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Speaker 2: It's time to refresh your yard during Spring Backyard Days

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Speaker 3: Very difficult to keep the line between the past and place.

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Speaker 4: You believe that someone out of the past. We can

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Speaker 4: enter and take possession of a living being.

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Speaker 5: We may be through with the past, but the past

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Speaker 5: is not through with us.

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Speaker 6: Welcome to the Next Picture Show, a Movie of the

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Speaker 6: Week podcast devoted to a classic film and how it's

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Speaker 6: shaped our thoughts on a recent release. I'm Tasha Robinson

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Speaker 6: here with.

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Speaker 3: Keith Phipps, Scott Tobias.

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Speaker 7: And Genevieve Koski.

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Speaker 6: This week we're discussing two movies about near future men

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Speaker 6: who set out on space missions with a crew of

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Speaker 6: human compatriots and wind up drifting through the void alone

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Speaker 6: apart from their trusting non human companions, who, to get

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Speaker 6: a bit of ahead of ourselves here, learn to do

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Speaker 6: all kinds of interesting human things, including win at poker,

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Speaker 6: tap their feet impatiently, and give you a somewhat alien

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Speaker 6: version of a thumbs up. So indulge me on this one, y'all.

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Speaker 6: You're stuck alone in space with your choice of non

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Speaker 6: human companion whose personality you can remold from scratch. What

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Speaker 6: is the urgent, silly, non useful thing you have to

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Speaker 6: teach it to do in order to convince yourself you

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Speaker 6: are really lonely.

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Speaker 5: Oh, it has to be a dance, specifically the robot. Right,

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Speaker 5: If you have a robot and you can teach the

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Speaker 5: robot how to do the robot.

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Speaker 3: I think that'd be an ideal situation.

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Speaker 1: I mean it was so you convince yourself you're not lonely.

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Speaker 1: That that's that part of just made me really sad,

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Speaker 1: and I tried to figure out what would actually cheer

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Speaker 1: me up, and would.

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Speaker 3: You be if if if it was doing the robot though, key,

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Speaker 3: that would be cool.

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Speaker 1: I mean, that would be cool if you could, like

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Speaker 1: maybe you could do kind of also getting a little

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Speaker 1: ahead of myself but ourselves, but if we could do impressions,

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Speaker 1: celebrity impressions, we get a little bit of that and

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Speaker 1: one of our movies, that would be kind of cool.

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Speaker 6: What's your go to celebrity impression that would cheer you up?

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Speaker 6: Coming from some sort of like robot alien or robot alien,

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Speaker 6: Like I assume you don't want your robot alien just

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Speaker 6: doing a whole lot of like Rodney Dangerfields routines.

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Speaker 1: I take a Groucho, a Grotcho robot. That'd be fine.

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Speaker 6: Okay, that does sound like fun, especially if it does

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Speaker 6: just cycle through the Marx Brothers in general.

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Speaker 7: I mean we've already brought up winning at poker as

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Speaker 7: an example. But I feel like being able to play

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Speaker 7: some sort of game with my non human companion would

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Speaker 7: be really critical. I'm not a poker player. I wish

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Speaker 7: I was better at chess because I feel like, you know,

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Speaker 7: if I could play chess against a non human companion

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Speaker 7: that could keep me going for a long time, well,

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Speaker 7: I guess that would be a good way to get

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Speaker 7: good at chess too. But you know, some sort of

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Speaker 7: a good two player game, or if by multiple companions

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Speaker 7: it could be more than two players. But definitely need

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Speaker 7: some sort of game playing, I think to get me through.

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Speaker 6: Where are we leaning here, Geneviev? Are we talking like

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Speaker 6: shadows over Camelot, like like four hour strategy board games?

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Speaker 6: Are we talking like hungry hungry hippos.

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Speaker 7: I mean I come from a card playing family, so

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Speaker 7: you know I like card games. Pin Knuckle is like

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Speaker 7: my game, but no one knows how to play that.

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Speaker 7: So if I had two companions that could play a

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Speaker 7: cutthroat pin Nuckle with me, that would be pretty great.

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Speaker 6: Now you have me wanting to program my robot alien

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Speaker 6: campaignons to like to teach me new card games. I

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Speaker 6: still remember, like learning how to play Yuker for the

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Speaker 6: first time, and just how how like learning the process

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Speaker 6: of learning was maybe more fun than it would be,

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Speaker 6: like just you know, playing endlessly aboard a ship bound

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Speaker 6: for nowhere. But I think I just start with teaching

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Speaker 6: them to high five, you know, just a little a

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Speaker 6: little you know, tap in, like how you doing kind

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Speaker 6: of thing. I am glad that we now have a

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Speaker 6: plan in case any of us are ever trapped in

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Speaker 6: space with a robot alien or an alien robot or

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Speaker 6: whatever it turns out to be. Now that that's taken

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Speaker 6: care of, though, Scott, can you tell us about our

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Speaker 6: current pairing?

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Speaker 3: Sure?

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Speaker 5: Legendary visual effects artist Douglas Trumbull is known more for

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Speaker 5: the movies where he worked on the effects team, from

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Speaker 5: Stanley Kubrick's two thousand and one Space Odyssey to Really

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Speaker 5: Scott's Blade Runner that he is for the two movies

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Speaker 5: he directed, nineteen seventy two Silent Running and nineteen eighty

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Speaker 5: three's Brainstorm. That may have something to do with the

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Speaker 5: fact that he never specifically set out to become director.

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Speaker 5: He was more interested in creating the best of visuals possible. Still,

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Speaker 5: both his directorial projects are striking in different ways. Silent

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Speaker 5: Running is a melancholy science fiction movie starring Bruce Dern

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Speaker 5: as a conservationist so dedicated to a space dome full

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Speaker 5: of preserved trees and plants from Earth that he's willing

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Speaker 5: to kill to protect them from destruction. The movie is

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Speaker 5: part environmental fable and part futuristic warning, but it's also

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Speaker 5: a story that other writers grafted onto the story Trumbull

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Speaker 5: really wanted to make. His original version was about a

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Speaker 5: lone man in space, aging out of his career and

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Speaker 5: focusing on his personal connection to a group of robot

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Speaker 5: drones until the aliens arrive and change everything. That isn't

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Speaker 5: quite what we see on screen in Silent Running, it's

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Speaker 5: closer to the story the Lego movie directors and Spider

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Speaker 5: Verse producers Phil Lord and Christopher Miller tell in Project

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Speaker 5: Hail Mary, adapted from Andy Weier's novel about a reluctant

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Speaker 5: astronaut who's trying to save the world from ecological catastrophe

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Speaker 5: when he meets an alien after his own hot Both

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Speaker 5: movies have eco disasters, isolated spacegoers and non human friends,

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Speaker 5: but they tell very different stories about what it means

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Speaker 5: to be isolated from humanity in pursuit of a world

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Speaker 5: saving mission.

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Speaker 6: So in this episode, we'll talk through Trumbull's intentions with

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Speaker 6: Silent Running and how it evolved from a first contact

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Speaker 6: movie into an environmental warning movie. And then next week,

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Speaker 6: our companion episode will consider the jaunty humor and blockbuster

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Speaker 6: friendly storytelling of Project Hail Mary, the latest story from

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Speaker 6: the author and screenwriter who gave us Ridley Scott's The

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Speaker 6: Martian back in twenty fifteen.

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Speaker 8: Stay with us this summer, serve up the cookout classics, Heinz,

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Speaker 8: Ketchup and Craft singles. Every good burger needs a layer

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Speaker 8: of perfectly melty.

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Speaker 6: Cheese and thick rich ketchup.

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Speaker 8: We all know it's not a cookout without Heinz and Craft.

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Speaker 1: A space convoy on a strange voyage from carrying a

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Speaker 1: rare cargo. The forests, the plants, the growing things doomed

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Speaker 1: to extinction on Earth.

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Speaker 4: We have just received orders to abandon and nuclear destruct

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Speaker 4: all the forests and returned our ships to commercial circles, and.

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Speaker 5: We're going home.

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Speaker 4: You blow up this forest.

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Speaker 6: Act more Silent Running.

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Speaker 3: Cataclysm in outer space, every.

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Speaker 1: Moment bringing its own danger as man explores the mysteries

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Speaker 1: of an unknown and limitless universe.

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Speaker 6: After Dennis Hopper's independent nineteen sixty nine counterculture drama Easy Rider,

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Speaker 6: made sixty million dollars on a four hundred thousand dollars budget.

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Speaker 6: Hollywood studios took notice the so called New Hollywood era

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Speaker 6: was kicking off, jump started by ambitious rule breaking movies

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Speaker 6: like nineteen sixty seven's Bonnie and Clyde from Our Last

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Speaker 6: Pairing and the graduate movies that tapped into the youth

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Speaker 6: driven pushback against mainstream culture that marked the nineteen sixties.

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Speaker 6: Easy Writer was a particular watershed, though, a movie that

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Speaker 6: made studios aware of the profit potential in letting a new,

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Speaker 6: younger generation of filmmakers do things their way. Eight Universal

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Speaker 6: Studios legendary executive Ned Tannen proposed an experiment. He'd contract

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Speaker 6: five up and coming directors to make movies with minimal

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Speaker 6: studio interference on a budget of one million dollars a piece.

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Speaker 6: The projects chosen for this experiment weren't all successes financially

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Speaker 6: or critically, but they're all interesting, idiosyncratic movies. George Lucas's

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Speaker 6: American Graffiti was the big financial hit of the bunch.

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Speaker 6: Three of the other four were Dennis Hopper's Catastrophic failure,

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Speaker 6: the last movie Peter Fonda's The Hired Hand and Milo's

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Speaker 6: Foreman's Taking Off. The fifth was An Anomaly, a science

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Speaker 6: fiction movie set entirely in space, directed by Douglas Trumbull

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Speaker 6: the visual effects artists who are suably won Stanley Kubrick

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Speaker 6: his only Academy Award without being credited for it by

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Speaker 6: the Academy. Trumbull hadn't set out to become a filmmaker.

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Speaker 6: In interviews around the time Silent Running was released in

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Speaker 6: nineteen seventy two, he said it was mostly fascinated by

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Speaker 6: futuristic design and effects work. After earning Kubrick's attention with

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Speaker 6: an ambitious short film and working on two thousand and one,

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Speaker 6: Trumbull went on to work on effects for the and

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Speaker 6: Rameda Strain, Star Trek, the motion picture Blade Runner, and

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Speaker 6: Close Encounters of the Third Kind. But he had an

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Speaker 6: idea for a movie about an aging man living alone

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Speaker 6: in space with his robots and being observed by curious aliens.

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Speaker 6: Directing it, he said, seemed like the best way to

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Speaker 6: ensure it actually got made. Reading Trumpell's extensive account of

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Speaker 6: what he originally wanted Silent Running to be, it's hard

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Speaker 6: not to imagine whether that story might have played better

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Speaker 6: for audiences in nineteen seventy two than the mournfully ecological

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Speaker 6: warning story we actually got. If it made that version,

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Speaker 6: I have to imagine would be pulling the movie out

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Speaker 6: again right now to consider its pressions in thinking about

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Speaker 6: artificial intelligence and how humanity tends to overlay human emotions

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Speaker 6: and intelligence on anything that seems to act with purpose.

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Speaker 6: Trumble told Fantastic Films magazine in nineteen seventy eight that

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Speaker 6: the original idea for Silent Running was really about an

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Speaker 6: astronaut eventually named Freeman Lowell and his relationship with the

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Speaker 6: space robots he programmed to be his friends. I wanted

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Speaker 6: to establish the story of that relationship, showing how the

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Speaker 6: machines changed from simply doing their jobs to the anthropomorphisation

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Speaker 6: into real characters, he told writer James Telson. I wanted

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Speaker 6: to show what a dead end it is, but also

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Speaker 6: what a wonderful thing it is because of the output

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Speaker 6: of emotion. That story involved contact with an extraterrestrial life force.

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Speaker 6: It was the basic story of some ets who are

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Speaker 6: traveling around and who detect this guy who's totally alone,

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Speaker 6: totally isolated. H'd be the guy to make contact with.

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Speaker 6: Here's a guy out alone. He likes being alone. He

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Speaker 6: likes that job. He's totally alone in the ship with

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Speaker 6: his little robots who he has no relationship with.

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Speaker 1: It all.

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Speaker 6: He's getting a little bit old for the space program

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Speaker 6: and he gets the kiss off from the company. They say,

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Speaker 6: you're being retired with congratulations and everything. All your space

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Speaker 6: transportation from now on is completely free on the company,

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Speaker 6: and we're really glad you've done such a good job

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Speaker 6: for us. He says, but I don't want.

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Speaker 4: To go back.

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Speaker 6: I like it out here alone. I don't want to

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Speaker 6: go back to Earth. I just want to be left alone.

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Speaker 6: Here he is with a big, old, clunky space freighter

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Speaker 6: that's going to be decommissioned anyway. It's a big piece

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Speaker 6: of shit, and he says, well, I've always sort of

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Speaker 6: wanted to go out exploring. He decides to steal the

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Speaker 6: ship and he enlists the help of the drones. There's

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Speaker 6: a lot more about the original version of this movie

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Speaker 6: in that interview, which I heartily recommend looking up on

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Speaker 6: the Internet archive, not just for the insight into how

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Speaker 6: Trumbull conceived, funded, and shot Silent Running, but also for

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Speaker 6: some amazing stories about working with Stanley Kubrick, particularly the

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Speaker 6: bit about the dead Zebra. But to sum up in

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Speaker 6: that original version, Lowell eventually becomes a space pirate by

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Speaker 6: stealing his ship and painting it black to avoid detection. Later,

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Speaker 6: aliens sneak on to Lowell's ship and save his life

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Speaker 6: when he nearly dies from leaving his air scrubbers off

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Speaker 6: so the ship won't give off any detectable signal from

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Speaker 6: energy use. They also take one of his drone friends,

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Speaker 6: and he uses that drunes camera to see inside the

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Speaker 6: alien ship. The movie ends just as he sees one

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Speaker 6: of the aliens for the first time, with what Trumbull

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Speaker 6: simply describes as a cop with a flame thrower bursting

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Speaker 6: in and killing him, signifying that Earth found him in

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Speaker 6: spite of his silent running tactics. When Trumble got the

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Speaker 6: commission in the budget to make Silent Running the project,

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Speaker 6: he took on in part because his independent effects company

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Speaker 6: was going bankrupt and he needed the work. His friend

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Speaker 6: and agent Michael Groscoff, who'd broker the deal, pushed him

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Speaker 6: to make the movie more relevant. Derek Washburn and Michael Samino,

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Speaker 6: who would later team up to script Somino's The Deer Hunter,

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Speaker 6: and writer Stephen Botchko, later the creator of Hill Street

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Speaker 6: Blues and NYPD Blue, turned Trumpell's idea into a script

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Speaker 6: about what seems to be the last man in the

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Speaker 6: universe who cares about Earth's forests. Their version of Freeman

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Speaker 6: Lowell is one of a crew of four aboard the

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Speaker 6: Valley Forge, a cargo spaceship carrying a series of geodesic

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Speaker 6: domes harboring earth plants and wildlife. Lowell's three crewmates are bored,

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Speaker 6: blue collar workers who are sick of their space gig

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Speaker 6: after six months away from Earth and itching to get

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Speaker 6: back home. Lowell, who personally tends to the plants and

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Speaker 6: animals in one of the domes in a weird bathrobbish

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Speaker 6: get up straight out of a Biblical saga, is not

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Speaker 6: one of these yahoos, but he isn't exactly a sympathetic

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Speaker 6: character either. Bruce Dern, not long off of his role

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Speaker 6: in previous Next Picture showpick They Shoot Horses, Don't They

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Speaker 6: plays Lowell with a surly, shrill, self righteous air as

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Speaker 6: he tells his fellow crew members that sure, poverty, crime,

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Speaker 6: and unemployment don't exist on Earth. Anymore, but it wasn't

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Speaker 6: worth giving up all the plant life to environmental catastrophe.

