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Speaker 1: And that's what you really missed with Jenna and Kevin

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Speaker 1: An iHeartRadio podcast.

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Speaker 2: Welcome to you, and that's what you're the miss podcast.

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Speaker 2: We're just chomping away on our food. I was eating

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Speaker 2: a piece of sour dough with some cottage cheese on it.

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Speaker 2: Oh God, there's nothing else, there's nothing else to be at.

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Speaker 1: I hate cotton cheese so much, really, I love Oh

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Speaker 1: it grosses me out. I can't. I can't get that,

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Speaker 1: though I get it. Cottage cheese, sour cream, Oh, it

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Speaker 1: really goes along with those any sort of like bagel schmear?

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Speaker 1: What cream cheese? Cream cheese is the worst? Strong with you,

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Speaker 1: I can't do it. The older I get, the more

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Speaker 1: lactose intolerant I get, and the smell itself just makes me.

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Speaker 3: I mean, I'm so hungry right now to eat any

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Speaker 3: of those things.

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Speaker 1: Well, I can't talk any of blueberries and dike especially.

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Speaker 2: It's contradictory, but blueberries are so good for you. Okay,

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Speaker 2: Today is a very special day. Today is a very

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Speaker 2: special day.

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Speaker 1: And I would just like to say that this is

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Speaker 1: a Christmas movie because it ends with snow and lights.

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Speaker 2: This is also an all year round movie for me,

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Speaker 2: it is a comfort film. I watched this all the time.

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Speaker 1: I can't believe this is a comfort film for you

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Speaker 1: because it is heavy.

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Speaker 2: It is heavy, but like most of it, like the music, like,

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Speaker 2: it's just very like the Newsy's is comfort for me,

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Speaker 2: Chicago's is comforting me. Mostly musical movies are comfort for me.

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Speaker 1: You know what really gets Jena go in consumption. So

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Speaker 1: we're talking about the one and only Mulin Rouge. Very exciting,

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Speaker 1: incredible movie that came out June first, two thousand and one,

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Speaker 1: which is also two thousand and one. It's been happening

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Speaker 1: a lot this week in the dressing room at Spelling

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Speaker 1: b We've been listening to We've been visiting two thousand

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Speaker 1: and one a lot. Musically, Wow, what is musically Bump

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Speaker 1: Bump Bump by Beata k no no, I mean okay,

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Speaker 1: musically like literally the number one song in the country

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Speaker 1: at the time was Lady Marmalaye appropriate Christina Guiler Litt

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Speaker 1: Kim I Am Pink from this movie. The number one

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Speaker 1: movie was Pearl Harbor. Believe it or not, I saw it, yay, oh,

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Speaker 1: I saw it. Fun fact that I was in the

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Speaker 1: music video for it.

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Speaker 4: You were.

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Speaker 1: Yeah, what the fatal music video that Michael Bay directed.

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Speaker 1: I did not know this.

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Speaker 3: How did you end up for that music video?

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Speaker 1: I had an agent in Texas and it was I

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Speaker 1: thought it was for the movie Pearl Harbor.

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Speaker 3: That's even better. I booked with Michael bayfilm Yeah.

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Speaker 1: And they're like, no, it's the Fat Till music video

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Speaker 1: even better, Okay. And so I was like an extra

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Speaker 1: in the music video and I was like a little

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Speaker 1: Newsy boy at like a little camp with my big years.

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Speaker 3: Can we actually see you in that movie in music video?

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Speaker 1: Yes? I have it is like it's me and like

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Speaker 1: faith what and Michael Bay is like five feet from me?

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Speaker 1: I do not know directing me. I do not know this. Yeah,

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Speaker 1: it was really strange. I don't know how Like it

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Speaker 1: was also weird that he even directed the music video.

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Speaker 3: Yeah, but that's not so surprising.

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Speaker 1: It was like my first time though, being on a

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Speaker 1: set like that because they had like the movie magic things.

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Speaker 1: They had the posters on the side of the buildings

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Speaker 1: to make it look like the time period.

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Speaker 3: And that's why he directed it, because he wanted to

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Speaker 3: look like the film.

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Speaker 1: Yeah, and it was and I remember like it was

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Speaker 1: going to be premiered on VH one, and I woke

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Speaker 1: up early to like wait for it to start being

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Speaker 1: played on VH one.

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Speaker 2: Very special, Kevin, I had idea about learned something new

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Speaker 2: every day. Okay, So here's a snapshot of some pop

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Speaker 2: culture from two thousand and one, since there was no

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Speaker 2: Glee News obviously, two thousand and one was dominated by

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Speaker 2: classic TV classics like Friends, which had just aired, Monica

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Speaker 2: and Chandler's Wedding. Huge Survivor was a national obsession still

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Speaker 2: kind of is She was like Gilmore Girls, Buffy, the

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Speaker 2: Vampire Slayer, West Wing sopranos were all divining, defining character

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Speaker 2: driven television was like the Golden Age of television if

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Speaker 2: you asked me, and then yeah, we had TRL like

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Speaker 2: MTV was a peak power rip MTV, I mean.

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Speaker 1: Yeah that was also like you had Brittany and Backshorye

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Speaker 1: and Sync releasing like huge things. So Tierro was it

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Speaker 1: Janet Jackson's All for You? Oh my god, I remember

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Speaker 1: when I think of that time, I remember Carson Dailey

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Speaker 1: interviewing Janet Jackson about that album on Tierro. So good,

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Speaker 1: so good.

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Speaker 2: Pop culture was also fully and It's why to Hey

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Speaker 2: Glow Up? Era we had just we had survived two thousand.

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Speaker 2: The world was gonna blow up and all the lights

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Speaker 2: were gonna go out. Rhinestones, glitter, makeup, meallic tops, low

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Speaker 2: rise jeans, flip phones, which charms you name.

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Speaker 3: It feels like we're back there again.

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Speaker 1: So it does I mean DVDs or like all the

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Speaker 1: rage It was just starting to take over VHS tapes,

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Speaker 1: which is wild. Blockbuster was still a thing. Blockbuster, for

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Speaker 1: those of you who don't know, it was a store

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Speaker 1: where you would go in and rent movies.

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Speaker 2: What if you weren't a Blockbuster on a Friday night,

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Speaker 2: you weren't living God that feeling your pjs walking to Blockbuster,

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Speaker 2: holding that the sleeve would be there, hoping that there

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Speaker 2: would be a box behind it.

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Speaker 1: It was like a library, but for movies. God.

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Speaker 2: Lots of celebrity couples benefer for the first time obviously, Yes,

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Speaker 2: Brad and jan Yeah, Justin and Brittany. It was big,

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Speaker 2: big Did you do you okay? So let me ask

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Speaker 2: you a question. This was directed by boz Lehrman. Were

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Speaker 2: you a boz Lehmon fan?

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Speaker 3: Are you abouz Lermon fan?

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Speaker 1: Yes? Yes, and yes yes we too, absolutely big, big, big,

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Speaker 1: I mean, big bas Lemon fan, also objective. I think

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Speaker 1: about his movies, I think, mmmm, I think I'm way

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Speaker 1: with everything even you know, like Beyonce is my number one,

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Speaker 1: But I can still be objective. I think, yeah, pretty much. Yeah,

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Speaker 1: I think you you always are.

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Speaker 3: Romeo and Juliet is on the top of my list,

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Speaker 3: is one of my favorite movies of all time.

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Speaker 2: Mellen Roge is definitely on the top my top five

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Speaker 2: to ten movies of all time too.

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Speaker 1: I was thinking about baz Lehrman and how he does

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Speaker 1: sec does every movie he directs? Is every movie a musical?

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Speaker 2: No?

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Speaker 1: No, yes, no, but it has a musical element, And

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Speaker 1: I think that's why I started doing all this research

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Speaker 1: at the bas Lehman whilst watching this movie, because I

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Speaker 1: was just like, what is the deal? Like where did

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Speaker 1: he come from?

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Speaker 2: Why?

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Speaker 1: Like why does he make am like this? Yeah, and

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Speaker 1: it makes completely sense, like he comes from the opera world,

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Speaker 1: like directing operas. Yeah, yeah, yeah, yeah yeah. It all

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Speaker 1: makes and so music going into any baz Lemon movie,

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Speaker 1: music is used more as like a leading storytelling device.

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Speaker 1: Obviously like score and music concept, tones and feelings, which

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Speaker 1: are super important for movies. His is almost even in

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Speaker 1: Romeo Juliet. It's another component to the script. It is

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Speaker 1: a character and it fully drives every scene.

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Speaker 2: And that's why his musical movies do or this one

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Speaker 2: does so well, is because like.

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Speaker 1: The character.

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Speaker 3: Well in this one in particular, like the music is

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Speaker 3: just so good on his own, but.

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Speaker 2: The music, every piece of music that he includes, drives

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Speaker 2: the story or elevates the story, or brings it to

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Speaker 2: life in or brings it all around in this like

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Speaker 2: very encompassing, like stylistic way that like it all makes sense.

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Speaker 1: It doesn't come out of nowhere.

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Speaker 4: Even like when Youwan breaks into your song, my song, song,

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Speaker 4: your song, thank you, your song, He's like mah, and

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Speaker 4: like it's like that moment is there was no other

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Speaker 4: place for him to go but to break into song.

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Speaker 1: Well, I think the way the way Baz clearly appreciates

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Speaker 1: and understands and like needs music, Yeah, in his story

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Speaker 1: telling makes it work almost all the time because I

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Speaker 1: mean he intentionally does this. I think in everything where

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Speaker 1: a lot of what he does are you know, is

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Speaker 1: a set and it's a period piece with modern music,

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Speaker 1: and the way those two play against each other to

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Speaker 1: make us understand what's going and like put it in

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Speaker 1: today's like whatever, Like rome and Juliette. It was like

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Speaker 1: Radiohead is a Shakespeare's story, and so you're understanding where

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Speaker 1: those characters are at because of the songs that are playing,

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Speaker 1: totally more so than just some under than underscoring. And

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Speaker 1: but I think this movie, it's about damn time he

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Speaker 1: did like a musical musical, yeah right, yeah, And the

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Speaker 1: way he was able to use contemporary songs set in

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Speaker 1: eighteen ninety nine was just unmatched. So for those of

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Speaker 1: you who don't know Mulan Rouge the official summary. Set

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Speaker 1: against the backdrop of a spectacular mul and rue show,

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Speaker 1: an idealistic young writer is drafted into a bohemian entourage

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Speaker 1: and falls in love with an ambitious but doomed showgirl

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Speaker 1: who was caught between the hero and a ruthless duke.

