38,240 --> 01:11:40,639
Speaker 2: story has been around for a while. But anyway, that's

1487
01:11:40,720 --> 01:11:41,200
Speaker 2: my movie.

1488
01:11:41,320 --> 01:11:51,559
Speaker 5: I am ready to switch gears, baby, let's do it.

1489
01:11:51,760 --> 01:11:55,439
Speaker 4: My movie was released in twenty sixteen. The screenplay is

1490
01:11:55,439 --> 01:11:59,600
Speaker 4: by Craig Schiliwitch and that was directed by Antonio Campos.

1491
01:11:59,600 --> 01:12:01,520
Speaker 3: And my movie is Christine.

1492
01:12:01,760 --> 01:12:03,120
Speaker 2: Have you seen the flowers?

1493
01:12:03,160 --> 01:12:03,320
Speaker 3: Here?

1494
01:12:03,640 --> 01:12:07,360
Speaker 1: Fake sounds out the whole operation, Christine go.

1495
01:12:07,479 --> 01:12:11,880
Speaker 4: Home, and it is not the Christine of Stephen King fame.

1496
01:12:12,640 --> 01:12:14,200
Speaker 3: This movie is about.

1497
01:12:13,920 --> 01:12:17,720
Speaker 4: A reporter or real life reporter named Christine Chubbuck and

1498
01:12:17,920 --> 01:12:21,720
Speaker 4: a one sentence synopsis before we dig In. As the

1499
01:12:21,760 --> 01:12:25,559
Speaker 4: news format for a local station in Sarasota, Florida moves

1500
01:12:25,560 --> 01:12:30,280
Speaker 4: its focus towards violence, an awkward and ambitious TV reporter

1501
01:12:30,360 --> 01:12:35,000
Speaker 4: struggles to adapt culminating in a tragic decision that is

1502
01:12:35,040 --> 01:12:38,479
Speaker 4: absolutely right, and that is what happens. So what I

1503
01:12:38,520 --> 01:12:41,400
Speaker 4: will say about Christine Chubbuck and I'm going to go

1504
01:12:41,439 --> 01:12:43,519
Speaker 4: into just like Millie did. We'll talk about the movie

1505
01:12:43,640 --> 01:12:46,400
Speaker 4: version of her and then the real life version of her.

1506
01:12:47,040 --> 01:12:50,360
Speaker 4: But she is known for and the reason this movie

1507
01:12:50,400 --> 01:12:53,320
Speaker 4: exists is because she was the first person to die

1508
01:12:53,400 --> 01:12:55,040
Speaker 4: by suicide on live TV.

1509
01:12:55,800 --> 01:12:56,200
Speaker 2: Wow.

1510
01:12:56,880 --> 01:13:01,480
Speaker 4: And her death also inspired the movie Network, where spoiler

1511
01:13:01,479 --> 01:13:04,080
Speaker 4: alert broadcaster is murdered on air.

1512
01:13:04,640 --> 01:13:07,120
Speaker 2: Wow. I didn't actually know that Wow.

1513
01:13:07,240 --> 01:13:10,439
Speaker 3: Yeah, me either. Until I started doing some research.

1514
01:13:10,479 --> 01:13:12,280
Speaker 4: I was like, oh, that makes sense, because then you look,

1515
01:13:12,720 --> 01:13:14,240
Speaker 4: if you read about it, you're like, Wow, there's a

1516
01:13:14,280 --> 01:13:19,080
Speaker 4: lot of instances after her where people either died by

1517
01:13:19,120 --> 01:13:23,240
Speaker 4: suicide or were assassinated or murdered on air, you know,

1518
01:13:23,320 --> 01:13:25,960
Speaker 4: following this event in nineteen seventy four.

1519
01:13:26,120 --> 01:13:26,559
Speaker 2: Wow.

1520
01:13:26,880 --> 01:13:29,639
Speaker 4: So that's where I find out that the movie Network

1521
01:13:29,680 --> 01:13:32,200
Speaker 4: is kind of based on this or inspired by this.

1522
01:13:34,120 --> 01:13:38,559
Speaker 4: So in the movie, Christine Chubbeck is she's out of

1523
01:13:38,600 --> 01:13:41,759
Speaker 4: place everywhere, and she's played I think expertly by Rebecca

1524
01:13:41,840 --> 01:13:43,880
Speaker 4: Hall no relation to Michael C.

1525
01:13:44,040 --> 01:13:48,560
Speaker 3: Hall who's also in the film. Yeah, But she has.

1526
01:13:49,160 --> 01:13:50,920
Speaker 4: She's you know, she's at work and she's kind of

1527
01:13:50,960 --> 01:13:54,400
Speaker 4: direct and confrontational, but she's also just really passionate and

1528
01:13:54,439 --> 01:13:59,559
Speaker 4: she's determined to stay focused on issue oriented, character based reporting,

1529
01:13:59,840 --> 01:14:02,200
Speaker 4: so she's not into, as she would call it, fender

1530
01:14:02,240 --> 01:14:06,000
Speaker 4: bender reporting. And she lives with her mom in this

1531
01:14:06,080 --> 01:14:09,759
Speaker 4: kind of two bedroom apartment in Florida and Sarasota, Florida,

1532
01:14:09,840 --> 01:14:12,280
Speaker 4: and she's really decisive, but she's also when you see

1533
01:14:12,280 --> 01:14:14,440
Speaker 4: her at home, you realize she's also kind of obsessive,

1534
01:14:14,920 --> 01:14:16,519
Speaker 4: and she always feels like she's at the back of

1535
01:14:16,560 --> 01:14:18,839
Speaker 4: the line at work, so she's kind of always working

1536
01:14:18,880 --> 01:14:22,800
Speaker 4: obsessively hard to get where she wants to be, and

1537
01:14:22,920 --> 01:14:25,880
Speaker 4: her major roadblock is her boss, Mike, who's played by

1538
01:14:26,439 --> 01:14:29,479
Speaker 4: Tracy Letts. And she kind of has a friend in

1539
01:14:29,920 --> 01:14:34,200
Speaker 4: this camera woman named Jean played by Maria Dizzia, but

1540
01:14:34,280 --> 01:14:36,639
Speaker 4: she doesn't have a lot of real support at work.

1541
01:14:37,000 --> 01:14:39,519
Speaker 4: She kind of talks to the anchor, George, who's played

1542
01:14:39,520 --> 01:14:40,000
Speaker 4: by Michael C.

1543
01:14:40,120 --> 01:14:40,320
Speaker 3: Hall.

1544
01:14:40,840 --> 01:14:43,320
Speaker 4: She talks to George and helps him with his copy

1545
01:14:43,400 --> 01:14:45,439
Speaker 4: and like thinks they have a rapport, and she also

1546
01:14:45,479 --> 01:14:48,439
Speaker 4: has a crush on him. But you can tell that

1547
01:14:48,479 --> 01:14:53,120
Speaker 4: people think she's kind of intense at work. So on

1548
01:14:53,200 --> 01:14:55,320
Speaker 4: top of this, she also finds out that she has

1549
01:14:55,360 --> 01:14:57,719
Speaker 4: a tumor on one of her ovaries, and she's basically

1550
01:14:57,760 --> 01:14:59,840
Speaker 4: told that it's going to make having a child more

1551
01:15:00,000 --> 01:15:01,720
Speaker 4: difficult and that if she doesn't have a baby in

1552
01:15:01,720 --> 01:15:04,479
Speaker 4: the next like two or three years, it might not

1553
01:15:04,520 --> 01:15:07,600
Speaker 4: ever happen. But we find out eventually that she's a

1554
01:15:07,680 --> 01:15:10,080
Speaker 4: virgin and she's on the verge of her thirtieth birthday,

1555
01:15:10,160 --> 01:15:13,720
Speaker 4: so this news hits her particularly hard, and this unrequited

1556
01:15:13,800 --> 01:15:15,559
Speaker 4: crush on George is not helping.

1557
01:15:16,560 --> 01:15:18,280
Speaker 3: She writes about it in her journal.

1558
01:15:17,960 --> 01:15:20,160
Speaker 4: But she seems really stumped about how to kind of

1559
01:15:20,200 --> 01:15:25,280
Speaker 4: proceed in real life with him, and she's also kind

1560
01:15:25,280 --> 01:15:28,439
Speaker 4: of having these these real knocks happening at work. So

1561
01:15:28,600 --> 01:15:32,800
Speaker 4: Jeane kind of leapfrogs her in the workspace because Mike

1562
01:15:32,880 --> 01:15:36,200
Speaker 4: turns down an idea that Christine brings him at the

1563
01:15:36,240 --> 01:15:39,800
Speaker 4: same time approving Jean's story because she's focusing on a

1564
01:15:39,880 --> 01:15:43,439
Speaker 4: serial killer. And Jeane's like, cheer up, you know, like

1565
01:15:43,560 --> 01:15:46,160
Speaker 4: let's ditch work and we can do something I like

1566
01:15:46,240 --> 01:15:48,639
Speaker 4: to do, which is like eat ice cream and sing.

