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Speaker 1: Hello, friends, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie Danielle, and yes, we

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Speaker 1: are back. I sounded really happy.

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Speaker 2: Just then your face looked very you like one of

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Speaker 2: those like an animatronic Disney character. I've never been to

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Speaker 2: any Disney but i've I've seen the films.

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Speaker 1: Yes, So what's going on with you? I mean, I

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Speaker 1: asked you this literally every week, but I'd like to

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Speaker 1: ask you again, what's going on with you?

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Speaker 2: I'm happy to tell you I have recently started a

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Speaker 2: new job and it's my first time as not just

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Speaker 2: a writer on a show, but I'm show running. So

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Speaker 2: I'm running the whole room, which means I get to

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Speaker 2: help to find the story. And you know, I hired

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Speaker 2: all the other writers and it's a big, big deal.

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Speaker 2: I can't tell you anything about the show, but I

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Speaker 2: can tell you that I'm working the Moss.

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Speaker 1: That's all you can tell us. That's all I can

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Speaker 1: tell you. It's all I can say.

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Speaker 2: And it's fun and I like it, and it's it's

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Speaker 2: a show that Lena waithe created, so I get to

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Speaker 2: work closely with with that crew, and I'm excited.

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Speaker 1: I'm very excited. But my God, we're also proud of you.

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Speaker 1: We love to see it. We truly love to see it. Also,

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Speaker 1: I have to tuck this in here because just to

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Speaker 1: puff you up a tiny bit more. But I am

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Speaker 1: reading your book. It's not out right now, you know

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Speaker 1: what that means. I got an exclusive copy. Yes, I

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Speaker 1: roll like that, but I'm reading it. I'm in the

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Speaker 1: middle of it, and I love it. Dum, thank you, Millie.

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Speaker 2: That means like it means so much to me when

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Speaker 2: people I know and love read it, and even if

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Speaker 2: they don't like it, I'm just so thoughtful. I'm just

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Speaker 2: so grateful that people take the time and that you've

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Speaker 2: taken the time to read it. And there's what's weird

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Speaker 2: about writing a book too that I've I've been thinking

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Speaker 2: about lately now that I'm like starting to do events

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Speaker 2: for librarians and all this stuff, is that you can

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Speaker 2: know someone for a long time and think you know

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Speaker 2: like a lot about them, but there's a lot of

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Speaker 2: things that you just can't translate in you know, conversation

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Speaker 2: or in dinner conversations. Like there's a lot of nuanced

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Speaker 2: stuff that like you can tell me about your life

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Speaker 2: and I get But if I read you writing about

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Speaker 2: it, it would still be a fresh experience, So I'm glad

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Speaker 2: for that.

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Speaker 1: IE hundred percent agree. I mean, even as we're doing

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Speaker 1: this podcast, I mean, I've known you for technically a

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Speaker 1: long time, but there are times when we're just talking

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Speaker 1: that you'll like slide a little info about you. Same aka,

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Speaker 1: your brother is super hot and looks like Drake, and

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Speaker 1: I was like, oh, I didn't know that about her,

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Speaker 1: And now all I'm doing is like staring at this

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Speaker 1: phot over brother with hearts in my eyes. But also

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Speaker 1: you're right though about the like I guess maybe it's different,

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Speaker 1: like when you write. I'm sure that for you, writing

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Speaker 1: about yourself is different than just talking about yourself like

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Speaker 1: to a person, like just in that conversational way, and

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Speaker 1: you're probably, you know, putting a lot of details in

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Speaker 1: there that you wouldn't even necessarily bring up in a

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Speaker 1: conversation exactly exactly.

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Speaker 2: So I think that's why I get happy when people

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Speaker 2: I know are reading it, because I'm like, oh, like,

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Speaker 2: you know these things about me.

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Speaker 1: It's not strange or weird for you to hear.

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Speaker 2: Them, But the way that I'm talking about it is

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Speaker 2: like more informative. So I just feel like that's that's

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Speaker 2: something that makes me feel very close to my friends,

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Speaker 2: and I like that a lot.