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Speaker 1: Basloman also I think appreciates like classic stories, classic storytelling,

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Speaker 1: because I'm looking this up. This is sort of a

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Speaker 1: very loose reinterpretation of like the Orpheus and Euryticity. Yes,

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Speaker 1: like Journey and you have the Great Gatsby. He takes

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Speaker 1: on later, and he obviously did Romeo and Juliet And

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Speaker 1: so the way he sort of swings big in like

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Speaker 1: the classic yes storytelling moments, but he also like.

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Speaker 2: There's just such an eclectic mix of his like inspiration

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Speaker 2: for this from like Hollywood musicals, cabaret culture, vaudeville, opera, Bollywood,

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Speaker 2: and he was in India studying researching how Bollywood films

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Speaker 2: like and all of it together.

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Speaker 1: Right works like La bo m et cetera. It is

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Speaker 1: also like strange to me how Bollywood movies don't necessarily

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Speaker 1: really cross over here and being able to see, like

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Speaker 1: what you were saying, how Bollywood like can combine all

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Speaker 1: of these different genres into one movie and make it

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Speaker 1: spectacular and make it really heartfelt and have these like beautiful,

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Speaker 1: grand and humble stories all in one thing. Like this

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Speaker 1: movie is very much all of those things, but done

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Speaker 1: in a very specific bas Leerman way. And what I

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Speaker 1: also love about bas Leerman and I think it works

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Speaker 1: in some movies better than others, is like Wes Anderson

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Speaker 1: or where that you know a bas le movie by

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Speaker 1: a single frame. They always have a certain look to them.

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Speaker 1: That's why I love I love both of them very much.

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Speaker 1: Mm hmm. It's I think it's so hard to like

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Speaker 1: have a really specific like movie or film language like that.

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Speaker 1: Not everybody, not everybody has that and everybody needs that.

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Speaker 1: But no, it's just you can tell he is bursting

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Speaker 1: into creativity.

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Speaker 2: Yeah, yeah, yeah, And he's not doing it just to

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Speaker 2: do it, like I think they're they're creators that like

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Speaker 2: could be out there that want to have that staple

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Speaker 2: of that luck or that thing. But this isn't just

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Speaker 2: for the sake of doing it. This has like a

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Speaker 2: very specific intention behind it, which is why. But it's

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Speaker 2: done so successfully. Yes, And he's like I think his

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Speaker 2: brain is just full of so much information and so

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Speaker 2: many different things that he loves that he wants.

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Speaker 3: To incorporate, so like breaking the.

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Speaker 2: Barriers of like it having to be one thing is

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Speaker 2: refreshing to have a musical movie with all of these

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Speaker 2: different pieces of other art forms and cultures and you know,

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Speaker 2: it's just everything it's like and things that have come before,

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Speaker 2: all the different works, Like it's very inspired, and it's

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Speaker 2: just it's I don't know, I think it's why it's

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Speaker 2: one of my favorites.

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Speaker 1: Is like, uh, this like.

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Speaker 2: Modern day contemporary music mixed with all these you know,

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Speaker 2: the things that came before, Like all these wonderful pieces.

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Speaker 2: So this film premiered as the opening Nights selection it

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Speaker 2: can the Film Festival in two thousand and one, and

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Speaker 2: it received an enormous reaction.

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Speaker 1: Uh this, we also did it in Glee, so come

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Speaker 1: what may.

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Speaker 3: One of our favorites was featured in season four episode

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Speaker 3: fifteen Girls and Boys in Film, performed by Curtain Blaine.

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Speaker 1: That was one of the songs. I was so sad

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Speaker 1: to be.

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Speaker 2: Yeah.

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Speaker 1: I obviously did not fight for that, Like it makes

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Speaker 1: total sense for them. I loved how they did it,

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Speaker 1: but I was just like, oh man, I recently that

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Speaker 1: one missed opportunity. Yeah, I mean I was obsessed with

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Speaker 1: this movie. Jenna, Like, do you remember when this came out?

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Speaker 1: Oh yeah, Oh yeah, I remember. I think I was

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Speaker 1: like nervous to ask my parents to like take me

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Speaker 1: to the movie theater to see it. And I waited

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Speaker 1: until remember like the dollar movie theaters. Oh yeah, because

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Speaker 1: I had to be out for like a couple of

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Speaker 1: months or something. Yeah, And I remember I convinced my

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Speaker 1: mom and dad. I remember my dad was like, oh god,

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Speaker 1: it's a musical. I don't want to go see it.

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Speaker 1: And I already had the soundtrack. I remember the smell

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Speaker 1: of the booklet of the CD with all the words

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Speaker 1: in it. I was o sacessed. And I remember sitting

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Speaker 1: there in that really the Dollar Theater and watched this

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Speaker 1: movie and I just I couldn't believe it. And also

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Speaker 1: it wasn't like my reaction was very different than Chicago,

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Speaker 1: because like Chicago is like the squeaky clean. It's fun,

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Speaker 1: you know, like it's it's glamour.

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Speaker 2: Obviously it's style, but it's specific in like one lane,

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Speaker 2: like it's very clear where you're headed.

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Speaker 3: It's very clear what it is.

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Speaker 1: You know, run this, Yes, Lulan Rouge has everything going

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Speaker 1: like I feel like there's so many reasons why this

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Speaker 1: movie should not be gone wrong. Yeah, yeah, like it

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Speaker 1: should not work on every level. And when you get

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Speaker 1: to the end of it, I felt so uncomfortable for

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Speaker 1: so much of the movie because bas Lehman creates like

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Speaker 1: tension and like that weird awkward like am I about

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Speaker 1: to pass out? Feeling well if this spinny spinny? Yes,

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Speaker 1: And it's like so motion and the way he cuts

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Speaker 1: it edits a movie in the and like her, you know,

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Speaker 1: being sick and all that. I remember leaving this movie

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Speaker 1: feeling like I was sick, but I loved it.

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Speaker 2: Let's just go through the casting a little bit before

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Speaker 2: we got talk more about this, Okay, So I had

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Speaker 2: no I didn't know this, but bos Lorman auditioned several

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Speaker 2: major actors, including Leonardo DiCaprio, obviously fresh off there, you know,

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Speaker 2: their film together Romeo and Juliet, one of my favorites.

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Speaker 2: And uh, Leo came in and read with Boz and

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Speaker 2: according to Lerman, the moment they tried singing together, it

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Speaker 2: immediately became clear that Leo could not sing this role.

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Speaker 2: This would have This is one of the things that

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Speaker 2: could have gone terribly wrong. I love Leo, but this

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Speaker 2: is just not it. So other actors were seriously considered.

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Speaker 2: Heath Ledger, Jake Jillen Hall, Ethan Hawke, Jake Joon Hall

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Speaker 2: would have been great, but different like Ewan is you

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Speaker 2: McGregor is actually.

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Speaker 1: It's it's beyond perfection.

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Speaker 2: I would not see this, and I think this is

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Speaker 2: why I've resisted the musical seeing the Broadway musical for

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Speaker 2: so long, because I know I would love it, and

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Speaker 2: I know that they obviously changed some of the music

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Speaker 2: and all the things. But I resisted this so terribly

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Speaker 2: because there's nobody else that could play Christian in my

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Speaker 2: mind other than you and a writor, and I don't

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Speaker 2: want to hear anybody sing it.

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Speaker 1: Talked about his powerful voice, and the thing is one

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Speaker 1: of the things where I think this movie should not

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Speaker 1: work and my eyes specifically should hate it. It's like

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Speaker 1: Ewan and Nicole aren't vocalists by any means, right, but

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Speaker 1: the Ewan's voice, the tone, the tone have goosebumps, and

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Speaker 1: also just his performance, it's so attached to his performance,

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Speaker 1: like there was no separation between you and speaking and

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Speaker 1: you and singing and the emotional through line between those things.

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Speaker 1: My singing voice, I think sounds quite different than my

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Speaker 1: speaking voice. Yeah, yeah, yeah, So as soon as I

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Speaker 1: start singing, like who is that? It just, yeah, it

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Speaker 1: sounds like Ewan's voice. His speaking voice is powerful and emotional.

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Speaker 1: Obviously we know he's an incredible actor, like he had

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Speaker 1: already done train spotting by this point, Like, yeah, unbelievable.

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Speaker 1: He's amazing and so to be able to and that's

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Speaker 1: something you're just born with, Like your tone when you sing,

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Speaker 1: it is what it is. You can't change that. Yeah,

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Speaker 1: and the way he just like belts everything out is beyond.

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Speaker 1: It evokes something in me. Also, he's like beautiful and

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Speaker 1: like it doesn't hurt that he was like the performance good.

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Speaker 1: He's gorgeous. He's gorgeous. Like he actually sounds good. The

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Speaker 1: tone is good.

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Speaker 2: I actually sound gat. Yeah, it is great. This the

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Speaker 2: whole thing, the whole of the package is the whole

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Speaker 2: thing is just one hundred and ten percent. Like there's

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Speaker 2: nobody else. There's nobody else.

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Speaker 3: So he's just the vulnerability that he gives to Christian

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Speaker 3: is just outstanding.

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Speaker 1: You know, like fun fact also is so Nicole Kidman

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Speaker 1: got injured several times during this. She broke ribs, so

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Speaker 1: they were like filming things of her sitting down because

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Speaker 1: like she couldn't be walking around in the corset and things.

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Speaker 1: But because of that, things got delayed and they had

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Speaker 1: to move off of their stages because this whole set

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Speaker 1: everything was built right. Nothing was actually shot in Paris

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Speaker 1: at the right. It was in Australia and they had

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Speaker 1: to get off the sound stages because Star Wars was

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Speaker 1: coming into film and it's like you and McGregor is

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Speaker 1: in both of these things, like this is the height

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Speaker 1: of you and McGregor, like becoming a household name, and

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Speaker 1: I like, musicals have never been a popular thing to do.

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Speaker 1: Musicals have never been the cool thing to do. And

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Speaker 1: for Baz Lerman and Nicole Kidman and you and McGregor

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Speaker 1: just sign up, it was like a really big risk

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Speaker 1: and a really big swing. And I just love because

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Speaker 1: we know where their careers have gone since right, like

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Speaker 1: you McGregor was twenty eight when he was filming this,

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Speaker 1: Oh my gosh, and it's it's nice to see somebody

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Speaker 1: who did train spotting like several years earlier, Yeah, then

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Speaker 1: do this and right exactly.