1567
01:15:48,720 --> 01:15:51,880
Speaker 4: And Christine's like, now I'm not having it. So one

1568
01:15:51,880 --> 01:15:54,000
Speaker 4: thing I also like, really and I brought that up

1569
01:15:54,000 --> 01:15:56,600
Speaker 4: because it will come back again. But one thing I

1570
01:15:56,680 --> 01:15:58,800
Speaker 4: really also noticed in this film is the kind of

1571
01:15:58,920 --> 01:16:00,639
Speaker 4: childlike elements of her life.

1572
01:16:00,720 --> 01:16:03,360
Speaker 3: So she volunteers at this children hospital.

1573
01:16:03,400 --> 01:16:05,679
Speaker 4: She does this kind of sock puppet show with handmade

1574
01:16:05,680 --> 01:16:07,960
Speaker 4: puppets that are kind of just based on whatever her

1575
01:16:07,960 --> 01:16:11,280
Speaker 4: thoughts are for the day, and the set design of

1576
01:16:11,320 --> 01:16:15,200
Speaker 4: her bedroom is really childlike. So she apparently moved to

1577
01:16:15,320 --> 01:16:19,760
Speaker 4: Sarasota from Boston a year before, so her bedroom is

1578
01:16:19,840 --> 01:16:23,559
Speaker 4: kind of intentionally childlike. And there's always these hints that

1579
01:16:23,680 --> 01:16:26,799
Speaker 4: something happened in Boston, like some kind of mental break,

1580
01:16:27,600 --> 01:16:33,400
Speaker 4: and according to her mother. Her mother seems to intimate

1581
01:16:33,439 --> 01:16:37,960
Speaker 4: that her depression or mental health status is based on

1582
01:16:38,000 --> 01:16:40,320
Speaker 4: the fact that she's not been able to find love,

1583
01:16:41,240 --> 01:16:42,880
Speaker 4: and you can kind of see that play out a

1584
01:16:42,920 --> 01:16:45,439
Speaker 4: little bit. There's a scene where she approaches this dining

1585
01:16:45,520 --> 01:16:49,559
Speaker 4: couple and it's really sad, even though she's saying something

1586
01:16:49,600 --> 01:16:51,759
Speaker 4: really happy, like she does doesn't know how to react

1587
01:16:51,760 --> 01:16:53,920
Speaker 4: to love, let alone find it for herself. So she

1588
01:16:54,000 --> 01:16:57,080
Speaker 4: kind of approaches this couple and she's like, you know,

1589
01:16:57,479 --> 01:16:58,880
Speaker 4: you guys are great, like you should hold on to

1590
01:16:58,920 --> 01:16:59,240
Speaker 4: what you have.

1591
01:16:59,280 --> 01:17:00,280
Speaker 3: And I'm a reporter, and like.

1592
01:17:00,280 --> 01:17:02,320
Speaker 4: We're always looking for human interest stories. But like the

1593
01:17:02,320 --> 01:17:06,040
Speaker 4: fact that she thinks love like normal relationships stuff is

1594
01:17:06,080 --> 01:17:10,559
Speaker 4: a human interest story is kind of sad. But something

1595
01:17:10,560 --> 01:17:12,920
Speaker 4: else that's like so interesting to me about this movie

1596
01:17:13,080 --> 01:17:15,720
Speaker 4: is so it takes place in nineteen seventy four, So

1597
01:17:15,800 --> 01:17:18,920
Speaker 4: second wave feminism is in full swing, and women are

1598
01:17:19,000 --> 01:17:21,920
Speaker 4: kind of slowly gaining more rights. Like remember we're at

1599
01:17:22,000 --> 01:17:24,760
Speaker 4: a time before women could even have credit cards without

1600
01:17:24,760 --> 01:17:27,479
Speaker 4: their husband or father signing for it, they could bank accounts,

1601
01:17:27,479 --> 01:17:29,439
Speaker 4: like there wasn't a lot that women could do culturally

1602
01:17:29,479 --> 01:17:32,439
Speaker 4: on their own. So that's all starting to change around

1603
01:17:32,479 --> 01:17:35,080
Speaker 4: this time. But she's still, you know, Christina is still

1604
01:17:35,120 --> 01:17:37,519
Speaker 4: kind of stuck in this world where those changes haven't

1605
01:17:37,600 --> 01:17:41,200
Speaker 4: hit where she is yet, and she's stuck, Like she

1606
01:17:41,280 --> 01:17:44,879
Speaker 4: has all the vigor of someone who would absolutely benefit

1607
01:17:44,920 --> 01:17:47,519
Speaker 4: from feminism, but she has none of the outlets, so

1608
01:17:47,520 --> 01:17:50,240
Speaker 4: she doesn't have any friends or community, Like there's no

1609
01:17:50,439 --> 01:17:53,599
Speaker 4: immediate way for her to fully immerse herself or express

1610
01:17:53,600 --> 01:17:56,080
Speaker 4: herself in a way that would be in line with

1611
01:17:56,200 --> 01:17:59,479
Speaker 4: this changing world. And I think that Rebecca Hall again

1612
01:17:59,520 --> 01:18:02,320
Speaker 4: does such a great job of like presenting this friction

1613
01:18:02,520 --> 01:18:04,680
Speaker 4: that Christine must have been feeling, because she has this

1614
01:18:04,760 --> 01:18:07,720
Speaker 4: kind of terse mouth and the seriousness and this kind

1615
01:18:07,720 --> 01:18:10,200
Speaker 4: of dark sense of humor. So she's kind of like

1616
01:18:10,560 --> 01:18:13,559
Speaker 4: portraying how physically uncomfortable Christine was in the world. So

1617
01:18:13,640 --> 01:18:15,720
Speaker 4: Christine tries to she tries to kind of fall in

1618
01:18:15,800 --> 01:18:17,960
Speaker 4: line and tries to cover this house fire, but Mike

1619
01:18:18,040 --> 01:18:19,720
Speaker 4: hates it and he's like, oh, it's just a close

1620
01:18:19,800 --> 01:18:21,679
Speaker 4: up of the guy, like you didn't even show the fire,

1621
01:18:22,400 --> 01:18:25,519
Speaker 4: and she like the thought process that she has about

1622
01:18:25,520 --> 01:18:29,559
Speaker 4: this is so specific too, And she eventually finds out

1623
01:18:29,600 --> 01:18:32,000
Speaker 4: that the station owner is buying a TV station in

1624
01:18:32,280 --> 01:18:35,680
Speaker 4: Baltimore and that he's going to poach someone from Florida

1625
01:18:36,120 --> 01:18:38,320
Speaker 4: to be an anchor. So he's going to be around

1626
01:18:38,400 --> 01:18:43,360
Speaker 4: for a few weeks watching everyone and the boss, the

1627
01:18:43,800 --> 01:18:46,439
Speaker 4: owner of the station, Bob Anderson, is played by John Cullum,

1628
01:18:46,439 --> 01:18:49,599
Speaker 4: who a lot of you will remember from Northern Exposure,

1629
01:18:50,160 --> 01:18:55,360
Speaker 4: amongst other things. Ah, but he was married to Shelley

1630
01:18:55,400 --> 01:18:59,479
Speaker 4: and Northern Exposure. Then Christine wants it. She's like, I

1631
01:18:59,520 --> 01:19:01,960
Speaker 4: want Balton more for sure. So now there's a clock

1632
01:19:02,120 --> 01:19:03,840
Speaker 4: put on her leveling up because she only has a

1633
01:19:03,840 --> 01:19:05,960
Speaker 4: couple of weeks to impress the owner of the station,

1634
01:19:06,840 --> 01:19:08,759
Speaker 4: and she goes so far as to get a police

1635
01:19:08,760 --> 01:19:11,920
Speaker 4: scanner to help her find stories, and that leads her

1636
01:19:11,960 --> 01:19:15,200
Speaker 4: to this guy who's kind of fixing cars for the police,

1637
01:19:15,200 --> 01:19:18,479
Speaker 4: but he also sells and fixes guns, and she's like, is.

1638
01:19:18,439 --> 01:19:19,160
Speaker 3: There anything here?