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Speaker 6: Lowell firmly believes that their command chain will bring him

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Speaker 6: home any day now to reforce to the earth with

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Speaker 6: the dome plants and make it a new Eden, apparently

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Speaker 6: with him in charge, because he's earned it by taking

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Speaker 6: such good care of his garden. Instead, the Valley Forge

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Speaker 6: crew gets the mystifying order to not just jettison the

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Speaker 6: forest preservation domes, but to nuke them, and then to

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Speaker 6: head home so their cargo ships can go back to

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Speaker 6: commercial runs. That may seem ridiculously wasteful and excessive as

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Speaker 6: a plot point, but as a metaphor for the casual

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Speaker 6: destruction and pollution of thevironment that the nascent environmental movement

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Speaker 6: was calling Americans attention to in nineteen seventy. It jibs. Lowell,

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Speaker 6: like those environmentalists, pushes back against what he sees as

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Speaker 6: unthinkable destruction of irreplaceable natural resources. He half accidentally kills

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Speaker 6: one of his fellow crewmen, then very consciously murders the

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Speaker 6: other two. Then he fakes a shipboard catastrophe, ignores his orders,

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Speaker 6: and heads into the rings of Saturn, hoping the commanders

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Speaker 6: he's fleeing will think that he's dead. Along the way,

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Speaker 6: he reprograms his shipboard drones, first to help him with

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Speaker 6: new tasks, like performing surgery on the wound he took

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Speaker 6: while fighting his fellow crew member, and later to act

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Speaker 6: as companions, playing poker with him and helping him in

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Speaker 6: the garden. From there, Silent Running Plays is a dreamy

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Speaker 6: idol underlined by frankly somewhat wayy sentimental songs sung by

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Speaker 6: folk protest artist Joan Biaz. Lowell is an atom and

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Speaker 6: a pastoral Eden that never had an eve, inventing his

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Speaker 6: own companions from materials he finds on hand and living

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Speaker 6: as back to nature a life as a man can

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Speaker 6: live on a space ship alone. This this feels like

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Speaker 6: the part of the movie Trumble was really living for.

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Speaker 6: Lowell interacts with the waddling robots played by bilateral amputees

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Speaker 6: in plastic suits. The ship dives into Saturn's rings and

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Speaker 6: floats peacefully across the cosmos, shooting inside a budget friendly,

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Speaker 6: scrapped aircraft carrier for the ship and in an aircraft

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Speaker 6: hangar for the forest dome. Trumbull focuses a fair bit

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Speaker 6: of the movie just on the details of space travel

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Speaker 6: in space ships, experimenting with and expanding on visual techniques

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Speaker 6: he started on two thousand and one. Lowell's sojourn comes

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Speaker 6: to an abrupt end when another earthship attempting to rescue him,

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Speaker 6: catches up with the Valley Forge. His commanders never did

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Speaker 6: realize he dissipated his orders and ran off with the ship.

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Speaker 6: In a last act of defiance, he jettisons the last

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Speaker 6: dome into space with one of his drone companions to

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Speaker 6: tend to the plants, animals, and trees, and uses a

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Speaker 6: spare nuke to blow up his own ship and the

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Speaker 6: other surviving drone. This is all perhaps closer to what

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Speaker 6: ned Tannin was imagining from his experimental set of would

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Speaker 6: be countercultural directors, a cynical but defiant story about protest,

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Speaker 6: fighting back against the man, and dying for a cause,

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Speaker 6: all tied up in one of the early nineteen seventies

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Speaker 6: most hot button issues. Sadly, audiences didn't spark to Silent Running,

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Speaker 6: and it flopped at the box office, But looking back

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Speaker 6: on it now, and particularly on the movement and the

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Speaker 6: moment that sparked it, Silent Running feels unique. It's a

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Speaker 6: protest movie like no other, made to speak to a

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Speaker 6: specific moment, but with all the ambition of someone who

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Speaker 6: is always more interested in putting possible futures on screen

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Speaker 6: than anything else.

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Speaker 1: than that?

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Speaker 7: What are you doing?

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Speaker 4: Well, you're not coming in here, Okay, I know how

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Speaker 4: you feel. You don't know how I feel. If you

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Speaker 4: know how I felt, you wouldn't be in here with that.

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Speaker 1: Listen, I'm going to take schedule and I don't want

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Speaker 1: to have to.

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Speaker 4: Fight with you, but I don't like her about your schedule.

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Speaker 4: You are not using those things in my force, and

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Speaker 4: I ain't got time to argue.

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Speaker 9: No move, I'm not going to do it.

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Speaker 6: So given where this movie started as as kind of

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Speaker 6: a nascent New Hollywood project, how do you see this

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Speaker 6: like working as a countercultural movie about about fighting the man?

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Speaker 3: Like?

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Speaker 6: Is this a movie that stands alongside an easy writer

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Speaker 6: in American graffiti?

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Speaker 3: Oh?

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Speaker 1: You think there's some countercultural elements to this film? That's interesting?

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Speaker 1: Interesting observation, Tasha, No, I mean it feels very much

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Speaker 1: like early seventies. You know, sort of ecological concern of

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Speaker 1: the early seventies is just kind of all over this

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Speaker 1: movie too. I Mean, in science fiction, weees are almost

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Speaker 1: always about the present, really, and this was so much about,

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Speaker 1: you know, projecting particular anxieties of the early nineteen seventies

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Speaker 1: onto the future and sometimes like simplistic way, but in

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Speaker 1: a way I don't I really appreciate. I'm I'm a

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Speaker 1: big fan of this movie, and I'm sure we're going

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Speaker 1: to get into some of the silliness, the silliness that

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Speaker 1: is in this movie. But like in terms of like

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Speaker 1: being easy Writer or like sort of the science fiction

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Speaker 1: equivalent of it, not really. I mean, you get some

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Speaker 1: sort of you get some editing that that suggests that's

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Speaker 1: kind of a reminiscent of easy Writer, like or these

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Speaker 1: these rapid fire flashbacks or some kind of a can

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Speaker 1: to something you see an easy Writer. They're they're kind

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Speaker 1: of fast flash forwards. But it's so much so much

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Speaker 1: more reflective and gentle and pastoral in a way that

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Speaker 1: Easy Writer just just isn't. It just feels like it's

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Speaker 1: really more like you know, broadly speaking, it kind of

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Speaker 1: comes from the same world as that, but it is

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Speaker 1: just such a particular vision, Douglas Trumple's vision above all.

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Speaker 1: I feel like it's a film in some ways it's

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Speaker 1: made from you know, if you were to tell me

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Speaker 1: that the last thing you see, this dome full of

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Speaker 1: a forest floating in space out into the distance, was

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Speaker 1: the reason he made the movie, I would buy that

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Speaker 1: and kind of backwards from there, because I think, you

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Speaker 1: know it is it is kind of all about that

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Speaker 1: odd juxtaposition and and how they how it ends up there.

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Speaker 3: I mean, that's an amazing way to end this movie. Uh.

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Speaker 5: I mean I think that, you know, if you think

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Speaker 5: about this as a counterculture movie, I almost think about

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Speaker 5: about it as a film about that sort of reflects

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Speaker 5: on radical counterculture politics and and what the what the

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Speaker 5: the morality of that?

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Speaker 3: Really?

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Speaker 5: I mean that the choices that our hero makes, you know,

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Speaker 5: to to basically you know, murder his his uh the

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Speaker 5: other astronauts on board for the larger, the larger cause

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Speaker 5: of of uh, you know, potentially saving the planet is

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Speaker 5: a pretty kind of a remarkable thing for for for

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Speaker 5: the movie to do and to really just focus on.

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Speaker 3: I mean, as Tasha was saying, this could have been.

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Speaker 5: A lot of different types of movie, and and and

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Speaker 5: it really does kind of narrow into that story and

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Speaker 5: and and get us in this an uncomfortable place of

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Speaker 5: what kind of recognizing, you know, love and understanding how

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Speaker 5: he's feeling and in the resentment he feels for how

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Speaker 5: little thought his these other astronauts give towards organic life

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Speaker 5: or at all. Yeah, and then the extreme links that

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Speaker 5: he goes to uphold his values. I mean, it's a

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Speaker 5: it's a very uncomfortable film to watch it in a

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Speaker 5: good way, I think.

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Speaker 1: Yeah, I think if you see this as just completely

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Speaker 1: raw raw, he did the right thing, which I don't

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Speaker 1: think it is that. I think there's a lot of

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Speaker 1: nuance there, but it is kind of could be sort

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Speaker 1: of like a radical environmentalist text. You know, there's that

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Speaker 1: one early seventies science fiction novel, The Camp of Saints.

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Speaker 1: I think it's called that the far right and white

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Speaker 1: supremacists have latched onto as like a text I kind

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Speaker 1: of imagine in an alternate universe, this is like the

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Speaker 1: left wing equivalent of it that's sort of inspired all

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Speaker 1: kinds of sort of like radical andron I.

436
00:22:01,480 --> 00:22:06,040
Speaker 7: Don't know, I find that loll he's so complicated as

437
00:22:06,080 --> 00:22:09,600
Speaker 7: a hero that it really complicates like the morality of this,

438
00:22:09,800 --> 00:22:11,600
Speaker 7: And by the end of it, I did how a

439
00:22:11,640 --> 00:22:18,280
Speaker 7: feeling of is this actually an anti environmentalism and sort

440
00:22:18,280 --> 00:22:22,440
Speaker 7: of criticizing radical environmentalism because at the end of the day,

441
00:22:23,160 --> 00:22:26,879
Speaker 7: he destroys all the forests, all the space forest but

442
00:22:27,000 --> 00:22:30,479
Speaker 7: his favorite one, and just lets it drift off into space,

443
00:22:30,520 --> 00:22:34,480
Speaker 7: like there's no sort of intent for it to reforest

444
00:22:34,600 --> 00:22:37,040
Speaker 7: the earth, like, and it kind of seems like that

445
00:22:37,600 --> 00:22:41,680
Speaker 7: was maybe never his goal. I feel like how I

446
00:22:41,720 --> 00:22:44,359
Speaker 7: read him as a character as someone whose like ego

447
00:22:44,400 --> 00:22:46,920
Speaker 7: and sense of self is so wrapped up and spending

448
00:22:46,960 --> 00:22:50,240
Speaker 7: eight years maintaining these forest domes and then them all

449
00:22:50,280 --> 00:22:55,040
Speaker 7: just being shut down unceremoniously by you know, Earth that

450
00:22:55,200 --> 00:22:59,800
Speaker 7: like doesn't really seem interested in reforesting itself at all

451
00:23:00,840 --> 00:23:03,119
Speaker 7: at this point. You know, it's seventy five degrees all

452
00:23:03,160 --> 00:23:06,919
Speaker 7: the time, and you know, like there there's not a

453
00:23:07,040 --> 00:23:11,840
Speaker 7: mass environmental catastrophe that he is like saving the earth from.

454
00:23:12,320 --> 00:23:15,399
Speaker 7: He's like he puts it as you know, without forests,

455
00:23:15,480 --> 00:23:19,520
Speaker 7: there's no like no beauty, no more frontiers to conquer,

456
00:23:19,680 --> 00:23:22,959
Speaker 7: you know, Like like how he is relating to his

457
00:23:23,160 --> 00:23:27,320
Speaker 7: work seems kind of separate from, you know, a care

458
00:23:27,440 --> 00:23:31,119
Speaker 7: or concern for the current state of the earth and

459
00:23:31,200 --> 00:23:36,040
Speaker 7: wanting to fix it in any way. And yeah, he's

460
00:23:36,080 --> 00:23:38,159
Speaker 7: also a terrible botanist.

461
00:23:39,720 --> 00:23:43,320
Speaker 6: Okay, hold your thought on terrible botanist, because that was

462
00:23:43,359 --> 00:23:46,560
Speaker 6: something that you that you kind of mentioned in passing

463
00:23:46,600 --> 00:23:47,920
Speaker 6: as we were leading up to this, and I want

464
00:23:47,920 --> 00:23:50,080
Speaker 6: to give you like full time to unpack that.

465
00:23:50,640 --> 00:23:52,320
Speaker 7: We'll get my branch muscles ready to go.

466
00:23:53,840 --> 00:23:56,879
Speaker 6: But before the same muscles that used to dig like

467
00:23:57,000 --> 00:23:59,120
Speaker 6: tiny little holes that you drop trees on top.

468
00:23:58,960 --> 00:24:03,320
Speaker 7: Of, I'm under putting in mulch because he put mulch

469
00:24:03,440 --> 00:24:06,399
Speaker 7: in the hole and trees can't grow without mulch in

470
00:24:06,440 --> 00:24:06,840
Speaker 7: the hole.

471
00:24:09,080 --> 00:24:12,679
Speaker 6: Okay, I mean, I've got thoughts on him, him and

472
00:24:12,680 --> 00:24:15,080
Speaker 6: the whole botany thing. But but before that, I'm gonna

473
00:24:15,080 --> 00:24:17,520
Speaker 6: push back on a bunch of what you just said, because,

474
00:24:18,040 --> 00:24:21,879
Speaker 6: first of all, I don't buy the interpretation of he

475
00:24:21,960 --> 00:24:24,680
Speaker 6: blows up all the domes except his favorite one. I mean,

476
00:24:24,720 --> 00:24:27,600
Speaker 6: he doesn't blow up any of them. He reacts with

477
00:24:28,760 --> 00:24:34,400
Speaker 6: increasing alarm as they're blown up, and I think he is, like, yes,

478
00:24:34,440 --> 00:24:36,479
Speaker 6: I would have liked him to take action before all

479
00:24:36,520 --> 00:24:38,640
Speaker 6: of those other domes were blown up, you know.

480
00:24:38,640 --> 00:24:41,119
Speaker 7: Full of the one with the two other guys in it.

481
00:24:41,240 --> 00:24:43,920
Speaker 6: Well, he does, he does sacrifice that one in order

482
00:24:43,960 --> 00:24:46,840
Speaker 6: to in order to you know, murder two of his

483
00:24:47,080 --> 00:24:52,119
Speaker 6: fellow crewmates. But the desert biome with the iguana that

484
00:24:52,119 --> 00:24:56,040
Speaker 6: that hugs the tortoise, you know that that one, you

485
00:24:56,080 --> 00:24:59,439
Speaker 6: know goes up. Yeah, I definitely got the impression, Like

486
00:24:59,520 --> 00:25:02,160
Speaker 6: I it would have been nice if he had acted earlier.

487
00:25:02,880 --> 00:25:06,760
Speaker 6: That to me, I guess is uh, you know, trumbull

488
00:25:06,760 --> 00:25:09,399
Speaker 6: on the screenwriters just kind of like stretching out the

489
00:25:09,480 --> 00:25:12,879
Speaker 6: action of like when will he when? When when will

490
00:25:12,880 --> 00:25:15,960
Speaker 6: we get to the fireworks factory? When will he take action?

491
00:25:16,640 --> 00:25:19,240
Speaker 6: The situation is getting worse and worse, and more and

492
00:25:19,280 --> 00:25:24,000
Speaker 6: more is being lost and more and more is unrecoverable. That,

493
00:25:24,080 --> 00:25:26,119
Speaker 6: to me again is another part of the movie that

494
00:25:26,200 --> 00:25:30,080
Speaker 6: just kind of works more as metaphor really than the narrative.

495
00:25:30,840 --> 00:25:34,679
Speaker 6: Like the idea that he really has his one like

496
00:25:34,960 --> 00:25:38,359
Speaker 6: pet dome that he loves intends to personally and he

497
00:25:38,359 --> 00:25:40,439
Speaker 6: doesn't hang out in the desert dome with the uh,

498
00:25:40,560 --> 00:25:44,520
Speaker 6: the hugging iguana at all, I guess is plausible, but

499
00:25:45,280 --> 00:25:49,520
Speaker 6: it feels like he isn't pressed towards taking really precipitous

500
00:25:49,560 --> 00:25:52,679
Speaker 6: action until he just can't stand it any longer. You know,

501
00:25:52,720 --> 00:25:55,200
Speaker 6: he sees the death of the place that he loves

502
00:25:55,240 --> 00:25:58,840
Speaker 6: coming closer and closer, and then for me, sending the

503
00:25:59,400 --> 00:26:02,320
Speaker 6: dome out into space, Like, yeah, he's giving up on Earth,

504
00:26:02,359 --> 00:26:06,040
Speaker 6: but Earth has not just given up on him and

505
00:26:06,080 --> 00:26:10,760
Speaker 6: given up on preserving these trees. It's actively inimical to it.