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Speaker 2: Yeah, And Nicole Kidman has obviously had her career, which

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Speaker 2: like we all know, but this one felt different to me.

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Speaker 2: There was like an innocence and a softness to her

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Speaker 2: but yet like this wise woman that the performance was

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Speaker 2: like so open and so real raw, like she had

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Speaker 2: to love doing this. I cannot imagine her not loving

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Speaker 2: doing this. This is my favorite, Oh I know, And

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Speaker 2: I agreed, And like she's not a singer, but her

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Speaker 2: tone too for this, Like there's something about it that

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Speaker 2: is just so so magical that I love listening to.

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Speaker 3: This is one of my favorite things to ever listen to,

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Speaker 3: is the two of them together.

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Speaker 1: I don't know how she does not have a good

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Speaker 1: singing voice.

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Speaker 2: No, she objectively does not have a good singing voice,

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Speaker 2: but there's something about it that is so charming and

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Speaker 2: so satisfying that like, it doesn't matter to me.

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Speaker 3: I don't I really don't know. I think it's the

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Speaker 3: tone and like the breathiness that.

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Speaker 1: Because she's so good at acting. Yeah, maybe she's so

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Speaker 1: good I also Okay, So speaking of their singing voices,

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Speaker 1: I was wondering how they recorded these vocals, because, yes,

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Speaker 1: tell me how this movie is mixed. I think is

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Speaker 1: maybe the best I've seen because there is no sound difference,

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Speaker 1: and how they are speaking and how they are singing,

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Speaker 1: like the quality of what's going on. Obviously you can

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Speaker 1: tell these things. Some of them are at least most

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Speaker 1: of them or all of them were pre recorded, and

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Speaker 1: I was just like, how are they doing this? Because

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Speaker 1: that connection makes the emotional connection I think for us

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Speaker 1: as a viewer so much greater in a subtle way

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Speaker 1: that we don't even realize it, at least for me,

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Speaker 1: because it feels so defent. Well, it was a mix

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Speaker 1: of everything. It was. I think that's what I love

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Speaker 1: about I'm fascinated by Baz Luhrmann's a creative process because

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Speaker 1: this whole thing was one gigantic collaboration from all the departments.

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Speaker 1: Obviously every movie is like that, but what I mean

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Speaker 1: is like he was so involved in every single department that,

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Speaker 1: like post production in this was so much longer than

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Speaker 1: they thought it would be that they delayed the release

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Speaker 1: of the movie by six months. And I think that

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Speaker 1: is why it works so well. So, yeah, they pre

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Speaker 1: recorded everything, but then when it came time and they're

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Speaker 1: actually shooting things well, and they also did a full

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Speaker 1: year of paperduction by the way, and so like they

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Speaker 1: knew the music so intimately and how it was going

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Speaker 1: to be used, but when they were actually filming it,

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Speaker 1: it's they still allowed for, oh, I think maybe this

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Speaker 1: vocal or this line should be filmed live, huh. And

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Speaker 1: because they also had like the whole rig on set,

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Speaker 1: like with pro tools and everything that they could move

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Speaker 1: around where the music was and so in the moment

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Speaker 1: they're like, oh, actually, if you sung this line a

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Speaker 1: little later or earlier, like they could do all of that.

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Speaker 1: And so some of those things are live, some of

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Speaker 1: them are pre recorded, and they just allowed it to

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Speaker 1: happen and I think in post production mixing all those

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Speaker 1: things together, you get.

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Speaker 2: They had the availability to play and to fix and

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Speaker 2: to workshop almost because they had it all.

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Speaker 1: Yes. And I mean obviously with those things that time

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Speaker 1: is money, so that takes budget. It takes someone probably

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Speaker 1: like bad Lerman who has like the weight, like the toll.

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Speaker 2: The time and the budget and the things to say

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Speaker 2: like I need this and I need to extend and

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Speaker 2: I need to do yes.

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Speaker 1: Yes, And ultimately, what I'm realizing about Baz Luhrman or

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Speaker 1: any director, and I think this is what makes the

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Speaker 1: difference for a lot of directors is taste.

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Speaker 2: You have to have.

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Speaker 1: You have to know your taste. You have to have

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Speaker 1: great taste, and you have to have the wherewithal to

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Speaker 1: see it through. And I think all this music works

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Speaker 1: and how it is sung and how it is mixed,

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Speaker 1: how is edited, is because Basil Lherman has incredible taste,

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Speaker 1: specific taste. It's not for everybody, but he knows his

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Speaker 1: own taste and he need and he will do what

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Speaker 1: he has to do to make it come alive. And

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Speaker 1: I think that was just fascinating because I think what

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Speaker 1: happens a lot and when we get to they miss

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Speaker 1: they miss it a similar thing where they pre recorded

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Speaker 1: some and did my vocals, and that post production process

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Speaker 1: was also really long. Yeah, but there's something going on.

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Speaker 1: I think maybe with the more modern like how it's

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Speaker 1: being recorded on set, and even in Wicked, where there's

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Speaker 1: a really big difference in like sound quality then you know, speaking,

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Speaker 1: and I feel like bas really just like figured out,

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00:25:14,800 --> 00:25:18,520
Speaker 1: like refined. Yeah. Yeah, yeah. It feels like you're inside

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Speaker 1: of it and you're not taking in or.

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Speaker 2: Out of it through the vocals and through the dialogue,

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Speaker 2: like you're just in one immersive world versus sometimes in

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Speaker 2: musical movies you can be like hyper aware that you're

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Speaker 2: in a song versus you have seen and.

435
00:25:31,480 --> 00:25:34,240
Speaker 1: Because such this is dramatic, this is drama, you don't

436
00:25:34,280 --> 00:25:35,240
Speaker 1: want to be taken out of it.

437
00:25:35,480 --> 00:25:38,359
Speaker 2: No, That's why I just feel like this, the world

438
00:25:38,400 --> 00:25:42,920
Speaker 2: that has creates, like in general, is like very immersive

439
00:25:43,080 --> 00:25:44,720
Speaker 2: and you feel like you're very much in it.

440
00:25:44,840 --> 00:25:45,560
Speaker 4: So the.

441
00:25:47,080 --> 00:25:48,320
Speaker 1: Can we talk about that world?

442
00:25:49,240 --> 00:25:49,480
Speaker 3: Sure?

443
00:25:49,720 --> 00:25:51,320
Speaker 1: By the way, like.

444
00:25:52,880 --> 00:25:59,680
Speaker 2: The sets, costumes, that's everything is like larger than life

445
00:25:59,760 --> 00:26:01,480
Speaker 2: but feels so believable.

446
00:26:01,640 --> 00:26:05,280
Speaker 1: How does he do that? It's just like a courage

447
00:26:05,280 --> 00:26:05,800
Speaker 1: of conviction.

448
00:26:07,480 --> 00:26:09,639
Speaker 2: Maybe, I mean obviously that everybody at the top of

449
00:26:09,680 --> 00:26:13,359
Speaker 2: their game, all these incredible department heads and people like

450
00:26:13,840 --> 00:26:18,720
Speaker 2: just really and and Bas is like vision. I'm sure

451
00:26:18,840 --> 00:26:22,560
Speaker 2: that Like Rian, the vision is so clear and it's

452
00:26:22,640 --> 00:26:25,320
Speaker 2: like whether he's collaborating and saying this, you know, let's

453
00:26:25,359 --> 00:26:27,080
Speaker 2: try this or let's do that, or saying like I

454
00:26:27,240 --> 00:26:29,520
Speaker 2: know what I want, it's so clear.

455
00:26:29,800 --> 00:26:33,000
Speaker 1: Does it remind you of Ryan? Yes, definitely. I don't

456
00:26:33,040 --> 00:26:35,680
Speaker 1: know Bas, I've only met him once, but like, but

457
00:26:35,800 --> 00:26:38,720
Speaker 1: the work is reminiscing. Yes, what is that? I feel

458
00:26:38,760 --> 00:26:39,240
Speaker 1: the same way?

459
00:26:39,520 --> 00:26:39,639
Speaker 2: Is it?

460
00:26:39,920 --> 00:26:42,959
Speaker 1: I feel like Ryan has great taste. Yeah, Ryan has

461
00:26:43,000 --> 00:26:46,160
Speaker 1: a very specific vision and he's really good at executing.

462
00:26:46,240 --> 00:26:50,000
Speaker 1: And I think maybe that's those are the overlaps there, Yeah, yeah, yeah, yeah,

463
00:26:50,119 --> 00:26:56,080
Speaker 1: they're like really clued into also music. So Bas's wife

464
00:26:57,280 --> 00:27:00,840
Speaker 1: was the costume designer. It was Coke costume designer and

465
00:27:01,119 --> 00:27:04,840
Speaker 1: co production designer all of his projects. She went two

466
00:27:04,880 --> 00:27:08,480
Speaker 1: oscars for this and two oscars for Great at Speed. Interesting,

467
00:27:08,560 --> 00:27:11,240
Speaker 1: she's got four oscars, the most of any Australian ever.

468
00:27:12,560 --> 00:27:15,520
Speaker 1: So they have a language as well, sure well, and

469
00:27:15,960 --> 00:27:20,320
Speaker 1: the language between Baz Co wrote the script and he

470
00:27:20,440 --> 00:27:22,840
Speaker 1: and Greg Pierce do all their movies together, so they

471
00:27:22,920 --> 00:27:25,359
Speaker 1: also have a language. They had done Romeo and Juliet together.

472
00:27:26,480 --> 00:27:32,600
Speaker 1: So yeah, doesn't it feel like some big creative collaborative. Yes, yes,

473
00:27:32,920 --> 00:27:35,000
Speaker 1: definitely your people. Yes.

474
00:27:36,440 --> 00:27:39,560
Speaker 2: This opened at number four in the US, behind Pearl Harbor,

475
00:27:39,760 --> 00:27:43,000
Speaker 2: Shrek and the Animal, and it became a major word

476
00:27:43,080 --> 00:27:45,520
Speaker 2: of mouth hit, which I could understand.

477
00:27:45,840 --> 00:27:48,920
Speaker 1: Yeah, like, how do you market this movie? How do

478
00:27:48,960 --> 00:27:49,840
Speaker 1: you sell this movie?