1639
01:19:19,280 --> 01:19:21,160
Speaker 4: Like she's just kind of going around town meeting people

1640
01:19:21,160 --> 01:19:24,400
Speaker 4: trying to see if there's any kind of story, and

1641
01:19:24,520 --> 01:19:27,880
Speaker 4: after her story ideas turned down and Jeans is approved,

1642
01:19:28,280 --> 01:19:30,519
Speaker 4: she's really just fighting with everyone. Like she tells off

1643
01:19:30,560 --> 01:19:32,800
Speaker 4: her boss and she yells at her mom, and one

1644
01:19:32,840 --> 01:19:34,519
Speaker 4: of the things that she yells at her mom is

1645
01:19:34,560 --> 01:19:37,360
Speaker 4: that her mom didn't prepare her for life, because her

1646
01:19:37,360 --> 01:19:40,000
Speaker 4: mom is played by j Smith Cameron, who's kind of

1647
01:19:40,000 --> 01:19:44,679
Speaker 4: this like very hippyish, like easygoing, floating kind of woman,

1648
01:19:45,360 --> 01:19:47,479
Speaker 4: and she's like, you didn't prepare me for life, and

1649
01:19:47,640 --> 01:19:50,040
Speaker 4: it's probably true, like she didn't prepare her for the

1650
01:19:50,080 --> 01:19:52,839
Speaker 4: life that she's living now in the current cultural climate

1651
01:19:52,840 --> 01:19:56,040
Speaker 4: that she's in, because you know, in real life, her

1652
01:19:56,080 --> 01:19:59,040
Speaker 4: mother Peg was a stay at home mom who never

1653
01:19:59,080 --> 01:20:01,840
Speaker 4: had to work and kind of affluent, and even after

1654
01:20:01,880 --> 01:20:06,000
Speaker 4: she got divorced from Christine's dad, she was still kind

1655
01:20:06,040 --> 01:20:09,439
Speaker 4: of in that able to live in that mindset in

1656
01:20:09,439 --> 01:20:11,960
Speaker 4: a way that Christine wasn't able to live in. So

1657
01:20:12,880 --> 01:20:16,559
Speaker 4: the final insult comes when George asks her for dinner

1658
01:20:17,400 --> 01:20:21,840
Speaker 4: and then after dinner takes her to this transactional analysis meeting,

1659
01:20:21,880 --> 01:20:25,400
Speaker 4: which is basically group therapy and they're not even grouped together.

1660
01:20:26,280 --> 01:20:28,599
Speaker 4: But this is where we learn that she's always wanted

1661
01:20:28,600 --> 01:20:30,920
Speaker 4: a husband and a baby and a job. But then

1662
01:20:31,040 --> 01:20:33,680
Speaker 4: George drops the hammer that he's the one who's been

1663
01:20:33,720 --> 01:20:37,320
Speaker 4: chosen to go to Baltimore and he's bringing the sports

1664
01:20:37,360 --> 01:20:41,240
Speaker 4: reporter Andrea with him. Then he has the fucking nerve

1665
01:20:41,280 --> 01:20:43,120
Speaker 4: to say to her, but maybe you can still help

1666
01:20:43,160 --> 01:20:46,720
Speaker 4: me with my copy. Like this is where the feminism

1667
01:20:46,760 --> 01:20:49,880
Speaker 4: of this movie is. I'm like, oh, this could have

1668
01:20:49,920 --> 01:20:52,839
Speaker 4: benefited her so much. It would might not have changed anything,

1669
01:20:52,840 --> 01:20:54,920
Speaker 4: but it would have helped her mindset so much.

1670
01:20:56,080 --> 01:20:59,559
Speaker 1: Dude, imagine going on a date with some guy. Like,

1671
01:20:59,600 --> 01:21:01,360
Speaker 1: imagine thinking you're about to go on a date with

1672
01:21:01,400 --> 01:21:04,479
Speaker 1: some guy. You have a great dinner, and then you're

1673
01:21:04,520 --> 01:21:08,120
Speaker 1: in the parking lot of his high school and you're thinking,

1674
01:21:08,600 --> 01:21:10,800
Speaker 1: is he taking me here to make out with me,

1675
01:21:11,840 --> 01:21:13,000
Speaker 1: but instead.

1676
01:21:12,920 --> 01:21:21,200
Speaker 2: He brings you to group therapy seventies ass group therapy.

1677
01:21:21,400 --> 01:21:24,000
Speaker 4: And instead of yes, and they just keep asking each

1678
01:21:24,040 --> 01:21:26,400
Speaker 4: other yes or saying to each other yes. But so

1679
01:21:26,479 --> 01:21:28,920
Speaker 4: somebody will pose a question, they're like, yes, but I

1680
01:21:28,960 --> 01:21:30,720
Speaker 4: can't do that because of this, and they're like, well,

1681
01:21:30,720 --> 01:21:32,960
Speaker 4: then you can do this, yes. But it's like a

1682
01:21:32,960 --> 01:21:35,840
Speaker 4: weird mix of improv and therapy that I would not

1683
01:21:35,880 --> 01:21:36,400
Speaker 4: be down with.

1684
01:21:36,840 --> 01:21:40,519
Speaker 2: But I would have been like, so this motherfucker actually

1685
01:21:40,560 --> 01:21:43,320
Speaker 2: doesn't want a romance with me. He just thinks I.

1686
01:21:43,240 --> 01:21:44,880
Speaker 3: Need therapy exactly.

1687
01:21:45,160 --> 01:21:46,679
Speaker 1: I would have been like, you know what, you could

1688
01:21:46,680 --> 01:21:51,120
Speaker 1: take your fucking football trophy ass shit and put it

1689
01:21:51,280 --> 01:21:52,559
Speaker 1: right in your fucking ass.

1690
01:21:55,200 --> 01:21:58,080
Speaker 4: Doesn't even respect me enough to actually say that to

1691
01:21:58,120 --> 01:21:58,960
Speaker 4: my fucking face.

1692
01:22:01,360 --> 01:22:02,720
Speaker 2: You know how many fucking.

1693
01:22:03,960 --> 01:22:08,360
Speaker 1: Dresses that I went through earlier thinking I was gonna

1694
01:22:08,520 --> 01:22:11,040
Speaker 1: entice you, and now you're just we're in the park

1695
01:22:11,040 --> 01:22:12,280
Speaker 1: a lot of your high school and you're about to

1696
01:22:12,320 --> 01:22:15,479
Speaker 1: fucking take me to New Age bullshit.

1697
01:22:15,960 --> 01:22:16,559
Speaker 2: Oh my god.

1698
01:22:16,960 --> 01:22:19,120
Speaker 4: And look this is the final straw for her, I

1699
01:22:19,160 --> 01:22:22,320
Speaker 4: think in the film, because what she does after that

1700
01:22:22,439 --> 01:22:24,960
Speaker 4: is she asks Mike for permission to lead a story

1701
01:22:25,000 --> 01:22:27,679
Speaker 4: from the news desk one night, and then she goes

1702
01:22:27,760 --> 01:22:30,880
Speaker 4: back to this dude Dice and buys a gun.

1703
01:22:31,400 --> 01:22:31,719
Speaker 3: Wow.

1704
01:22:31,800 --> 01:22:36,560
Speaker 4: Yeah, And she's doing this broadcast and she covers, you know,

1705
01:22:36,600 --> 01:22:39,160
Speaker 4: a couple of stories, like leading stories, and she's doing

1706
01:22:39,160 --> 01:22:41,920
Speaker 4: it in her very like monotone, kind of stunted way.

1707
01:22:42,640 --> 01:22:45,920
Speaker 4: And then she reads and I'll read you her direct

1708
01:22:46,160 --> 01:22:51,679
Speaker 4: quote that she wrote. In keeping with the w XLT

1709
01:22:51,880 --> 01:22:55,400
Speaker 4: practice of presenting the most immediate and complete reports of

1710
01:22:55,479 --> 01:22:59,600
Speaker 4: local blood and guts news, TV forty presents what is

1711
01:22:59,640 --> 01:23:03,600
Speaker 4: believed to be a television first, in living color and

1712
01:23:03,720 --> 01:23:08,080
Speaker 4: exclusive coverage of an attempted suicide. And then she pulls

1713
01:23:08,120 --> 01:23:12,559
Speaker 4: out her gun and shoots herself behind the ear and

1714
01:23:12,720 --> 01:23:16,920
Speaker 4: is pronounced dead fourteen hours later. So those were her

1715
01:23:16,960 --> 01:23:17,519
Speaker 4: last words.

1716
01:23:17,720 --> 01:23:18,360
Speaker 2: Yeah.

1717
01:23:18,479 --> 01:23:23,360
Speaker 4: She also, come to find out, wrote her own coverage.

1718
01:23:23,400 --> 01:23:26,200
Speaker 4: So she as Mike is kind of looking through he's

1719
01:23:26,240 --> 01:23:28,880
Speaker 4: like stunned, and he's kind of looking through the folder

1720
01:23:28,880 --> 01:23:30,600
Speaker 4: that she'd brought out with her on the desk, and

1721
01:23:30,640 --> 01:23:33,840
Speaker 4: there's she left instructions basically on how to report what

1722
01:23:34,000 --> 01:23:34,559
Speaker 4: just happened.

1723
01:23:35,400 --> 01:23:36,160
Speaker 3: So it's wild.