506
00:26:11,000 --> 00:26:14,399
Speaker 6: To me, he's putting Moses in a basket and sending

507
00:26:14,440 --> 00:26:18,680
Speaker 6: him downstream. You know, he's saying, somebody out there maybe

508
00:26:18,760 --> 00:26:21,040
Speaker 6: will have the opportunity to care for these things that

509
00:26:21,040 --> 00:26:24,080
Speaker 6: I love. Maybe they'll drift through space with the drone

510
00:26:24,119 --> 00:26:27,919
Speaker 6: taking care of them eternally. Maybe someday some other civilization

511
00:26:28,000 --> 00:26:30,920
Speaker 6: will find them, you know, who knows. Maybe Earth will

512
00:26:31,320 --> 00:26:34,840
Speaker 6: expand across the galaxy and find them fifty thousand years

513
00:26:34,840 --> 00:26:38,280
Speaker 6: from now, who knows what. Whatever it is, he's letting

514
00:26:38,320 --> 00:26:40,879
Speaker 6: it go onto its own future as opposed to taking

515
00:26:40,880 --> 00:26:42,840
Speaker 6: it back to Earth where people don't value it and

516
00:26:42,840 --> 00:26:44,920
Speaker 6: will just be blown up to it. To me, that's

517
00:26:44,960 --> 00:26:49,399
Speaker 6: an act of kind of desperate like last ditch hope.

518
00:26:50,040 --> 00:26:51,960
Speaker 5: So you don't think that, you don't think there's any

519
00:26:52,080 --> 00:26:55,080
Speaker 5: kind of plan in his mind that if he makes

520
00:26:55,119 --> 00:26:58,480
Speaker 5: it back to Earth with some of this stuff intact,

521
00:26:58,560 --> 00:27:01,000
Speaker 5: that it will be able to be present deserved, you

522
00:27:01,040 --> 00:27:01,920
Speaker 5: know on the planet.

523
00:27:02,119 --> 00:27:04,320
Speaker 1: Yeah, I think that's his hope. I think I think

524
00:27:04,320 --> 00:27:07,240
Speaker 1: that's what And that's sort of you know, goes out

525
00:27:07,280 --> 00:27:09,119
Speaker 1: the window of the moment he learns that they're that

526
00:27:09,359 --> 00:27:11,760
Speaker 1: he thought he was going to be promoted to, you know,

527
00:27:11,880 --> 00:27:15,480
Speaker 1: restart this stuff on Earth, and instead the whole program's

528
00:27:15,560 --> 00:27:16,720
Speaker 1: being destroyed.

529
00:27:17,920 --> 00:27:20,399
Speaker 7: I believe that he thought that before that moment, but

530
00:27:20,440 --> 00:27:24,520
Speaker 7: I think that moment maybe broke him, you know, and

531
00:27:24,560 --> 00:27:27,800
Speaker 7: I think he like kind of just took his tree

532
00:27:27,840 --> 00:27:31,760
Speaker 7: ball and went home into the depths of space.

533
00:27:32,080 --> 00:27:36,240
Speaker 1: For all the like lovely pastoral images edic images in

534
00:27:36,320 --> 00:27:38,960
Speaker 1: the second half of this movie, you can also read

535
00:27:38,960 --> 00:27:43,000
Speaker 1: it as a depiction of a man who's lost his mind.

536
00:27:43,359 --> 00:27:45,800
Speaker 1: I mean, who's he's just who's just now He's who's

537
00:27:45,840 --> 00:27:47,960
Speaker 1: cracked And this is how it's manifesting itself.

538
00:27:48,119 --> 00:27:50,399
Speaker 7: That's that's definitely how I read it. And there is

539
00:27:50,440 --> 00:27:53,720
Speaker 7: a when the order kind of comes down and they're

540
00:27:53,800 --> 00:27:58,200
Speaker 7: preparing to destroy the ships. There's a moment where Loll

541
00:27:58,320 --> 00:28:02,040
Speaker 7: he kind of says to himself. It's insane, And it

542
00:28:02,080 --> 00:28:04,440
Speaker 7: could be read as like what they're doing is insane,

543
00:28:04,640 --> 00:28:06,320
Speaker 7: but it could also be read as like what he's

544
00:28:06,400 --> 00:28:11,000
Speaker 7: thinking of doing this insane, you know. And I think

545
00:28:11,119 --> 00:28:15,040
Speaker 7: as the movie went on and sort of that became

546
00:28:15,119 --> 00:28:19,800
Speaker 7: my interpretation of Loll as sort of a madman, you know,

547
00:28:20,200 --> 00:28:24,320
Speaker 7: by circumstance. That's kind of you know how I took it.

548
00:28:24,440 --> 00:28:26,640
Speaker 6: I mean, he's doing been driving himself nuts with all

549
00:28:26,680 --> 00:28:29,520
Speaker 6: the toxins from eating you know, organic plants that come

550
00:28:29,520 --> 00:28:33,399
Speaker 6: out of the dirt. There was there was something about that,

551
00:28:33,680 --> 00:28:36,400
Speaker 6: you know, when they push back against his crewmates pushed

552
00:28:36,440 --> 00:28:39,560
Speaker 6: back against him eeting a candlope, it's just like urine

553
00:28:39,600 --> 00:28:45,960
Speaker 6: plants from the dirt. I just I heard idiocrisy and yeah,

554
00:28:46,040 --> 00:28:48,320
Speaker 6: to the point where I actually wondered if that, you know,

555
00:28:49,520 --> 00:28:51,719
Speaker 6: you eat things that come out of the dirt, you know,

556
00:28:51,800 --> 00:28:52,720
Speaker 6: came out of this movie.

557
00:28:52,800 --> 00:28:54,240
Speaker 1: I will say, though, I think if he's going to

558
00:28:54,240 --> 00:28:57,480
Speaker 1: make a case for naturally grown food, you ghosting other

559
00:28:57,520 --> 00:29:00,600
Speaker 1: than a cantelope. You know, that's just it's not you like.

560
00:29:00,560 --> 00:29:02,800
Speaker 3: Other melons, Keith. Are you more like a different type

561
00:29:02,800 --> 00:29:03,400
Speaker 3: of melon guy?

562
00:29:03,560 --> 00:29:06,680
Speaker 1: Like watermelon? How to use Okay, call have just never

563
00:29:06,840 --> 00:29:07,480
Speaker 1: just never done it.

564
00:29:07,480 --> 00:29:10,560
Speaker 7: For me, els are just an insane choice in a

565
00:29:10,720 --> 00:29:13,520
Speaker 7: situation where you presumably have to ration water, although that

566
00:29:13,560 --> 00:29:18,160
Speaker 7: never comes up, but you know there's.

567
00:29:17,600 --> 00:29:20,640
Speaker 6: Enough water, like in just in his dome alone that

568
00:29:20,680 --> 00:29:21,680
Speaker 6: he can swim in it.

569
00:29:22,600 --> 00:29:24,800
Speaker 7: I don't think that's put it in that little tiny

570
00:29:25,160 --> 00:29:26,120
Speaker 7: watering can.

571
00:29:27,800 --> 00:29:31,440
Speaker 6: Imprinted with with little pictures of children. Yeah, there are

572
00:29:31,480 --> 00:29:35,480
Speaker 6: there's certainly some questions about the sustainability of of any

573
00:29:35,520 --> 00:29:37,600
Speaker 6: of this, and you know, there's not a lot of

574
00:29:37,640 --> 00:29:41,960
Speaker 6: detail I guess about how the ship is maintained or

575
00:29:42,000 --> 00:29:44,320
Speaker 6: like what resources are, which kind of brings me to

576
00:29:44,760 --> 00:29:47,080
Speaker 6: another question. I'm going to get back to some countercultural

577
00:29:47,080 --> 00:29:50,080
Speaker 6: elements because they still have questions there. But there's a

578
00:29:50,080 --> 00:29:52,320
Speaker 6: good opportunity to talk about just like does this work

579
00:29:52,360 --> 00:29:57,200
Speaker 6: as a science fiction story where we gloss very very

580
00:29:57,200 --> 00:30:01,440
Speaker 6: broadly over the state of the Earth. I'm very curious

581
00:30:01,640 --> 00:30:05,880
Speaker 6: how Earth is surviving with no plants whatsoever. I'm very

582
00:30:05,920 --> 00:30:08,960
Speaker 6: curious how we got to a place where everybody has

583
00:30:09,000 --> 00:30:12,239
Speaker 6: a job and there's no unemployment, there's no poverty, and

584
00:30:12,240 --> 00:30:15,360
Speaker 6: it's seventy five degrees all the time. It sounds, I

585
00:30:15,360 --> 00:30:19,560
Speaker 6: think is it's meant to sound idyllic but sterile. But

586
00:30:19,800 --> 00:30:23,280
Speaker 6: a lot of the sort of science of any of

587
00:30:23,320 --> 00:30:26,960
Speaker 6: this is just like glossed over and not addressed. It's

588
00:30:27,000 --> 00:30:30,200
Speaker 6: not important. It's the future. It's a metaphor. People who

589
00:30:30,240 --> 00:30:32,720
Speaker 6: don't like plants are evil and should die. People who

590
00:30:32,760 --> 00:30:36,080
Speaker 6: do like plants are good and are also going to die.

591
00:30:36,840 --> 00:30:38,640
Speaker 6: There's no work, cappuliever after.

592
00:30:38,720 --> 00:30:42,320
Speaker 3: What's the what is the mission exactly? What's the primary

593
00:30:42,360 --> 00:30:42,840
Speaker 3: mission here?

594
00:30:42,880 --> 00:30:45,840
Speaker 1: Other than was like it was to preserve this stuff

595
00:30:45,960 --> 00:30:49,080
Speaker 1: until you could replant it, like something that's.

596
00:30:48,960 --> 00:30:52,320
Speaker 5: Little, But that's the only mission of this entire Like

597
00:30:52,320 --> 00:30:54,240
Speaker 5: they're out there, this is what the mission is.

598
00:30:55,040 --> 00:30:58,920
Speaker 6: Yeah, I did not get that impression. All of this cargo,

599
00:31:01,280 --> 00:31:04,800
Speaker 6: the training of the astronauts in question, like the people

600
00:31:04,920 --> 00:31:07,600
Speaker 6: up there, the fact that only one of them cares

601
00:31:07,600 --> 00:31:11,000
Speaker 6: about plants or the mission at all seems very unlikely.

602
00:31:11,520 --> 00:31:14,840
Speaker 6: I got the impression that there is more going on

603
00:31:14,920 --> 00:31:16,920
Speaker 6: here in the story just isn't concerned with it.

604
00:31:17,120 --> 00:31:20,280
Speaker 7: Yeah, the order is specifically to destroy all the forest

605
00:31:20,360 --> 00:31:23,360
Speaker 7: and return the ships to commercial service. So I think,

606
00:31:23,840 --> 00:31:27,920
Speaker 7: you know, maybe think of that, like the ships themselves

607
00:31:27,960 --> 00:31:30,480
Speaker 7: as like cargo ships that they just happened to graft

608
00:31:30,560 --> 00:31:33,040
Speaker 7: these domes onto, but now they are going to use

609
00:31:33,080 --> 00:31:34,440
Speaker 7: them as cargo ships.

610
00:31:34,680 --> 00:31:37,480
Speaker 1: My head canon was that these were, like you said,

611
00:31:37,480 --> 00:31:40,920
Speaker 1: these were cargo ships, but that they had been especially

612
00:31:41,040 --> 00:31:45,520
Speaker 1: chosen for this mission primarily, and that the other other

613
00:31:45,560 --> 00:31:48,320
Speaker 1: three astronants are there to like run the ship, while

614
00:31:48,400 --> 00:31:51,840
Speaker 1: Lowell is there to run the domes. But at the

615
00:31:51,880 --> 00:31:54,000
Speaker 1: same time, you know, the thing about this movie is

616
00:31:54,440 --> 00:31:57,200
Speaker 1: you can't really scrutinize it if you want to enjoy

617
00:31:57,280 --> 00:32:01,479
Speaker 1: it too much, because yeah, being seventy five and all

618
00:32:01,520 --> 00:32:04,760
Speaker 1: the time and everyone having jobs makes no sense whatsoever,

619
00:32:04,840 --> 00:32:07,800
Speaker 1: because obviously there has been some sort of environmental catastrophe.

620
00:32:07,880 --> 00:32:08,960
Speaker 1: But of course, the thing I'm going to get to

621
00:32:08,960 --> 00:32:10,400
Speaker 1: you and I don't want to hopefully I'm not stepping

622
00:32:10,440 --> 00:32:12,480
Speaker 1: on what you were playing on the say Genevieve. But

623
00:32:12,480 --> 00:32:15,480
Speaker 1: but he is a botanist, right, and there's that whole

624
00:32:15,520 --> 00:32:18,960
Speaker 1: sequence where he like, like, oh, the plants are dying, and.

625
00:32:20,440 --> 00:32:23,960
Speaker 7: Did say closely, wait, let me look at this picture

626
00:32:24,080 --> 00:32:27,680
Speaker 7: of dead trees in a book words all the pictures

627
00:32:27,720 --> 00:32:30,000
Speaker 7: of dead trees that will have the answer.

628
00:32:30,440 --> 00:32:33,240
Speaker 1: But wait a minute, So we plants they need they

629
00:32:33,280 --> 00:32:36,120
Speaker 1: need light, they need sun.

630
00:32:35,120 --> 00:32:38,240
Speaker 6: But here's here's my explanation for that, and this is

631
00:32:38,280 --> 00:32:42,600
Speaker 6: going to lead directly into Genevieve's rant. My take on

632
00:32:42,720 --> 00:32:45,240
Speaker 6: all of this is that Lowell is not a botanist.

633
00:32:45,800 --> 00:32:48,600
Speaker 6: Like I've read a lot of descriptions of this movie,

634
00:32:48,720 --> 00:32:51,120
Speaker 6: and they they do kind of gloss over like like,

635
00:32:51,200 --> 00:32:53,640
Speaker 6: of course he's an ecologist or a botanist or something

636
00:32:53,720 --> 00:32:57,240
Speaker 6: like that. I don't know that the movie ever says

637
00:32:57,320 --> 00:33:00,360
Speaker 6: that his duties on the ship seem to be like

638
00:33:00,480 --> 00:33:05,280
Speaker 6: he's the primary like that he's no they I mean

639
00:33:05,320 --> 00:33:08,560
Speaker 6: they come to him with wounds. He also seems to

640
00:33:08,640 --> 00:33:12,880
Speaker 6: have some, you know, some some navigational duties, like the

641
00:33:13,080 --> 00:33:15,080
Speaker 6: one of his his crewmates needs him to come in

642
00:33:15,160 --> 00:33:18,400
Speaker 6: and like adjust things in the cockpit when they're they're

643
00:33:18,480 --> 00:33:22,400
Speaker 6: changing orders. I think the whole botany thing might be

644
00:33:22,560 --> 00:33:25,080
Speaker 6: I think that he maybe started out as just like

645
00:33:25,240 --> 00:33:29,040
Speaker 6: another crew member on a commercial ship, and he fell

646
00:33:29,040 --> 00:33:31,560
Speaker 6: in love with the plants and everything that he's doing

647
00:33:32,320 --> 00:33:35,040
Speaker 6: this mission that he's been on for eight years and

648
00:33:35,080 --> 00:33:37,560
Speaker 6: his fellows have been on for six months. I think

649
00:33:37,600 --> 00:33:41,600
Speaker 6: he just keeps signing up for rotations that kind of

650
00:33:41,640 --> 00:33:43,840
Speaker 6: that the the piece of paper that he's got up

651
00:33:43,880 --> 00:33:46,400
Speaker 6: on his wall, which Keith was the one that hipped

652
00:33:46,440 --> 00:33:49,520
Speaker 6: me to the fact that this was a like an

653
00:33:49,640 --> 00:33:52,000
Speaker 6: environmental how would you how would you phrase it?

654
00:33:52,160 --> 00:33:55,280
Speaker 1: Keith from the National Forest Service.

655
00:33:55,400 --> 00:34:00,400
Speaker 6: Yeah, yeah, for that that came into like being about

656
00:34:00,400 --> 00:34:02,520
Speaker 6: the same time that Smokey the Bear was being created

657
00:34:02,560 --> 00:34:07,040
Speaker 6: as like part of a new environmental wave in the US.

