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Speaker 1: Warning. Today's episode contained spoilers for Spike Lee's newest feature film,

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Speaker 1: Highest Lowest. Hello, my name is Jas Cacio and I'm

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Speaker 1: Rosie Night and welcome back to x ray vision of

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Speaker 1: the podcast Will We Dive Be to your favorite shows, movies,

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Speaker 1: comics of pop culture Company Roma our podcast where we're

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Speaker 1: bringing you three episodes a week.

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Speaker 2: In today's final episode of The Popcorn pop Out, we

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Speaker 2: are reviewing the latest from legendary director Spike Lee and

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Speaker 2: his ode to the iconic director and his friend Charactersaur.

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Speaker 2: We attended the premiere. We will be updating you on that.

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Speaker 2: Me and Jason were bemused and baffled and delighted because

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Speaker 2: we were definitely we were like, how did we get

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Speaker 2: invited here? It was great, We had a great time.

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Speaker 2: Then we're going to review the movie, which spoilerlat if

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Speaker 2: you follow us on that box, do you know we

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Speaker 2: both enjoyed haughtily. And then you had Rosie explains it

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Speaker 2: all UK edition. Well, now Jason's going to explain it

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Speaker 2: well New York edition and talk about what these movies

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Speaker 2: mean as a New Yorker.

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Speaker 1: But first the airlock. Okay, so we went to last week,

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Speaker 1: we went to the was it a premier or was

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Speaker 1: it LA premiere? Okay, So we went to the LA

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Speaker 1: premiere of Spike Lee's latest film, Highest lowist and adaptation

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Speaker 1: of the Akira Kurosawa masterpiece High and Low, his fifth

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Speaker 1: collaboration with Denzel Washington. We saw it at the Academy Museum,

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Speaker 1: and we just wanted to bring you into that because

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Speaker 1: it was definitely one of those situations where you're like,

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Speaker 1: why not only why are we here? Which is fine,

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Speaker 1: we've been just.

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Speaker 2: You know, we love to Yeah, we love to be.

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Speaker 1: Why am I? Why are we three rows from the front?

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Speaker 2: Yes, that was the funniest thing is vigate Fox. I know,

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Speaker 2: we were truly living life. We saw one of the

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Speaker 2: new lanisters from House to the Dragon. Was lovely to

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Speaker 2: see him as always.

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Speaker 1: I mean, let's yeah, let's name drop for a little bit.

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Speaker 1: Henson was was there?

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Speaker 2: One of my favorite things Jaden Smith. Jaden Smith was there.

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Speaker 2: He wearing an impressive kind of hat. Accoutremond also scarf hat.

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Speaker 2: It was a scarf hat. I was very very impressed

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Speaker 2: he it was. It was wrapping maybe made of leather, but.

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Speaker 1: Yeah, and like a priest from a different planet.

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Speaker 2: Oh yeah, Alien three priests. Look, maybe I feel like

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Speaker 2: it was vibing on. Also, we saw some incredible creators

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Speaker 2: and innovators in this space. There were all kinds of

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Speaker 2: cool people there. I'm trying to think of some of

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Speaker 2: the most one of the ones that and he was

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Speaker 2: wearing his beautiful high and low Cus Hour shirt that

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Speaker 2: he's been rocking on this press tour. Also as well,

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Speaker 2: just casually, like when we were leaving, because we're we're

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Speaker 2: not big partiers. Were we're homebodies. But when we were leaving,

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Speaker 2: as we were walking out, somebody was like, oh my god,

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Speaker 2: it there a ravo and just like screaming. So yeah,

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Speaker 2: there was, and there was autograph hunters outside. It was

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Speaker 2: definitely it was a real It was one of those

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Speaker 2: type of things. Yeah, And I think it was something

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Speaker 2: where people were just really excited to be at the

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Speaker 2: screening of such a legendary directors movie. Yes, like so

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Speaker 2: many people showed up and were just ready.

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Speaker 1: It opened with This is in collaboration with A twenty

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Speaker 1: four and Apple Studios, So I think it's a Apple

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Speaker 1: TV Apple production with dishoub and production handled by H

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Speaker 1: four and one of the executives from A twenty four

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Speaker 1: came up and made a speech, and immediately you and

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Speaker 1: I are.

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Speaker 2: Like, why is this guy is the hunkiest?

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Speaker 1: Why who is this Why? Why is the hottest guy

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Speaker 1: in the room the exec from eight twenty five?

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Speaker 2: Is he not in this movie? Like he had such

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Speaker 2: great presence. We were just both like, Wow, I love

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Speaker 2: this guy, and I think came up.

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Speaker 1: He gave a little a shpiel about like what an

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Speaker 1: honor it is to, you know, be working with Spike

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Speaker 1: Lee and for a twenty four to be collaborating with Spike,

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Speaker 1: the fifth collaboration of Spike and Densel Cell and the

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Speaker 1: history of that, and then he had and then he

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Speaker 1: introduces Spike Spike Lee. Spike comes in from the side door,

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Speaker 1: takes the mic strides like a couple of steps like

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Speaker 1: he's he's going to go to the front of the

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Speaker 1: theater to make speech, and he just goes, you're ready, okay,

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Speaker 1: and then he just turns around and watchs out you

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Speaker 1: start the movie.

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Speaker 2: Yeah, Because also you could tell there was a lot

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Speaker 2: of celebrities there because the movie started like half an

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Speaker 2: hour late, like they were really trying to see people

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Speaker 2: and we were in the ted Man Theater, which I

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Speaker 2: do love which is the smaller of the two Academy

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Speaker 2: Museum theaters, but not a theater made for like premieres.

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Speaker 2: There's not a lot of walking up and down that

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Speaker 2: you can do. Everyone was getting up every time somebody

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Speaker 2: needed to sit down, so we were all kind of

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Speaker 2: bonding over the close quarters. But yeah, what a what

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Speaker 2: a surreal event. We were definitely right at the front.

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Speaker 2: But you know what, Jason, as I said to you

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Speaker 2: on the night, you are the second most famous Knicks

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Speaker 2: fan after Spike Lee. So I think that they were like,

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Speaker 2: I think is up there. I think.

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Speaker 1: I think you're gonna have to go down the rungs

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Speaker 1: because I think currently it's obviously Spike Yeah, and then

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Speaker 1: a Chalo May He's Chalo May, Slash and Stiller. I

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Speaker 1: think it depends on what your kind of interests in

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Speaker 1: age group are. But I think those two were battling

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Speaker 1: for two. Then I think you would go Eadie Falco.

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Speaker 1: I think John McEnroe is.

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Speaker 2: Yeah, I think you're above Mcam. I think you I

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Speaker 2: think that's the safe top five. But they were like,

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Speaker 2: we got to have him near the front. They didn't

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Speaker 2: put us right on the front row.

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Speaker 1: It was pretty crazy. I mean Fox was.

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Speaker 3: One row and to the right of us, So that

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Speaker 3: was you You love to see it, and you know

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Speaker 3: that was crazy Paula Patton looking.

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Speaker 1: In front, and I hopefully she hasn't heard us smirch

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Speaker 1: her French accents from possible.

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Speaker 4: Oh no, she knows physical.

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Speaker 2: This was all actually like a set up for how

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Speaker 2: to revenge on us because friend Jackson. But yeah, it

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Speaker 2: was a It was a truly unique and cool experience

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Speaker 2: and and and we were really stoked to be in

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Speaker 2: by it, especially as such big.

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Speaker 1: In a non spoiler way, let's give our top line thoughts.

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Speaker 1: We'll go to break and then we'll come back and

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Speaker 1: we'll talk about maybe in a spoiler fashion. I love

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Speaker 1: this film with the caveat that as a New York guy,

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Speaker 1: as a Knicks fan, there's so much red meat in here,

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Speaker 1: just on the Knicks front, that I'm already gonna be

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Speaker 1: heavily inclined to like this movie. I'm a Spike listen,

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Speaker 1: I'm a Spike guy. But I loved it, and I

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Speaker 1: thought there are a few scenes, namely the kind of

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Speaker 1: the showdown between the tagonist and the antagonist, that I

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Speaker 1: think are are amazing, like incredible that some of his best. Absolutely,

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Speaker 1: it's the moment when David King, the kind of beleaguered

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Speaker 1: UH music executive, comes face to face with young Felon

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Speaker 1: played by Aesop Rocky, the man who is kidnapped, who

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Speaker 1: thought he kidnapped his son and has been holding him

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Speaker 1: for ransom, and they have this incredible like duel of

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Speaker 1: words that goes for like five minutes, and it's I've

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Speaker 1: just been thinking about it because it's like, it's amazing

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Speaker 1: and it's not it's very theater, like, you know, it's

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Speaker 1: not like something you would see in a movie these days,

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Speaker 1: and there's moments like that that that may stand out

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Speaker 1: for me.