1724
01:23:36,280 --> 01:23:39,439
Speaker 4: So that is the story that's presented in the movie

1725
01:23:39,600 --> 01:23:41,519
Speaker 4: and the things that bothered me about it and made

1726
01:23:41,520 --> 01:23:43,679
Speaker 4: me want to look deeper into the story. Is there's

1727
01:23:43,720 --> 01:23:48,000
Speaker 4: this kind of soundtrack of like twinkly music throughout that

1728
01:23:48,080 --> 01:23:52,080
Speaker 4: I think doesn't match her mood. And at the end

1729
01:23:52,160 --> 01:23:57,960
Speaker 4: of the film, Jeane writes this memorial about Christine, and

1730
01:23:58,000 --> 01:24:02,559
Speaker 4: then she goes home and eats ice cream and sings

1731
01:24:02,720 --> 01:24:05,439
Speaker 4: to the soundtrack of the fucking Mary Tyler Moore Show

1732
01:24:05,439 --> 01:24:06,559
Speaker 4: as she turns on her TV.

1733
01:24:07,200 --> 01:24:10,600
Speaker 3: And that is the end of the movie. Yeah, And

1734
01:24:10,640 --> 01:24:12,799
Speaker 3: I'm like, what are you trying to say in this moment?

1735
01:24:12,960 --> 01:24:15,439
Speaker 4: Like I could not figure out what are you trying

1736
01:24:15,479 --> 01:24:17,640
Speaker 4: to say? Cause She's just kind of like life moves on.

1737
01:24:18,080 --> 01:24:19,920
Speaker 4: I'm just gonna eat ice cream and sing and forget

1738
01:24:19,960 --> 01:24:22,240
Speaker 4: about my friend who just shot herself on the fucking.

1739
01:24:21,960 --> 01:24:26,479
Speaker 3: Head at work on live TV. Why end with her?

1740
01:24:27,240 --> 01:24:29,600
Speaker 1: There was a moment where I thought, is this the

1741
01:24:29,840 --> 01:24:34,000
Speaker 1: bleakest ending to a movie I've ever seen? Because I'm like,

1742
01:24:34,360 --> 01:24:39,800
Speaker 1: here is somebody who has worked alongside this woman at

1743
01:24:39,800 --> 01:24:42,120
Speaker 1: some point, like try to strack up a friendship with her,

1744
01:24:43,800 --> 01:24:47,000
Speaker 1: was kind of like her right hand person in a

1745
01:24:47,000 --> 01:24:52,280
Speaker 1: lot of ways. She watched her, you know, basically die

1746
01:24:52,320 --> 01:24:53,839
Speaker 1: by suicide.

1747
01:24:54,000 --> 01:24:56,519
Speaker 2: And then is now like.

1748
01:24:58,120 --> 01:25:03,719
Speaker 1: Basically singing the theme song to Mary Tyler Moore, which

1749
01:25:04,000 --> 01:25:05,920
Speaker 1: was that was not lost on me, by.

1750
01:25:05,760 --> 01:25:09,040
Speaker 3: The way, right the Career Woman show.

1751
01:25:09,400 --> 01:25:13,760
Speaker 2: Yes, And it's basically like and that's it.

1752
01:25:13,840 --> 01:25:17,760
Speaker 1: Like she's almost kind of like, well, I don't know

1753
01:25:17,800 --> 01:25:19,840
Speaker 1: what to say other than well, I hope I make it.

1754
01:25:20,040 --> 01:25:22,280
Speaker 1: I hope that ain't ray. And I was like, that's

1755
01:25:22,400 --> 01:25:23,040
Speaker 1: bleak as.

1756
01:25:22,880 --> 01:25:24,720
Speaker 2: Shit, right, like.

1757
01:25:27,560 --> 01:25:29,960
Speaker 1: Maybe she needs to go to the fucking group therapy

1758
01:25:30,080 --> 01:25:33,040
Speaker 1: at this point, huh, Like this is crazy, Like so yeah,

1759
01:25:33,120 --> 01:25:34,120
Speaker 1: I'm totally with you.

1760
01:25:34,200 --> 01:25:37,639
Speaker 2: I was so like stunned by that ending.

1761
01:25:38,240 --> 01:25:41,720
Speaker 4: It's bothersome and stunning, and I just it just did

1762
01:25:41,760 --> 01:25:43,280
Speaker 4: not sit well with me, which might have been the

1763
01:25:43,320 --> 01:25:47,240
Speaker 4: intention of the filmmakers. So what I'll say is Antonio Campos,

1764
01:25:47,240 --> 01:25:50,719
Speaker 4: who's the director, is also a producer, and he's done

1765
01:25:50,720 --> 01:25:53,000
Speaker 4: things like After School and The Devil all the Time,

1766
01:25:53,160 --> 01:25:56,719
Speaker 4: and he co founded Borderline Films, which produced Martha Marcy

1767
01:25:56,800 --> 01:25:58,040
Speaker 4: May Marlene is a movie.

1768
01:25:58,040 --> 01:25:58,600
Speaker 3: I really like.

1769
01:26:00,120 --> 01:26:02,920
Speaker 4: Craig Schiliwitch has done some things that were kind of

1770
01:26:03,040 --> 01:26:06,360
Speaker 4: in the kind of spooky, eerie realm, and so I

1771
01:26:06,400 --> 01:26:08,759
Speaker 4: don't just wonder what would have happened with this film

1772
01:26:08,800 --> 01:26:10,599
Speaker 4: in the hands of a female director or writer.

1773
01:26:10,760 --> 01:26:13,240
Speaker 3: But like knowing that their background.

1774
01:26:12,800 --> 01:26:17,640
Speaker 4: Is so geared towards thriller and horror, I wonder how

1775
01:26:17,680 --> 01:26:21,640
Speaker 4: much that informed where they took this true story. Yeah,

1776
01:26:22,320 --> 01:26:25,920
Speaker 4: so I'll tell you some stuff about Christine Chubbuck's.

1777
01:26:25,560 --> 01:26:26,960
Speaker 3: Real life as a person.

1778
01:26:27,160 --> 01:26:30,320
Speaker 4: Yes, And I got most of my information from this

1779
01:26:30,479 --> 01:26:33,400
Speaker 4: Washington Post article written by Sally Quinn from August of

1780
01:26:33,479 --> 01:26:37,879
Speaker 4: nineteen seventy four, which is a month after her suicide happened,

1781
01:26:38,360 --> 01:26:41,160
Speaker 4: and in People magazine in twenty sixteen, someone gave an

1782
01:26:41,200 --> 01:26:46,120
Speaker 4: interview when the film came out. So Christine Chubbuck was

1783
01:26:46,120 --> 01:26:49,639
Speaker 4: born in Hudson, Ohio. She actually had two brothers, Greg

1784
01:26:49,680 --> 01:26:52,559
Speaker 4: and Tim, and she went to this high school for

1785
01:26:52,600 --> 01:26:55,120
Speaker 4: girls and she formed this kind of this club called

1786
01:26:55,120 --> 01:26:58,439
Speaker 4: the Dateless Wonder Club. So she's always had a very

1787
01:26:58,520 --> 01:27:01,559
Speaker 4: dry wit and it's been very funny. And she earned

1788
01:27:01,560 --> 01:27:05,200
Speaker 4: a broadcast degree at Boston University in nineteen sixty five.

1789
01:27:06,439 --> 01:27:10,000
Speaker 4: She was also very tall. She's five foot eleven. As

1790
01:27:10,040 --> 01:27:12,160
Speaker 4: a fellow tall person, I can say that that contributes

1791
01:27:12,200 --> 01:27:15,519
Speaker 4: to a lot of awkwardness. And the article in People

1792
01:27:15,520 --> 01:27:18,439
Speaker 4: magazine in twenty sixteen was given by her brother Greg,

1793
01:27:18,760 --> 01:27:21,719
Speaker 4: and in the article he said that she had actually

1794
01:27:21,800 --> 01:27:25,200
Speaker 4: dated a man in his thirties when she was twenty one,

1795
01:27:25,840 --> 01:27:28,479
Speaker 4: but their father didn't approve of the relationship and she

1796
01:27:28,640 --> 01:27:33,519
Speaker 4: never dated another man after that. She worked for a

1797
01:27:33,560 --> 01:27:38,840
Speaker 4: few local TV stations in Cleveland and Pittsburgh and Florida.

1798
01:27:39,280 --> 01:27:41,880
Speaker 4: She was a hospital computer programmer for about four years

1799
01:27:41,880 --> 01:27:44,720
Speaker 4: as well, which might have been where she started volunteering

1800
01:27:44,760 --> 01:27:49,559
Speaker 4: at hospitals, that's unclear to me. And then she moved

1801
01:27:49,560 --> 01:27:52,799
Speaker 4: to her family's summer cottage in cs to Key, Florida,

1802
01:27:53,280 --> 01:27:56,519
Speaker 4: and she kind of intentionally painted her bedroom looked like

1803
01:27:56,560 --> 01:27:58,559
Speaker 4: a teenager. She had a canopy bed, so all of

1804
01:27:58,600 --> 01:28:01,600
Speaker 4: that was intentional that we saw on the film. And

1805
01:28:01,640 --> 01:28:04,599
Speaker 4: her parents got divorced and her mother Peg moved in

1806
01:28:04,680 --> 01:28:08,080
Speaker 4: with Peg, and Greg moved in with Christine in the cottage,

1807
01:28:08,920 --> 01:28:10,639
Speaker 4: and then Greg left and Tim moved in.