479
00:27:49,960 --> 00:27:52,800
Speaker 2: Yeah? You know, honestly though, like you market it with

480
00:27:53,000 --> 00:27:58,440
Speaker 2: those like those top twentieth century hit songs, right like

481
00:28:00,080 --> 00:28:02,640
Speaker 2: as they in the early development the team, they said,

482
00:28:02,680 --> 00:28:04,960
Speaker 2: the team filled entire rooms with lists and charts of

483
00:28:05,000 --> 00:28:07,360
Speaker 2: songs until it became very clear that the emotional heart

484
00:28:07,400 --> 00:28:09,760
Speaker 2: of their musical already existed inside the great pop pits

485
00:28:09,800 --> 00:28:10,520
Speaker 2: of the twentieth century.

486
00:28:10,520 --> 00:28:11,400
Speaker 1: It's kind of like Glee.

487
00:28:11,480 --> 00:28:14,399
Speaker 2: It's like something that you do and you take something

488
00:28:14,560 --> 00:28:16,879
Speaker 2: familiar and then you twist it and you turn it

489
00:28:17,000 --> 00:28:18,480
Speaker 2: on its head a little bit and you make people

490
00:28:18,520 --> 00:28:21,000
Speaker 2: see it in a different way. And there's already a

491
00:28:21,040 --> 00:28:25,080
Speaker 2: way in I think that is so key to people

492
00:28:25,200 --> 00:28:28,200
Speaker 2: taking a risk and like seeing something like this that

493
00:28:28,240 --> 00:28:31,119
Speaker 2: they wouldn't normally see. They're like, oh, Elton John and

494
00:28:31,840 --> 00:28:36,240
Speaker 2: you know, I mean everything, every artist that's in you know,

495
00:28:36,640 --> 00:28:39,400
Speaker 2: lend their music to this, to this film.

496
00:28:39,560 --> 00:28:42,680
Speaker 1: I wonder how much of an inspiration consciously or you know,

497
00:28:42,800 --> 00:28:48,200
Speaker 1: subconsciously this was for Ryan when doing Glee, because this

498
00:28:48,440 --> 00:28:51,320
Speaker 1: is Glee. The exception of it was like six years later.

499
00:28:51,520 --> 00:28:52,640
Speaker 1: It wasn't that far off.

500
00:28:52,800 --> 00:28:55,840
Speaker 2: No, for sure, I'm sure there was some element of it,

501
00:28:55,880 --> 00:28:57,760
Speaker 2: whether he was thinking about it before or not. Like

502
00:28:57,960 --> 00:29:00,320
Speaker 2: you know, there's definitely like, oh, it's being done right

503
00:29:00,440 --> 00:29:02,920
Speaker 2: and people are doing it and they did it really well.

504
00:29:03,120 --> 00:29:06,240
Speaker 1: And something you and I have talked about is like

505
00:29:06,720 --> 00:29:11,440
Speaker 1: stage musicals and two movies often works so well because

506
00:29:11,480 --> 00:29:15,240
Speaker 1: the movie that music is proven, they've workshopped it. Yeah,

507
00:29:15,320 --> 00:29:17,520
Speaker 1: and how they did this was in a similar way,

508
00:29:17,680 --> 00:29:20,000
Speaker 1: even though it was not a stage musical, they workshopped

509
00:29:20,040 --> 00:29:22,719
Speaker 1: at all. Like Baz would, like you said, in the audition,

510
00:29:23,360 --> 00:29:25,680
Speaker 1: like Baz tried to sing, He's literally singing with the

511
00:29:25,760 --> 00:29:30,600
Speaker 1: actors in the audition room. Bas and peers would sing

512
00:29:30,760 --> 00:29:35,120
Speaker 1: together and workshop worship call yes, and so you see

513
00:29:35,160 --> 00:29:37,640
Speaker 1: what feels right in the moment. You're not just putting

514
00:29:37,680 --> 00:29:39,640
Speaker 1: things in there just to put things in.

515
00:29:39,680 --> 00:29:46,080
Speaker 2: There right exactly exactly, so the is for anybody who

516
00:29:46,120 --> 00:29:48,720
Speaker 2: didn't watch this or has not seen this, please go

517
00:29:48,840 --> 00:29:53,280
Speaker 2: watch it. But also, you know, there's like this, there's

518
00:29:53,320 --> 00:29:56,640
Speaker 2: a few things going on, but the main story is

519
00:29:56,720 --> 00:30:03,240
Speaker 2: that Christian you McGregor and Zetine Nicole Kidman they accidentally

520
00:30:03,440 --> 00:30:08,080
Speaker 2: fall in love. But Satene was promised to the Duke

521
00:30:08,320 --> 00:30:12,800
Speaker 2: who holds the deeds to the Mulan Rouge kind of

522
00:30:13,720 --> 00:30:17,360
Speaker 2: handled by Harold Ziggler and who also who is like

523
00:30:17,400 --> 00:30:19,160
Speaker 2: the head of the Mulon Rouge what do they call him,

524
00:30:19,240 --> 00:30:23,840
Speaker 2: like the Master or whatever. And then you know there's

525
00:30:23,920 --> 00:30:27,240
Speaker 2: that whole thing of jealousy with Ian McGregor and you know,

526
00:30:27,320 --> 00:30:33,520
Speaker 2: and Christian and Satene. But Setne's also, unbeknownst to her

527
00:30:33,640 --> 00:30:37,800
Speaker 2: as dying of tuberculosisciety. She started dying of TV and

528
00:30:38,360 --> 00:30:41,400
Speaker 2: she doesn't know it until she tells Ziglas she's going

529
00:30:41,440 --> 00:30:44,640
Speaker 2: to run away from the Duke with Christian and Ziggler

530
00:30:45,240 --> 00:30:48,080
Speaker 2: with his own selfish for own selfish reasons obviously with

531
00:30:48,280 --> 00:30:51,760
Speaker 2: the deed to the Mulon Rouge, and because he does

532
00:30:51,920 --> 00:30:54,520
Speaker 2: kind of low Setine in a very messed up way.

533
00:30:56,920 --> 00:30:59,400
Speaker 2: Uh is like you're dying and you can't you can't

534
00:30:59,440 --> 00:31:01,880
Speaker 2: and they're going to Christians, so you better tell them

535
00:31:01,920 --> 00:31:04,320
Speaker 2: you don't love them. So and then there's this whole

536
00:31:05,680 --> 00:31:09,400
Speaker 2: theook the duke is putting on that or Duke is

537
00:31:09,480 --> 00:31:14,120
Speaker 2: producing that. They're doing it the lam rouge that is

538
00:31:14,280 --> 00:31:20,040
Speaker 2: going to make Shutina star, but that also mirrors the

539
00:31:20,200 --> 00:31:23,320
Speaker 2: story that Christian wrote and is living at the same time.

540
00:31:24,040 --> 00:31:29,160
Speaker 2: Just so you know, let's talk about some of this music, because.

541
00:31:30,400 --> 00:31:33,200
Speaker 1: Another thing for me working against it. I hate jukebox

542
00:31:33,320 --> 00:31:39,600
Speaker 1: musicals and I loved every second of them. This is

543
00:31:39,680 --> 00:31:45,160
Speaker 1: a different one for you. It's like I'm into all

544
00:31:45,160 --> 00:31:49,400
Speaker 1: of it. So, like obviously, because these are all huge

545
00:31:49,520 --> 00:31:52,880
Speaker 1: songs before ever being in this movie, they had to

546
00:31:54,000 --> 00:31:56,080
Speaker 1: get the rights to all these songs and pay for

547
00:31:56,160 --> 00:31:59,320
Speaker 1: the rights for all these and it took years. It

548
00:31:59,440 --> 00:32:01,280
Speaker 1: took like two and a half years. Wow.

549
00:32:01,480 --> 00:32:04,040
Speaker 3: Ellen, John was one of the first to do to

550
00:32:04,160 --> 00:32:06,160
Speaker 3: allow your song to be in this movie, which.

551
00:32:08,080 --> 00:32:10,680
Speaker 1: Was always on the pulse. He likes on the pull.

552
00:32:10,880 --> 00:32:14,840
Speaker 1: He is always supporting like new artists still to this

553
00:32:15,000 --> 00:32:16,560
Speaker 1: day more maybe more than ever.

554
00:32:16,760 --> 00:32:21,120
Speaker 2: Doing collapse with new artists, always knowing what's coming. So

555
00:32:21,640 --> 00:32:23,560
Speaker 2: and then of course you're like, oh and John gave

556
00:32:23,640 --> 00:32:28,440
Speaker 2: a song to this film. Why wouldn't anybody else? So

557
00:32:29,000 --> 00:32:32,320
Speaker 2: that's pretty spectacular spectacular.

558
00:32:32,800 --> 00:32:36,320
Speaker 1: I would like to see a show called spectacular spectacular. Well,

559
00:32:36,360 --> 00:32:40,080
Speaker 1: there is a musical called roof I know there.

560
00:32:41,760 --> 00:32:47,040
Speaker 2: There's amazing songs in this I mean one after the other, NonStop,

561
00:32:47,200 --> 00:32:51,560
Speaker 2: hit after hit. I think the ones that stand out

562
00:32:51,600 --> 00:32:55,040
Speaker 2: for me are obviously I'm on the Rooftop, you know

563
00:32:55,200 --> 00:33:02,240
Speaker 2: your song, Elephant Love Medley, Come What May, out the Window. Also, though,

564
00:33:02,920 --> 00:33:05,680
Speaker 2: one of my favorite songs, which I didn't know that

565
00:33:05,760 --> 00:33:07,240
Speaker 2: everybody loved, was Roxanne.

566
00:33:07,320 --> 00:33:10,200
Speaker 3: Like I didn't know that people loved Roxanne.

567
00:33:10,040 --> 00:33:12,000
Speaker 2: Like I loved Roxanne. I thought it was not a

568
00:33:12,080 --> 00:33:14,240
Speaker 2: fan favorite, and then I come to learn it is

569
00:33:14,320 --> 00:33:19,560
Speaker 2: the fan is it? Yeah, it's like because I didn't

570
00:33:19,600 --> 00:33:22,840
Speaker 2: know it until just now watching it.

571
00:33:23,240 --> 00:33:24,840
Speaker 1: Oh it's one.

572
00:33:25,280 --> 00:33:27,800
Speaker 2: I think that's the most listened to, next to Come

573
00:33:27,840 --> 00:33:30,080
Speaker 2: with May on that album that I listened to, and

574
00:33:30,600 --> 00:33:34,560
Speaker 2: I didn't know that like people, everybody loves that one.