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Speaker 2: I think for me that's why I came away just

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Speaker 2: really loving it because I think, while you'll write that

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Speaker 2: five minute segment is like it's like having Shakespeare on

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Speaker 2: the screen, but in a way that you know, if

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Speaker 2: you said, oh, it's like rap Shakespeare, people would be like,

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Speaker 2: that's terrible, But it's not like that. It's like this

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Speaker 2: Shakespearean battle of words in the universe of this work

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Speaker 2: that works so well. But yeah, for me, this is

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Speaker 2: like weird big swing Spike where there are like multiple

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Speaker 2: different movies within this movie. There are different tone. There's

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Speaker 2: a kind of like lifetimey family drama. There's this Empire influence,

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Speaker 2: like I'm sorry Taraji being there. I'm like they knew

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Speaker 2: that Empire was an influence on this, like it was

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Speaker 2: and Anna, And there's this kind of soapy element to it.

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Speaker 2: But there are these moments right where Denzel and Jeffrey

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Speaker 2: Wright are just vibing with each other, and there's this

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Speaker 2: kind of like jazzy French new wave freeness and fun

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Speaker 2: to this movie that just feels like nothing we get anymore.

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Speaker 2: You're it is like watching a student of cinema show

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Speaker 2: off all the stuff he's learned about cinema in a

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Speaker 2: really lovely way. And I think that makes sense because

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Speaker 2: Kurisauer and Spike Lee they actually crossed paths early on

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Speaker 2: in Spike's career later on in Curisawa's quer and became friends.

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Speaker 2: And when I went to the Academy Museum when it

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Speaker 2: first opened, they had a Spike Lee room where he

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Speaker 2: was basically showing off all his cool collection of stuff.

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Speaker 2: He had a guitar from Prince that was in the

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Speaker 2: shape of the symbol, and he had Kurisauer posters that

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Speaker 2: were signed personally to him by Kurisauer, and I just

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Speaker 2: think that there is something really special here about a

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Speaker 2: guy who has managed to have such a unique and

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Speaker 2: incredible kind of trailblazing career, who decides, you know, at

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Speaker 2: an older age, to do essentially like an homage to

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Speaker 2: an old friend who has now passed away. That's also

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Speaker 2: seen as like one of that director's most surprising films.

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Speaker 1: And then they I think is one surprised me and

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Speaker 1: it's one of Spikes.

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Speaker 2: I think this is one of Spike's most surprising films

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Speaker 2: because the tone and vibe and feeling of this is

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Speaker 2: very different and the way music is used, and it's

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Speaker 2: very much a story about America in this much broader

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Speaker 2: way than necessarily Like I think a lot of Spike's

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Speaker 2: best films are really intimate and they're and really small scale,

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Speaker 2: but this has this really broad scale. And yeah, I

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Speaker 2: just thought it was so fun, Like I'm I'm really

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Speaker 2: excited to see it again. And that's always my biggest

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Speaker 2: kind of test of like did I really enjoy a movie,

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Speaker 2: and it's like, yeah, I really want to see this again.

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Speaker 2: I do think this is a all time a Denzel

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Speaker 2: performance as well. I just I loved the nuances that

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Speaker 2: he brought to this as like the tired old man

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Speaker 2: who has to imagine the future.

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Speaker 1: They played with his age in an interesting kind of

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Speaker 1: subtextual and mettextual mm hmm and flat out textual way

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Speaker 1: in this where he's he's slipped, but also he recognizes

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Speaker 1: that he's slipped and he wants to get back to

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Speaker 1: the top, and people are writing him off and asking

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Speaker 1: him to just hang it up, and it builds to

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Speaker 1: a moment there's a moment of physical exertion that it's

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Speaker 1: a credit to Denzel that you buy it like, yeah,

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Speaker 1: oh yeah, towards the end of this film, towards the

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Speaker 1: climax of this film. Yeah, it's a powerhouse performance.

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Speaker 2: Yeah, just so good. And he sat Rookie amazing as well.

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Speaker 2: All absolutely understand why you cost him.

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Speaker 1: Absolutely. Jeffrey Wright, who has never been bad in a

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Speaker 1: movie in my opinion, is wonderful here and brings a

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Speaker 1: a kind of drama and comic relief also that are

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Speaker 1: I think so important to the film. It's really really fun.

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Speaker 2: He's also like I think the haw of if Spike

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Speaker 2: is trying to say anything with this movie, I think

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Speaker 2: that is really interesting. Stuff, just like with High and

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Speaker 2: Low originally about like claws and how it is to

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Speaker 2: be like a or person in the circle of rich

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Speaker 2: people and stuff, and I just I think that Jeffrey

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Speaker 2: Wright's character is such an interesting commentary on that, and

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Speaker 2: I really loved the kind of way that the film

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Speaker 2: played with that and then still allowed these two guys

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Speaker 2: to have this really intimate and interesting friendship that they

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Speaker 2: kind of had to go on that journey themselves you

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Speaker 2: knock out where they both stand.

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Speaker 1: We'll talk about this more in the put in the

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Speaker 1: post spoiler section, but one of the things I appreciate

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Speaker 1: about Spike as a and have always appreciated him about

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Speaker 1: him as a filmmaker, and I love it about this

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Speaker 1: movie is that he's able to put his finger on problems, problems,

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Speaker 1: problems of race, problems of power and balance, and put

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Speaker 1: his finger on the complexity of those things. But it's

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Speaker 1: not like he's like and here's the answer.

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Speaker 2: No, No, he's never like, here is a solution, because

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Speaker 2: here's a solution, and he has.

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Speaker 1: A really feel right and preachy. It's just like there's

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Speaker 1: a moment, there are a few moments in here with

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Speaker 1: a white cop where you feel the animosity of this

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Speaker 1: cop and the kind of distrust that he has towards

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Speaker 1: Jeffrey Wright's character and the situation the kidnapping as a whole.

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Speaker 1: And you feel this antagonism in this animosity. But at

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Speaker 1: the same time, like Spike also doesn't do the easy thing,

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Speaker 1: which is just let you hate this guy and demonize

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Speaker 1: this guy. He's like, this is a person that exists

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Speaker 1: in your in life, and you're gonna have to grapple

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Speaker 1: with this guy. And he lets that guy also, I

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Speaker 1: wouldn't say redeem himself, but show the role that he

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Speaker 1: does play in this kind of you know, Greek chorus

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Speaker 1: of New York that story, you know, And I think

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Speaker 1: that is that's just what I really appreciate about it. Spike,

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Speaker 1: you you're so right. He touches on all of these

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Speaker 1: various issues use wealthy and quality, race, the carceral stitch, and.

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Speaker 2: What happened, like the way that people islamophobia, like.

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Speaker 1: Gender politics within hip hop, you know, and he he

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Speaker 1: touches on all the There's this moment this is not

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Speaker 1: a spoiler, but you know when uh King David comes

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Speaker 1: into you know, confronts Young Felon, Young Felon calls his

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Speaker 1: partner like refers to as a bitch. And then there's

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Speaker 1: this moment where King David almost in this kind of

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Speaker 1: like surreal cutting pattern where he keeps coming back to it,

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Speaker 1: like why she got to be a bitch? Why she

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Speaker 1: got to be It's like Spike definitely wanted to ask

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Speaker 1: the question, but he also doesn't provide any answers. This

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Speaker 1: isn't immoralizing, like why are these young guys speaking about

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Speaker 1: women this way? This was here is the rich tapestry

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Speaker 1: and look, and it's something to puzzle over. But I

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Speaker 1: have no answers, And I think that's part of the

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Speaker 1: the maturity, the laxity, the thing that I really love

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Speaker 1: about this movie. At about swap, shall we take a

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Speaker 1: quick break and dive into the spoiler version? Okay, and

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Speaker 1: we're back. Before we talk about Hyas and Lois, let's

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Speaker 1: talk about the movie that it is adapted from, High

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Speaker 1: and Low. Akira Kurosawa is nineteen sixty three. I think

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Speaker 1: Masterpiece for.

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Speaker 2: Me, absolutely just such a fantastic movie.

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Speaker 1: Is it my favorite film of his? Maybe it might

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Speaker 1: be I rewatched because I think it's my most rewatched

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Speaker 1: for sure, Like I'm going to rewatch this before seven

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Speaker 1: Samurai Even or Ran or any of the other ones.

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Speaker 1: And I don't know about you, but for me, it's

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Speaker 1: the one. Obviously when you think Karasa, you're going to

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Speaker 1: be familiar first with his Samurai action movies. But it

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Speaker 1: was High and Low that blew me away because it is,

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Speaker 1: you know, filmed in nineteen sixty three, and it is

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Speaker 1: set in early sixties Japan, a Japan that is just

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Speaker 1: beginning to flex its economic and industrial muscles after the

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Speaker 1: devastation of World War Two, And it is just like

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Speaker 1: jaw dropping and exciting and like and and there's a

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Speaker 1: train hand off the ransom money sequence that is as

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Speaker 1: good as anything you'll ever see. It's an amazing film.

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Speaker 1: Your your thoughts on High and Low.