658
00:34:07,680 --> 00:34:10,520
Speaker 6: So he's got that up in his bunk. It's not

659
00:34:10,960 --> 00:34:13,520
Speaker 6: it's not a pledge that they've all taken. I think

660
00:34:13,560 --> 00:34:17,080
Speaker 6: what we're seeing is a hobby, basically a hobby that

661
00:34:17,080 --> 00:34:20,719
Speaker 6: he's devoted his life to. But like where his fellows

662
00:34:20,760 --> 00:34:24,680
Speaker 6: have taken up racing around in moon buggies that probably

663
00:34:24,680 --> 00:34:28,239
Speaker 6: have never seen the moon, he has taken up like cultivation.

664
00:34:29,200 --> 00:34:32,680
Speaker 6: And that's why he doesn't know that plants need sun

665
00:34:32,760 --> 00:34:35,479
Speaker 6: to live, because these domes have always gotten enough sun

666
00:34:36,000 --> 00:34:38,680
Speaker 6: where the ships have been parked. That's why he doesn't

667
00:34:38,680 --> 00:34:41,439
Speaker 6: know how to plant a friggin tree, or at least

668
00:34:41,480 --> 00:34:45,880
Speaker 6: his his bots are not yet well programmed enough to

669
00:34:45,920 --> 00:34:49,040
Speaker 6: plant trees. But I don't think that there's anything in

670
00:34:49,040 --> 00:34:53,360
Speaker 6: the movie itself that suggests he has any kind of

671
00:34:53,400 --> 00:34:57,480
Speaker 6: like degree in botany or that like a bunch of

672
00:34:58,040 --> 00:35:02,960
Speaker 6: resources were put into like caretakers for the plants, as

673
00:35:02,960 --> 00:35:05,879
Speaker 6: opposed to just a bunch of space jockeys that were

674
00:35:05,880 --> 00:35:07,200
Speaker 6: going to ferry these domes around.

675
00:35:07,560 --> 00:35:10,040
Speaker 3: The domes were for plants, though, right, I mean that's

676
00:35:10,120 --> 00:35:11,439
Speaker 3: what the domes were for.

677
00:35:11,719 --> 00:35:15,759
Speaker 7: No, yeah, But so Tasha, you're kind of suggesting that

678
00:35:15,800 --> 00:35:19,000
Speaker 7: the domes were created to be more or less self

679
00:35:19,000 --> 00:35:22,960
Speaker 7: sustaining and kind of fell in love with them and

680
00:35:23,160 --> 00:35:25,960
Speaker 7: you know, inserted himself into their their care.

681
00:35:26,239 --> 00:35:29,640
Speaker 6: Yeah, yeah, pretty much. I mean, I it seems like

682
00:35:29,719 --> 00:35:35,600
Speaker 6: the point is to preserve natural biomes and like specific plants,

683
00:35:36,040 --> 00:35:39,279
Speaker 6: and a natural biome does not have a you know,

684
00:35:39,360 --> 00:35:40,120
Speaker 6: a bed of.

685
00:35:40,280 --> 00:35:44,040
Speaker 7: Yet, but I mean certain kinds of grass nicely mode

686
00:35:44,080 --> 00:35:45,240
Speaker 7: suburban lawn.

687
00:35:45,080 --> 00:35:50,839
Speaker 6: Grass or like marigolds planted at four inch intervals, uh,

688
00:35:51,239 --> 00:35:55,840
Speaker 6: you know, arranged for color. Like his little flower bed

689
00:35:56,480 --> 00:35:59,560
Speaker 6: is very much a kind of like you know, suburban

690
00:36:00,120 --> 00:36:03,759
Speaker 6: manicured landscape as opposed to we're trying to preserve as

691
00:36:03,760 --> 00:36:07,240
Speaker 6: many you know, plants as possible. When he talks about

692
00:36:07,320 --> 00:36:10,240
Speaker 6: how you know, nobody cares so there's no future for plants,

693
00:36:10,239 --> 00:36:13,280
Speaker 6: I was immediately like, does it not have a seed bank?

694
00:36:13,520 --> 00:36:17,120
Speaker 6: Doesn't it make more sense to preserve seeds against a

695
00:36:17,200 --> 00:36:20,239
Speaker 6: future like reseating than it does sending a bunch of

696
00:36:20,239 --> 00:36:21,120
Speaker 6: plants into space.

697
00:36:21,360 --> 00:36:25,399
Speaker 7: Well, and also if the Earth is seven excellent, if

698
00:36:25,400 --> 00:36:27,760
Speaker 7: the well, if the Earth is seventy five degrees everywhere

699
00:36:27,800 --> 00:36:31,200
Speaker 7: all the time, like plants couldn't Germany, you know. Like,

700
00:36:32,520 --> 00:36:35,400
Speaker 7: so I actually really like this interpretation of Aristasha, and

701
00:36:35,440 --> 00:36:38,759
Speaker 7: I actually think it sort of strengthens my interpretation of

702
00:36:38,840 --> 00:36:43,040
Speaker 7: loll is just kind of a crazy guy who wants

703
00:36:43,080 --> 00:36:45,760
Speaker 7: to run off with his forests, or at least as

704
00:36:45,800 --> 00:36:49,160
Speaker 7: not a heroic figure, you know, and who is not

705
00:36:49,200 --> 00:36:52,440
Speaker 7: necessarily acting in service of a greater mission or a

706
00:36:52,440 --> 00:36:56,279
Speaker 7: greater goal other than the thing that he personally loves.

707
00:36:56,640 --> 00:36:59,120
Speaker 5: Well, this is this is this is an American Airlines

708
00:36:59,280 --> 00:37:02,920
Speaker 5: uh spacecraft, by the way. So my theory is that

709
00:37:02,920 --> 00:37:05,560
Speaker 5: the main mission is is that space is where everyone's

710
00:37:05,600 --> 00:37:07,080
Speaker 5: lost luggage gets jettisoned.

711
00:37:07,200 --> 00:37:10,799
Speaker 3: That's what the uh that all those cargo boxes.

712
00:37:10,440 --> 00:37:13,040
Speaker 6: Are for, or at least that's what they tell people,

713
00:37:13,040 --> 00:37:15,440
Speaker 6: because when we break one open, it's just full of dirt,

714
00:37:15,760 --> 00:37:17,680
Speaker 6: and he seems a little surprised. Maybe he thought there

715
00:37:17,719 --> 00:37:19,279
Speaker 6: was a bunch of luggage in there, because that's what

716
00:37:19,280 --> 00:37:23,120
Speaker 6: they've been telling everybody that loses their luggage. Genevieve, it

717
00:37:23,280 --> 00:37:27,560
Speaker 6: sounds like this still does like give you, give you

718
00:37:27,680 --> 00:37:30,279
Speaker 6: room to talk about Lowell as gardener and what is

719
00:37:30,520 --> 00:37:32,439
Speaker 6: what is the what is the hell wrong with him?

720
00:37:33,239 --> 00:37:36,879
Speaker 7: I mean, we've already touched the sun is the big thing.

721
00:37:37,080 --> 00:37:39,600
Speaker 7: Just not realizing that you're farther away from the sun

722
00:37:40,040 --> 00:37:43,320
Speaker 7: so the sunlight isn't as strong. It's just a really

723
00:37:43,520 --> 00:37:48,640
Speaker 7: uh quite quite a fumble, particularly for a botanists, but

724
00:37:48,719 --> 00:37:51,560
Speaker 7: also for a hobby gardener. Like you know, there's the

725
00:37:51,680 --> 00:37:57,400
Speaker 7: three things you need to grow something are soil, sunlight,

726
00:37:57,640 --> 00:38:02,359
Speaker 7: and water or I'm sorry, mulch, sunlight and water. He's

727
00:38:02,360 --> 00:38:04,200
Speaker 7: got to I'm not going to get I'm not going

728
00:38:04,280 --> 00:38:06,040
Speaker 7: to get over the mulch thing anytime, so.

729
00:38:09,160 --> 00:38:09,880
Speaker 8: Can we He.

730
00:38:12,600 --> 00:38:15,480
Speaker 7: Yes, it's because he was so condescending that like, you

731
00:38:15,680 --> 00:38:18,400
Speaker 7: need mulch, you need mult It won't grow without the mulch.

732
00:38:19,920 --> 00:38:23,400
Speaker 7: Did they just did they get okay with fertilizer or compost?

733
00:38:23,440 --> 00:38:23,880
Speaker 7: I don't know.

734
00:38:24,600 --> 00:38:28,560
Speaker 6: I did not expect to become the Lowell defender in

735
00:38:28,560 --> 00:38:31,960
Speaker 6: this movie, because I think he's deeply, deeply unpleasant and

736
00:38:32,000 --> 00:38:33,520
Speaker 6: I do want to talk about that in a second.

737
00:38:34,040 --> 00:38:36,239
Speaker 6: But is it possible that he's so condescending to his

738
00:38:36,320 --> 00:38:40,520
Speaker 6: bots because he has been living so long with people

739
00:38:40,520 --> 00:38:44,320
Speaker 6: who are like condescending to him and don't care anything

740
00:38:44,600 --> 00:38:47,480
Speaker 6: about the thing that he's made his entire personality. And

741
00:38:47,560 --> 00:38:50,160
Speaker 6: so when he gets the chance to be like a

742
00:38:50,200 --> 00:38:56,600
Speaker 6: little superior in teaching other individuals things that he wants

743
00:38:56,640 --> 00:38:59,160
Speaker 6: them to feel kind of shamed for not knowing, Like

744
00:38:59,280 --> 00:39:02,759
Speaker 6: that's the bots just haven't gotten good at planting things yet.

745
00:39:02,960 --> 00:39:06,040
Speaker 6: But he gets to be scoldy about it because he's

746
00:39:06,040 --> 00:39:09,480
Speaker 6: he's teaching them. And also, I know something you don't know,

747
00:39:09,520 --> 00:39:11,839
Speaker 6: So I'm very very smart. That's that's what I get

748
00:39:11,840 --> 00:39:12,759
Speaker 6: out of the whole tree place.

749
00:39:13,080 --> 00:39:15,560
Speaker 3: I don't know anything. Who hired them?

750
00:39:16,040 --> 00:39:18,680
Speaker 5: You got you got three dumb jocks in Spade, right,

751
00:39:18,719 --> 00:39:20,560
Speaker 5: I mean, like, what do they even know about anything?

752
00:39:20,920 --> 00:39:24,799
Speaker 5: There's no curiosity there at all about what Lowell's doing.

753
00:39:25,120 --> 00:39:27,640
Speaker 5: They're just kind of logging time up there, and and uh,

754
00:39:27,760 --> 00:39:29,880
Speaker 5: you know, racing little cars are on and I can like,

755
00:39:30,520 --> 00:39:31,840
Speaker 5: dumb jocks, I don't know what.

756
00:39:32,280 --> 00:39:35,120
Speaker 6: Oh, I thought you were talking the drones for a second,

757
00:39:35,400 --> 00:39:39,080
Speaker 6: Sorry to be curious.

758
00:39:39,680 --> 00:39:44,680
Speaker 3: Yeah, Huey Louis and uh yeah, Dewey, poor Louis. I know,

759
00:39:44,800 --> 00:39:45,920
Speaker 3: poor Louis, all right.

760
00:39:45,800 --> 00:39:47,760
Speaker 7: P killed before he was even named.

761
00:39:48,840 --> 00:39:52,160
Speaker 6: So yeah, we've we've talked a bit about how unpleasant

762
00:39:52,200 --> 00:39:54,120
Speaker 6: Lowell is, and I think there's a little more to

763
00:39:54,239 --> 00:39:57,240
Speaker 6: unpack there in terms of I had the same thought

764
00:39:57,400 --> 00:40:01,879
Speaker 6: about is this an anti environmental the story where the

765
00:40:02,160 --> 00:40:08,560
Speaker 6: environmentalist is portrayed as a strident wing nut that cares

766
00:40:08,560 --> 00:40:10,920
Speaker 6: nothing for human life as long as plants are happy.

767
00:40:11,520 --> 00:40:14,560
Speaker 6: I think it's a really interesting choice to make him

768
00:40:15,040 --> 00:40:18,759
Speaker 6: just as unpleasant as he is as a hero. And

769
00:40:18,800 --> 00:40:21,640
Speaker 6: I'm curious where that's leading. And I'm curious what the

770
00:40:21,680 --> 00:40:25,600
Speaker 6: intent was there in terms of what this movie is saying,

771
00:40:25,800 --> 00:40:29,000
Speaker 6: or if they even saw it per se. But it

772
00:40:29,040 --> 00:40:36,080
Speaker 6: seems to me that turning his co crewmates into destructive, abusive,

773
00:40:36,160 --> 00:40:39,759
Speaker 6: bullying jocks is a way of signaling like, there are

774
00:40:39,880 --> 00:40:41,200
Speaker 6: worse things than this guy.

775
00:40:41,680 --> 00:40:43,680
Speaker 1: Well it's not so bad. Well that's kind of nice

776
00:40:43,680 --> 00:40:47,600
Speaker 1: to him. He's also the murders, So you know, I

777
00:40:47,600 --> 00:40:49,359
Speaker 1: thought it was interesting at the end when he said

778
00:40:49,520 --> 00:40:51,480
Speaker 1: they weren't really my friends, but I like them or something.

779
00:40:51,520 --> 00:40:53,160
Speaker 1: I like that. It's did you really?

780
00:40:53,239 --> 00:40:56,080
Speaker 6: I mean I literally said that out loud watching the movie.

781
00:40:56,280 --> 00:40:58,759
Speaker 1: I mean, I do think they are so awful for

782
00:40:58,800 --> 00:41:02,319
Speaker 1: the most part that you are kind of naturally sympathetic

783
00:41:02,400 --> 00:41:04,279
Speaker 1: to him, even if even if you're not going to

784
00:41:04,400 --> 00:41:07,400
Speaker 1: justify the murder. And maybe maybe you can because you know,

785
00:41:07,480 --> 00:41:10,680
Speaker 1: these are the last of last uh these plants will

786
00:41:10,680 --> 00:41:15,760
Speaker 1: ever see anywhere ever, but you're certainly not on their side.

787
00:41:16,320 --> 00:41:19,800
Speaker 5: Yeah, I mean, obviously this film pushes the sympathies that

788
00:41:19,840 --> 00:41:23,680
Speaker 5: we might have for Lowell, for sure, But you know,

789
00:41:24,000 --> 00:41:27,880
Speaker 5: if this is indeed, you know, the last bit of

790
00:41:28,000 --> 00:41:31,320
Speaker 5: organic life there is, if there's nothing on Earth and everything,

791
00:41:31,520 --> 00:41:35,879
Speaker 5: everything and any any natural life is of this kind

792
00:41:35,920 --> 00:41:41,239
Speaker 5: of plant life is on that ship, and these other

793
00:41:41,280 --> 00:41:43,040
Speaker 5: guys are threatening to destroy it.

794
00:41:43,040 --> 00:41:44,920
Speaker 3: It's a it's kind of a choice. He is forced

795
00:41:44,960 --> 00:41:45,600
Speaker 3: to make a choice.

796
00:41:45,640 --> 00:41:48,480
Speaker 5: It's not uh you know, I mean, And if it's

797
00:41:48,520 --> 00:41:51,440
Speaker 5: his belief that that you know, that this is a

798
00:41:52,200 --> 00:41:54,960
Speaker 5: destructive to the earth, destructed for humanity, kind of an

799
00:41:55,000 --> 00:41:58,799
Speaker 5: apocalyptic moment, really, then maybe maybe you know, he could

800
00:41:58,840 --> 00:42:02,560
Speaker 5: be I don't know, forgiven, forgiven for murdering three people

801
00:42:02,680 --> 00:42:05,160
Speaker 5: because of it, but I'm not sure.

802
00:42:05,200 --> 00:42:06,600
Speaker 3: I mean, it's it's it's a tough question.

803
00:42:07,560 --> 00:42:10,279
Speaker 5: Legitimately, if depending on your perspective, if you really do

804
00:42:10,440 --> 00:42:14,400
Speaker 5: believe that the stakes are that high as they appear

805
00:42:14,480 --> 00:42:17,680
Speaker 5: to be here, then Lola is actually making a choice.