575
00:33:34,720 --> 00:33:37,400
Speaker 1: What I learned. What I learned is that as I've

576
00:33:37,440 --> 00:33:40,120
Speaker 1: seen this movie probably in twenty years, like I've not

577
00:33:40,200 --> 00:33:44,400
Speaker 1: seen it in so long, is that the moments I

578
00:33:44,520 --> 00:33:46,560
Speaker 1: really didn't love as much as a kid wore those

579
00:33:46,640 --> 00:33:48,760
Speaker 1: darker moments so like the last third of the movie

580
00:33:51,000 --> 00:33:54,080
Speaker 1: like made me feel uncomfortable because I was jamming to

581
00:33:54,120 --> 00:33:56,840
Speaker 1: come What May and jamm in to Elphant Love Medley.

582
00:33:56,960 --> 00:34:00,720
Speaker 1: Elfant Love Medley was my jam. Yeah, I wanted the

583
00:34:00,800 --> 00:34:06,640
Speaker 1: pop hits. I had to pause it during El Dango

584
00:34:06,720 --> 00:34:12,120
Speaker 1: de Roxanne because I was so overwhelmed. Yeah, I was

585
00:34:12,239 --> 00:34:15,680
Speaker 1: so overwhelmed by how good it is. I literally ran

586
00:34:15,760 --> 00:34:19,480
Speaker 1: to the other room and I was like, Austin, you

587
00:34:19,600 --> 00:34:22,640
Speaker 1: don't understand what is happened. He's never seen Walan Rouge.

588
00:34:22,680 --> 00:34:25,959
Speaker 1: By the way, what yes, stupid idiot.

589
00:34:26,680 --> 00:34:28,480
Speaker 3: What is rockinha? Get kick him out?

590
00:34:28,880 --> 00:34:32,920
Speaker 1: I would I would like to talk about the Roxan

591
00:34:33,040 --> 00:34:37,240
Speaker 1: scene if we can, well please any time. It's r Actually,

592
00:34:37,600 --> 00:34:39,399
Speaker 1: I want to talk about so many of these. Okay,

593
00:34:39,560 --> 00:34:43,399
Speaker 1: I know, I know, but Roxanne one.

594
00:34:43,560 --> 00:34:45,400
Speaker 3: By the way, it took ten days to shoot this

595
00:34:46,480 --> 00:34:47,799
Speaker 3: good and it feels like.

596
00:34:47,880 --> 00:34:53,839
Speaker 1: It in a good way. Yeah, like with Greece. Never

597
00:34:53,880 --> 00:34:56,560
Speaker 1: thought I'd be comparing these this way. Yeah. Every single

598
00:34:56,640 --> 00:34:58,840
Speaker 1: frame of this movie, and obviously more so than Greece,

599
00:34:59,360 --> 00:35:04,080
Speaker 1: is still with rich textures and so much depth, not

600
00:35:04,280 --> 00:35:06,320
Speaker 1: just the sets but by the costumes and the people

601
00:35:06,560 --> 00:35:12,600
Speaker 1: acting the music, and you take Roxane, a famous police song, right,

602
00:35:12,719 --> 00:35:16,840
Speaker 1: and you mix it with a famous Argentinian tango, and

603
00:35:16,880 --> 00:35:20,680
Speaker 1: then you're also adding original operatic lines for you and

604
00:35:20,760 --> 00:35:23,800
Speaker 1: McGregor on top of it. And then you also have

605
00:35:23,960 --> 00:35:28,880
Speaker 1: like three different story points, storylines happening. And what's also

606
00:35:30,239 --> 00:35:32,640
Speaker 1: really important to know about this movie is that a

607
00:35:32,719 --> 00:35:36,680
Speaker 1: huge inspiration for it for Baz Luhrmann were like the

608
00:35:36,800 --> 00:35:42,120
Speaker 1: technicolor musicals of the forties and fifties, And to me

609
00:35:43,000 --> 00:35:46,360
Speaker 1: that is most like glaring or blaring. I don't know

610
00:35:46,440 --> 00:35:50,439
Speaker 1: what's the right word here. The most obvious is during

611
00:35:50,560 --> 00:35:55,600
Speaker 1: this scene because the colors are so rich and like

612
00:35:55,880 --> 00:35:59,160
Speaker 1: the way like Hello Dolly or any of those musicals

613
00:35:59,480 --> 00:36:03,759
Speaker 1: were filmed and lit and colored. They're like you, I

614
00:36:03,840 --> 00:36:07,200
Speaker 1: just want to eat them, like they're so beautiful to

615
00:36:07,280 --> 00:36:12,120
Speaker 1: look at. And this scene has so much like powerful,

616
00:36:12,320 --> 00:36:15,720
Speaker 1: powerful story going on and like three different plot points,

617
00:36:16,400 --> 00:36:19,680
Speaker 1: and the yes, it's just it's so unbelievable, Like I

618
00:36:19,800 --> 00:36:22,880
Speaker 1: literally I had to stand up and walk around because

619
00:36:22,920 --> 00:36:24,200
Speaker 1: I I mean.

620
00:36:24,120 --> 00:36:26,840
Speaker 3: If you back and listen to it now, also listen

621
00:36:26,960 --> 00:36:29,160
Speaker 3: to you in vocal performance.

622
00:36:29,239 --> 00:36:29,480
Speaker 1: In this.

623
00:36:31,040 --> 00:36:35,000
Speaker 2: It's something about the release of like how he can

624
00:36:35,320 --> 00:36:38,800
Speaker 2: release his voice in that way that like for somebody

625
00:36:38,840 --> 00:36:41,200
Speaker 2: who doesn't isn't a professional singer, and maybe he does

626
00:36:41,280 --> 00:36:43,840
Speaker 2: consider I was shocked.

627
00:36:44,320 --> 00:36:48,840
Speaker 3: And also here's it's very satisfying to listen to his

628
00:36:49,000 --> 00:36:49,919
Speaker 3: performance his vocal.

629
00:36:50,360 --> 00:36:53,040
Speaker 1: Do you think the difference is for you and and

630
00:36:53,120 --> 00:36:58,279
Speaker 1: Nicole and why we buy them so much singing in

631
00:36:58,360 --> 00:36:59,960
Speaker 1: this that's not English?

632
00:37:01,480 --> 00:37:02,319
Speaker 3: I get what you're saying.

633
00:37:02,640 --> 00:37:05,759
Speaker 1: Yeah, thank you for following everyone. Yeah, my brain is

634
00:37:05,800 --> 00:37:08,120
Speaker 1: moving so much faster than my mouth about this movie.

635
00:37:10,440 --> 00:37:12,840
Speaker 1: Is that like when Adam Shankman came into the studio

636
00:37:12,920 --> 00:37:16,279
Speaker 1: with us to record on a much smaller, simpler level.

637
00:37:16,360 --> 00:37:19,040
Speaker 1: I'm not trying to compare these two. Yeah, was in

638
00:37:19,080 --> 00:37:22,320
Speaker 1: the studio with us. He was having it. He was

639
00:37:22,400 --> 00:37:25,040
Speaker 1: placing us in the mindset of being in the actual scene.

640
00:37:25,640 --> 00:37:28,560
Speaker 1: It's like how we're going to feel and sound doing

641
00:37:28,680 --> 00:37:29,680
Speaker 1: these movements and things.

642
00:37:30,600 --> 00:37:32,200
Speaker 2: Yeah, I mean there had to be a lot of

643
00:37:32,280 --> 00:37:38,160
Speaker 2: conversation between THATZ and the like the vision had to

644
00:37:38,239 --> 00:37:41,359
Speaker 2: be there beforehand, right to say like this is where

645
00:37:41,400 --> 00:37:42,120
Speaker 2: we're going to get.

646
00:37:42,040 --> 00:37:44,360
Speaker 1: To, where they were going to be emotionally and physical.

647
00:37:44,600 --> 00:37:46,880
Speaker 2: Yeah, Yeah, It's it's a different thing than like getting

648
00:37:46,880 --> 00:37:48,760
Speaker 2: on a TV set and being like, okay, so today,

649
00:37:48,880 --> 00:37:51,080
Speaker 2: like this is what where the director sees the scene

650
00:37:51,120 --> 00:37:53,200
Speaker 2: going versus where the actors is the scene going. Like

651
00:37:53,480 --> 00:37:57,840
Speaker 2: there was a very cohesive moving, you know, movement forward

652
00:37:58,239 --> 00:38:00,480
Speaker 2: that was like clear that like everybody knew where they

653
00:38:00,480 --> 00:38:01,799
Speaker 2: were going or what they were doing.

654
00:38:03,120 --> 00:38:04,680
Speaker 1: Yeah, maybe I think that had to be.

655
00:38:04,719 --> 00:38:05,520
Speaker 3: Part of it for sure.

656
00:38:05,960 --> 00:38:08,160
Speaker 1: Maybe Ewan's voice just sounds like that, and maybe Nichole's

657
00:38:08,239 --> 00:38:10,919
Speaker 1: voice just sounds like that. You know, like they could

658
00:38:11,080 --> 00:38:15,160
Speaker 1: just be like a happy coincidence. But even you can

659
00:38:15,200 --> 00:38:18,040
Speaker 1: tell them like their lip syncing of everything. Lip syncing

660
00:38:18,200 --> 00:38:22,600
Speaker 1: is hard and they are so on it, and it

661
00:38:22,760 --> 00:38:25,760
Speaker 1: matches the exact emotion they're doing in all of those scenes,

662
00:38:26,520 --> 00:38:28,879
Speaker 1: and that is like you have to have some level

663
00:38:28,920 --> 00:38:34,520
Speaker 1: of foresight. He the whole foresight for that. Yeah, you

664
00:38:34,600 --> 00:38:38,960
Speaker 1: talked about We talked about Elephant Love Medley as well.

665
00:38:39,280 --> 00:38:43,840
Speaker 1: That whole section of the movie was really astonishing to

666
00:38:43,920 --> 00:38:47,520
Speaker 1: me because he built all these sets of what they

667
00:38:47,560 --> 00:38:50,880
Speaker 1: imagined Milan Rouge looked like in eighteen ninety nine, and

668
00:38:51,800 --> 00:38:54,400
Speaker 1: for so much of that whole section they're only in

669
00:38:55,760 --> 00:38:59,160
Speaker 1: like they don't really move beyond like a couple rooms, right,

670
00:38:59,400 --> 00:39:02,880
Speaker 1: obviously like on top of the Elephant room and you

671
00:39:03,040 --> 00:39:08,040
Speaker 1: see like this huge, very fake skyline and things, but

672
00:39:08,680 --> 00:39:13,320
Speaker 1: they're really using these sets and I you like for

673
00:39:13,520 --> 00:39:18,279
Speaker 1: not really moving location that much in this section, like

674
00:39:18,360 --> 00:39:21,239
Speaker 1: you're never bored. You're never wondering, okay, like what's next?