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Speaker 2: Yeah, I love High and Low. And it's basically we

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Speaker 2: don't need to dive too much into the plotline because

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Speaker 2: it is highest to Lowest is a very very very

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Speaker 2: very very like accurate adaptation beat the beat just in

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Speaker 2: a you know, set in a different time. But yeah,

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Speaker 2: I love High Low. I think it's one of the

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Speaker 2: most influential like police procedurals, like it definitely shaped the

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Speaker 2: way that other people would tell stories like that I

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Speaker 2: think it has so many interesting things to say about,

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Speaker 2: like class in Japan and the kind of notion of

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Speaker 2: like wealth and poverty and the wealth divide. I also

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Speaker 2: think something really interesting is that there is kind of

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Speaker 2: these huge influences that just we keep seeing from this movie.

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Speaker 2: Like there is a Indian remake of this from nineteen

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Speaker 2: seventy seven, there was Scorsese was going to remake this

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Speaker 2: with David Mammett on script work, Like there was also

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Speaker 2: a Japanese jay drama version of this, So it's really

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Speaker 2: interesting to see how it's kind of been reinterpreted. But

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Speaker 2: I really think that like even a movie, you know,

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Speaker 2: like even even American directors like David Fincher as well

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Speaker 2: as like then Korean directors like Bong June Hoe, like

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Speaker 2: this is such an influential film on them, and I

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Speaker 2: think it's very fun to see Spike continue that legacy,

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Speaker 2: but by reinterpreting the film in a completely different way.

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Speaker 2: You know, this original High and Low sixty three, so

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Speaker 2: you're talking about like decades and decades past, And I

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Speaker 2: think that the two of them together are really great.

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Speaker 2: And I'm hoping because this is a cinema release for

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Speaker 2: a few weeks. You can see it in the cinema

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Speaker 2: right now. It's out in cinemas this weekend, but on

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Speaker 2: September fifth, it will be on Apple TV Plus. And

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Speaker 2: I'm hoping that somewhere somewhere in the world, somewhere in

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Speaker 2: La somewhere in New York, somewhere in a rural theater

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Speaker 2: where somebody just loves these two movies. I'm just hoping

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Speaker 2: that somebody does a double bill because I think for

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Speaker 2: like young film lovers who maybe haven't gone to see

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Speaker 2: High and Low, I think seeing them both together would

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Speaker 2: be just such an interesting thing. And yeah, I mean,

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Speaker 2: I think I love Chris Howers. He's a moss. And

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Speaker 2: I think High and Low is like a a really

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Speaker 2: human film, and I think that in a way that

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Speaker 2: I think really worked.

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Speaker 1: Okay, so Highest to Lowest. The aging music impresario David

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Speaker 1: King has sold his record company, but now he wants

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Speaker 1: it back because it's on the verge of being seld

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Speaker 1: to sold to a like private equity funded media conglomerate

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Speaker 1: that's going to break it up and sell it off

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Speaker 1: piece by piece. David is he came up through the culture,

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Speaker 1: He came up through the music. He can't for all

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Speaker 1: the trappings of wealth. He is still very passionate about music,

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Speaker 1: about black music, and about its role in American society

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Speaker 1: and life. And so he wants his he wants his

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Speaker 1: baby back. But in the midst of all this, there's

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Speaker 1: a kidnapping. It seems as if for a moment that

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Speaker 1: it's his son that's been kidnapped. Actually it's the son

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Speaker 1: of his show his friend friend, Yeah, his friend and compatriot.

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Speaker 1: And like colleague, I guess you would say, who is

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Speaker 1: Paul who comes from the street and has done at

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Speaker 1: least one lengthy bid in prison and is now living

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Speaker 1: with David as basically part of his extended family. And

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Speaker 1: so David really struggles with whether to pay this ransom

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Speaker 1: for a person who is not his son, especially since

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Speaker 1: he has just leveraged all the liquid cash that he

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Speaker 1: has to buy back the company. This would mean risking

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Speaker 1: his ability to buy back the company. But he, after

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Speaker 1: much thinking about it, he decides that he's gonna pay

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Speaker 1: the ransom's.

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Speaker 2: Side seventeen million dollars.

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Speaker 1: It's seventeen Swiss.

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Speaker 2: In Swiss Franks because it will way less around the city.

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Speaker 1: So the money handoff, however, goes sideways and the kidnappers

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Speaker 1: get away with it, but Paul and Denzel manage to

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Speaker 1: track this guy down. They find him a Young Felon.

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Speaker 1: They find him in his studio where he's recording, and

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Speaker 1: then you get this incredible confrontation through the studio window

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Speaker 1: as David and Young Felon kind of much like the

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Speaker 1: climax of High and Low, debate the merits of this

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Speaker 1: crime scheme. And there's this other level too, where it's

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Speaker 1: like David is also critiquing Young Felon's music and saying like, okay,

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Speaker 1: this is there's something, but like I don't know who

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Speaker 1: you are through your music. Tell me what you tell

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Speaker 1: me your pain, tell me your dream, like all this stuff,

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Speaker 1: and they keep and this turns into this like larger

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Speaker 1: argument about like you know, why why should I you

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Speaker 1: had your chance? And then eventually Denzel chases in the

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Speaker 1: in the in the one part of the movie that

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Speaker 1: maybe you have to suspend your disbelief a little harder

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Speaker 1: than everything else. Sixty something year old Denzel Washington runs

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Speaker 1: and pieces down thirty something year old He's up, Rocky

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Speaker 1: catches him and then beats.

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Speaker 2: His ass suit Denzel's seventy so he really they make

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Speaker 2: you believe this, They make you believe that that this

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Speaker 2: could happen next to you.

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Speaker 1: But yeah, with the woman next to me when when

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Speaker 1: Denzel was running.

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Speaker 2: Was like okay, good no, yeah, she was like good, good, good,

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Speaker 2: You're doing a great job.

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Speaker 1: Yeah.

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Speaker 2: And then you end up with this great kind of

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Speaker 2: reflection of that argument in the studio where he goes

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Speaker 2: to visit him in prison and Young Fella makes him

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Speaker 2: this offer of like, if you sign least my music,

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Speaker 2: we're going to be so huge, Like together, we're going

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Speaker 2: to be so good, we're gonna it will be the

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Speaker 2: biggest signing in music history because of what I did

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Speaker 2: and because my songs are going crazy.

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Speaker 1: Because of the notoriety, the attention. This end. If there

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Speaker 1: is a thesis behind this movie, this is part of it.

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Speaker 2: It's that, as they say, it's.

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Speaker 1: Young Felon says that all that matters in the modern

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Speaker 1: world of twenty twenty five is attention? Can you get it?

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Speaker 1: And David King thinks, there it should be more to

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Speaker 1: it than that. Of course attention is important, but what's

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Speaker 1: your message exactly? David essentially just declients, and.

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Speaker 2: There's this great line which is also that I would

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Speaker 2: say it's kind of funny because I think it is

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Speaker 2: the main theme of the movie to take away, which

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Speaker 2: I think is really powerful. But it's also the tagline,

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Speaker 2: which I think is really funny, which is just not

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Speaker 2: all money is good money. And that's basically what he

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Speaker 2: says to him, is like, I can't take that money

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Speaker 2: after what you did, you know, and you kind of

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Speaker 2: get this. He's like kind of screaming and being dragged away,

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Speaker 2: which is, you know, the same, very similar ending to

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Speaker 2: the original high end low you.

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Speaker 1: Mentioned in the preamble, like Spikes, this being a kind

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Speaker 1: of film nerd film history and just like letting loose.

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Speaker 1: And I thought that from the from the very first

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Speaker 1: seconds of this film.

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Speaker 2: This film, let's talk about the opening.

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Speaker 1: Yeah, these incredible scenic like landscape shots of Brooklyn and

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Speaker 1: New York City, the most set two four K like

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Speaker 1: h incredible set two the opening number of Oklahoma nineteen

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Speaker 1: fifty five's Oklahoma beautiful to me, it's part of a

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Speaker 1: thing that is a signature of Spikes. He doesn't lot

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Speaker 1: he got game, which is where he sets this kind

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Speaker 1: of uh, you know, story about a black basketball player

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Speaker 1: and his dad in Brooklyn to Aaron Cohen, and it's

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Speaker 1: that it's it's Spike saying to me, in my interpretation

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Speaker 1: cities urban America, that is America. It's part of America.

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Speaker 1: As much as the wheat feels of the Midwest and

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Speaker 1: the grand vistas of the Grand Canyon are part of

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Speaker 1: like American lore. This is these parts of America are

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Speaker 1: part of America. And it was just like from that moment,

433
00:26:47,119 --> 00:26:49,240
Speaker 1: I was like, I'm in this is tremendous fun.

434
00:26:49,520 --> 00:26:53,399
Speaker 2: I think it's such a good way to establish just

435
00:26:53,560 --> 00:26:56,680
Speaker 2: how good David King and his family have had it

436
00:26:56,880 --> 00:26:59,240
Speaker 2: in that moment too as well. You're letting every day

437
00:26:59,280 --> 00:27:02,439
Speaker 2: that they wake up is like it's the best site.