1808
01:28:11,400 --> 01:28:14,240
Speaker 3: So they were a very very close family.

1809
01:28:15,000 --> 01:28:19,000
Speaker 4: And according to this article written by Sally Quinn, and

1810
01:28:19,240 --> 01:28:23,360
Speaker 4: according to Greg's own account, she spoke to her family

1811
01:28:23,400 --> 01:28:26,839
Speaker 4: at length about her struggle with depression and suicidal thoughts,

1812
01:28:27,000 --> 01:28:30,000
Speaker 4: and she had attempted suicide before in nineteen seventy by

1813
01:28:30,040 --> 01:28:34,400
Speaker 4: an overdose and she spoke about that experience frequently, and

1814
01:28:34,439 --> 01:28:37,240
Speaker 4: the thing that was the most the most jarring to

1815
01:28:37,280 --> 01:28:40,559
Speaker 4: me is that she was seeing a psychiatrist up until

1816
01:28:40,560 --> 01:28:43,160
Speaker 4: a few weeks before her death. So none of this

1817
01:28:43,240 --> 01:28:45,720
Speaker 4: is in the fucking movie.

1818
01:28:46,080 --> 01:28:47,080
Speaker 3: None of this is in the movie.

1819
01:28:47,120 --> 01:28:49,280
Speaker 4: We don't get a look at that interiority of her

1820
01:28:49,680 --> 01:28:53,120
Speaker 4: talking about her own depression and suicidal thoughts. We don't

1821
01:28:53,120 --> 01:28:56,560
Speaker 4: get her talking to a psychiatrist or a therapist. We

1822
01:28:56,600 --> 01:28:59,160
Speaker 4: don't get to see her brothers or the people in

1823
01:28:59,160 --> 01:29:01,400
Speaker 4: her life who loved her. So in the movie, she's

1824
01:29:01,439 --> 01:29:05,800
Speaker 4: presented as this lonely, freakish person who her mom can

1825
01:29:05,840 --> 01:29:10,240
Speaker 4: barely stand because she's kind of cramping her style. But

1826
01:29:10,360 --> 01:29:14,120
Speaker 4: in reality, that couldn't be farther from the truth. And

1827
01:29:14,160 --> 01:29:18,240
Speaker 4: I think that someone who struggles with depression, who struggles

1828
01:29:18,240 --> 01:29:22,240
Speaker 4: with mental health issues and has a loving and supportive family,

1829
01:29:22,400 --> 01:29:23,720
Speaker 4: that alone changes.

1830
01:29:23,439 --> 01:29:25,240
Speaker 3: The narrative of that life.

1831
01:29:25,560 --> 01:29:27,400
Speaker 4: It doesn't mean they can save the person, It just

1832
01:29:27,439 --> 01:29:30,880
Speaker 4: means that, like, it's a different look at the depths

1833
01:29:30,920 --> 01:29:33,960
Speaker 4: of their own despair because they have all of this

1834
01:29:34,040 --> 01:29:36,000
Speaker 4: love and support around them. So in the film, I

1835
01:29:36,000 --> 01:29:39,920
Speaker 4: feel like we were missing this crucial component of why

1836
01:29:39,920 --> 01:29:43,760
Speaker 4: would she do this? And they mention her struggles with

1837
01:29:43,840 --> 01:29:47,200
Speaker 4: mental health so quickly it's like, oh, something happened in Boston,

1838
01:29:48,280 --> 01:29:50,320
Speaker 4: And then they turned it into something where it's like, well,

1839
01:29:50,360 --> 01:29:52,880
Speaker 4: she's mad at her mom for not raising her right

1840
01:29:53,280 --> 01:29:56,800
Speaker 4: when that wasn't actually what happened, Like she was someone

1841
01:29:56,840 --> 01:29:58,960
Speaker 4: who was chemically depressed and her brother even said that

1842
01:29:59,000 --> 01:30:02,240
Speaker 4: she thought she was bi So like, why is that

1843
01:30:02,240 --> 01:30:03,880
Speaker 4: missing from the fucking movie?

1844
01:30:04,160 --> 01:30:07,000
Speaker 1: Yeah, I mean it's almost like, I mean, if you

1845
01:30:07,000 --> 01:30:10,479
Speaker 1: want to give it a very cursory sort of read,

1846
01:30:10,720 --> 01:30:16,280
Speaker 1: it's basically like the movie sets it up where she's

1847
01:30:16,400 --> 01:30:20,400
Speaker 1: just depressed because the guy that.

1848
01:30:20,320 --> 01:30:23,760
Speaker 2: She likes doesn't like her and she wants to have.

1849
01:30:23,680 --> 01:30:27,000
Speaker 1: A baby and maybe can't have a baby, and that

1850
01:30:27,120 --> 01:30:30,320
Speaker 1: she's not happy at work. Like it's just that kind

1851
01:30:30,320 --> 01:30:32,120
Speaker 1: of thing where it's like, well, it's just like a

1852
01:30:32,160 --> 01:30:35,360
Speaker 1: lonely lady story exactly.

1853
01:30:35,560 --> 01:30:37,840
Speaker 4: And to be fair, and a lot of the reporting

1854
01:30:37,880 --> 01:30:40,479
Speaker 4: and people talking to her family after the event, and

1855
01:30:40,920 --> 01:30:43,280
Speaker 4: people did reference that a lot, like oh, yeah, she

1856
01:30:43,360 --> 01:30:45,919
Speaker 4: did you know she was she did want a boyfriend,

1857
01:30:45,960 --> 01:30:49,920
Speaker 4: and like her love life was like nonexistent, and because

1858
01:30:49,960 --> 01:30:52,640
Speaker 4: of the time frame, I understand them mentioning that as

1859
01:30:52,680 --> 01:30:56,320
Speaker 4: a possible reason why she was so upset, But they

1860
01:30:56,400 --> 01:31:00,200
Speaker 4: also talked about her depression, which is a medical issue.

1861
01:31:00,560 --> 01:31:01,360
Speaker 2: Right like that.

1862
01:31:01,479 --> 01:31:03,320
Speaker 1: Yeah, I think that's kind of like what I mean

1863
01:31:03,400 --> 01:31:07,080
Speaker 1: is that it seems like it was obviously more nuanced

1864
01:31:07,200 --> 01:31:11,479
Speaker 1: than what was presented, but what was presented was basically like,

1865
01:31:12,840 --> 01:31:17,000
Speaker 1: here's a lonely lady who yep, doesn't want to be

1866
01:31:17,040 --> 01:31:19,040
Speaker 1: lonely anymore, and she takes drastic measures.

1867
01:31:19,080 --> 01:31:19,280
Speaker 3: You know.

1868
01:31:19,320 --> 01:31:21,200
Speaker 1: It's just that that, you know, and I don't know

1869
01:31:21,200 --> 01:31:24,040
Speaker 1: how to feel about that, obviously as somebody that can

1870
01:31:24,080 --> 01:31:26,240
Speaker 1: can sympathize with that at a base level, but also

1871
01:31:26,680 --> 01:31:31,040
Speaker 1: in the structure of a film that's about a real person.

1872
01:31:31,360 --> 01:31:35,960
Speaker 4: Right, absolutely, absolutely, And I'm shocked that her seeing a

1873
01:31:35,960 --> 01:31:37,759
Speaker 4: psychiatrist was not part of the narrative.

1874
01:31:38,680 --> 01:31:40,679
Speaker 2: Yeah, that's interesting too.

1875
01:31:40,960 --> 01:31:42,280
Speaker 3: That is very interesting to me.

1876
01:31:42,360 --> 01:31:47,439
Speaker 4: And also on top of all this, the closest person

1877
01:31:47,479 --> 01:31:51,720
Speaker 4: to Christine at the station was actually Andrea, not Jeane.

1878
01:31:51,880 --> 01:31:52,360
Speaker 1: Wow.

1879
01:31:52,840 --> 01:31:53,839
Speaker 3: And Jean had.