806
00:42:17,719 --> 00:42:22,560
Speaker 5: He's not just acting out of narcissism or psychosis. You know,

807
00:42:23,000 --> 00:42:25,520
Speaker 5: there's elements of both of those things to this character.

808
00:42:26,160 --> 00:42:28,840
Speaker 1: It's like that classic theoretical question. And there's the buildings

809
00:42:28,880 --> 00:42:32,359
Speaker 1: on fire, and does the last copy of Shakespeare's work

810
00:42:32,400 --> 00:42:34,600
Speaker 1: anywhere is in there? Do you save Shakespeare or do

811
00:42:34,680 --> 00:42:36,960
Speaker 1: you save the three dumb jocks who've been tormenting.

812
00:42:36,560 --> 00:42:43,080
Speaker 7: You the entire Yeah, I mean, and I've been pretty

813
00:42:43,200 --> 00:42:45,880
Speaker 7: hard on Lull so far, and you know, I do

814
00:42:46,200 --> 00:42:49,759
Speaker 7: still subscribe to my reading of him, you know, generally,

815
00:42:50,000 --> 00:42:53,680
Speaker 7: But at the same time, like, yes, I absolutely understand

816
00:42:53,800 --> 00:42:56,920
Speaker 7: not wanting this beautiful space for us to go away

817
00:42:57,080 --> 00:43:01,160
Speaker 7: like those you know, especially just the opening, Like as

818
00:43:01,160 --> 00:43:03,799
Speaker 7: it's being revealed to us at the beginning, it's like, yeah,

819
00:43:03,800 --> 00:43:05,719
Speaker 7: this is the only way I would want to be

820
00:43:05,800 --> 00:43:09,520
Speaker 7: in space ever is in you know, like literally the

821
00:43:09,520 --> 00:43:11,759
Speaker 7: only way I could tolerate being in space for six

822
00:43:11,800 --> 00:43:14,359
Speaker 7: months or years is if I had this and if

823
00:43:14,360 --> 00:43:17,160
Speaker 7: someone wanted to take it away from me and blow

824
00:43:17,200 --> 00:43:20,320
Speaker 7: it up. Yeah, I would also kind of lose my mind,

825
00:43:20,920 --> 00:43:24,640
Speaker 7: but I still kind of subscribe to the reading that

826
00:43:24,640 --> 00:43:28,719
Speaker 7: that is ultimately a selfish drive on his part, more

827
00:43:28,760 --> 00:43:33,319
Speaker 7: than any sort of concern for humanity or Earth or

828
00:43:33,560 --> 00:43:36,320
Speaker 7: anything that's not kind of what his own desires.

829
00:43:37,239 --> 00:43:40,080
Speaker 5: Jenny, do you know what other ship that you could

830
00:43:40,080 --> 00:43:44,560
Speaker 5: be on in movies? Is the one in Clardoni's High

831
00:43:44,560 --> 00:43:48,360
Speaker 5: Life if you recall that film, yes, being very unusual

832
00:43:48,440 --> 00:43:52,319
Speaker 5: for having all of this organic material and you know,

833
00:43:52,400 --> 00:43:56,759
Speaker 5: other organic goings on in space, So I have to

834
00:43:56,840 --> 00:44:00,000
Speaker 5: imagine this film was an influence on that one as well.

835
00:44:00,360 --> 00:44:00,600
Speaker 10: Yeah.

836
00:44:00,640 --> 00:44:03,280
Speaker 7: Really, I just need bunnies, you know, bunnies and a

837
00:44:03,320 --> 00:44:05,319
Speaker 7: bird of prey to land on my arm every now

838
00:44:05,320 --> 00:44:05,600
Speaker 7: and then.

839
00:44:06,280 --> 00:44:08,160
Speaker 6: But the bird of prey is going to eat your bunnies.

840
00:44:08,200 --> 00:44:10,399
Speaker 6: I noticed that we didn't address that at all.

841
00:44:10,760 --> 00:44:16,799
Speaker 7: Yeah, the whole biome is confusing, especially like because it's

842
00:44:17,239 --> 00:44:19,320
Speaker 7: you know, we learned there are all these other domes

843
00:44:19,400 --> 00:44:23,440
Speaker 7: named after other national parks, you know, and presumably they

844
00:44:23,480 --> 00:44:28,280
Speaker 7: are representative of the biomes of those parks, it seems,

845
00:44:28,960 --> 00:44:32,239
Speaker 7: but the one we see is a little random as

846
00:44:32,360 --> 00:44:36,440
Speaker 7: far as the plants and wildlife that populated.

847
00:44:36,600 --> 00:44:39,000
Speaker 6: Honestly, that might have just been a budgetary thing, given

848
00:44:39,040 --> 00:44:43,040
Speaker 6: the very small budget they were working on and the

849
00:44:43,960 --> 00:44:47,120
Speaker 6: you know, they wanted to shoot this in a natural

850
00:44:47,160 --> 00:44:50,759
Speaker 6: forest and like couldn't couldn't get the money and the

851
00:44:50,840 --> 00:44:53,200
Speaker 6: rights in time, so they ended up just sort of

852
00:44:53,640 --> 00:44:57,200
Speaker 6: making up a biome inside of an airplane hangar. That

853
00:44:57,320 --> 00:45:00,120
Speaker 6: it probably explains a lot of what we're seeing. I

854
00:45:00,160 --> 00:45:03,400
Speaker 6: want to get back to the whole counter culture idea,

855
00:45:03,520 --> 00:45:08,239
Speaker 6: and like Lowell versus the you know, the dumb destructive

856
00:45:08,719 --> 00:45:13,320
Speaker 6: bullies is kind of what makes this acounter culture story.

857
00:45:13,600 --> 00:45:16,640
Speaker 6: But I think there's more to look at their in

858
00:45:16,760 --> 00:45:19,560
Speaker 6: terms of how making this like a science fiction story

859
00:45:20,000 --> 00:45:23,600
Speaker 6: and a little bit of a metaphor affects the idea

860
00:45:23,600 --> 00:45:26,359
Speaker 6: of the counterculture narrative. I think we're going to get

861
00:45:26,600 --> 00:45:28,320
Speaker 6: right back to that after this break.

862
00:45:35,480 --> 00:45:40,600
Speaker 4: Dewey, I've taught you everything that I know about taking

863
00:45:40,640 --> 00:45:50,120
Speaker 4: care of the forest here, and that's all that you

864
00:45:50,239 --> 00:45:58,239
Speaker 4: have to do from now on is just maintain the forest. Now,

865
00:45:58,520 --> 00:46:01,120
Speaker 4: these lights here will do the job that the sun

866
00:46:01,160 --> 00:46:18,920
Speaker 4: would do. Now help provive everything. I just can't do

867
00:46:19,000 --> 00:46:29,719
Speaker 4: it anymore. You see, things, things just haven't.

868
00:46:29,480 --> 00:46:30,319
Speaker 3: Worked out for me.

869
00:46:31,640 --> 00:46:34,759
Speaker 6: So here's my thought about The Silent Running as a

870
00:46:34,760 --> 00:46:37,799
Speaker 6: counterculture story. The things that go on an easy writer

871
00:46:38,000 --> 00:46:40,680
Speaker 6: or the Graduate or Bonnie and Clyde, like the beginning

872
00:46:40,840 --> 00:46:44,759
Speaker 6: of this new Hollywood push, and these countercultural stories are

873
00:46:44,840 --> 00:46:49,800
Speaker 6: fundamentally about people pushing back against the more is of society.

874
00:46:49,840 --> 00:46:54,759
Speaker 6: This is a story where we remove society to a

875
00:46:54,800 --> 00:46:59,480
Speaker 6: far away abstract that's still delivering like dictims that affect

876
00:46:59,560 --> 00:47:03,720
Speaker 6: Lowell affect the future of like the last plants on Earth,

877
00:47:04,160 --> 00:47:10,400
Speaker 6: but effectively, you know, there's not an ongoing friction against society.

878
00:47:10,800 --> 00:47:14,279
Speaker 6: He is in such a small arena, you know, the

879
00:47:15,080 --> 00:47:19,319
Speaker 6: dominant culture, the mainstream is three guys again with moon

880
00:47:19,320 --> 00:47:22,280
Speaker 6: buggies who keep running over his his geraniums or whatever

881
00:47:22,280 --> 00:47:25,520
Speaker 6: they are, so he's able to just eliminate them. The

882
00:47:25,560 --> 00:47:29,960
Speaker 6: mainstream culture like comes for him eventually. But this is

883
00:47:30,080 --> 00:47:35,880
Speaker 6: almost an idealized setting for counterculture story where he's able

884
00:47:36,000 --> 00:47:40,879
Speaker 6: to just eliminate the dominant paradigm and like live out

885
00:47:40,920 --> 00:47:45,000
Speaker 6: his his Edenic fantasies for a little while, which for

886
00:47:45,040 --> 00:47:48,439
Speaker 6: me makes this a very strange version of a counterculture story.

887
00:47:48,600 --> 00:47:51,360
Speaker 5: Except is there any point at which he feels comfortable

888
00:47:51,560 --> 00:47:55,640
Speaker 5: really like like there's no you know, the amount of

889
00:47:56,040 --> 00:47:58,600
Speaker 5: stress that he's carrying out, there's no there's no moment

890
00:47:58,600 --> 00:48:02,880
Speaker 5: where that feels things ever feel idyllic. Really once he

891
00:48:02,960 --> 00:48:06,120
Speaker 5: has to take action and then he's having to go

892
00:48:06,200 --> 00:48:10,600
Speaker 5: through you know, Saturn's rings and uh, it's you know,

893
00:48:10,600 --> 00:48:12,719
Speaker 5: there's a lot and then you know he has to

894
00:48:13,440 --> 00:48:15,640
Speaker 5: be found you know too, So there's not a lot

895
00:48:15,680 --> 00:48:17,560
Speaker 5: of Uh, he doesn't get a whole lot of time

896
00:48:17,560 --> 00:48:19,520
Speaker 5: with him and the plants and his drones.

897
00:48:19,920 --> 00:48:23,400
Speaker 3: Uh, you know where he's feeling like he's in this idealized.

898
00:48:22,920 --> 00:48:26,719
Speaker 6: World you think, I mean he he kind of creates

899
00:48:27,640 --> 00:48:30,959
Speaker 6: companions who only want to do the things he wants

900
00:48:31,080 --> 00:48:33,680
Speaker 6: to do and won't push back against him. All they

901
00:48:33,760 --> 00:48:37,080
Speaker 6: literally can't talk. You don't think he's happy when he

902
00:48:37,480 --> 00:48:39,920
Speaker 6: seems happy when he's beating them at poker, and then

903
00:48:39,960 --> 00:48:42,239
Speaker 6: he seems happy when they're winning at poker, you know,

904
00:48:42,280 --> 00:48:43,840
Speaker 6: proving that his program works.

905
00:48:44,080 --> 00:48:46,920
Speaker 7: This might have to be saved for connections in the

906
00:48:46,960 --> 00:48:49,239
Speaker 7: next episode. But was I the only one who got

907
00:48:49,239 --> 00:48:50,879
Speaker 7: the feeling that the droids didn't like him?

908
00:48:52,320 --> 00:48:54,480
Speaker 1: I think you're afraid of him?

909
00:48:54,920 --> 00:48:57,480
Speaker 7: Yeah, Yeah, They's funny because it seemed almost like they

910
00:48:57,480 --> 00:48:59,879
Speaker 7: were like plotting against him at one point, Like there's

911
00:48:59,880 --> 00:49:01,960
Speaker 7: like one shot where I don't remember if it was

912
00:49:02,040 --> 00:49:04,439
Speaker 7: Hugh or Dewey like kind of like rolls by him

913
00:49:04,480 --> 00:49:08,480
Speaker 7: while he's sleeping and gives like a droid version of

914
00:49:08,520 --> 00:49:11,000
Speaker 7: sort of a suspicious look. I think I was just

915
00:49:11,040 --> 00:49:13,720
Speaker 7: picking up on some some dislike from Huy and Dewey.

916
00:49:14,080 --> 00:49:16,680
Speaker 1: I think it was kind of cowed by him in

917
00:49:16,719 --> 00:49:19,680
Speaker 1: some ways and afraid of him. You know, he's more

918
00:49:19,760 --> 00:49:23,360
Speaker 1: They're more emotionally complex than I think he realizes. Yes,

919
00:49:23,520 --> 00:49:25,799
Speaker 1: Like you know, the teasing way he talks to them

920
00:49:26,440 --> 00:49:27,920
Speaker 1: is you know, I talked to my dogs that way,

921
00:49:27,960 --> 00:49:31,040
Speaker 1: but my dogs don't understand, you know, their feelings aren't hurt.

922
00:49:31,239 --> 00:49:34,879
Speaker 1: But I think these robots, you know, certainly do pick

923
00:49:34,960 --> 00:49:36,960
Speaker 1: up on the on tone and what he means.

924
00:49:37,320 --> 00:49:40,160
Speaker 7: Yeah, resentful, I think is what I was. A resentment

925
00:49:40,239 --> 00:49:41,479
Speaker 7: is what I was picking up. I think.

926
00:49:41,680 --> 00:49:45,279
Speaker 6: Yeah, I find that fascinating because you know, Trumpull was

927
00:49:45,440 --> 00:49:48,960
Speaker 6: pretty specific about how in this movie, like he didn't

928
00:49:49,000 --> 00:49:52,560
Speaker 6: want to he in the design of them in particular,

929
00:49:52,600 --> 00:49:54,800
Speaker 6: he didn't want them to have any humanizing factors. He

930
00:49:54,840 --> 00:49:58,200
Speaker 6: didn't want them to have any visible emotion or anything

931
00:49:58,200 --> 00:50:01,880
Speaker 6: that you could even translate into a motion. So anything

932
00:50:01,920 --> 00:50:04,640
Speaker 6: that you're seeing in them is you know, something that

933
00:50:04,680 --> 00:50:07,880
Speaker 6: you're kind of putting on them. They're they're like little

934
00:50:07,880 --> 00:50:10,759
Speaker 6: walk in raw shock blobs. I was very curious what

935
00:50:10,840 --> 00:50:13,640
Speaker 6: you guys, you know, made of the drones in terms of,

936
00:50:14,200 --> 00:50:16,440
Speaker 6: you know, are they cute, are they funny? Are they sad?

937
00:50:16,880 --> 00:50:18,920
Speaker 6: Do you find it as horrific as I do? When

938
00:50:18,920 --> 00:50:21,000
Speaker 6: he's like, hey, I'm splitting you two up. One of

939
00:50:21,000 --> 00:50:23,200
Speaker 6: you is gonna come die with me for no good

940
00:50:23,239 --> 00:50:25,280
Speaker 6: reason while I sent blast the other one too space.

941
00:50:25,840 --> 00:50:29,919
Speaker 7: Yeah, that's that's awful, And like just sort of berating

942
00:50:30,280 --> 00:50:33,920
Speaker 7: Louie and Absentia for like not moving fast enough and

943
00:50:33,960 --> 00:50:36,799
Speaker 7: not listening and getting what was coming to him, and

944
00:50:37,880 --> 00:50:39,719
Speaker 7: particularly it was just sort of picking up on a

945
00:50:40,920 --> 00:50:45,680
Speaker 7: Louis provoked resentment from Huey and Dewey. Like there's one

946
00:50:45,680 --> 00:50:47,879
Speaker 7: scene where they're sort of like communicating with each other

947
00:50:48,400 --> 00:50:51,359
Speaker 7: like on the ship, like we obviously don't hear it,

948
00:50:51,440 --> 00:50:53,480
Speaker 7: you know, but we see it. And I realized, like,

949
00:50:53,520 --> 00:50:55,040
Speaker 7: are they gonna are they going to take him out?

950
00:50:55,080 --> 00:50:56,000
Speaker 7: Please take him out?

951
00:50:58,440 --> 00:50:58,720
Speaker 10: Okay?

952
00:50:58,840 --> 00:51:03,719
Speaker 6: That would be a double counterculture story. Where somebody the

953
00:51:04,239 --> 00:51:07,480
Speaker 6: lone gardener, pushes back against the band and then his

954
00:51:07,600 --> 00:51:11,000
Speaker 6: slaves uprise overthrow him, and you know, take over in

955
00:51:11,400 --> 00:51:12,200
Speaker 6: their own eden.