438
00:27:04,960 --> 00:27:08,600
Speaker 2: He can make any move, he can do anything, he

439
00:27:08,720 --> 00:27:12,160
Speaker 2: can convince board members to back him. And I find

440
00:27:12,200 --> 00:27:15,000
Speaker 2: it really interesting and I think this is, you know,

441
00:27:15,680 --> 00:27:18,760
Speaker 2: the universality of like cinema. But you know, if you

442
00:27:18,800 --> 00:27:20,400
Speaker 2: look at High and Low, it's about a guy trying

443
00:27:20,440 --> 00:27:24,840
Speaker 2: to take over a shoemaking company, right and hear it's

444
00:27:25,080 --> 00:27:28,560
Speaker 2: a giant record label that he wants to stop being

445
00:27:28,720 --> 00:27:32,080
Speaker 2: bought from from Stray Dog Records. But I just think

446
00:27:32,600 --> 00:27:36,640
Speaker 2: that shows you how incredibly relatable this idea is. Where

447
00:27:36,720 --> 00:27:38,920
Speaker 2: at the center of the story. All it really is

448
00:27:38,960 --> 00:27:42,480
Speaker 2: about is about somebody looking up at a house then

449
00:27:42,520 --> 00:27:45,400
Speaker 2: ever going to afford to live in, and wondering why

450
00:27:45,520 --> 00:27:48,840
Speaker 2: that person gets that, and kind of then exploring what

451
00:27:49,640 --> 00:27:51,800
Speaker 2: can come from that. And I think something that's really

452
00:27:53,440 --> 00:27:57,600
Speaker 2: exciting and vibrant about this movie is the choices that

453
00:27:57,680 --> 00:28:02,159
Speaker 2: Spike makes to keep it in his own vibe and tone,

454
00:28:02,280 --> 00:28:04,840
Speaker 2: because the original is seen as like a pretty downbeat,

455
00:28:04,960 --> 00:28:08,760
Speaker 2: like no noir police procedural, but Spike was like, no,

456
00:28:08,960 --> 00:28:14,280
Speaker 2: I'm going I'm going big, I'm going soapy, I'm going important,

457
00:28:14,359 --> 00:28:17,520
Speaker 2: I'm going oscars, but I'm also for me. I think

458
00:28:17,640 --> 00:28:23,080
Speaker 2: I was really enjoying the whole movie. But when Denzel's

459
00:28:23,560 --> 00:28:28,000
Speaker 2: when David King and Paul kind of reunite post Denzel

460
00:28:28,880 --> 00:28:31,479
Speaker 2: paying the money for his son, I found a lot

461
00:28:31,560 --> 00:28:34,760
Speaker 2: of that early stuff and this is complimentary where he's

462
00:28:34,920 --> 00:28:38,280
Speaker 2: this sort of deciding whether or not he should pay.

463
00:28:39,360 --> 00:28:41,520
Speaker 2: They're really brave, like they don't make him look like

464
00:28:41,600 --> 00:28:46,200
Speaker 2: a good person. He says these incredibly brash, cruel things

465
00:28:46,320 --> 00:28:49,400
Speaker 2: about this not being his own son, which you understand

466
00:28:49,600 --> 00:28:52,800
Speaker 2: from the face of it the money that it costs.

467
00:28:52,880 --> 00:28:56,000
Speaker 2: But at the same time, They have this great counterpart

468
00:28:56,120 --> 00:28:58,880
Speaker 2: in his son, who was this meant to be kidnapped, Trey,

469
00:28:59,760 --> 00:29:03,120
Speaker 2: who almost has like a childlike innocence about it because

470
00:29:03,120 --> 00:29:04,840
Speaker 2: he's a teenager, where he's just like, well, of course

471
00:29:04,880 --> 00:29:07,040
Speaker 2: you would pay for it. It's you would pay it

472
00:29:07,120 --> 00:29:09,280
Speaker 2: for me, you'd pay it for my god brother, you know.

473
00:29:09,600 --> 00:29:12,840
Speaker 2: So they get you in this really emotional state watching

474
00:29:13,120 --> 00:29:15,920
Speaker 2: this kind of grappling, and if you've seen Hei and Low,

475
00:29:16,000 --> 00:29:17,760
Speaker 2: you know what's gonna happen. But I felt like they

476
00:29:17,840 --> 00:29:20,400
Speaker 2: did such a good job where I was really just

477
00:29:20,560 --> 00:29:23,600
Speaker 2: like I was like physically like, oh, come on, man,

478
00:29:23,760 --> 00:29:25,360
Speaker 2: Like he was saying stuff where I was just like,

479
00:29:25,480 --> 00:29:27,760
Speaker 2: this is so hard to hear. But when him and

480
00:29:27,880 --> 00:29:31,120
Speaker 2: Paul come together and they kind of go into the

481
00:29:31,280 --> 00:29:35,920
Speaker 2: night on this quest to find young Felon, there's this

482
00:29:36,200 --> 00:29:40,880
Speaker 2: kind of free jazz, a pro like kind of association.

483
00:29:41,320 --> 00:29:44,400
Speaker 2: Like there's this kind of music that feels like you're

484
00:29:44,440 --> 00:29:47,400
Speaker 2: watching a French New Aid movie. There's this lighting that

485
00:29:47,560 --> 00:29:51,000
Speaker 2: looks so jazzy, and Spike just brings me go to

486
00:29:51,080 --> 00:29:52,520
Speaker 2: a film stock.

487
00:29:52,600 --> 00:29:55,600
Speaker 1: At different points in the movie, there's the yes when

488
00:29:55,640 --> 00:29:59,480
Speaker 1: people are watching him, it's very clearly on like or

489
00:29:59,600 --> 00:30:02,520
Speaker 1: made to seem as if it's on like thirty five

490
00:30:02,600 --> 00:30:08,040
Speaker 1: millimeter like films, the cinema film stock. And to your point, yes,

491
00:30:08,200 --> 00:30:12,360
Speaker 1: this when they go after young Felon, there's a change

492
00:30:12,440 --> 00:30:15,280
Speaker 1: there too. It's like he's moving through these different eras

493
00:30:15,320 --> 00:30:18,720
Speaker 1: of film with this, with this movie, and it's just

494
00:30:19,240 --> 00:30:19,640
Speaker 1: go on.

495
00:30:19,800 --> 00:30:21,000
Speaker 2: I was just gonna say, it feels like it would

496
00:30:21,000 --> 00:30:23,000
Speaker 2: have been an easy movie to play safe if he'd

497
00:30:23,040 --> 00:30:25,640
Speaker 2: have played it serious, were in a prestige TV era,

498
00:30:26,200 --> 00:30:29,640
Speaker 2: you could have really gone for that like totally different tone.

499
00:30:29,720 --> 00:30:32,640
Speaker 2: But instead, this is like the most Spike Lee movie

500
00:30:32,720 --> 00:30:35,360
Speaker 2: I feel like I've seen for a long time, even

501
00:30:35,440 --> 00:30:37,760
Speaker 2: like I love old Spike, that was like such a

502
00:30:37,920 --> 00:30:43,680
Speaker 2: huge part of my film lover's career was just like

503
00:30:44,440 --> 00:30:49,400
Speaker 2: watching you know, his classic movies and films that have

504
00:30:49,600 --> 00:30:54,760
Speaker 2: just completely changed the way that cinema is made, and

505
00:30:54,880 --> 00:30:58,800
Speaker 2: that kind of like raw energy that Mars energy that

506
00:30:59,040 --> 00:31:03,280
Speaker 2: he had. But this took me back to that, but

507
00:31:03,400 --> 00:31:05,840
Speaker 2: on this like really grand scale, which is such a

508
00:31:06,040 --> 00:31:09,520
Speaker 2: fun thing to get to see from a filmmaker who

509
00:31:09,680 --> 00:31:11,840
Speaker 2: is aging and who you have kind of aged with.

510
00:31:13,680 --> 00:31:16,840
Speaker 1: Well, I think that's part of what makes it feel

511
00:31:16,920 --> 00:31:20,040
Speaker 1: really personal to me. Like there's this Obviously a huge

512
00:31:20,040 --> 00:31:23,400
Speaker 1: element of this story is this kind of like aging

513
00:31:25,480 --> 00:31:33,160
Speaker 1: creative type who all through the picture is having people

514
00:31:33,240 --> 00:31:35,920
Speaker 1: whose only dream is to like have a sliver of

515
00:31:36,040 --> 00:31:40,080
Speaker 1: what he has pitching him themselves all the time. Can

516
00:31:40,120 --> 00:31:42,720
Speaker 1: I just play you a minute of my song? Can

517
00:31:42,760 --> 00:31:44,840
Speaker 1: I just send you this? You have to listen to

518
00:31:44,960 --> 00:31:45,520
Speaker 1: this person?