1880
01:31:53,800 --> 01:31:57,400
Speaker 4: Very mixed feelings about Christine, she said, and I quote,

1881
01:31:57,400 --> 01:32:00,200
Speaker 4: in my view, she was very self centered. Hers were

1882
01:32:00,200 --> 01:32:04,160
Speaker 4: the only problems that mattered. And Andrea says that in

1883
01:32:04,200 --> 01:32:06,240
Speaker 4: the last few weeks before she died, she had turned,

1884
01:32:06,360 --> 01:32:09,439
Speaker 4: like Christina turned into this total yes person, Like she

1885
01:32:09,479 --> 01:32:13,000
Speaker 4: became and I'm just paraphrasing here, but she became this sniveling,

1886
01:32:13,040 --> 01:32:15,400
Speaker 4: self pitying creature. And she thought that if she got

1887
01:32:15,439 --> 01:32:17,800
Speaker 4: mad at Christine, then maybe she'd pull herself out of it.

1888
01:32:18,520 --> 01:32:21,479
Speaker 4: But the Andrea George storyline, because they were actually dating

1889
01:32:21,520 --> 01:32:24,920
Speaker 4: in real life, I think would have hit harder in

1890
01:32:24,960 --> 01:32:28,320
Speaker 4: that way that they were trying to convey of She's

1891
01:32:28,400 --> 01:32:31,160
Speaker 4: just so upset about her love life. If you realize

1892
01:32:31,200 --> 01:32:36,040
Speaker 4: that Andrea was her closest friend. Yeah, like your close

1893
01:32:36,080 --> 01:32:38,000
Speaker 4: friend being what the person you want to be with

1894
01:32:38,160 --> 01:32:40,639
Speaker 4: is very different from this random woman at work who

1895
01:32:40,640 --> 01:32:42,280
Speaker 4: I barely talk to, is with this guy I have

1896
01:32:42,320 --> 01:32:46,880
Speaker 4: a crush on right right, So that was surprising to me.

1897
01:32:48,640 --> 01:32:51,599
Speaker 4: And Christine was Eventually she was cremated. Her ashes were

1898
01:32:51,600 --> 01:32:54,519
Speaker 4: scattered in the Gulf of Mexico. The broadcast of her

1899
01:32:54,560 --> 01:32:57,920
Speaker 4: death has never been aired, but apparently it was kept

1900
01:32:57,960 --> 01:33:00,120
Speaker 4: by the station owner and it passed on to his

1901
01:33:00,160 --> 01:33:03,400
Speaker 4: wife upon his death, and she gave it to a

1902
01:33:03,520 --> 01:33:07,080
Speaker 4: very large law firm quote unquote for safekeeping. So there's

1903
01:33:07,080 --> 01:33:11,639
Speaker 4: no intention of ever airing Christine's death. And the other

1904
01:33:11,680 --> 01:33:13,920
Speaker 4: thing I found so interesting is that Greg saw her

1905
01:33:13,960 --> 01:33:15,960
Speaker 4: the night before she died, Like he had brought his

1906
01:33:15,960 --> 01:33:18,479
Speaker 4: family over to their cottage for dinner, and she was

1907
01:33:18,520 --> 01:33:20,919
Speaker 4: playing with his daughter with like some of her handmade puppets,

1908
01:33:20,960 --> 01:33:25,640
Speaker 4: and like, again, the depths of her familial love is

1909
01:33:25,680 --> 01:33:29,000
Speaker 4: completely missing from this movie for me. Yeah, like I

1910
01:33:29,000 --> 01:33:30,920
Speaker 4: would not have thought she had siblings. I would not

1911
01:33:30,960 --> 01:33:32,840
Speaker 4: have thought her mother gave a shit about her like

1912
01:33:33,560 --> 01:33:34,880
Speaker 4: at all.

1913
01:33:35,000 --> 01:33:37,519
Speaker 2: So how does this make you feel then about the movie?

1914
01:33:37,720 --> 01:33:42,640
Speaker 4: Knowing all this, I feel like, yes, they're presenting an

1915
01:33:42,640 --> 01:33:47,080
Speaker 4: important historical piece, which is this complicated woman in the

1916
01:33:47,120 --> 01:33:51,040
Speaker 4: seventies did a very drastic thing. But it makes me

1917
01:33:51,520 --> 01:33:54,920
Speaker 4: enjoy the movie less. And honestly, I don't even know

1918
01:33:54,920 --> 01:33:58,280
Speaker 4: if I like the movie, because all I can see

1919
01:33:58,320 --> 01:34:01,439
Speaker 4: now are these giant holes that were missing that would

1920
01:34:01,479 --> 01:34:04,080
Speaker 4: have explained things to me that as I was watching it,

1921
01:34:04,120 --> 01:34:06,439
Speaker 4: I felt like I was missing. It would be different

1922
01:34:06,479 --> 01:34:08,360
Speaker 4: if it's like a catch me, if you can scenario

1923
01:34:08,439 --> 01:34:11,800
Speaker 4: where it was just entertaining no matter what. Yeah, but

1924
01:34:11,840 --> 01:34:13,759
Speaker 4: this to me felt like they had a real duty

1925
01:34:13,760 --> 01:34:18,040
Speaker 4: and responsibility to telling more of the story. Yeah, And

1926
01:34:18,080 --> 01:34:20,840
Speaker 4: that's completely missing, and I think the part of the

1927
01:34:20,840 --> 01:34:22,400
Speaker 4: story that that's interesting.

1928
01:34:22,720 --> 01:34:23,519
Speaker 2: Yeah, I'm with you.

1929
01:34:23,640 --> 01:34:27,679
Speaker 1: I mean, for some reason, you can divorce those feelings

1930
01:34:27,680 --> 01:34:29,160
Speaker 1: in a movie like Catch Me, if you can.

1931
01:34:30,600 --> 01:34:33,920
Speaker 2: And I just think that because this, I.

1932
01:34:33,880 --> 01:34:37,479
Speaker 1: Mean, this is just a darker story period, Like I mean,

1933
01:34:37,520 --> 01:34:41,679
Speaker 1: I mean, I understand that, like the Frank Abigale Junior stories,

1934
01:34:42,080 --> 01:34:44,320
Speaker 1: has its own moments of darkness and like nobody, I mean,

1935
01:34:44,360 --> 01:34:51,120
Speaker 1: he committed crimes obviously, but there's something obviously darker about

1936
01:34:51,280 --> 01:34:55,080
Speaker 1: this story and the idea that, yeah, maybe there is

1937
01:34:55,160 --> 01:35:00,800
Speaker 1: more responsibility there as a filmmaker to when you tell

1938
01:35:00,840 --> 01:35:01,879
Speaker 1: it right.

1939
01:35:02,479 --> 01:35:05,680
Speaker 4: Yeah, I think you can't only rest on the sensationalized

1940
01:35:05,720 --> 01:35:10,360
Speaker 4: pieces of a true life story, and especially something this bleak,

1941
01:35:10,439 --> 01:35:13,519
Speaker 4: but also this sensational because again, this is the first

1942
01:35:13,520 --> 01:35:17,559
Speaker 4: person to ever do this, and I just don't think you.

1943
01:35:18,920 --> 01:35:20,439
Speaker 4: I would even if they made the movie a half

1944
01:35:20,479 --> 01:35:22,840
Speaker 4: an hour longer or an hour longer, like how whatever

1945
01:35:22,880 --> 01:35:24,760
Speaker 4: it did to the pacing of the film, I would

1946
01:35:24,920 --> 01:35:26,760
Speaker 4: rather have seen it and had all of that be

1947
01:35:26,840 --> 01:35:30,720
Speaker 4: included than to have it be pulled out for the

1948
01:35:30,760 --> 01:35:35,000
Speaker 4: sake of creating this narrative and using it as a

1949
01:35:35,000 --> 01:35:37,240
Speaker 4: device to kind of tell a totally different story.

1950
01:35:37,280 --> 01:35:39,080
Speaker 3: I think that's in bare bones.

1951
01:35:39,920 --> 01:35:42,160
Speaker 4: I feel like the movie is a completely different story

1952
01:35:42,200 --> 01:35:45,200
Speaker 4: from the real person and the real events. Now that

1953
01:35:45,280 --> 01:35:47,400
Speaker 4: I know more about what the real events were and

1954
01:35:47,439 --> 01:35:50,400
Speaker 4: the things that were surrounding her and her life, the

1955
01:35:50,439 --> 01:35:52,400
Speaker 4: movie feels like a fiction to me.

1956
01:35:53,520 --> 01:35:55,800
Speaker 1: So do you think that if a woman had made

1957
01:35:55,840 --> 01:35:57,680
Speaker 1: this movie it would change things for you?

1958
01:35:58,240 --> 01:35:59,320
Speaker 2: Like I artically do?

1959
01:35:59,560 --> 01:36:01,400
Speaker 3: Yeah, No, I really do.