675
00:39:21,320 --> 00:39:24,040
Speaker 1: Are we seeing anything else? And like that is really

676
00:39:24,120 --> 00:39:30,000
Speaker 1: hard to do. And it's like it's it's a watch.

677
00:39:30,400 --> 00:39:34,600
Speaker 2: Yes, yes, there's like a magical feeling to it. It's

678
00:39:34,719 --> 00:39:35,560
Speaker 2: bigger than life.

679
00:39:35,719 --> 00:39:38,560
Speaker 1: There's like always a little bit of movement somewhere.

680
00:39:38,880 --> 00:39:42,520
Speaker 2: It's not too much that like keeps your eye going,

681
00:39:42,680 --> 00:39:46,080
Speaker 2: but yet not bored with like the chemistry between the

682
00:39:46,160 --> 00:39:49,160
Speaker 2: two of them two and the music being so good

683
00:39:49,440 --> 00:39:53,680
Speaker 2: and the visuals being so pleasant, like it all really

684
00:39:54,680 --> 00:39:58,600
Speaker 2: works well, where like it's like this feeling of euphoria

685
00:39:58,920 --> 00:40:02,440
Speaker 2: that you get like without having to like do anything,

686
00:40:02,560 --> 00:40:05,399
Speaker 2: You're just sitting there like I'm you for it right, Yeah.

687
00:40:05,680 --> 00:40:07,960
Speaker 1: And also I mean that's very true because leading into it,

688
00:40:08,160 --> 00:40:12,160
Speaker 1: you have like that whole weird sound of music thing

689
00:40:13,160 --> 00:40:16,440
Speaker 1: like you were coming from like this really silly like

690
00:40:16,520 --> 00:40:21,600
Speaker 1: almost comical world of You have Kylie Minogue as the

691
00:40:21,719 --> 00:40:25,040
Speaker 1: Green Fairy, which I obviously did not realize as a

692
00:40:25,080 --> 00:40:27,439
Speaker 1: kid who Kylie Minogue was, you know when I first

693
00:40:27,440 --> 00:40:29,560
Speaker 1: saw this and I'm watching, like, oh my god, there

694
00:40:30,160 --> 00:40:34,480
Speaker 1: there's yeah pop icon global sensation Kylie Minogue. It was

695
00:40:34,520 --> 00:40:38,520
Speaker 1: also really great in that little cameo and you have

696
00:40:38,680 --> 00:40:42,200
Speaker 1: like John the Gazamo doing a crazy voice and he

697
00:40:42,400 --> 00:40:43,000
Speaker 1: is by.

698
00:40:42,880 --> 00:40:46,880
Speaker 3: The way his performance and this is really unhinged and

699
00:40:47,040 --> 00:40:48,160
Speaker 3: yet perfect.

700
00:40:49,120 --> 00:40:53,919
Speaker 1: It's perfect. I love how like silly this movie starts out, yes,

701
00:40:54,280 --> 00:40:58,520
Speaker 1: and I just kept being shocked by so I guess

702
00:40:58,560 --> 00:41:02,560
Speaker 1: maybe my creation depth of my one like critique is

703
00:41:02,800 --> 00:41:04,320
Speaker 1: the very beginning of this movie. And for those of

704
00:41:04,320 --> 00:41:05,560
Speaker 1: you who have not seen it or haven't seen it

705
00:41:05,600 --> 00:41:08,840
Speaker 1: in a long time, is you know, is be patient

706
00:41:09,280 --> 00:41:12,719
Speaker 1: because the first like ten to fifteen minutes of this movie,

707
00:41:13,320 --> 00:41:17,560
Speaker 1: I was like, oh, maybe this isn't that good because no.

708
00:41:17,920 --> 00:41:19,759
Speaker 1: One of my little things that I don't love that

709
00:41:19,840 --> 00:41:24,760
Speaker 1: bas does is like this kind of bad visual effects

710
00:41:25,480 --> 00:41:27,160
Speaker 1: of you know, when he sets up the world and

711
00:41:27,239 --> 00:41:29,640
Speaker 1: you like see these big sweeping shots of like you

712
00:41:29,800 --> 00:41:32,320
Speaker 1: McGregor on a train or all of Paris, and it

713
00:41:32,400 --> 00:41:36,440
Speaker 1: looks like not great. It doesn't look I think very good. However,

714
00:41:37,120 --> 00:41:40,360
Speaker 1: I also think that's sort of intentional with because it

715
00:41:40,520 --> 00:41:46,200
Speaker 1: does look almost like a painting or intentionally not realistic

716
00:41:46,200 --> 00:41:48,759
Speaker 1: because bas isn't trying to do realism in any sort

717
00:41:48,800 --> 00:41:51,840
Speaker 1: of way. So like there's that adjustment period. And I

718
00:41:51,920 --> 00:41:54,800
Speaker 1: also don't scessartainly love. Like he always uses this like

719
00:41:54,920 --> 00:41:59,040
Speaker 1: choppy slow motion effect ish in all these movies, which

720
00:42:00,400 --> 00:42:02,439
Speaker 1: bothers me sometimes and it bothered me in the beginning

721
00:42:02,480 --> 00:42:04,320
Speaker 1: of this movie, but once you adjust to it into.

722
00:42:04,200 --> 00:42:06,440
Speaker 3: The dramatic parts of it, it works really well.

723
00:42:06,719 --> 00:42:09,480
Speaker 1: Yes, yeah, I think like as the movie goes on

724
00:42:09,520 --> 00:42:12,439
Speaker 1: and he starts to use it, especially with her sickness, Yeah,

725
00:42:12,520 --> 00:42:15,600
Speaker 1: it's it's really effected, like the breaths, like because it

726
00:42:15,719 --> 00:42:19,400
Speaker 1: makes you feel like you're sick and right, yes, right right,

727
00:42:20,840 --> 00:42:23,320
Speaker 1: and also shout out to Nicole's performance during that to

728
00:42:23,480 --> 00:42:28,840
Speaker 1: like sell that. But so like, yeah, it took me

729
00:42:28,840 --> 00:42:30,440
Speaker 1: a minute to like get into the world. But like

730
00:42:30,560 --> 00:42:34,560
Speaker 1: once he is on those sets, it does feel like

731
00:42:34,800 --> 00:42:39,160
Speaker 1: really deep and moving and it all of that big,

732
00:42:39,280 --> 00:42:41,960
Speaker 1: opulent stuff you would think would be distracting and take

733
00:42:42,000 --> 00:42:45,640
Speaker 1: away from Like, no, the story is still so grounded somehow,

734
00:42:46,200 --> 00:42:51,279
Speaker 1: I know. Come what May was originally written for Romeo

735
00:42:51,280 --> 00:42:55,600
Speaker 1: and Juliet what. Yes, it's an original song. It was

736
00:42:55,640 --> 00:42:59,680
Speaker 1: originally written for Romeo and it never got used. And

737
00:42:59,760 --> 00:43:02,879
Speaker 1: so I mean, could you imagine this movie without Come

738
00:43:02,960 --> 00:43:07,160
Speaker 1: Up May? And also imagine Julia with that song? Right,

739
00:43:08,040 --> 00:43:10,040
Speaker 1: none of it would work. That's insane.

740
00:43:10,520 --> 00:43:11,880
Speaker 3: That is absolutely insane.

741
00:43:12,320 --> 00:43:13,400
Speaker 1: Come Away, Come Up.

742
00:43:14,120 --> 00:43:15,960
Speaker 2: It's also were you and I listening to Come Up

743
00:43:16,000 --> 00:43:18,000
Speaker 2: May on the airplane to Australia?

744
00:43:18,480 --> 00:43:18,719
Speaker 1: Really?

745
00:43:19,080 --> 00:43:19,200
Speaker 2: Was it?

746
00:43:19,280 --> 00:43:20,000
Speaker 1: On the wa Australia?

747
00:43:20,360 --> 00:43:22,479
Speaker 3: Listen to this like a hundred times because it's.

748
00:43:22,400 --> 00:43:24,840
Speaker 1: The greatest song. Yeah, that's also just like the emotion,

749
00:43:25,040 --> 00:43:29,720
Speaker 1: Oh God, to build into the plot of this movie

750
00:43:30,640 --> 00:43:34,040
Speaker 1: that there is a song, it's so meta, like there's

751
00:43:34,120 --> 00:43:37,719
Speaker 1: a song being put into the show. So Nicole, so

752
00:43:37,840 --> 00:43:41,600
Speaker 1: Setine and Christian, well, because they are part of this

753
00:43:41,760 --> 00:43:48,120
Speaker 1: forbidden love, right, m that whenever they have whenever they

754
00:43:48,200 --> 00:43:50,279
Speaker 1: hear that song or sing that song, is because they're

755
00:43:50,280 --> 00:43:52,560
Speaker 1: thinking of one another and being like, we're here for

756
00:43:52,680 --> 00:43:56,640
Speaker 1: each other, right, And then to have that song used

757
00:43:56,920 --> 00:44:01,719
Speaker 1: so well and effectively outside of the show within the show,

758
00:44:02,280 --> 00:44:04,600
Speaker 1: and then it is the song of the movie, like

759
00:44:04,760 --> 00:44:08,200
Speaker 1: it is the emotional heart of this entire movie. And

760
00:44:08,320 --> 00:44:10,480
Speaker 1: what pisses me off? I think baz Lehman should have

761
00:44:10,480 --> 00:44:16,360
Speaker 1: won Best Song Oscar twice twice. This did not qualify

762
00:44:16,520 --> 00:44:19,280
Speaker 1: for the Oscars because it was written for Romeo and Juliet,

763
00:44:19,680 --> 00:44:23,600
Speaker 1: even though it was never used. And then the Lonna

764
00:44:23,640 --> 00:44:27,520
Speaker 1: del Rey song from Great Gatsby he co wrote with

765
00:44:27,560 --> 00:44:30,640
Speaker 1: Anna del Rey, and that didn't even get nominated. I

766
00:44:30,680 --> 00:44:31,440
Speaker 1: think it should have won.

767
00:44:32,320 --> 00:44:36,960
Speaker 3: This is giving, it's giving. Zach Woodley energy mm never

768
00:44:37,000 --> 00:44:38,360
Speaker 3: got nominated for an Emmy.