519
00:31:46,040 --> 00:31:46,760
Speaker 2: Have you heard of this?

520
00:31:47,040 --> 00:31:50,000
Speaker 1: Like how I get to like trying everyone.

521
00:31:50,120 --> 00:31:52,040
Speaker 2: And they're trying to almost like and they're trying to

522
00:31:52,080 --> 00:31:55,240
Speaker 2: almost like they jump scare him. They're always like waiting

523
00:31:55,360 --> 00:31:57,880
Speaker 2: for him at the record label, waiting for him outside.

524
00:31:57,920 --> 00:32:01,240
Speaker 2: And you know what, David King always because he feels

525
00:32:01,320 --> 00:32:04,040
Speaker 2: like he's got that that that super ear, you know,

526
00:32:04,120 --> 00:32:06,040
Speaker 2: he can't find the right person.

527
00:32:06,720 --> 00:32:08,959
Speaker 1: And I just feels as if, Yeah, it feels as

528
00:32:09,000 --> 00:32:12,560
Speaker 1: if with both Spike and Andzel who you know, their

529
00:32:12,680 --> 00:32:17,200
Speaker 1: roles and their positions in the industry and and culture. Uh,

530
00:32:17,960 --> 00:32:21,720
Speaker 1: it's very easy for me to imagine that same kind

531
00:32:21,720 --> 00:32:24,120
Speaker 1: of dynamic happening all the time. And you really feel

532
00:32:24,200 --> 00:32:29,760
Speaker 1: the there's never h You always feel that David is

533
00:32:31,400 --> 00:32:35,080
Speaker 1: feels the weight and responsibility of like I'm he's a

534
00:32:35,160 --> 00:32:38,240
Speaker 1: super busy guy. He's like trying to close these business

535
00:32:38,280 --> 00:32:41,960
Speaker 1: deals that are extremely important to him. But he has

536
00:32:42,120 --> 00:32:45,320
Speaker 1: to stop because like the lifeblood of his business is

537
00:32:46,720 --> 00:32:48,360
Speaker 1: I got to stop and listen to this person for

538
00:32:48,440 --> 00:32:50,880
Speaker 1: a minute, because it really might be them that revitals.

539
00:32:51,000 --> 00:32:53,560
Speaker 2: Yeah, it really could be that. And I also I

540
00:32:53,640 --> 00:32:57,440
Speaker 2: think something that is so incredible about Spike is if

541
00:32:57,520 --> 00:33:01,800
Speaker 2: you if you look at the last movie he made,

542
00:33:02,200 --> 00:33:07,440
Speaker 2: which was the absolutely snubbed in my opinion, like should

543
00:33:07,480 --> 00:33:10,400
Speaker 2: have won a million. I think the Five Bloods about

544
00:33:10,880 --> 00:33:13,400
Speaker 2: you know, which was kind of again, what is his

545
00:33:14,120 --> 00:33:16,000
Speaker 2: take on an American war film?

546
00:33:16,480 --> 00:33:16,680
Speaker 3: You know?

547
00:33:17,280 --> 00:33:21,520
Speaker 2: That is an unbelievable movie. And I wonder, and you know,

548
00:33:21,720 --> 00:33:25,760
Speaker 2: Delroy Lindo, he got such an unbelievable performance out of him,

549
00:33:26,040 --> 00:33:29,960
Speaker 2: And I do wonder if this is like a you know,

550
00:33:30,200 --> 00:33:32,400
Speaker 2: I mean, we shouldn't be surprised at Spike Lee, but

551
00:33:32,480 --> 00:33:35,040
Speaker 2: I feel like that followed by this, I feel like

552
00:33:35,120 --> 00:33:37,400
Speaker 2: I'm just so excited to see what the rest of

553
00:33:37,480 --> 00:33:41,840
Speaker 2: this era looks like, because it feels like just completely

554
00:33:43,080 --> 00:33:47,920
Speaker 2: he's completely free and excited and has people believing in

555
00:33:48,720 --> 00:33:51,800
Speaker 2: him and his vision as he should. Because this looks

556
00:33:51,840 --> 00:33:54,520
Speaker 2: like an expensive movie as well. That's another thing that

557
00:33:54,600 --> 00:33:57,440
Speaker 2: I think is and it looks to see spend that

558
00:33:57,520 --> 00:33:59,640
Speaker 2: apple money baby like you deserve it.

559
00:34:00,080 --> 00:34:03,200
Speaker 1: You don't feel like again as a New Yorker. Well,

560
00:34:03,280 --> 00:34:07,920
Speaker 1: first of all, there is a two minute Boston.

561
00:34:07,920 --> 00:34:11,960
Speaker 2: Wait, wait, wait, let me let's let's go for a

562
00:34:12,080 --> 00:34:14,839
Speaker 2: quick and break and then let's come back. And I'm

563
00:34:14,880 --> 00:34:15,919
Speaker 2: gonna ask you New.

564
00:34:15,920 --> 00:34:34,280
Speaker 4: York Jason, Yeah, yeah, and we're back, Jason.

565
00:34:34,760 --> 00:34:34,960
Speaker 1: Yes.

566
00:34:35,800 --> 00:34:39,560
Speaker 2: In this special Spike Lee themed segment of Jason explains

567
00:34:39,600 --> 00:34:41,880
Speaker 2: it or tell us about Spike is in New Yorker

568
00:34:41,960 --> 00:34:46,840
Speaker 2: and how this movie absolutely just plays into that on

569
00:34:47,000 --> 00:34:48,120
Speaker 2: the highest level.

570
00:34:48,960 --> 00:34:52,520
Speaker 1: Well, I mean, first of all, there is a two

571
00:34:52,640 --> 00:34:59,440
Speaker 1: minute fuck Boston, Boston sucks like in this camera direct

572
00:34:59,520 --> 00:35:05,759
Speaker 1: to camera that is happening at during that straddles the

573
00:35:06,120 --> 00:35:10,360
Speaker 1: kind of set piece action sequence of this film, the

574
00:35:10,480 --> 00:35:16,279
Speaker 1: handoff between the handoff of the money. And does it

575
00:35:16,440 --> 00:35:20,280
Speaker 1: feel gratuitous, Yes, I think so, but it also hilario.

576
00:35:20,840 --> 00:35:21,600
Speaker 1: Was it hilarious?

577
00:35:21,719 --> 00:35:24,719
Speaker 2: Yes? Did everyone in the cinema get amped up to

578
00:35:24,840 --> 00:35:28,200
Speaker 2: be part of that you know moment? And what I

579
00:35:28,320 --> 00:35:33,759
Speaker 2: really loved is this little it's a little snippet of

580
00:35:35,400 --> 00:35:38,759
Speaker 2: community that you feel in like a sports moment or

581
00:35:38,960 --> 00:35:42,640
Speaker 2: like a kind of some kind of community event like

582
00:35:42,719 --> 00:35:44,680
Speaker 2: that when you get caught on the train and someone

583
00:35:44,719 --> 00:35:47,120
Speaker 2: starts yelling that and then everyone starts yelling it. But

584
00:35:47,200 --> 00:35:49,600
Speaker 2: the bit that made me laugh out loud was after

585
00:35:49,719 --> 00:35:52,880
Speaker 2: the train kind of halts to a stop and we

586
00:35:53,080 --> 00:35:56,120
Speaker 2: know that David has dropped the money, then the train

587
00:35:56,280 --> 00:36:00,480
Speaker 2: chant changes to Boston broke the train, or like Austin

588
00:36:00,640 --> 00:36:03,160
Speaker 2: stop the train or something, and then everyone's blaming them

589
00:36:03,200 --> 00:36:04,680
Speaker 2: for that too, and I just thought it was like

590
00:36:04,880 --> 00:36:06,320
Speaker 2: really real and really funny.

591
00:36:06,520 --> 00:36:09,840
Speaker 1: It is really real and and Spike has an ability,

592
00:36:10,000 --> 00:36:12,560
Speaker 1: you know, in that way that where we talked about

593
00:36:12,640 --> 00:36:16,320
Speaker 1: his ability to kind of depict the complexity without trying

594
00:36:16,400 --> 00:36:21,160
Speaker 1: to like shove an answer into the mix. It's that

595
00:36:21,280 --> 00:36:26,080
Speaker 1: ability that allows Spike to really capture something essential about

596
00:36:26,120 --> 00:36:29,400
Speaker 1: New York almost every single to the different people and

597
00:36:29,600 --> 00:36:33,200
Speaker 1: characters and the different ways that they all relate to

598
00:36:33,320 --> 00:36:35,839
Speaker 1: each other in ways that are often like in confrontation,

599
00:36:36,040 --> 00:36:41,480
Speaker 1: but are also in surprising ways like in harmony at

600
00:36:41,520 --> 00:36:47,680
Speaker 1: different points. And maybe my favorite, well maybe my most

601
00:36:47,840 --> 00:36:50,879
Speaker 1: rewatched Spike film is The twenty fifth Hour, which came

602
00:36:50,920 --> 00:36:52,959
Speaker 1: out like two thousand and two or two thousand.