1960
01:36:01,439 --> 01:36:03,639
Speaker 4: And I think that was my immediate thought, and it's

1961
01:36:03,720 --> 01:36:07,680
Speaker 4: kind of my most persistent thought, only because as a

1962
01:36:07,680 --> 01:36:10,040
Speaker 4: writer for this film, a woman who was directing this

1963
01:36:10,160 --> 01:36:13,639
Speaker 4: film would have thought about all of these components more

1964
01:36:13,720 --> 01:36:17,880
Speaker 4: deeply as a way to encompass a woman's full life,

1965
01:36:17,920 --> 01:36:20,960
Speaker 4: and they would have thought about things like second wave

1966
01:36:21,040 --> 01:36:22,839
Speaker 4: fem And I'm not saying that the writer and director

1967
01:36:23,000 --> 01:36:25,120
Speaker 4: didn't think about this, but it didn't seem apparent to

1968
01:36:25,120 --> 01:36:27,280
Speaker 4: me in the film that they did. They would have

1969
01:36:27,320 --> 01:36:30,000
Speaker 4: thought more about second wave feminism and the effect on

1970
01:36:31,400 --> 01:36:33,800
Speaker 4: this woman's life. They would have thought more about her

1971
01:36:33,880 --> 01:36:36,519
Speaker 4: family and the inclusion of her family as a way

1972
01:36:36,520 --> 01:36:40,200
Speaker 4: to tell the story. And again, maybe it's not fair,

1973
01:36:40,280 --> 01:36:42,880
Speaker 4: Maybe it's not fair at all for me to break

1974
01:36:42,920 --> 01:36:46,120
Speaker 4: this down into such a gendered perspective. But I do

1975
01:36:46,200 --> 01:36:49,240
Speaker 4: feel like there is something. There are so many things

1976
01:36:49,240 --> 01:36:51,320
Speaker 4: that were missing for me in this film, and so

1977
01:36:51,439 --> 01:36:54,160
Speaker 4: much that was left out that I just think in

1978
01:36:54,160 --> 01:36:56,639
Speaker 4: the hands of maybe even another male director or whatever,

1979
01:36:56,760 --> 01:37:00,240
Speaker 4: but just somebody else would have told this story more

1980
01:37:00,320 --> 01:37:02,559
Speaker 4: full way. I just I don't know what happened and

1981
01:37:02,640 --> 01:37:05,840
Speaker 4: why this director and writer weren't able to tell the

1982
01:37:05,880 --> 01:37:07,200
Speaker 4: full story, but it just did.

1983
01:37:07,320 --> 01:37:09,000
Speaker 3: It felt like there were choices made.

1984
01:37:10,080 --> 01:37:12,960
Speaker 1: Yeah, that's true, and I mean I hey, I I

1985
01:37:13,000 --> 01:37:15,720
Speaker 1: had the same thoughts. Obviously, I did think, huh, this

1986
01:37:15,760 --> 01:37:18,439
Speaker 1: would have been I wonder just the thought experiment of

1987
01:37:18,479 --> 01:37:21,240
Speaker 1: it being like, yeah, maybe it would be different if

1988
01:37:21,320 --> 01:37:24,320
Speaker 1: if a woman had made the story versus man. Yeah,

1989
01:37:24,479 --> 01:37:29,000
Speaker 1: I mean, listen, I'm totally I came at this entire

1990
01:37:29,080 --> 01:37:31,680
Speaker 1: thing with fresh eyes, so I have Yeah, I have

1991
01:37:31,720 --> 01:37:34,280
Speaker 1: a lot of questions generally about things, and I plan

1992
01:37:34,400 --> 01:37:37,960
Speaker 1: on really I would love to know so much more

1993
01:37:38,120 --> 01:37:38,599
Speaker 1: about this.

1994
01:37:39,680 --> 01:37:42,160
Speaker 2: To me, it's fascinating though, because it is that like

1995
01:37:42,439 --> 01:37:43,240
Speaker 2: the theme.

1996
01:37:43,040 --> 01:37:45,840
Speaker 1: Obviously this week is talking about movies that don't tell

1997
01:37:45,840 --> 01:37:49,600
Speaker 1: the whole story and whether or not that's helpful or

1998
01:37:49,720 --> 01:37:52,760
Speaker 1: hurtful to people. Who are watching them. And I feel

1999
01:37:52,800 --> 01:37:55,880
Speaker 1: like we kind of picked two movies where both things

2000
01:37:55,920 --> 01:37:57,840
Speaker 1: are true. Like in the first case, it's kind of

2001
01:37:57,880 --> 01:37:59,879
Speaker 1: like all right, well, yeah, you know all this stuff,

2002
01:38:00,160 --> 01:38:04,240
Speaker 1: but it's also in a closed environment. It's entertaining this

2003
01:38:04,479 --> 01:38:10,040
Speaker 1: you can't divorce the reality from the fiction, and it's tough.

2004
01:38:10,479 --> 01:38:14,000
Speaker 1: And yeah, I mean I was very rocked by this

2005
01:38:14,160 --> 01:38:18,040
Speaker 1: story after like just even like going into like a

2006
01:38:18,080 --> 01:38:20,519
Speaker 1: little research hole, this small one that I did after

2007
01:38:20,520 --> 01:38:22,160
Speaker 1: I watched the movie, I was like, Wow, this is

2008
01:38:22,200 --> 01:38:27,160
Speaker 1: like such an interesting story. It's an interesting movie too,

2009
01:38:27,400 --> 01:38:29,280
Speaker 1: like where I was like, huh, I don't know. I

2010
01:38:29,280 --> 01:38:32,080
Speaker 1: don't know anybody involved. I really don't know anybody involved

2011
01:38:32,080 --> 01:38:34,960
Speaker 1: except for Michael Hall, which is embarrassing probably, but it

2012
01:38:35,040 --> 01:38:37,120
Speaker 1: was like, yeah, it was a lot of like new

2013
01:38:37,160 --> 01:38:37,840
Speaker 1: faces for me.

2014
01:38:38,360 --> 01:38:40,519
Speaker 2: And then I think was also like a thing for

2015
01:38:40,560 --> 01:38:40,880
Speaker 2: me too.

2016
01:38:40,920 --> 01:38:42,960
Speaker 1: When I was watching the movie, I was like, there

2017
01:38:43,080 --> 01:38:46,080
Speaker 1: wasn't like an anchor point for me to be like, oh,

2018
01:38:46,080 --> 01:38:48,080
Speaker 1: well I know that actor or I know this person,

2019
01:38:48,200 --> 01:38:50,720
Speaker 1: Like it just was like kind of all new. It

2020
01:38:50,720 --> 01:38:53,680
Speaker 1: almost felt like a I don't know, like you were

2021
01:38:53,680 --> 01:38:56,320
Speaker 1: watching like a play or something like. It just felt

2022
01:38:56,479 --> 01:39:02,800
Speaker 1: very dissociated from Hollywood stuff, right, it was kind of

2023
01:39:03,040 --> 01:39:05,040
Speaker 1: seemed like a kind of more indie film to me.

2024
01:39:05,800 --> 01:39:06,599
Speaker 2: Yeah, I don't know.

2025
01:39:07,600 --> 01:39:09,640
Speaker 4: I think served it well, so you could focus in

2026
01:39:09,680 --> 01:39:11,840
Speaker 4: on people without having that like, oh, this is this

2027
01:39:11,920 --> 01:39:15,000
Speaker 4: famous actress playing this person. Yeah, like I don't I

2028
01:39:15,040 --> 01:39:17,479
Speaker 4: don't think. I think the casting was great for that

2029
01:39:17,640 --> 01:39:20,479
Speaker 4: reason and beyond. But I think everyone did a great job.

2030
01:39:20,600 --> 01:39:22,240
Speaker 4: I think that it was And I don't mind it

2031
01:39:22,240 --> 01:39:24,559
Speaker 4: being an indie movie or having kind of an indie treatment.

2032
01:39:25,880 --> 01:39:29,439
Speaker 4: I just wish that it had a different focus, Yeah,

2033
01:39:30,000 --> 01:39:31,880
Speaker 4: a different folk because I think the story itself is

2034
01:39:32,240 --> 01:39:35,400
Speaker 4: the story is compelling enough on its own, yeah that

2035
01:39:35,479 --> 01:39:39,559
Speaker 4: I wish it was just a little more full so

2036
01:39:39,600 --> 01:39:44,000
Speaker 4: that I got like a more impressive feeling of what

2037
01:39:44,040 --> 01:39:47,000
Speaker 4: her whole life was like. But maybe that's Maybe that's

2038
01:39:47,040 --> 01:39:48,960
Speaker 4: great because I watched it and I was so like,

2039
01:39:49,080 --> 01:39:51,320
Speaker 4: huh that I it made me look her up.

2040
01:39:53,920 --> 01:40:01,479
Speaker 1: Yeah that ending wow, very very like what just happened. Yeah,

2041
01:40:01,560 --> 01:40:03,439
Speaker 1: I'll be thinking about that for a long time. But

2042
01:40:03,479 --> 01:40:07,240
Speaker 1: listen again, I say this all the time, I'm so

2043
01:40:07,400 --> 01:40:09,680
Speaker 1: glad you brought this movie the podcast, because.

2044
01:40:09,400 --> 01:40:11,360
Speaker 2: It's like I didn't even know it existed.