956
00:51:13,000 --> 00:51:13,319
Speaker 10: I did.

957
00:51:13,600 --> 00:51:15,360
Speaker 6: I kind of like this version. This is a wild

958
00:51:15,560 --> 00:51:17,040
Speaker 6: take on the story, and.

959
00:51:16,920 --> 00:51:19,520
Speaker 7: In this version does or does not have the Jone

960
00:51:19,520 --> 00:51:21,160
Speaker 7: Bias singing image.

961
00:51:21,239 --> 00:51:25,080
Speaker 6: Tasha, let's let's talk about the John Bias thing. So

962
00:51:26,040 --> 00:51:30,640
Speaker 6: our one of our listeners sent us a version of

963
00:51:30,719 --> 00:51:34,439
Speaker 6: this movie that they had edited, offering us basically, would

964
00:51:34,440 --> 00:51:38,120
Speaker 6: you like this movie without the Joe Bias which and

965
00:51:38,120 --> 00:51:40,600
Speaker 6: then asked not to be outed for it. So you know,

966
00:51:40,640 --> 00:51:44,239
Speaker 6: I'm not failing to credit somebody, but I find that hilarious.

967
00:51:44,280 --> 00:51:46,960
Speaker 6: I had actually just rewatched the film the previous night,

968
00:51:47,120 --> 00:51:50,400
Speaker 6: and you know, knowing we were gonna talk about the

969
00:51:50,440 --> 00:51:53,200
Speaker 6: movie that as it appeared on the screen, I wouldn't

970
00:51:53,239 --> 00:51:55,960
Speaker 6: have wanted to watch the no Jon Bias version. But

971
00:51:56,200 --> 00:51:58,960
Speaker 6: I kind of think if I ever watched this again,

972
00:52:00,600 --> 00:52:03,640
Speaker 6: prefer the no Joan Bias version. Are you guys yay

973
00:52:03,719 --> 00:52:04,680
Speaker 6: or nay on John Bias?

974
00:52:05,120 --> 00:52:08,520
Speaker 1: It's complicated because I feel like it's just so part

975
00:52:08,560 --> 00:52:10,760
Speaker 1: of the text of this movie, part of what grounds

976
00:52:10,760 --> 00:52:12,799
Speaker 1: it in in in the era in which it which

977
00:52:12,800 --> 00:52:17,080
Speaker 1: it comes from. But I don't love the songs, and

978
00:52:17,120 --> 00:52:19,440
Speaker 1: I'm gonna like this is this makes me maybe a

979
00:52:19,480 --> 00:52:22,960
Speaker 1: bad music fan. I don't love Joe Bias' voice. I'm

980
00:52:23,000 --> 00:52:25,360
Speaker 1: just not. And it's not the hugest fan of of

981
00:52:25,360 --> 00:52:29,560
Speaker 1: of that. It's an instrument with all respect to her

982
00:52:29,560 --> 00:52:32,439
Speaker 1: talent and all and and and you know, instrumental role

983
00:52:32,480 --> 00:52:35,239
Speaker 1: in music history. But I mean, I wouldn't really want

984
00:52:35,280 --> 00:52:37,640
Speaker 1: it without it either, because I think it is it

985
00:52:37,719 --> 00:52:39,760
Speaker 1: is just part of what gives this movie character.

986
00:52:40,120 --> 00:52:43,680
Speaker 7: Yeah, I think it's an element that I wouldn't go

987
00:52:43,800 --> 00:52:46,440
Speaker 7: so far as to say should not be in the film,

988
00:52:46,440 --> 00:52:49,400
Speaker 7: but I think it does require a caveat if you

989
00:52:49,440 --> 00:52:53,080
Speaker 7: are going to recommend this film to anyone. I kind

990
00:52:53,080 --> 00:52:56,640
Speaker 7: of wish I had had a warning.

991
00:52:56,480 --> 00:52:58,440
Speaker 1: Oh no, no, it's better if you don't know what's coming.

992
00:53:00,040 --> 00:53:00,400
Speaker 6: True.

993
00:53:01,200 --> 00:53:04,799
Speaker 7: Maybe maybe maybe that's true, but maybe like watching it

994
00:53:05,000 --> 00:53:08,040
Speaker 7: on second viewing, it would just be less jarring because

995
00:53:08,080 --> 00:53:09,000
Speaker 7: I was expecting it.

996
00:53:09,120 --> 00:53:11,560
Speaker 5: You know, they used to have like these little JB

997
00:53:11,760 --> 00:53:16,320
Speaker 5: stickers they put on video boxes to warn you that bas.

998
00:53:19,280 --> 00:53:22,080
Speaker 6: Motion Picture Association of America has warned that this film

999
00:53:22,200 --> 00:53:26,360
Speaker 6: has violence, a strong language, and Joan Bias, Oh my,

1000
00:53:26,600 --> 00:53:29,880
Speaker 6: if it came to, you know, excizing any Joe Bias

1001
00:53:29,920 --> 00:53:32,399
Speaker 6: from the actual soundtrack, Keith, I'm sorry, I'm with you.

1002
00:53:33,040 --> 00:53:36,000
Speaker 6: I'm a I'm a big fan of folk music and

1003
00:53:36,040 --> 00:53:39,080
Speaker 6: folk music of this era and protest music, and I

1004
00:53:39,120 --> 00:53:42,080
Speaker 6: don't care for her voice either, and I just don't

1005
00:53:42,080 --> 00:53:44,920
Speaker 6: think it really strikes the right tone here. But honestly,

1006
00:53:45,320 --> 00:53:49,520
Speaker 6: the thing that bugs me is, like the original meaning

1007
00:53:49,760 --> 00:53:54,840
Speaker 6: of silent Running is that Lowell like paints the ship

1008
00:53:54,880 --> 00:53:58,120
Speaker 6: of black and turns off anything that produces energy so

1009
00:53:58,360 --> 00:54:01,520
Speaker 6: it won't have it won't be off any signals, and

1010
00:54:01,560 --> 00:54:03,799
Speaker 6: tries to go dark so Earth won't find him.

1011
00:54:04,000 --> 00:54:04,200
Speaker 1: You know.

1012
00:54:04,239 --> 00:54:07,239
Speaker 6: It's silent running in the sense of run silent, run deep.

1013
00:54:07,239 --> 00:54:10,200
Speaker 6: It's like a submarine that you don't want to be discovered.

1014
00:54:10,960 --> 00:54:15,520
Speaker 6: And Joan Bias warbling about how the silent running is

1015
00:54:15,800 --> 00:54:18,040
Speaker 6: the running over the dreams through your head to me

1016
00:54:18,200 --> 00:54:21,839
Speaker 6: is just very Triakily, I guess it's just a much

1017
00:54:22,040 --> 00:54:25,239
Speaker 6: less interesting interpretation. So I personally could lose that.

1018
00:54:25,160 --> 00:54:29,240
Speaker 9: Song with the movie as it exists, though, right, because

1019
00:54:29,440 --> 00:54:33,560
Speaker 9: like that's not what he does at all, you know,

1020
00:54:33,600 --> 00:54:35,280
Speaker 9: and it does seem that he is maybe a little

1021
00:54:35,280 --> 00:54:39,040
Speaker 9: more caught up in the silent dreams running through his head.

1022
00:54:39,320 --> 00:54:41,200
Speaker 6: I suppose that's possible, but I mean it does seem

1023
00:54:41,239 --> 00:54:44,359
Speaker 6: to me that, you know, faking the ship blowing up

1024
00:54:44,400 --> 00:54:47,440
Speaker 6: and then just trying to quietly sneak off into space

1025
00:54:47,640 --> 00:54:50,160
Speaker 6: is its own form of silent running, even if not

1026
00:54:50,239 --> 00:54:54,839
Speaker 6: quite as technologically pronounced fair. I guess here's my big question, Well,

1027
00:54:55,440 --> 00:54:58,359
Speaker 6: two questions. One is, do you have any interest in

1028
00:54:58,480 --> 00:55:02,279
Speaker 6: Trumble's original version this movie where there were aliens and

1029
00:55:02,320 --> 00:55:05,560
Speaker 6: they snuck on board and saved Lowell's life and then

1030
00:55:05,600 --> 00:55:08,920
Speaker 6: one of the drones got kidnapped and he's using the

1031
00:55:09,000 --> 00:55:11,960
Speaker 6: drones to like watch what the aliens do. Like, does

1032
00:55:11,960 --> 00:55:14,360
Speaker 6: that version of this film have hold as much appeal

1033
00:55:14,440 --> 00:55:17,120
Speaker 6: for you as it does for me? I kind of

1034
00:55:17,120 --> 00:55:17,880
Speaker 6: want to see it.

1035
00:55:17,840 --> 00:55:22,359
Speaker 1: Well as as sort of like not streamlined as this

1036
00:55:22,440 --> 00:55:25,640
Speaker 1: movie is, you know, at least there's a clear beginning, middle,

1037
00:55:25,640 --> 00:55:28,960
Speaker 1: and end. The description that you have of the original

1038
00:55:29,040 --> 00:55:31,319
Speaker 1: version just seems like and then you know, almost like

1039
00:55:31,320 --> 00:55:34,239
Speaker 1: a child's telling his story, like then this is going

1040
00:55:34,280 --> 00:55:36,000
Speaker 1: to happen, and then aliens are going to show up,

1041
00:55:36,040 --> 00:55:40,359
Speaker 1: and you know, I don't know, I'm fine with the

1042
00:55:40,360 --> 00:55:42,680
Speaker 1: one when we got But you know, I certainly would

1043
00:55:42,680 --> 00:55:46,120
Speaker 1: be curious to know more about the original vision for this.

1044
00:55:46,640 --> 00:55:50,440
Speaker 6: I do think that the original ending where just as

1045
00:55:50,520 --> 00:55:53,279
Speaker 6: he gets to see what the Aliens look like for

1046
00:55:53,320 --> 00:55:56,480
Speaker 6: the first time, an Earth cop kills him for no reason.

1047
00:55:57,360 --> 00:55:59,760
Speaker 6: You know, that seems like something that you could honestly

1048
00:55:59,800 --> 00:56:02,840
Speaker 6: do today and it would you know, be deemed like

1049
00:56:03,040 --> 00:56:07,680
Speaker 6: dark and ironic. Like it's it reminds me of you know,

1050
00:56:07,920 --> 00:56:12,160
Speaker 6: movies that I have seen relatively recently that have I mean,

1051
00:56:12,560 --> 00:56:14,759
Speaker 6: it's a little bit the end of a Night of

1052
00:56:14,840 --> 00:56:17,960
Speaker 6: Living Dead, isn't it. There's somebody who's gone through a

1053
00:56:18,080 --> 00:56:23,160
Speaker 6: terrible ordeal and then is gunned down by blive military figures.

1054
00:56:23,960 --> 00:56:27,320
Speaker 6: That aside, I guess you know, we've talked about whether

1055
00:56:27,640 --> 00:56:32,239
Speaker 6: Lowell is appealing, is sympathetic as somebody that we want

1056
00:56:32,239 --> 00:56:34,719
Speaker 6: to be spending time with. We can give him the

1057
00:56:34,840 --> 00:56:37,680
Speaker 6: job of caretaking Earth's plans, but like, do we like

1058
00:56:37,760 --> 00:56:40,120
Speaker 6: this guy? I guess my big question is just like

1059
00:56:40,680 --> 00:56:43,960
Speaker 6: what is the takeaway ultimately? Like is this a tragic story?

1060
00:56:44,040 --> 00:56:48,240
Speaker 6: Is it a cynical one? Is it aspirational? Is it

1061
00:56:48,280 --> 00:56:49,960
Speaker 6: is it kind of the end of Easy Rider?

1062
00:56:50,000 --> 00:56:50,160
Speaker 4: Here?

1063
00:56:50,200 --> 00:56:52,800
Speaker 1: As well, I mean, here's how I see it. I

1064
00:56:52,800 --> 00:56:56,120
Speaker 1: don't think it's little as likable or put together or anything,

1065
00:56:56,120 --> 00:56:59,960
Speaker 1: but Lowell. I think it's you know, he's he's serving,

1066
00:57:00,120 --> 00:57:02,520
Speaker 1: he's he's starting a symbolic function. But also like, just

1067
00:57:02,719 --> 00:57:05,640
Speaker 1: to me, this movie is we kind of get caught up,

1068
00:57:05,640 --> 00:57:07,360
Speaker 1: and it's fun to get caught up and sort of

1069
00:57:07,400 --> 00:57:10,239
Speaker 1: the logistics of it and how how things that don't

1070
00:57:10,239 --> 00:57:11,560
Speaker 1: make sense. But to me, it's just kind of like

1071
00:57:11,600 --> 00:57:17,280
Speaker 1: this long, angry slash wistful sigh, you know, from someone

1072
00:57:17,280 --> 00:57:23,320
Speaker 1: who's who's sees this slide into not caring for the environment,

1073
00:57:23,560 --> 00:57:26,960
Speaker 1: not caring for the origins of things, only worrying about

1074
00:57:27,160 --> 00:57:30,240
Speaker 1: the the synthetic and the easy. You know, it sees

1075
00:57:30,280 --> 00:57:32,960
Speaker 1: it as inevitable, and like this sort of an inevitable

1076
00:57:33,040 --> 00:57:35,960
Speaker 1: vision of you know, a vision of an inevitable future

1077
00:57:36,280 --> 00:57:39,040
Speaker 1: that's ugly, and it's sort of like this is you know,

1078
00:57:39,080 --> 00:57:42,240
Speaker 1: maybe sort of a gasping protest against that, but also

1079
00:57:42,440 --> 00:57:45,480
Speaker 1: ultimately more melancholy than anything else. You know. I just

1080
00:57:45,520 --> 00:57:47,680
Speaker 1: love the mood of this film, and and you know,

1081
00:57:47,720 --> 00:57:50,920
Speaker 1: I feel like even if script wise it doesn't always

1082
00:57:50,920 --> 00:57:53,360
Speaker 1: make a lot of sense, I think Trumpell's visuals are

1083
00:57:53,400 --> 00:57:55,440
Speaker 1: kind of locked up with with that vision.

1084
00:57:55,760 --> 00:57:57,400
Speaker 5: Yeah, we even really talk about the look of this

1085
00:57:57,440 --> 00:57:59,160
Speaker 5: film very much, but I think this is one a

1086
00:57:59,200 --> 00:58:02,960
Speaker 5: film that gets a lot out of a low budget.

1087
00:58:02,960 --> 00:58:06,000
Speaker 3: I think that's a really interesting looking film.

1088
00:58:06,400 --> 00:58:08,640
Speaker 5: I think there are some shots where the camera pulls

1089
00:58:08,680 --> 00:58:12,400
Speaker 5: away to the exterior of the ship that are really cool.

1090
00:58:13,160 --> 00:58:14,320
Speaker 3: So that there's that.

1091
00:58:14,280 --> 00:58:16,400
Speaker 5: And I just I think there's this this general sense

1092
00:58:16,440 --> 00:58:20,920
Speaker 5: of trumble accepting the messiness of this. I mean, I

1093
00:58:20,920 --> 00:58:23,400
Speaker 5: think there's just there's something appealing about the kind of

1094
00:58:23,720 --> 00:58:26,160
Speaker 5: rough around the edges quality of this movie almost gives

1095
00:58:26,160 --> 00:58:28,200
Speaker 5: it a certain complexity, you know, because because we've been

1096
00:58:28,200 --> 00:58:31,840
Speaker 5: like puzzling over Lowell for much of the time, about

1097
00:58:31,880 --> 00:58:34,200
Speaker 5: trying trying to just you know, crack the coat in

1098
00:58:34,280 --> 00:58:36,880
Speaker 5: terms of who he is as a character, how we

1099
00:58:36,880 --> 00:58:39,680
Speaker 5: feel about him, how we and then and then how

1100
00:58:39,840 --> 00:58:42,080
Speaker 5: those feelings then translated to what we think the film

1101
00:58:42,160 --> 00:58:44,040
Speaker 5: is kind of up to. And I kind of like

1102
00:58:44,120 --> 00:58:47,480
Speaker 5: that that some running as an experience is that kind

1103
00:58:47,480 --> 00:58:49,800
Speaker 5: of ambiguous, and it does kind of allow you to

1104
00:58:50,720 --> 00:58:53,640
Speaker 5: think your way through and kind of accept that it's,

1105
00:58:53,800 --> 00:58:56,720
Speaker 5: you know, is imperfect and kind of as it is

1106
00:58:56,960 --> 00:59:00,400
Speaker 5: and uh, you know, and kind of having an experience

1107
00:59:00,440 --> 00:59:01,040
Speaker 5: with it, you know.