603
00:36:53,040 --> 00:36:55,919
Speaker 2: Yeah, let's talk about times that's that's a lesson talked

604
00:36:55,960 --> 00:36:56,399
Speaker 2: about one.

605
00:36:57,239 --> 00:37:00,440
Speaker 1: It came out in two thousand and two. It you

606
00:37:00,600 --> 00:37:03,280
Speaker 1: can feel the nine to eleven attacks, like the impact

607
00:37:03,360 --> 00:37:06,319
Speaker 1: of it in the all throughout the movie. And there's

608
00:37:06,400 --> 00:37:14,000
Speaker 1: this incredible, like five minute monologue that Ed Norton's character

609
00:37:14,160 --> 00:37:15,920
Speaker 1: is going to jail and he's kind of like settling

610
00:37:15,960 --> 00:37:24,800
Speaker 1: all his personal accounts in this twenty five hours before

611
00:37:24,840 --> 00:37:29,719
Speaker 1: he has to appear at the jail upstate, and he's

612
00:37:29,800 --> 00:37:33,680
Speaker 1: gone to this club and you know, and his girlfriend.

613
00:37:33,880 --> 00:37:35,719
Speaker 1: He's unsure if his girlfriend is going to stick with

614
00:37:35,840 --> 00:37:39,280
Speaker 1: him throughout this thing. And he goes to the bathroom

615
00:37:39,360 --> 00:37:41,680
Speaker 1: to kind of like just have a moment, and he

616
00:37:41,760 --> 00:37:43,400
Speaker 1: looks on the mirror. In the mirror, on the mirror,

617
00:37:43,880 --> 00:37:47,280
Speaker 1: there's some graffiti that says fuck you, and this causes

618
00:37:47,360 --> 00:37:53,520
Speaker 1: him into the mirror to launch into this like racist screed.

619
00:37:53,760 --> 00:38:03,279
Speaker 1: But it's where he criticizes, like course, terms every kind

620
00:38:03,400 --> 00:38:06,640
Speaker 1: of archetypical New York character, the squeegey guys who come

621
00:38:06,680 --> 00:38:08,640
Speaker 1: out and wash your windows, which hasn't really been a

622
00:38:08,719 --> 00:38:10,640
Speaker 1: thing since the eighties, but still, you know what, I

623
00:38:10,760 --> 00:38:16,120
Speaker 1: grew up in London. Yeah, every like the Puerto Ricans

624
00:38:16,160 --> 00:38:20,280
Speaker 1: and the Porto Rican Day Parade, Dominicans, the black community,

625
00:38:20,440 --> 00:38:24,319
Speaker 1: the white stockbrokers, the cops. He goes it like everybody,

626
00:38:24,920 --> 00:38:29,399
Speaker 1: and he does it in this way that I mean,

627
00:38:29,600 --> 00:38:32,840
Speaker 1: is it Is it a racist creed? Yes, But also

628
00:38:33,040 --> 00:38:35,080
Speaker 1: it's it's the kind of thing where, if you're from

629
00:38:35,200 --> 00:38:39,000
Speaker 1: New York, you've heard every single person in that montage

630
00:38:39,840 --> 00:38:43,640
Speaker 1: say something about every other person in that montage in

631
00:38:43,719 --> 00:38:50,000
Speaker 1: a very similar way, where it's this coarseness that's born

632
00:38:50,200 --> 00:38:53,560
Speaker 1: out of I'm living with these people. They're in my

633
00:38:53,680 --> 00:38:56,839
Speaker 1: face all the time. It's not this like I hate

634
00:38:56,880 --> 00:38:59,680
Speaker 1: that person in a kind of remote theoretical way where

635
00:38:59,719 --> 00:39:01,680
Speaker 1: you don't see them, or this person annoys me in

636
00:39:01,760 --> 00:39:05,439
Speaker 1: this kind of remote theoretical way, you know, I hate

637
00:39:05,480 --> 00:39:09,480
Speaker 1: as of people you've never met. It's like every day

638
00:39:10,120 --> 00:39:14,839
Speaker 1: I'm mashed up against all these different types of people

639
00:39:14,880 --> 00:39:19,520
Speaker 1: and here's my issues with all of them. And that

640
00:39:20,040 --> 00:39:24,719
Speaker 1: encapsulates New York and anything maybe that I've ever seen

641
00:39:24,920 --> 00:39:30,760
Speaker 1: in a film. It's that kind of antagonism that comes

642
00:39:30,840 --> 00:39:34,759
Speaker 1: from not necessarily a place of warmth or love, but

643
00:39:35,000 --> 00:39:38,880
Speaker 1: as like a kind of it's almost like bragging, like

644
00:39:39,520 --> 00:39:46,160
Speaker 1: I survive this, I live in this I live surrounded

645
00:39:46,239 --> 00:39:51,120
Speaker 1: by these groups who are constantly jostling for position, for attention,

646
00:39:52,120 --> 00:39:55,799
Speaker 1: for money, who are trying to rob me or trying

647
00:39:55,840 --> 00:39:57,799
Speaker 1: to like rip me off or trying to get over

648
00:39:57,960 --> 00:40:01,800
Speaker 1: on me, And I would never live anywhere else that

649
00:40:02,160 --> 00:40:07,280
Speaker 1: is like, that's basically what it's saying, and it's incredible.

650
00:40:07,320 --> 00:40:09,480
Speaker 1: And Spike has that ability like he's not trying to

651
00:40:09,680 --> 00:40:15,360
Speaker 1: solve the societal problems in New York City with this monola.

652
00:40:15,560 --> 00:40:18,520
Speaker 1: He's just trying to show you the complexity of it.

653
00:40:18,840 --> 00:40:23,640
Speaker 1: And that's why this movie is just one of my favorite, favorite,

654
00:40:23,680 --> 00:40:26,680
Speaker 1: favorite favorite Spike films. And I think maybe the the

655
00:40:26,800 --> 00:40:31,040
Speaker 1: one film that deals with the terrorist attacks of nine

656
00:40:31,040 --> 00:40:34,759
Speaker 1: to eleven in a way that feels like legitimate and real.

657
00:40:35,239 --> 00:40:37,960
Speaker 1: And Spike has this power, that ability to just like

658
00:40:38,120 --> 00:40:40,200
Speaker 1: pull these threads together.

659
00:40:41,400 --> 00:40:45,680
Speaker 2: What does it feel like to have a directa that

660
00:40:45,920 --> 00:40:49,920
Speaker 2: is like so local to you? Because I feel like

661
00:40:50,040 --> 00:40:53,000
Speaker 2: that's just to have like a groundbreaking director but who

662
00:40:53,120 --> 00:40:55,239
Speaker 2: is essentially from where you're from and who makes films

663
00:40:55,280 --> 00:40:58,279
Speaker 2: about where you're from. Not everyone kind of experiences that.

664
00:40:58,400 --> 00:41:00,040
Speaker 2: What's that been like as a cinema love.

665
00:41:00,000 --> 00:41:03,520
Speaker 1: And it's pretty it's pretty crazy. You know, like when

666
00:41:03,520 --> 00:41:06,320
Speaker 1: I was living in New York the last time in Brooklyn.

667
00:41:06,360 --> 00:41:10,400
Speaker 1: I mean, like his offices in Fort Green were like

668
00:41:10,480 --> 00:41:12,640
Speaker 1: everybody knew where they were, you could walk by them.

669
00:41:13,360 --> 00:41:14,400
Speaker 2: It is.

670
00:41:16,400 --> 00:41:19,360
Speaker 1: It's a really cool thing to know that there's a

671
00:41:19,480 --> 00:41:22,000
Speaker 1: guy who could just kind of gets it and can

672
00:41:22,719 --> 00:41:28,279
Speaker 1: put that on the screen. It's an amazing feeling who

673
00:41:28,360 --> 00:41:31,000
Speaker 1: really understands like the different groups and the way the

674
00:41:31,120 --> 00:41:35,440
Speaker 1: city is. There's no one story to a city of

675
00:41:36,440 --> 00:41:40,040
Speaker 1: ten million people. And then like the shameless you know, listen,

676
00:41:40,080 --> 00:41:44,520
Speaker 1: the shameless Knicks fandom. It's fantastic, you know, and it's

677
00:41:44,680 --> 00:41:48,680
Speaker 1: probably more in your face and ridiculous of this in

678
00:41:48,960 --> 00:41:52,800
Speaker 1: high's the lowest than it's ever been because let's you know,

679
00:41:52,880 --> 00:41:55,200
Speaker 1: the Knicks haven't been good for a long time. This

680
00:41:55,320 --> 00:41:57,920
Speaker 1: is the first this is the first New York Spike

681
00:41:58,000 --> 00:42:01,839
Speaker 1: film since the Knicks have been good. Again. True, he's

682
00:42:01,960 --> 00:42:05,440
Speaker 1: really enjoying it. He's really enjoying He's he's and he's

683
00:42:05,640 --> 00:42:06,520
Speaker 1: really happy about it.