2045
01:40:11,400 --> 01:40:14,240
Speaker 1: I didn't know anything about this at all, So I'm

2046
01:40:14,760 --> 01:40:18,200
Speaker 1: I've learned so much this week, and I love it

2047
01:40:18,280 --> 01:40:22,599
Speaker 1: when that happens because you bring a lot of new,

2048
01:40:22,800 --> 01:40:25,160
Speaker 1: first time stuff to the podcast for me, and I

2049
01:40:25,320 --> 01:40:26,720
Speaker 1: just always appreciate it.

2050
01:40:27,000 --> 01:40:31,880
Speaker 3: So oh that makes me feel so happy. Thank you.

2051
01:40:31,920 --> 01:40:34,559
Speaker 4: I would definitely not eat ice cream and sing if

2052
01:40:34,600 --> 01:40:36,679
Speaker 4: you were.

2053
01:40:36,439 --> 01:40:41,720
Speaker 2: Dead well, thank you, although I would let you.

2054
01:40:41,880 --> 01:40:43,880
Speaker 1: I mean, I'm not like too hung up on that,

2055
01:40:44,080 --> 01:40:47,439
Speaker 1: but I will say that, you know, being that we

2056
01:40:47,520 --> 01:40:50,080
Speaker 1: might be owning a movie theater together, I hope that

2057
01:40:50,160 --> 01:40:54,759
Speaker 1: maybe you know, pick a sad song, pick a sad song,

2058
01:40:55,520 --> 01:40:56,080
Speaker 1: ice cream?

2059
01:40:57,320 --> 01:40:59,559
Speaker 3: Can we get some Radiohead or something up in here?

2060
01:40:59,640 --> 01:41:05,280
Speaker 2: Like you have to listen to more than words by extreme.

2061
01:41:06,040 --> 01:41:07,879
Speaker 4: I will not only listen to it, I will perform

2062
01:41:08,000 --> 01:41:16,960
Speaker 4: both parts, both fucking parts. And also at e Christine's

2063
01:41:16,960 --> 01:41:20,120
Speaker 4: Real light funeral, they played three ROBERTA Flax songs that

2064
01:41:20,240 --> 01:41:22,160
Speaker 4: was her favorite.

2065
01:41:23,200 --> 01:41:26,120
Speaker 1: That's something that I didn't mention at all is the

2066
01:41:26,240 --> 01:41:31,639
Speaker 1: music in this movie, Like that Gordon Lightfoot album cover

2067
01:41:31,760 --> 01:41:34,240
Speaker 1: poster thing she had in her room. I was like, girl,

2068
01:41:34,640 --> 01:41:37,040
Speaker 1: you know who she reminded me of, you know where

2069
01:41:37,040 --> 01:41:39,880
Speaker 1: they were? She kind of reminded me of Shelley Duvall

2070
01:41:39,960 --> 01:41:44,320
Speaker 1: and three Women like she had this very like am

2071
01:41:44,439 --> 01:41:48,200
Speaker 1: Gold playlist, Big Gordon.

2072
01:41:47,960 --> 01:41:51,759
Speaker 2: Lightfoot fan, like a little little Denver.

2073
01:41:52,479 --> 01:42:00,200
Speaker 1: Yeah, a lot of like weird bedroom touches like wow, fascinating.

2074
01:42:00,520 --> 01:42:02,360
Speaker 4: Well, I'm so glad you liked it. I'm so glad

2075
01:42:02,400 --> 01:42:05,000
Speaker 4: you hadn't seen it before. And I just one of

2076
01:42:05,000 --> 01:42:08,080
Speaker 4: the many reasons I love doing this podcast me too.

2077
01:42:08,920 --> 01:42:13,280
Speaker 1: All right, So, if you want to email us, we

2078
01:42:13,320 --> 01:42:15,960
Speaker 1: are at a sow Didpod at gmail dot com. Send

2079
01:42:16,120 --> 01:42:22,000
Speaker 1: us short questions for bonus episodes that sometimes go to

2080
01:42:22,040 --> 01:42:24,960
Speaker 1: the main feed. As you know, we also have a

2081
01:42:25,000 --> 01:42:27,680
Speaker 1: po box if you want to send us handwritten letters, and.

2082
01:42:27,640 --> 01:42:29,720
Speaker 4: You can find the information for our po box and

2083
01:42:29,800 --> 01:42:32,360
Speaker 4: many other things on the link tree on our social

2084
01:42:32,400 --> 01:42:34,720
Speaker 4: media so you can find us on our socials at

2085
01:42:34,760 --> 01:42:37,400
Speaker 4: I Saw Pod on Instagram and blue Sky and Twitter,

2086
01:42:38,200 --> 01:42:40,080
Speaker 4: and you can also now leave us a voicemail. To

2087
01:42:40,120 --> 01:42:41,800
Speaker 4: play on the show, all you have to do is

2088
01:42:41,840 --> 01:42:45,840
Speaker 4: record a sixty second voice memo on your phone and

2089
01:42:46,000 --> 01:42:48,160
Speaker 4: email it to I Saw What You Did Pod at

2090
01:42:48,200 --> 01:42:51,679
Speaker 4: gmail dot com. Please record it in a quiet space,

2091
01:42:51,760 --> 01:42:54,280
Speaker 4: and we are not kidding about the sixty second cutoff.

2092
01:42:55,000 --> 01:42:56,840
Speaker 2: Yeah, as you know by now you should have you

2093
01:42:56,840 --> 01:42:58,599
Speaker 2: should know all that information by now.

2094
01:43:00,200 --> 01:43:03,080
Speaker 1: We also have merch If you go to exactly rightstore

2095
01:43:03,160 --> 01:43:05,599
Speaker 1: dot com you can find it. I think we still

2096
01:43:05,640 --> 01:43:07,840
Speaker 1: have some sizes in that give me the B of

2097
01:43:07,880 --> 01:43:12,800
Speaker 1: the d T shirt and crew neck sweatshirt, so check

2098
01:43:12,840 --> 01:43:14,920
Speaker 1: it out there. You can also find our Pets hoodie two,

2099
01:43:15,160 --> 01:43:17,240
Speaker 1: which is also a fave, so check it out.

2100
01:43:18,160 --> 01:43:18,879
Speaker 3: Very sweet.

2101
01:43:19,240 --> 01:43:21,040
Speaker 4: And you know we have bonus episodes for you on

2102
01:43:21,080 --> 01:43:24,559
Speaker 4: the third Thursday of every month. They pop up in

2103
01:43:24,560 --> 01:43:29,360
Speaker 4: the main feed now, so it's no preparation necessary.

2104
01:43:29,439 --> 01:43:35,920
Speaker 1: Yes, all right, so Danielle, let's talk about the next episode.

2105
01:43:36,600 --> 01:43:40,160
Speaker 1: I'll just give y'all a hint in terms of the theme.

2106
01:43:40,920 --> 01:43:45,080
Speaker 1: Remember the month we're moving in two perhaps, But do

2107
01:43:45,120 --> 01:43:48,559
Speaker 1: you want to give them the movies for next time?

2108
01:43:49,320 --> 01:43:49,880
Speaker 3: I do.

2109
01:43:50,360 --> 01:43:53,439
Speaker 4: Your movies for next week are rather from Another Planet

2110
01:43:53,439 --> 01:43:57,679
Speaker 4: from nineteen eighty four and Nope from twenty twenty two,

2111
01:43:58,439 --> 01:44:01,080
Speaker 4: a very new movie for us, Oh my goodness.

2112
01:44:01,160 --> 01:44:04,400
Speaker 2: Yeah, and I picked it, which is even more shocking.

2113
01:44:06,120 --> 01:44:09,639
Speaker 3: So we're all topsy turvy over here.

2114
01:44:09,479 --> 01:44:12,680
Speaker 1: I know, always always well, Danielle, as always such a

2115
01:44:12,760 --> 01:44:14,240
Speaker 1: fucking pleasure doing this podcast.

2116
01:44:14,240 --> 01:44:24,040
Speaker 4: With you the best fue.

2117
01:44:25,320 --> 01:44:26,839
Speaker 3: This has been an exactly right production.

2118
01:44:27,080 --> 01:44:30,559
Speaker 4: Produced by Casey O'Brien, episode mixing and theme music by

2119
01:44:30,600 --> 01:44:34,599
Speaker 4: Tom Bryfogel, artwork by Garrett Ross. Our executive producers are

2120
01:44:34,640 --> 01:44:37,519
Speaker 4: Georgia hart Start, Karen kil Gareff, and Daniel Kramer. You

2121
01:44:37,520 --> 01:44:40,439
Speaker 4: can follow us on Instagram and Twitter at I Saw pod,

2122
01:44:40,840 --> 01:44:42,840
Speaker 4: and you can email us at I Saw What You

2123
01:44:42,880 --> 01:44:44,080
Speaker 4: Did Pod at gmail