1108
00:59:01,040 --> 00:59:03,320
Speaker 7: I don't want to come across like because I didn't

1109
00:59:03,360 --> 00:59:04,919
Speaker 7: like ll as of character, I didn't like this film.

1110
00:59:04,920 --> 00:59:07,800
Speaker 7: I liked it quite a bit. I enjoyed watching it,

1111
00:59:07,960 --> 00:59:13,480
Speaker 7: and I think it works better if you do consider

1112
00:59:13,520 --> 00:59:16,200
Speaker 7: it or approach it as a mood piece, or if

1113
00:59:16,240 --> 00:59:19,000
Speaker 7: you take any sort of messaging out of it, because

1114
00:59:19,000 --> 00:59:22,120
Speaker 7: I think that's where it gets, you know, muddled in

1115
00:59:22,360 --> 00:59:27,440
Speaker 7: the way I've been harping on and also just unsatisfying

1116
00:59:27,680 --> 00:59:30,480
Speaker 7: if you're approaching it on sort of a narrative what

1117
00:59:31,040 --> 00:59:33,200
Speaker 7: does this all mean? Level, But if you approach it

1118
00:59:33,240 --> 00:59:36,800
Speaker 7: on a visual and mood level, like, yeah, that final

1119
00:59:36,840 --> 00:59:41,560
Speaker 7: image is very melancholy and haunting. And if I don't

1120
00:59:41,640 --> 00:59:44,040
Speaker 7: think about like what it means for the earth of

1121
00:59:44,360 --> 00:59:47,600
Speaker 7: this world, like I can just you know, kind of

1122
00:59:47,640 --> 00:59:52,480
Speaker 7: accept it on that level. So yes, I also just

1123
00:59:52,680 --> 00:59:54,680
Speaker 7: love the look of this film. I love the design

1124
00:59:54,880 --> 00:59:58,000
Speaker 7: of the ship. I love the slow pan out of

1125
00:59:58,040 --> 01:00:03,200
Speaker 7: the window that bookends the film. It's an engrossing film

1126
01:00:03,200 --> 01:00:07,680
Speaker 7: to watch. I think the more you think about or

1127
01:00:07,760 --> 01:00:09,920
Speaker 7: pick it apart, you know, pick apart its world, it

1128
01:00:09,960 --> 01:00:13,520
Speaker 7: gets more frustrating, so I'll stop doing that.

1129
01:00:14,040 --> 01:00:16,520
Speaker 1: Could you describe this film as a vibe?

1130
01:00:16,800 --> 01:00:19,040
Speaker 7: Yes, it is very much a vibe.

1131
01:00:19,800 --> 01:00:22,320
Speaker 6: This movie is a vibe. But it is, as you

1132
01:00:22,320 --> 01:00:25,960
Speaker 6: guys have noticed, a just like a technological you know,

1133
01:00:26,000 --> 01:00:30,200
Speaker 6: this is this is trouble flexing. He had a really

1134
01:00:30,680 --> 01:00:34,440
Speaker 6: frustrating experience with Kubrick on two thousand and one, and

1135
01:00:34,480 --> 01:00:38,480
Speaker 6: that extended from just every aspect of the production, where

1136
01:00:38,600 --> 01:00:40,600
Speaker 6: you know, he felt that he was the expert, but

1137
01:00:40,680 --> 01:00:43,439
Speaker 6: Kubrick wanted to be in charge of everything and kept

1138
01:00:43,800 --> 01:00:47,840
Speaker 6: interfering with his work to the script, which the article

1139
01:00:47,840 --> 01:00:49,880
Speaker 6: that I bring up in the keynote also has some

1140
01:00:50,000 --> 01:00:53,240
Speaker 6: kind of amazing stuff about the original script of two

1141
01:00:53,280 --> 01:00:57,680
Speaker 6: thousand and one and how shapeless and kind of nonsensical

1142
01:00:57,720 --> 01:01:01,760
Speaker 6: it was, and a Trouble came in with some major

1143
01:01:01,840 --> 01:01:04,640
Speaker 6: suggestions about rewriting it. He seems to have come up

1144
01:01:04,680 --> 01:01:07,560
Speaker 6: with the entire idea of having how kill off all

1145
01:01:07,600 --> 01:01:11,560
Speaker 6: of the rest of the people on board that ship.

1146
01:01:11,800 --> 01:01:14,800
Speaker 7: Which boiler Tasha.

1147
01:01:15,040 --> 01:01:18,080
Speaker 6: Which you know, might that storyline might have had some

1148
01:01:18,120 --> 01:01:22,959
Speaker 6: influence here, but Kubrick told him like, don't come around

1149
01:01:23,000 --> 01:01:25,160
Speaker 6: here with your stupid ideas, and then promptly wrote it

1150
01:01:25,160 --> 01:01:29,120
Speaker 6: into the script. The visual effects got an oscar which

1151
01:01:29,160 --> 01:01:31,800
Speaker 6: Trumbull was not credited for in any way, and Kubrick

1152
01:01:31,880 --> 01:01:36,000
Speaker 6: took complete credit and it resulted in some fighting and

1153
01:01:36,040 --> 01:01:37,960
Speaker 6: then they didn't speak to each other for ten years.

1154
01:01:38,320 --> 01:01:42,080
Speaker 6: So to me, one of the things this movie is

1155
01:01:41,680 --> 01:01:47,080
Speaker 6: is Trumble kind of taking the scope and the stage

1156
01:01:47,320 --> 01:01:49,960
Speaker 6: that he had with two thousand and one, which did

1157
01:01:50,000 --> 01:01:53,560
Speaker 6: have ten times the budget apparently, and getting to do

1158
01:01:53,600 --> 01:01:56,000
Speaker 6: it for himself. And he kind of feels like that

1159
01:01:56,120 --> 01:02:00,680
Speaker 6: was his focus first and foremost on this film. You're right,

1160
01:02:01,160 --> 01:02:04,360
Speaker 6: I'm not giving it enough credit or enough discussion space

1161
01:02:04,720 --> 01:02:06,600
Speaker 6: because I got a little too into the weeds on

1162
01:02:06,640 --> 01:02:10,080
Speaker 6: reading how it was all done and kind of felt like, yeah, oh,

1163
01:02:10,280 --> 01:02:12,400
Speaker 6: we're taking that for granted that this is all great.

1164
01:02:13,440 --> 01:02:17,320
Speaker 6: You're all right, this is a really spectacular film visually.

1165
01:02:17,400 --> 01:02:19,160
Speaker 6: It is amazing to me that it was made for

1166
01:02:19,200 --> 01:02:23,480
Speaker 6: the same budget as Miloschforman's Taking Off, which is, you know,

1167
01:02:23,800 --> 01:02:27,720
Speaker 6: a movie that I don't love, but that seems to

1168
01:02:27,760 --> 01:02:32,200
Speaker 6: have been like a really important movie for his development.

1169
01:02:33,080 --> 01:02:35,640
Speaker 6: But you know, it's just a bunch of people talking

1170
01:02:35,920 --> 01:02:37,840
Speaker 6: in a way, and you compare that with something like

1171
01:02:37,880 --> 01:02:40,440
Speaker 6: this and what Trumble did on the same budget. It is,

1172
01:02:40,840 --> 01:02:41,920
Speaker 6: in fact incredible.

1173
01:02:42,200 --> 01:02:44,080
Speaker 1: It's on the short list of films I'd most like

1174
01:02:44,200 --> 01:02:46,600
Speaker 1: to see project it. I don't know if I ever will,

1175
01:02:47,160 --> 01:02:49,240
Speaker 1: but I would love to see this on the big screen.

1176
01:02:49,680 --> 01:02:52,200
Speaker 1: And it's kind of like be you know, lost in

1177
01:02:53,200 --> 01:02:56,760
Speaker 1: the world of this film and watch those visuals fill

1178
01:02:56,800 --> 01:03:01,000
Speaker 1: the screen to and also be trapped with this peevish space.

1179
01:03:02,720 --> 01:03:04,200
Speaker 1: You have to think about that for a little bit.

1180
01:03:05,400 --> 01:03:07,760
Speaker 1: You sneak a candle open to the theater. Keith, Yes,

1181
01:03:08,400 --> 01:03:11,760
Speaker 1: it's required. I think you have to you.

1182
01:03:12,360 --> 01:03:14,280
Speaker 3: I was interested in that run enough dirty and fruit

1183
01:03:14,360 --> 01:03:18,920
Speaker 3: for everyone, very popular in a close space.

1184
01:03:19,360 --> 01:03:22,400
Speaker 6: Well, I think we're going to have more opportunity to

1185
01:03:22,440 --> 01:03:27,000
Speaker 6: talk about kind of visuals here, how they compare to

1186
01:03:27,520 --> 01:03:31,640
Speaker 6: you know, modern big science fiction movie visuals and what

1187
01:03:31,680 --> 01:03:34,360
Speaker 6: those look like on the big screen, and certainly talking

1188
01:03:34,360 --> 01:03:37,760
Speaker 6: about Lowell and his charisma gap. We really haven't gotten

1189
01:03:37,760 --> 01:03:40,560
Speaker 6: into Bruce Dern and to some degree that's because I

1190
01:03:40,640 --> 01:03:43,120
Speaker 6: kind of want to save it for the next part

1191
01:03:43,200 --> 01:03:47,000
Speaker 6: of this conversation, where we bring this movie into comparison

1192
01:03:47,080 --> 01:03:50,640
Speaker 6: with a kind of a modern equivalent. We'll do that

1193
01:03:50,680 --> 01:03:52,760
Speaker 6: next week and in the meantime, we're going to take

1194
01:03:52,760 --> 01:04:05,120
Speaker 6: a break and we'll come back with feedback. Now it's

1195
01:04:05,120 --> 01:04:07,320
Speaker 6: time for feedback. But before we get to that section,

1196
01:04:07,360 --> 01:04:09,200
Speaker 6: we want to give a shout out to film Spotting.

1197
01:04:09,280 --> 01:04:12,800
Speaker 6: The Next Picture Shows Mothership podcast hosted by Adam Kampanar

1198
01:04:12,880 --> 01:04:15,640
Speaker 6: and Josh Larson. As we're recording this, they're running a

1199
01:04:15,680 --> 01:04:18,800
Speaker 6: film Spotting Madness bracket to identify the best of nineteen

1200
01:04:18,880 --> 01:04:21,479
Speaker 6: forties cinema. You can vote for that over at film

1201
01:04:21,560 --> 01:04:24,200
Speaker 6: spotting dot Net over the next few weeks. Y'all, is

1202
01:04:24,200 --> 01:04:27,000
Speaker 6: there anything in particular you're pulling for in this bracket?

1203
01:04:27,400 --> 01:04:27,560
Speaker 10: Oh?

1204
01:04:27,600 --> 01:04:28,680
Speaker 1: I'm looking at it now.

1205
01:04:29,000 --> 01:04:32,200
Speaker 5: Yeah, it's a kind of absurd we're talking about really

1206
01:04:32,560 --> 01:04:34,800
Speaker 5: are talking about the best films in the nineteen forties.

1207
01:04:34,920 --> 01:04:37,480
Speaker 5: That's a lot of films, you know, you kind of

1208
01:04:37,480 --> 01:04:40,120
Speaker 5: don't Casta Blanca is like the One Seed.

1209
01:04:39,840 --> 01:04:43,320
Speaker 1: And Red River versus Rebecca.

1210
01:04:43,280 --> 01:04:45,320
Speaker 3: Citizen Kane is the two Seed. Those are good films.

1211
01:04:45,680 --> 01:04:48,120
Speaker 5: I'd be into those films, you know, at Double Indemnity,

1212
01:04:48,440 --> 01:04:50,000
Speaker 5: you know, the Third Man. I mean, this is out

1213
01:04:50,000 --> 01:04:51,920
Speaker 5: of the there's just so much good stuff here. I

1214
01:04:51,960 --> 01:04:54,520
Speaker 5: don't know what to even do.

1215
01:04:54,440 --> 01:04:56,160
Speaker 3: With this list.

1216
01:04:56,160 --> 01:04:58,200
Speaker 5: I mean, I guess once you go head to head

1217
01:04:58,200 --> 01:05:00,440
Speaker 5: that you can really start making choices. But as far

1218
01:05:00,440 --> 01:05:02,720
Speaker 5: as what rooting interests, I mean, some of these films

1219
01:05:02,720 --> 01:05:06,560
Speaker 5: are absolutely perfect. I kind of like the Nine Seed

1220
01:05:06,680 --> 01:05:08,640
Speaker 5: a brief encounter. I think people should probably check out

1221
01:05:08,720 --> 01:05:10,880
Speaker 5: Nine Seed if they haven't seen it, because I'm a

1222
01:05:10,920 --> 01:05:14,520
Speaker 5: real fan of David Lean's kind of smaller films. I

1223
01:05:14,600 --> 01:05:18,600
Speaker 5: think he was you know, everyone knows him for your

1224
01:05:18,680 --> 01:05:22,160
Speaker 5: your Lawrence of Arabia's and your Doctor Chevago's. But I'm like,

1225
01:05:22,280 --> 01:05:24,400
Speaker 5: a briefing kind is kind of a perfect movie. But

1226
01:05:24,960 --> 01:05:27,760
Speaker 5: I don't know any any other day, you know, do

1227
01:05:27,920 --> 01:05:28,400
Speaker 5: something else.

1228
01:05:28,920 --> 01:05:31,560
Speaker 1: This is impossible. I mean it's like, okay, Red Choose

1229
01:05:31,640 --> 01:05:34,200
Speaker 1: versus Shadow of a Doubt. No, I'm not gonna choose.

1230
01:05:34,520 --> 01:05:36,640
Speaker 1: I refuse use to participate in this.

1231
01:05:37,360 --> 01:05:39,520
Speaker 6: For me, one of the fun things about a bracket

1232
01:05:39,560 --> 01:05:42,400
Speaker 6: like this is the hard choices. I mean, I'm looking

1233
01:05:42,480 --> 01:05:46,240
Speaker 6: right now, it's a wonderful life versus Bambi. I don't

1234
01:05:46,280 --> 01:05:49,400
Speaker 6: think that's the hardest choice on here by far. But

1235
01:05:49,520 --> 01:05:53,000
Speaker 6: those movies are so different that you really have to examine,

1236
01:05:53,080 --> 01:05:57,680
Speaker 6: like what does make like an indelible quality movie for me?

1237
01:05:57,800 --> 01:06:02,720
Speaker 6: Like what what do I value between these two films

1238
01:06:03,040 --> 01:06:06,080
Speaker 6: that are both kind of about, you know, hope in

1239
01:06:06,080 --> 01:06:08,440
Speaker 6: the future and why we're all here, but very different

1240
01:06:08,440 --> 01:06:10,880
Speaker 6: movies in very different ways. And then you get into

1241
01:06:10,920 --> 01:06:13,880
Speaker 6: a decision like Treasure this year, ahmadre versus The Great Dictator,

1242
01:06:14,240 --> 01:06:18,320
Speaker 6: Like some of these are very hard choices. Some of them, well,

1243
01:06:18,360 --> 01:06:21,960
Speaker 6: maybe a little less so, but I don't know. I

1244
01:06:22,080 --> 01:06:24,280
Speaker 6: kind of like being forced to consider whether I think

1245
01:06:24,520 --> 01:06:27,439
Speaker 6: Rebecca is a better movie than Straight Dog. We've gotten

1246
01:06:27,440 --> 01:06:30,439
Speaker 6: a few emails about recent pairings. But to keep it short,

1247
01:06:30,480 --> 01:06:33,280
Speaker 6: because this discussion ran long, We're just going to play

1248
01:06:33,320 --> 01:06:36,439
Speaker 6: some audio from our listener, Matthew Genevieve. Could you play

1249
01:06:36,440 --> 01:06:36,840
Speaker 6: that please?

1250
01:06:37,080 --> 01:06:40,120
Speaker 10: Hello and expect to show. It's Matthew from New Zealand here.