684
00:42:06,640 --> 00:42:09,120
Speaker 2: Oh yeah, could you talk a little bit about just

685
00:42:09,280 --> 00:42:11,160
Speaker 2: about some of the stuff that we do get to

686
00:42:11,239 --> 00:42:14,319
Speaker 2: see here, because there is that the chase we get

687
00:42:14,480 --> 00:42:18,160
Speaker 2: through the parade is some of the most beautiful kind

688
00:42:18,280 --> 00:42:21,160
Speaker 2: of visuals that we've had from him in a long

689
00:42:21,239 --> 00:42:23,240
Speaker 2: time too. So could you talk a little bit about

690
00:42:23,840 --> 00:42:25,560
Speaker 2: about that parade and what it means.

691
00:42:26,560 --> 00:42:28,560
Speaker 1: I mean, well, Supporter you Can Day Parade, and that's

692
00:42:28,600 --> 00:42:32,040
Speaker 1: one of the biggest events in then calendar of New

693
00:42:32,120 --> 00:42:34,879
Speaker 1: York City. And it's funny because in twenty fifth Hour

694
00:42:35,000 --> 00:42:39,000
Speaker 1: in that monologue, like Edward Norton's character calls out the

695
00:42:39,080 --> 00:42:41,000
Speaker 1: Porter you Can Day parade calls it the worst parade

696
00:42:41,040 --> 00:42:43,480
Speaker 1: of the city, and you're you know, which is a

697
00:42:43,600 --> 00:42:46,080
Speaker 1: take that I think you you will hear in certain

698
00:42:46,120 --> 00:42:53,160
Speaker 1: areas of New York for sure, But it's also like huge,

699
00:42:53,440 --> 00:42:55,080
Speaker 1: I mean here, it's like the feeling.

700
00:42:55,160 --> 00:42:57,680
Speaker 2: You get that feeling like in England we have Annoying

701
00:42:57,760 --> 00:42:59,800
Speaker 2: Hill Carnival, which is like our version of Carnival, but

702
00:42:59,840 --> 00:43:05,640
Speaker 2: it and captured that like true community party. It is.

703
00:43:07,880 --> 00:43:12,320
Speaker 1: It's an amazing event that takes over huge swaths of

704
00:43:12,400 --> 00:43:15,479
Speaker 1: the city. And then even if you if you're not there,

705
00:43:15,760 --> 00:43:19,040
Speaker 1: if you don't go to the parade route, you feel

706
00:43:19,080 --> 00:43:21,200
Speaker 1: it throughout the city because you'll be on the train

707
00:43:21,280 --> 00:43:24,920
Speaker 1: and you'll see people with the flags and you know,

708
00:43:25,040 --> 00:43:28,400
Speaker 1: with flags on their shirts and carrying uh, you know,

709
00:43:28,560 --> 00:43:35,320
Speaker 1: different emblems of Puerto Rico, and I thought he captured it,

710
00:43:35,480 --> 00:43:38,680
Speaker 1: the vibrancy of it, yeah, really well in this as

711
00:43:39,400 --> 00:43:44,120
Speaker 1: you know, a kind of integral though people complain about it,

712
00:43:44,640 --> 00:43:47,200
Speaker 1: that integral part of the culture of it.

713
00:43:47,360 --> 00:43:50,080
Speaker 2: He shows like how it can literally get in your way,

714
00:43:50,360 --> 00:43:54,200
Speaker 2: like that's part of the whole why the why it

715
00:43:54,360 --> 00:43:56,439
Speaker 2: is set that but you get you know, we see

716
00:43:56,600 --> 00:44:00,239
Speaker 2: Rosy Perez, who obviously had her breakout in Do the

717
00:44:00,320 --> 00:44:02,640
Speaker 2: Right Thing, and I love Rosie Press so much, and

718
00:44:03,120 --> 00:44:06,160
Speaker 2: you know, having her, they're kind of at the parade

719
00:44:06,280 --> 00:44:08,919
Speaker 2: and then you know, all these beautiful shots of people

720
00:44:09,040 --> 00:44:11,560
Speaker 2: dancing and the sky and the Puerta Rican flag in

721
00:44:11,640 --> 00:44:14,640
Speaker 2: front of the blue skies was just really beautiful. But

722
00:44:14,680 --> 00:44:16,440
Speaker 2: at the same time it is letting you know, like

723
00:44:16,560 --> 00:44:19,160
Speaker 2: this takes over a city like the I think that

724
00:44:19,680 --> 00:44:25,600
Speaker 2: that while the movies train Handover obviously is hard to

725
00:44:26,400 --> 00:44:28,440
Speaker 2: compare to the original High and Low one, which is

726
00:44:28,520 --> 00:44:34,040
Speaker 2: so incredible. I thought the way that they envisioned how

727
00:44:34,640 --> 00:44:37,920
Speaker 2: young people understand the city in a way old people

728
00:44:38,080 --> 00:44:42,799
Speaker 2: can't was really really great because they absolutely just they

729
00:44:42,880 --> 00:44:46,279
Speaker 2: take that money, no problem, like that motorcycle chase where

730
00:44:46,280 --> 00:44:49,000
Speaker 2: they're switching between the different guys. I was like, yes,

731
00:44:49,120 --> 00:44:53,800
Speaker 2: he understands that while David King has money and power,

732
00:44:54,680 --> 00:44:57,000
Speaker 2: he doesn't have people on the street anymore. He needs

733
00:44:57,040 --> 00:44:59,200
Speaker 2: poor for that, you know. And I just I thought

734
00:44:59,239 --> 00:45:02,880
Speaker 2: that sequence was was just so so brilliant. Well you

735
00:45:03,000 --> 00:45:05,359
Speaker 2: are that you mentioned twenty fifth out, Well you are

736
00:45:05,400 --> 00:45:08,239
Speaker 2: the underseen Spike Lee movies that people should check out.

737
00:45:08,280 --> 00:45:12,920
Speaker 1: Off to this one, my underseen Spikes. I like it.

738
00:45:13,360 --> 00:45:14,840
Speaker 2: Yeah, I I go for it.

739
00:45:15,360 --> 00:45:17,520
Speaker 1: I mean, I like his genre stuff. This isn't different,

740
00:45:17,640 --> 00:45:19,880
Speaker 1: this isn't underscene. It's hard for me to just like.

741
00:45:20,520 --> 00:45:24,640
Speaker 1: I think he's Spike Clockers, which is a adaptation of

742
00:45:25,200 --> 00:45:29,400
Speaker 1: an incredible Richard Price novel Richard Price, I think one

743
00:45:29,440 --> 00:45:34,400
Speaker 1: of the greatest writers of dialogue that I've ever read, ever, ever, ever, Clockers.

744
00:45:35,200 --> 00:45:38,560
Speaker 1: It doesn't get talked about a ton I think that.

745
00:45:40,600 --> 00:45:44,600
Speaker 1: I mean, uh, Summer of Sam is another montage heavy

746
00:45:44,840 --> 00:45:52,080
Speaker 1: one that isn't I think it's it falls it falls

747
00:45:52,200 --> 00:45:58,240
Speaker 1: short of like a even like an above average Spike film,

748
00:45:58,400 --> 00:46:03,080
Speaker 1: But there is like something about the vibrancy and the

749
00:46:03,200 --> 00:46:09,120
Speaker 1: way he captures the the kind of Mailstrom that late

750
00:46:09,160 --> 00:46:11,279
Speaker 1: seventies New York was not only a city kind of

751
00:46:12,080 --> 00:46:17,160
Speaker 1: breaking down economically under a wave of crime and in

752
00:46:17,320 --> 00:46:21,040
Speaker 1: this film, like facing a wave of serial murder attacks

753
00:46:21,120 --> 00:46:23,040
Speaker 1: by the son of Sam, but it was also a

754
00:46:23,120 --> 00:46:27,120
Speaker 1: place where the stirring you know you add punk rock, Yeah,

755
00:46:27,880 --> 00:46:32,200
Speaker 1: like running into the what would become like hip hop,

756
00:46:32,280 --> 00:46:34,680
Speaker 1: and so it was a really culturally vibrant time and

757
00:46:34,800 --> 00:46:35,440
Speaker 1: he captured that.

758
00:46:35,800 --> 00:46:38,080
Speaker 2: Yeah, I think, well, I think that's a great picks

759
00:46:38,280 --> 00:46:42,080
Speaker 2: also because like again there's not one story about New York,

760
00:46:42,239 --> 00:46:44,719
Speaker 2: and that's one of those many stories about New York

761
00:46:44,760 --> 00:46:47,000
Speaker 2: and about how that impacted, like the Bronx and everything.