769
00:44:38,560 --> 00:44:42,560
Speaker 1: Yeah, it's like, sorry, come on, sorry, I had to

770
00:44:42,600 --> 00:44:44,719
Speaker 1: get that out comes. You could turn me down in

771
00:44:44,800 --> 00:44:46,880
Speaker 1: your headphones or speakers whatever it is.

772
00:44:47,520 --> 00:44:49,200
Speaker 3: No, I'm with you.

773
00:44:50,080 --> 00:44:56,200
Speaker 1: What's ridiculous is that like a Virgin the Madonna song

774
00:44:59,280 --> 00:45:03,800
Speaker 1: also we have I just need to acknowledge Jim Broadbent

775
00:45:04,000 --> 00:45:09,640
Speaker 1: as Zidler. This is unbelievable. It's a little bit funny.

776
00:45:10,040 --> 00:45:13,920
Speaker 1: Like I even I'm like, I know it's Jim Broadbent,

777
00:45:14,000 --> 00:45:15,960
Speaker 1: but I just don't believe it, and I had to

778
00:45:16,000 --> 00:45:17,799
Speaker 1: look it up. I'm like, of course it is him,

779
00:45:18,960 --> 00:45:27,720
Speaker 1: and how is he so good? How is he so good?

780
00:45:28,400 --> 00:45:29,800
Speaker 3: It's like Jonathan Zamo in this.

781
00:45:30,000 --> 00:45:35,320
Speaker 2: It's like there's this level of like it's campy and

782
00:45:35,480 --> 00:45:43,360
Speaker 2: it's it's almost satirical and and like hyper realist, like surrealist,

783
00:45:43,400 --> 00:45:47,480
Speaker 2: but like also he's grounded in this world like it

784
00:45:47,560 --> 00:45:50,279
Speaker 2: doesn't like it shouldn't but it does.

785
00:45:50,680 --> 00:45:50,879
Speaker 1: Yes.

786
00:45:51,520 --> 00:45:53,239
Speaker 2: And then also when he's like in the office of

787
00:45:53,280 --> 00:45:56,520
Speaker 2: Sigla in the in the Elephant and he's like or no,

788
00:45:56,600 --> 00:45:58,920
Speaker 2: when they're doing the meeting about the deed and he's like,

789
00:45:59,000 --> 00:46:02,200
Speaker 2: I don't like people touching my things.

790
00:46:03,440 --> 00:46:08,520
Speaker 1: So ridiculous. I think that's also it's probably a bass

791
00:46:08,560 --> 00:46:12,360
Speaker 1: thing where this sounds dumb, but like everybody knew what

792
00:46:12,600 --> 00:46:15,360
Speaker 1: movie they were in, and I don't know how you

793
00:46:15,480 --> 00:46:18,960
Speaker 1: communicate that, because this is unlike anything I've ever seen,

794
00:46:19,000 --> 00:46:20,839
Speaker 1: and I think it's unlike anything that's ever been made

795
00:46:20,920 --> 00:46:23,520
Speaker 1: up to that point in the history of film. And

796
00:46:23,560 --> 00:46:27,400
Speaker 1: it's like how you communicate that? Like that that's what

797
00:46:27,480 --> 00:46:32,960
Speaker 1: you're doing, because everybody was understood the tone of the

798
00:46:33,040 --> 00:46:36,120
Speaker 1: movie and they could be big and grounded like it

799
00:46:36,239 --> 00:46:40,719
Speaker 1: was just I don't know, it's just so so just tremendous.

800
00:46:41,680 --> 00:46:43,880
Speaker 3: We can't create all these performances. We've talked about a

801
00:46:43,920 --> 00:46:44,399
Speaker 3: few of them.

802
00:46:44,520 --> 00:46:51,280
Speaker 2: Obviously your song I'll Wandell Flyway, I'll Elephant Love Medleie,

803
00:46:51,400 --> 00:46:57,239
Speaker 2: Come what May like a Virgin, the Tango roxand one

804
00:46:57,280 --> 00:47:02,040
Speaker 2: other song that I loved Our Diamonds Are a Girl's

805
00:47:02,080 --> 00:47:06,520
Speaker 2: Best Friend and material Girl Diamonds Are a Girl's best Friend.

806
00:47:06,760 --> 00:47:07,360
Speaker 1: That number.

807
00:47:07,760 --> 00:47:11,239
Speaker 2: There's something about Nicole Kinman's voice on that also, and

808
00:47:11,480 --> 00:47:15,000
Speaker 2: the performance. You're so sultry yet so innocent and so

809
00:47:15,239 --> 00:47:21,240
Speaker 2: believable and so vulnerable that this all just it's like, naturally,

810
00:47:21,280 --> 00:47:22,680
Speaker 2: I don't know that I would have loved that number,

811
00:47:22,800 --> 00:47:23,680
Speaker 2: but I love that number.

812
00:47:24,120 --> 00:47:28,279
Speaker 1: She sold it for me. Oh God, when they get

813
00:47:28,320 --> 00:47:30,920
Speaker 1: to like the spectacular spectacular show at the end of it,

814
00:47:31,560 --> 00:47:34,560
Speaker 1: and she comes out of the stage and is like

815
00:47:34,680 --> 00:47:37,759
Speaker 1: being held in that costume which apparently is like one

816
00:47:37,760 --> 00:47:40,240
Speaker 1: of the most expensive costumes ever or no, the diamond

817
00:47:40,280 --> 00:47:42,960
Speaker 1: costume she's in not then is one of the most

818
00:47:43,000 --> 00:47:49,240
Speaker 1: expensive costumes ever made for a film. But the lighting,

819
00:47:50,160 --> 00:47:53,040
Speaker 1: like the way they lit the show within the show

820
00:47:53,760 --> 00:47:57,480
Speaker 1: is like unfathomable to me, Like, no, I know, That's

821
00:47:57,480 --> 00:47:59,680
Speaker 1: why I want to see that show. It just is

822
00:48:00,200 --> 00:48:04,440
Speaker 1: so crazy and stunning. What I think also doesn't get

823
00:48:04,520 --> 00:48:11,160
Speaker 1: enough love is there's this little thing when Setne finds

824
00:48:11,160 --> 00:48:13,920
Speaker 1: out she's dying. I believe that's when it is I'm

825
00:48:13,920 --> 00:48:17,680
Speaker 1: sorry for incorrect, and she sings this part it's called

826
00:48:17,760 --> 00:48:20,759
Speaker 1: the song is called like Fool to Believe? Oh yes,

827
00:48:21,120 --> 00:48:23,600
Speaker 1: and it's yes, I think just written for this movie.

828
00:48:24,000 --> 00:48:25,440
Speaker 1: And it's just like a couple of lines. It's not

829
00:48:25,520 --> 00:48:28,080
Speaker 1: a full song, and I don't even know, like how

830
00:48:29,400 --> 00:48:31,520
Speaker 1: how that gets made. I don't know who's writing that.

831
00:48:32,280 --> 00:48:38,880
Speaker 1: But it's so beautiful and it's so personal, and it

832
00:48:39,000 --> 00:48:41,600
Speaker 1: goes into like the one day I'll Fly Away reprise

833
00:48:41,760 --> 00:48:45,280
Speaker 1: between Setina and Zidler, and it's like all these moments

834
00:48:45,360 --> 00:48:47,280
Speaker 1: where this this does feel like an opera.

835
00:48:48,440 --> 00:48:53,440
Speaker 2: Yes there, Yes, it's like little bits and pieces of

836
00:48:53,640 --> 00:48:55,600
Speaker 2: what could be kind of be in dialogue with songs,

837
00:48:55,840 --> 00:48:59,759
Speaker 2: and yet it just gave it like that extra, that

838
00:49:00,080 --> 00:49:04,080
Speaker 2: extra yeah that you bought that in any other movie

839
00:49:04,120 --> 00:49:05,719
Speaker 2: you'd be like, why is this song? This could have

840
00:49:05,800 --> 00:49:08,239
Speaker 2: just been spoken, but it's the opposite for this.

841
00:49:08,520 --> 00:49:12,360
Speaker 1: Yes, yes, And that's a good musical Okay. So Sparkling

842
00:49:12,400 --> 00:49:16,200
Speaker 1: Diamonds a plus plus plus plus like also Rhythm of

843
00:49:16,239 --> 00:49:18,520
Speaker 1: the Knight and smells like teen Spirit Are you kidding me?

844
00:49:19,680 --> 00:49:22,600
Speaker 1: Courtney Love audition for the movie and gave Baz the

845
00:49:23,000 --> 00:49:28,600
Speaker 1: permission to use smells like teen Spirit. I Bass's ability

846
00:49:28,719 --> 00:49:30,840
Speaker 1: for mashups is unmatched.

847
00:49:31,120 --> 00:49:32,880
Speaker 2: I mean, this is where I do think that like

848
00:49:33,360 --> 00:49:37,000
Speaker 2: Ryan had to have that like the mashup or Adam

849
00:49:37,160 --> 00:49:40,400
Speaker 2: like you know adam Anders, like they all were like,

850
00:49:41,160 --> 00:49:43,720
Speaker 2: whether they knew it or not, were affected by this, right, which.

851
00:49:43,560 --> 00:49:45,839
Speaker 1: Also makes sense. Why when we ran into Baz at

852
00:49:45,880 --> 00:49:47,800
Speaker 1: that after party, I think it's for the saga words

853
00:49:47,840 --> 00:49:51,440
Speaker 1: or something, and he like bline to us and we're

854
00:49:51,520 --> 00:49:54,880
Speaker 1: just talking to all of us about the show and

855
00:49:54,920 --> 00:49:58,279
Speaker 1: about the music, and he clearly knew the show, and

856
00:49:59,840 --> 00:50:01,040
Speaker 1: I I think at the time I was just so

857
00:50:01,239 --> 00:50:02,920
Speaker 1: like starstruck and like, oh my god, why is he

858
00:50:03,000 --> 00:50:07,080
Speaker 1: talking to us? Of course, nobody has a deeper understanding

859
00:50:07,560 --> 00:50:09,600
Speaker 1: of what we were doing than best lemis.

860
00:50:09,680 --> 00:50:12,160
Speaker 2: Yes, that's right, that's right. And I don't think that

861
00:50:12,239 --> 00:50:25,840
Speaker 2: hit me until now. Yeah, idiots, let's do some tarty takes.

862
00:50:26,520 --> 00:50:28,480
Speaker 1: Auchies, Okay, auchies.