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Speaker 1: Yeah, well, I definitely feel closer to you just by

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Speaker 1: reading all of these little stories and anecdotes and you know,

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Speaker 1: everything like that. I mean, when it comes down to it,

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Speaker 1: are you excited for the book to come out? Like

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Speaker 1: it's going to be like what in a month? A month?

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Speaker 1: Is h it's about a month? Yeah? What are your feelings?

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Speaker 1: Are you terrified? Are you excited? I mean, is this

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Speaker 1: something that you've been preparing for, like just that kind

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Speaker 1: of you know, the pageantry of a book release.

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Speaker 2: I mean, it's my first time doing it in a

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Speaker 2: big way, so I don't know that there. I don't

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Speaker 2: feel like I can prepare for it because I have

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Speaker 2: no idea what's going to happen. I'm excited because it's

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Speaker 2: going to be out in the world. I think that

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Speaker 2: it's going to be kind of a it's a finalization

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Speaker 2: of the project for me. But what I really love

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Speaker 2: and I don't know if this is ridiculous of me

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Speaker 2: or not, but I think that what makes me feel

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Speaker 2: good was writing it and going through that process and

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Speaker 2: you know, a healing and talking about it in therapy

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Speaker 2: and kind of talking about it with my family and

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Speaker 2: just the work for me was in the writing. So

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Speaker 2: I don't plan on reading comments, I don't plan on

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Speaker 2: reading Good Reads. Like, I just want it that my

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Speaker 2: part is done, like I birthed it and now it's

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Speaker 2: on its own and.

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Speaker 1: It can do whatever it wants.

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Speaker 2: So I'm excited to talk about it and talk about

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Speaker 2: the experience of it and writing it. But yeah, I

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Speaker 2: kind of have to remove myself from from everything else

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Speaker 2: that comes after that, which I'm sure my publisher is

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Speaker 2: thrilled aout because they're like, hello, can you help us

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Speaker 2: make our fucking money back that we spent on.

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Speaker 1: Can you jazz it up a little bit? And maybe?

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Speaker 1: But I am excited.

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Speaker 2: I am like I'm excited to do I'm doing a

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Speaker 2: lot of virtual events.

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Speaker 1: You know.

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Speaker 2: We still can't go out in the world, which is fine,

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Speaker 2: and I just feel like fine about it.

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Speaker 1: You know, I'm not stressing about it. Well, I'll tell

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Speaker 1: you like, I think it's very I think it's awesome. Obviously,

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Speaker 1: I've been saying this for many years because I knew

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Speaker 1: you were writing a book for a while. I think

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Speaker 1: to me, I'm sort of like very enamored of you

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Speaker 1: in the sense that you can be like completely open

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Speaker 1: about yourself. I feel like I'm still kind of guarded

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Speaker 1: in a lot of ways. Like I feel like there

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Speaker 1: are times where I kind of want to tell the

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Speaker 1: story and then pull back a little bit because I'm

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Speaker 1: just kind of afraid of, you know, revealing myself. I mean,

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Speaker 1: I think that's a normal reaction for people. But I

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Speaker 1: also I love the bravery of being able to just

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Speaker 1: kind of like say it, you know, And I admire

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Speaker 1: that about you, so thank you.

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Speaker 2: I really appreciate that. Truly means a lot to me.

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Speaker 2: I thank you so much. And I wonder too if

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Speaker 2: this is maybe a morbid take on it, but I wonder.

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Speaker 2: I think a lot of people feel better about writing

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Speaker 2: revealing things about themselves after their parents are gone. Sure

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Speaker 2: their family members are not going to pay attention to

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Speaker 2: it somehow or like, you know, That's why I think

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Speaker 2: blogs took off, because you could write whatever you want

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Speaker 2: under whatever name you wanted, and your family would might

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Speaker 2: not ever find out.