762
00:46:47,440 --> 00:46:51,400
Speaker 2: I will shout out one, which is my h This

763
00:46:51,600 --> 00:46:54,680
Speaker 2: was essentially his kind of like post old Boy. He

764
00:46:54,800 --> 00:46:57,000
Speaker 2: remade Old Boy. Might not remember that it was he

765
00:46:57,440 --> 00:47:00,480
Speaker 2: was taken away, don't worry, taken away from him in

766
00:47:00,560 --> 00:47:04,240
Speaker 2: the editing room. You know. He he didn't put Spike

767
00:47:04,320 --> 00:47:06,520
Speaker 2: Lee joint on it. It ends up just being called

768
00:47:06,520 --> 00:47:09,680
Speaker 2: a Spike Lee film. But after that, he essentially crowdfunded

769
00:47:09,760 --> 00:47:13,440
Speaker 2: a remake of Gandrin has called The Sweet Blood of Jesus,

770
00:47:13,520 --> 00:47:16,879
Speaker 2: which I just find such an interesting thing. I love

771
00:47:16,960 --> 00:47:22,320
Speaker 2: the original movie, so I'm always interested to see somebody

772
00:47:22,440 --> 00:47:25,040
Speaker 2: take it on. Obviously hard to do a remake that's better,

773
00:47:25,120 --> 00:47:27,800
Speaker 2: but I think it's a really interesting counterpiece and I

774
00:47:27,880 --> 00:47:31,120
Speaker 2: think it brought the original Gandarin has to a lot

775
00:47:31,160 --> 00:47:33,680
Speaker 2: more people who had maybe not seen it. And I

776
00:47:33,760 --> 00:47:37,520
Speaker 2: feel like, really that was just before his kind of

777
00:47:37,640 --> 00:47:41,880
Speaker 2: like career resurgence that came back post Old Boy and

778
00:47:42,000 --> 00:47:45,920
Speaker 2: he started doing you know you, then had his musical

779
00:47:46,280 --> 00:47:49,080
Speaker 2: with Shirak, you had a bunch of different then you

780
00:47:49,200 --> 00:47:51,600
Speaker 2: obviously had Black Klansman, which I think a lot of

781
00:47:51,640 --> 00:47:56,160
Speaker 2: people love big you know, Awards film. But he's He's

782
00:47:56,200 --> 00:48:00,360
Speaker 2: had an unbelievable career. I mean, what other direct are

783
00:48:00,440 --> 00:48:02,640
Speaker 2: there who are still looked upon like this, who have

784
00:48:02,800 --> 00:48:07,520
Speaker 2: directed you know, thirty plus movies in I think in

785
00:48:08,040 --> 00:48:11,600
Speaker 2: twenty twenty five, I mean, not really many of them.

786
00:48:11,680 --> 00:48:14,560
Speaker 2: And I I'm glad that even though it's a short

787
00:48:14,640 --> 00:48:18,360
Speaker 2: theatrical release. I think that Spike Lee adapting in Akira

788
00:48:18,440 --> 00:48:21,560
Speaker 2: Curus hour movie should be based on an Ed muc

789
00:48:21,600 --> 00:48:24,000
Speaker 2: Bain novel, by the Way, King's Ransom, which is like

790
00:48:24,080 --> 00:48:26,600
Speaker 2: from the late fifties, which is again the same idea,

791
00:48:27,400 --> 00:48:29,759
Speaker 2: would you if you are the most rich person like

792
00:48:29,880 --> 00:48:33,000
Speaker 2: and you have the money should you pay for somebody

793
00:48:33,040 --> 00:48:35,960
Speaker 2: else's kid who's been kidnapped in your kid's place, Like,

794
00:48:36,400 --> 00:48:40,200
Speaker 2: this is such a huge film, and I think it

795
00:48:40,320 --> 00:48:42,560
Speaker 2: should be in theaters, and I'm glad people are gonna

796
00:48:42,560 --> 00:48:44,759
Speaker 2: get see in theaters and hopefully you know, like a

797
00:48:44,840 --> 00:48:47,120
Speaker 2: Sinners or as we've seen, you know, strangely with K

798
00:48:47,239 --> 00:48:49,719
Speaker 2: Pop Demon Hunters, which is in theaters this weekend for

799
00:48:49,880 --> 00:48:53,360
Speaker 2: sing Along, they've already had to add more screenings to that.

800
00:48:53,520 --> 00:48:56,600
Speaker 2: We know that singers stayed in the movie theaters for months,

801
00:48:56,920 --> 00:49:00,279
Speaker 2: especially in the thirty five millimeter in seventy million meter

802
00:49:00,360 --> 00:49:03,759
Speaker 2: screenings at places like the New Beverly. So I'm really

803
00:49:03,840 --> 00:49:06,520
Speaker 2: hoping that this kind of catches fire in a similar

804
00:49:06,560 --> 00:49:10,160
Speaker 2: way and that you're gonna be able to see theaters

805
00:49:10,280 --> 00:49:13,640
Speaker 2: continuing to show this and maybe even like theeas who

806
00:49:14,960 --> 00:49:17,080
Speaker 2: you wouldn't normally see, Like I would love for this

807
00:49:17,200 --> 00:49:19,840
Speaker 2: to be more available to a wider audience, say in

808
00:49:20,000 --> 00:49:23,520
Speaker 2: AMCs and regals and cinemas, rather than your arrow and

809
00:49:23,640 --> 00:49:27,160
Speaker 2: your Lamel and your smaller theater chains. So I hope

810
00:49:27,200 --> 00:49:30,799
Speaker 2: it does break out because I do think that one

811
00:49:30,840 --> 00:49:33,719
Speaker 2: of the things that's really interesting about this movie, and

812
00:49:34,080 --> 00:49:39,480
Speaker 2: I think something that shows that Spike knows a shows

813
00:49:39,520 --> 00:49:44,040
Speaker 2: that Spike knows how young people watch stuff. Now, the

814
00:49:44,120 --> 00:49:49,120
Speaker 2: way that this movie flips between kind of genre and

815
00:49:49,280 --> 00:49:53,479
Speaker 2: tone and moments almost feels like vignettes that you could

816
00:49:53,520 --> 00:49:55,640
Speaker 2: be watching on you know, TikTok or something like that.

817
00:49:55,760 --> 00:49:57,560
Speaker 2: And I'm sure Spike is not trying to make a

818
00:49:57,600 --> 00:49:59,680
Speaker 2: movie that feels like TikTok, and this doesn't feel like

819
00:49:59,719 --> 00:50:02,760
Speaker 2: tik But I do think that there is a version

820
00:50:02,800 --> 00:50:04,960
Speaker 2: where if you're a teenager or a twenty something who

821
00:50:05,000 --> 00:50:07,319
Speaker 2: doesn't love watching movies, and I've met many of them

822
00:50:07,360 --> 00:50:09,480
Speaker 2: and I get it it's not your thing, this feels

823
00:50:09,520 --> 00:50:11,759
Speaker 2: like the kind of movie that could enrapture you and

824
00:50:11,880 --> 00:50:14,959
Speaker 2: inspire you and make you want to watch movies again,

825
00:50:15,120 --> 00:50:18,279
Speaker 2: especially in a twenty twenty five landscape of massive blockbusters

826
00:50:18,360 --> 00:50:21,080
Speaker 2: and comic book films being the major thing. So I

827
00:50:21,280 --> 00:50:24,000
Speaker 2: hope it does stay in theaters for a little bit longer,

828
00:50:24,080 --> 00:50:26,080
Speaker 2: and if not, at least everyone will be able to

829
00:50:26,160 --> 00:50:30,560
Speaker 2: watch it on Apple Plus TV, which honestly Apple continuing

830
00:50:30,600 --> 00:50:35,560
Speaker 2: its twenty twenty five quality rain over pretty much every

831
00:50:35,640 --> 00:50:37,640
Speaker 2: other streaming service at this point.

832
00:50:38,920 --> 00:50:41,120
Speaker 1: Well, I hope people will watch it on the next

833
00:50:41,200 --> 00:50:44,879
Speaker 1: episode of Extra Vision, We're diving into some news through

834
00:50:44,920 --> 00:50:53,320
Speaker 1: this episode. Thanks for listening. Bye x ray Vision is

835
00:50:53,320 --> 00:50:55,880
Speaker 1: hosted by Jason Concepcion and Rosie Knight and is a

836
00:50:55,920 --> 00:50:57,320
Speaker 1: production of iHeart Podcast.

837
00:50:57,719 --> 00:51:01,320
Speaker 2: Our executive producers are Joelmini and Aaron Kaufman.

838
00:51:01,560 --> 00:51:03,920
Speaker 1: Our supervising producer is Abuza part.

839
00:51:04,000 --> 00:51:07,919
Speaker 2: Our producers are Common, Laurent Dean Jonathan and Bay Wag.

840
00:51:08,040 --> 00:51:10,799
Speaker 1: A theme song is by Brian Vasquez, with alternate theme

841
00:51:10,880 --> 00:51:12,160
Speaker 1: songs by Aaron Kaufman.

842
00:51:12,320 --> 00:51:15,640
Speaker 2: Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and

843
00:51:15,800 --> 00:51:17,520
Speaker 2: Heidi our discord moderator.