863
00:50:29,760 --> 00:50:31,879
Speaker 2: I'm I mean the whole like like a virgin thing

864
00:50:32,160 --> 00:50:35,319
Speaker 2: with or not like Tango Roxanne thing with the Duke

865
00:50:35,520 --> 00:50:39,120
Speaker 2: and Stine and like the attempted assault and like all

866
00:50:39,239 --> 00:50:41,960
Speaker 2: that was kind of you know, very.

867
00:50:43,440 --> 00:50:43,680
Speaker 3: Sad.

868
00:50:44,880 --> 00:50:47,960
Speaker 1: Yeah, And they were like very blunt about like you know,

869
00:50:48,200 --> 00:50:53,120
Speaker 1: calling Satina whore and the whole thing was like prostitution

870
00:50:53,280 --> 00:50:55,400
Speaker 1: and all that felt a little yeah, but that is

871
00:50:55,560 --> 00:50:58,480
Speaker 1: like central to the story. And I think there's also

872
00:50:58,520 --> 00:51:02,279
Speaker 1: something about like John, like Zambo, his character, like who

873
00:51:02,360 --> 00:51:03,239
Speaker 1: he was trying to play?

874
00:51:04,360 --> 00:51:10,560
Speaker 2: Yes, exactly, uh okay, best dance move, oh my god,

875
00:51:10,800 --> 00:51:15,440
Speaker 2: the tango Rexan and then also shout out to like

876
00:51:15,719 --> 00:51:20,960
Speaker 2: the lady Marmalade, sparkling diamond. Like the whole opening, like

877
00:51:21,120 --> 00:51:24,480
Speaker 2: those opening segments like on the Big Floor, those were

878
00:51:24,520 --> 00:51:25,800
Speaker 2: all excellent.

879
00:51:26,080 --> 00:51:30,439
Speaker 1: Yes, best song, come what may, Come what May, and then.

880
00:51:32,080 --> 00:51:37,600
Speaker 2: I don't know, Elton love Medalie and then tango Rexan, Yes, okay,

881
00:51:38,200 --> 00:51:39,320
Speaker 2: performs very a prop.

882
00:51:41,080 --> 00:51:47,600
Speaker 1: The swing, Oh my god, the swing, the blood. I

883
00:51:47,719 --> 00:51:48,640
Speaker 1: also cannot with.

884
00:51:48,719 --> 00:51:50,600
Speaker 2: The like a virgin at the end when the case

885
00:51:50,719 --> 00:51:53,040
Speaker 2: is flying and he's like above him and they are

886
00:51:53,239 --> 00:51:56,640
Speaker 2: just singing opera and it was just it is one

887
00:51:56,640 --> 00:51:57,480
Speaker 2: of my favorite.

888
00:51:57,200 --> 00:52:01,080
Speaker 1: Moments when is the moon singing. The starts singing opera

889
00:52:01,120 --> 00:52:03,000
Speaker 1: at some point too, I don't even remember when that was.

890
00:52:03,200 --> 00:52:04,600
Speaker 1: It's like this is camp.

891
00:52:05,960 --> 00:52:12,759
Speaker 2: Yes, best line, Oh, this is my favorite is when

892
00:52:12,840 --> 00:52:15,000
Speaker 2: he's singing they do the thing for him.

893
00:52:15,120 --> 00:52:18,040
Speaker 3: The performance, and then he responds, He's like, it's a

894
00:52:18,120 --> 00:52:21,719
Speaker 3: little bit funny, this feeling inside.

895
00:52:23,239 --> 00:52:25,280
Speaker 1: I had to look him up too, because he was incredible.

896
00:52:26,480 --> 00:52:28,319
Speaker 1: That's something I didn't like. I was so creeped out

897
00:52:28,360 --> 00:52:30,440
Speaker 1: and hated him so much as a kid that this

898
00:52:30,560 --> 00:52:33,560
Speaker 1: time watching I was like, you are great. It's so good,

899
00:52:33,760 --> 00:52:39,319
Speaker 1: incredible casting, so so good. I think my like, it's

900
00:52:39,480 --> 00:52:42,399
Speaker 1: probably my favorite moment of the entire movie is when

901
00:52:42,440 --> 00:52:44,120
Speaker 1: she looses in the rafters and you can't remember his

902
00:52:44,280 --> 00:52:49,360
Speaker 1: line and then Elma Gregor is leaving. He called her

903
00:52:49,400 --> 00:52:52,120
Speaker 1: a whore. He's done, He's throwing money at her in

904
00:52:52,160 --> 00:52:55,200
Speaker 1: front of this whole audience of people, and he just

905
00:52:55,280 --> 00:52:57,680
Speaker 1: shouts out, the greatest thing you'll ever learn is just

906
00:52:57,800 --> 00:53:04,480
Speaker 1: to love and be loved and returned. Cinema like that

907
00:53:04,920 --> 00:53:13,560
Speaker 1: is what movies are for. That moment, Oh god, performance

908
00:53:13,640 --> 00:53:21,200
Speaker 1: MVP and Nicole. I mean, there's a couple of turns

909
00:53:21,200 --> 00:53:25,960
Speaker 1: in there. When Nicole, you know when you and a

910
00:53:26,120 --> 00:53:30,560
Speaker 1: Christian accidentally says like, because she doesn't love you, doesn't

911
00:53:30,560 --> 00:53:34,120
Speaker 1: love him. And then Nicole goes from like performing and

912
00:53:34,239 --> 00:53:37,439
Speaker 1: being in this like rehearsal mode and then goes into

913
00:53:38,800 --> 00:53:42,560
Speaker 1: let's go have supper and then yeah, we will like

914
00:53:42,680 --> 00:53:46,000
Speaker 1: the lovers will like, the ending will change.

915
00:53:46,920 --> 00:53:47,320
Speaker 2: I don't know.

916
00:53:47,600 --> 00:53:53,799
Speaker 1: It's really just so good. She's so my favorite God

917
00:53:57,280 --> 00:54:00,239
Speaker 1: Dicky talking. It just feels so silly after this.

918
00:54:00,960 --> 00:54:02,839
Speaker 3: I know, I kind of want to watch it again.

919
00:54:03,760 --> 00:54:05,120
Speaker 3: Oh I'm definitely gonna watch it again.

920
00:54:06,440 --> 00:54:13,279
Speaker 1: Okay, tante pos it when your chance of getting a

921
00:54:13,320 --> 00:54:16,880
Speaker 1: solo is over. Because Mercedes and Already's son Aston Martin

922
00:54:16,960 --> 00:54:20,080
Speaker 1: Abram joined the Glee Club and this is like a

923
00:54:20,440 --> 00:54:28,080
Speaker 1: crazy version of the Thong song. What is this version? Unclear? Oh,

924
00:54:28,440 --> 00:54:34,480
Speaker 1: Motown nineteen Oh it's Ai. It's probably Ai, but nineteen

925
00:54:34,520 --> 00:54:37,920
Speaker 1: fifty's Motown choir version of the Thong song and it's incredible,

926
00:54:38,000 --> 00:54:45,160
Speaker 1: and yes, that would be our sons. Is hilarious, mar Abrams.

927
00:54:46,520 --> 00:54:56,880
Speaker 2: Okay, we're getting crazy, you guys. Well, I hope you

928
00:54:57,000 --> 00:54:59,319
Speaker 2: guys love mo and as much as Ash or else.

929
00:54:59,360 --> 00:55:01,600
Speaker 2: You just literally want to listen to his gab for

930
00:55:01,680 --> 00:55:04,000
Speaker 2: an hour about how much we love this movie.

931
00:55:04,000 --> 00:55:06,920
Speaker 1: I would really like to talk to Baz, I mean

932
00:55:07,640 --> 00:55:10,520
Speaker 1: because I really I really want to know how he

933
00:55:10,640 --> 00:55:13,319
Speaker 1: did this and like how he does like I think

934
00:55:13,320 --> 00:55:16,640
Speaker 1: I would love to just watch him on set to

935
00:55:16,880 --> 00:55:18,680
Speaker 1: see how I would I mean it would be my

936
00:55:18,880 --> 00:55:19,919
Speaker 1: great Yeah, like how.

937
00:55:19,840 --> 00:55:20,279
Speaker 2: Does he do this?

938
00:55:20,320 --> 00:55:21,880
Speaker 1: And I also know like he takes a long time

939
00:55:21,920 --> 00:55:25,480
Speaker 1: to film things and like things run over always, and

940
00:55:26,880 --> 00:55:28,680
Speaker 1: I just I just want to know. I just want

941
00:55:28,719 --> 00:55:35,240
Speaker 1: to pick his brand. A man of taste, gotta know. Yeah, okay,

942
00:55:35,280 --> 00:55:35,720
Speaker 1: you guys.

943
00:55:36,000 --> 00:55:40,479
Speaker 2: So this was our official last official recap of twenty

944
00:55:40,560 --> 00:55:41,040
Speaker 2: twenty five.

945
00:55:41,320 --> 00:55:41,600
Speaker 1: Wow.

946
00:55:42,560 --> 00:55:47,520
Speaker 2: But next we have a very fun conversation with Alex Putsavas,

947
00:55:47,640 --> 00:55:51,760
Speaker 2: who's a Grammy Andammy nominated music supervisor currently Senior director

948
00:55:51,760 --> 00:55:54,400
Speaker 2: of Music and Creative Production for a TV at Netflix.

949
00:55:54,760 --> 00:55:57,800
Speaker 2: What she did like soundtracks for shows like Gray's Anatomy

950
00:55:57,880 --> 00:56:00,640
Speaker 2: and Gossip Girl and Scandal, and like Twilight soundtrack, So

951
00:56:01,560 --> 00:56:04,680
Speaker 2: stay tuned for that one. And then obviously, in the

952
00:56:04,719 --> 00:56:07,520
Speaker 2: spirit of the holidays, Kevin, it wouldn't be a holiday

953
00:56:07,600 --> 00:56:11,279
Speaker 2: season without us revisiting the Glee Christmas music, So come

954
00:56:11,360 --> 00:56:11,920
Speaker 2: back for that one.

955
00:56:11,960 --> 00:56:14,719
Speaker 1: Oh yeah, oh, don't miss that. And that's what you

956
00:56:14,800 --> 00:56:18,480
Speaker 1: really missed. Thanks for listening, and follow us on Instagram

957
00:56:18,880 --> 00:56:21,279
Speaker 1: at and that's what you really miss pod. Make sure

958
00:56:21,320 --> 00:56:23,360
Speaker 1: to write us a review and leave us five stars.

959
00:56:23,600 --> 00:56:24,279
Speaker 1: See you next time.