1251
01:06:40,800 --> 01:06:43,720
Speaker 10: Your discussion of Romeo plus Juli Yet reminded me of

1252
01:06:43,760 --> 01:06:46,800
Speaker 10: the last time I watched the film here in New Zealand.

1253
01:06:46,920 --> 01:06:49,840
Speaker 10: During COVID, we were fortunate enough to have significant periods

1254
01:06:49,840 --> 01:06:51,880
Speaker 10: where we were still free to do things like go

1255
01:06:52,000 --> 01:06:54,680
Speaker 10: to the movies. So I last watched it at a

1256
01:06:54,760 --> 01:06:59,040
Speaker 10: Valentine's Day screening in twenty twenty one. During the balcony scene,

1257
01:06:59,120 --> 01:07:02,320
Speaker 10: everyone's phone off with an emergency message about a raising

1258
01:07:02,400 --> 01:07:04,880
Speaker 10: of our COVID alert level. It was annoying enough that

1259
01:07:04,880 --> 01:07:07,960
Speaker 10: the interrupted one of the film's big scenes, but one

1260
01:07:08,000 --> 01:07:10,520
Speaker 10: person in the audience had evidently set their phone to

1261
01:07:10,760 --> 01:07:15,880
Speaker 10: automatically read emergency alerts out now very loud. I can

1262
01:07:15,920 --> 01:07:20,280
Speaker 10: therefore definitively say that Shakespeare's dialogue is much more beautiful

1263
01:07:20,320 --> 01:07:24,720
Speaker 10: than a government public safety message. So I asked, does

1264
01:07:24,760 --> 01:07:27,840
Speaker 10: the team have any interesting stories about movie screenings that

1265
01:07:27,920 --> 01:07:31,360
Speaker 10: were interrupted in an interesting way, not just someone being

1266
01:07:31,360 --> 01:07:31,800
Speaker 10: a jerk?

1267
01:07:32,560 --> 01:07:35,200
Speaker 6: So what do you think the experiences in the theaters

1268
01:07:35,320 --> 01:07:39,920
Speaker 6: where your movie was interrupted for reasons other than somebody

1269
01:07:39,920 --> 01:07:40,480
Speaker 6: being a jerk.

1270
01:07:40,920 --> 01:07:43,600
Speaker 5: I've got a couple of them. Yeah, not interrupted by

1271
01:07:43,640 --> 01:07:45,400
Speaker 5: a jerk is not quite right. Well, first of all,

1272
01:07:46,040 --> 01:07:49,400
Speaker 5: the one of course I'll always remember is how I

1273
01:07:49,480 --> 01:07:52,640
Speaker 5: was at an employee screening of Star Trek five, The

1274
01:07:52,680 --> 01:07:55,520
Speaker 5: Final Frontier, when I worked in a movie theater, and

1275
01:07:55,600 --> 01:08:00,280
Speaker 5: the last reel of the film was put on backwards meet.

1276
01:08:00,600 --> 01:08:02,520
Speaker 5: It was the very first it was the very first

1277
01:08:02,760 --> 01:08:05,680
Speaker 5: film print that I put together, and it was an

1278
01:08:05,720 --> 01:08:08,120
Speaker 5: all it was an all staff screening, and I put

1279
01:08:08,160 --> 01:08:12,440
Speaker 5: the reel on tails up. So I'll remember that disruption.

1280
01:08:12,920 --> 01:08:14,800
Speaker 5: The other one, The other one that I always that

1281
01:08:14,920 --> 01:08:17,599
Speaker 5: for some reason is coming to mind. This isn't someone

1282
01:08:17,640 --> 01:08:20,479
Speaker 5: being a jerk necessarily, but it's definitely a disruption.

1283
01:08:20,640 --> 01:08:20,880
Speaker 3: Is that.

1284
01:08:21,160 --> 01:08:23,880
Speaker 5: I remember seeing I Know What You Did Last summer

1285
01:08:24,400 --> 01:08:27,960
Speaker 5: with my friends in grad school, and uh, and there

1286
01:08:28,040 --> 01:08:30,559
Speaker 5: was this guy who was probably looked like he was

1287
01:08:30,600 --> 01:08:33,960
Speaker 5: maybe in his twenties early thirties, was who sat who

1288
01:08:34,000 --> 01:08:37,000
Speaker 5: was there all alone, sitting on an on the aisle.

1289
01:08:37,479 --> 01:08:40,639
Speaker 5: He was on the aisle seat, and and every time

1290
01:08:40,640 --> 01:08:42,400
Speaker 5: there was like a jump scare in the movie, he

1291
01:08:42,400 --> 01:08:43,719
Speaker 5: would scream like audibly.

1292
01:08:43,760 --> 01:08:45,240
Speaker 3: He was just like wow, you know, just.

1293
01:08:45,200 --> 01:08:48,800
Speaker 5: Like this incredibly loud reaction. He was really kind of

1294
01:08:48,840 --> 01:08:53,400
Speaker 5: getting into this movie. And the movie is one of

1295
01:08:53,400 --> 01:08:56,680
Speaker 5: those movies that ends with a jump scare. And what

1296
01:08:56,720 --> 01:09:00,160
Speaker 5: we remember from that experience is is him yelling at

1297
01:09:00,160 --> 01:09:02,479
Speaker 5: that final at that final jump scare and then immediately

1298
01:09:02,479 --> 01:09:04,320
Speaker 5: just getting up and leaving because the movie was over.

1299
01:09:04,360 --> 01:09:05,320
Speaker 3: It was just like this.

1300
01:09:05,120 --> 01:09:08,880
Speaker 5: This all in one motion, one last big scream, standing up,

1301
01:09:09,120 --> 01:09:12,080
Speaker 5: leaving the theater. That was my experience with I Know

1302
01:09:12,120 --> 01:09:13,000
Speaker 5: What You Did Last summer?

1303
01:09:13,560 --> 01:09:17,000
Speaker 1: Amazing, Yeah, just real briefly. I recently, you know when

1304
01:09:17,520 --> 01:09:20,439
Speaker 1: Quiet Place Day One came out. I took my daughter

1305
01:09:20,479 --> 01:09:23,120
Speaker 1: to see it, and it was interrupted by a fire

1306
01:09:23,200 --> 01:09:25,360
Speaker 1: drill in the middle of it, which was, you know,

1307
01:09:25,439 --> 01:09:28,240
Speaker 1: obviously upsetting enough, and you know, there's still a chunk

1308
01:09:28,240 --> 01:09:30,920
Speaker 1: of that movie. I should probably watch like two minutes

1309
01:09:30,960 --> 01:09:32,920
Speaker 1: I missed because it was a fire drill was you know,

1310
01:09:33,000 --> 01:09:35,000
Speaker 1: turns a fossil alarm and we were back in theater

1311
01:09:35,000 --> 01:09:37,679
Speaker 1: pretty quickly. But my daughter noticed that someone was recording

1312
01:09:37,720 --> 01:09:40,519
Speaker 1: the movie on their phone. So if you are watching

1313
01:09:40,600 --> 01:09:43,479
Speaker 1: a bootleg of A Quiet Place Day One, which I

1314
01:09:43,479 --> 01:09:45,720
Speaker 1: don't recommend, don't do that. But if you see if

1315
01:09:46,400 --> 01:09:49,120
Speaker 1: your copy of it is interrupted by a fire alarm,

1316
01:09:49,200 --> 01:09:51,160
Speaker 1: that's the screening eye was at. You know. That's so

1317
01:09:51,280 --> 01:09:53,960
Speaker 1: that's a special, like one of a kind, unique version

1318
01:09:54,000 --> 01:09:54,800
Speaker 1: of the film.

1319
01:09:55,040 --> 01:09:57,759
Speaker 3: But it was filled in by footage of Elane dancing.

1320
01:09:58,240 --> 01:10:03,080
Speaker 6: Yes, exactly, if they listen really closely under the fire alarm,

1321
01:10:03,120 --> 01:10:06,360
Speaker 6: can they hear Keith Phipps muttering, Oh, come on, come on,

1322
01:10:06,840 --> 01:10:08,120
Speaker 6: I want to watch the movie.

1323
01:10:08,320 --> 01:10:12,920
Speaker 1: Probably, yes, exact words. Actually, how about is this fire?

1324
01:10:12,960 --> 01:10:14,120
Speaker 1: I want to watch the movie.

1325
01:10:14,439 --> 01:10:17,479
Speaker 6: The thing that immediately leapt to my mind was there

1326
01:10:17,600 --> 01:10:21,720
Speaker 6: was an era when my now husband then boyfriend and

1327
01:10:21,760 --> 01:10:25,519
Speaker 6: I had moved to Chicago, and we would routinely go

1328
01:10:25,680 --> 01:10:29,559
Speaker 6: to just about anything that played at the Bruin View

1329
01:10:29,680 --> 01:10:34,759
Speaker 6: at the VIC, which was a bar slash concert venue

1330
01:10:35,240 --> 01:10:38,639
Speaker 6: that on the weekends would show two, sometimes three movies

1331
01:10:38,680 --> 01:10:41,599
Speaker 6: back to back for a pretty low price. They imported

1332
01:10:41,640 --> 01:10:44,400
Speaker 6: the World's Worst pizza, which you could buy, but we

1333
01:10:44,400 --> 01:10:46,600
Speaker 6: would go because it was cheap and it was you know,

1334
01:10:46,640 --> 01:10:49,200
Speaker 6: two or three movies. We were perpetually trying to get

1335
01:10:49,240 --> 01:10:52,479
Speaker 6: other people to come with us, hang out and sit

1336
01:10:52,520 --> 01:10:55,880
Speaker 6: in the incredibly uncomfortable seats and watch three movies for

1337
01:10:56,040 --> 01:10:58,320
Speaker 6: you know, seven bucks or whatever it was. Usually it

1338
01:10:58,360 --> 01:11:02,000
Speaker 6: would be too newer movies, you know, movies in last

1339
01:11:02,080 --> 01:11:05,120
Speaker 6: run and then something you know, old er out of

1340
01:11:05,120 --> 01:11:08,080
Speaker 6: the vaults. So on one particular occasion, you know, it

1341
01:11:08,120 --> 01:11:10,479
Speaker 6: would be like an eight pm movie, a ten PM movie,

1342
01:11:10,479 --> 01:11:13,040
Speaker 6: in a midnight movie. The midnight movie on one occasion

1343
01:11:13,240 --> 01:11:17,840
Speaker 6: was nineteen eighty seven's Joel Schumacher movie Lost Boys. So

1344
01:11:18,280 --> 01:11:21,320
Speaker 6: we were there. It was, you know, coming down to

1345
01:11:21,439 --> 01:11:25,360
Speaker 6: the final act. The vampires are, you know, fighting the

1346
01:11:25,439 --> 01:11:28,960
Speaker 6: non vampires. Everything's looking pretty bad. It's one thirty in

1347
01:11:29,040 --> 01:11:33,719
Speaker 6: the morning and the film burns out and snaps Scott.

1348
01:11:33,760 --> 01:11:36,960
Speaker 6: As a former projectionist, you probably have a better idea

1349
01:11:36,960 --> 01:11:38,800
Speaker 6: of what the terminology is for that when the film

1350
01:11:38,840 --> 01:11:41,680
Speaker 6: gets stuck and then like literally like burns and melts.

1351
01:11:42,280 --> 01:11:44,080
Speaker 3: I'm not sure what the terminology is, but it's stuck

1352
01:11:44,120 --> 01:11:46,360
Speaker 3: in the gate basically, and there you go.

1353
01:11:46,920 --> 01:11:51,160
Speaker 6: So film got stuck in the gate visibly like burned

1354
01:11:51,160 --> 01:11:53,000
Speaker 6: out and melted, and then we're just sitting there watching

1355
01:11:53,040 --> 01:11:57,360
Speaker 6: a white screen. They messed around with it like rethreaded

1356
01:11:57,400 --> 01:12:00,439
Speaker 6: it started, We got you know, another thirty sives or so,

1357
01:12:00,520 --> 01:12:02,880
Speaker 6: and then it happened again. So it's getting on towards

1358
01:12:02,880 --> 01:12:06,240
Speaker 6: two in the morning. Most people are leaving and there's like,

1359
01:12:06,400 --> 01:12:09,080
Speaker 6: I don't know, five or six of us sitting in

1360
01:12:09,120 --> 01:12:14,599
Speaker 6: this venue that seats hundreds waiting well standing room only

1361
01:12:14,800 --> 01:12:18,519
Speaker 6: one hundreds, waiting for them to rethread it so we

1362
01:12:18,600 --> 01:12:21,599
Speaker 6: can watch the last five minutes of this movie, which are,

1363
01:12:21,800 --> 01:12:24,000
Speaker 6: you know, basically a little more fighting and a joke

1364
01:12:24,040 --> 01:12:27,040
Speaker 6: about all the damn vampires. They finally got it going.

1365
01:12:27,120 --> 01:12:30,680
Speaker 6: We sat through the last three to five minutes in

1366
01:12:30,720 --> 01:12:33,000
Speaker 6: the movie. It was like, why did we wait for that?

1367
01:12:33,160 --> 01:12:36,360
Speaker 6: We've seen this movie multiple times, but we had to

1368
01:12:36,360 --> 01:12:39,360
Speaker 6: get closure. We had to hear the joke at the end,

1369
01:12:39,479 --> 01:12:40,439
Speaker 6: right right.

1370
01:12:40,760 --> 01:12:43,120
Speaker 1: You had to Yes, no, I get it. There's no

1371
01:12:43,200 --> 01:12:45,240
Speaker 1: leaving in that situation, no matter how long it takes.

1372
01:12:45,720 --> 01:12:45,920
Speaker 10: Well.

1373
01:12:46,120 --> 01:12:49,000
Speaker 6: Feel free to write in and tell us what movie

1374
01:12:49,040 --> 01:12:52,960
Speaker 6: disasters you forced yourself to sit through. Listeners, We always

1375
01:12:53,040 --> 01:12:55,559
Speaker 6: appreciate hearing your feedback. To reach us, you can leave

1376
01:12:55,560 --> 01:12:58,559
Speaker 6: a short voicemail at seven seven three two three four

1377
01:12:58,800 --> 01:13:01,320
Speaker 6: nine seven three zero, or email us at comments at

1378
01:13:01,320 --> 01:13:03,799
Speaker 6: next Pictureshow dot net. You would also send a recorded

1379
01:13:03,800 --> 01:13:05,680
Speaker 6: message to our email address if you want to make

1380
01:13:05,680 --> 01:13:07,760
Speaker 6: sure you get the wording just right. That's it for

1381
01:13:07,800 --> 01:13:10,240
Speaker 6: this episode of the Next Picture Show. In our next episode,

1382
01:13:10,280 --> 01:13:12,800
Speaker 6: we'll talk about Project Hail Mary, a very different movie

1383
01:13:12,840 --> 01:13:15,080
Speaker 6: about a man trying to save the world from catastrophe

1384
01:13:15,080 --> 01:13:18,200
Speaker 6: in a very different way, albeit with a somewhat similar

1385
01:13:18,240 --> 01:13:21,240
Speaker 6: non human companion. Look for that episode next Tuesday on

1386
01:13:21,280 --> 01:13:23,640
Speaker 6: your podcast er of choice. For ad free versions of

1387
01:13:23,640 --> 01:13:26,439
Speaker 6: the podcast and extra content, find us on Patreon at

1388
01:13:26,439 --> 01:13:29,479
Speaker 6: Patreon dot com slash Next Picture Show. You can find

1389
01:13:29,560 --> 01:13:31,519
Speaker 6: us at Next Picture Show dot net and on Blue

1390
01:13:31,520 --> 01:13:33,519
Speaker 6: Sky at the Next Picture Show. If you want to

1391
01:13:33,560 --> 01:13:37,080
Speaker 6: keep track of one new episode's drop until next week. Remember,

1392
01:13:37,240 --> 01:13:40,320
Speaker 6: if you love your little drone companions, don't separate them,

1393
01:13:40,479 --> 01:13:43,000
Speaker 6: send them off into space together. What kind of monster

1394
01:13:43,160 --> 01:13:56,840
Speaker 6: are you? That was a good movie.

1395
01:13:57,200 --> 01:13:58,759
Speaker 4: Yeah, seen here before once