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Speaker 1: So oh god, I mean I think about this all

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Speaker 1: the time, just those early days of the Internet with

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Speaker 1: like I mean, this was even like pre blogger days

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Speaker 1: of that really like the Internet felt like there was

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Speaker 1: fifteen people on it, and we were all being super

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Speaker 1: confessional on these kind of like weird you know websites

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Speaker 1: that you know, like diary Land and that kind of thing,

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Speaker 1: And there were moments where I was like, Oh, I

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Speaker 1: feel like I can just this is like a diary

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Speaker 1: and I can just kind of literally say whatever I want,

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Speaker 1: all my deep dark secrets, not realizing that like in

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Speaker 1: ten years it would be like a center of everyone's universe.

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Speaker 2: But you know this diary entry where you say that

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Speaker 2: you killed a dog, you are canceled. Now you killed

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Speaker 2: a dog in your dream, so you're canceled in real life.

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Speaker 1: Yeah, exactly. I love though that. I love though that

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Speaker 1: you were part of that generation too, because that's kind

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Speaker 1: of how I met you. I think somebody asked us.

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Speaker 1: I think it was Alexis, our producer, who was who

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Speaker 1: kind of asked the question. She was basically like, how

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Speaker 1: did you guys meet? And I was like, oh, yeah,

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Speaker 1: we met online.

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Speaker 2: Yeah, we met on like I knew you from live journal,

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Speaker 2: because I think that's also how I met sheiliwah.

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Speaker 1: Yeah.

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Speaker 2: We solidified our friendship really after feminist Fryan Gosling came out,

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Speaker 2: and then we started following each other on Tumblr. Yeah,

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Speaker 2: but I'd kind of like we'd always kind of followed

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Speaker 2: each other on all the platforms, and we had so

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Speaker 2: many mutual friends. And then when I had the chance

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Speaker 2: to meet you in real life, I was like, this

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Speaker 2: is dope.

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Speaker 1: We get to meet Millie. And I was doing a.

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Speaker 2: Story for the National Geographic years ago about the Green

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Speaker 2: Book way before the movie came out, and I kind

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Speaker 2: of was following the path of using the Green Book

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Speaker 2: to stop at these towns and cities and figure out

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Speaker 2: what had sprung up around this this trail now. And

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Speaker 2: I stopped in Atlanta and we went out to the

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Speaker 2: Colonnade and I got to meet Sophie, your dog, and

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Speaker 2: I was like, me and Sophie.

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Speaker 1: Fell in love right away.

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Speaker 2: But it was just like it was cool because once

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Speaker 2: we hung out in real life, I was like, oh,

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Speaker 2: she's like my homie.

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Speaker 1: This is like it wasn't.

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Speaker 2: You know, sometimes you meet people from online and it's

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Speaker 2: like you're totally different from what I expected.

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Speaker 1: When it's mad awkward, you're like, oh god, And it wasn't.

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Speaker 1: We were just friends. It was great. Yeah, And that's

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Speaker 1: The thing I think too, is that I was always like,

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Speaker 1: I always wanted to be like better in person, and

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Speaker 1: I hope I'm better in person because online I feel like,

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Speaker 1: oh god, that's just like me talking bullshit. But then

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Speaker 1: I'm also just sort of like able to you know,

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Speaker 1: be engaging and be conversational and not weird, you know,

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Speaker 1: in person, and I feel like there's It's funny because

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Speaker 1: a lot of like, I have a lot of friendships

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Speaker 1: now that if I trace it back, it's either from

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Speaker 1: live journal or Flicker, because Flicker was kind of a

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Speaker 1: thing for me as well, where I had a lot

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Speaker 1: of like friends that I met through there because we

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Speaker 1: were both you know, everybody was into photography and whatever.

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Speaker 1: But it is weird. It's a weird concept because again,

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Speaker 1: I do feel like the Internet was smaller. Yes, it

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Speaker 1: felt like nobody was really on it, so in a

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Speaker 1: weird way, it was kind of like, well, at least

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Speaker 1: she knew that you were all early adopters of the Internet,

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Speaker 1: and maybe that made you sort of okay, even though

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Speaker 1: that's a weird thing. Whereas now if you ask me

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Speaker 1: to meet somebody from Twitter, like some random, you know,

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Speaker 1: shit poster, I'd be like oh my god, they're going

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Speaker 1: to murder me. No way, absolutely not.

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Speaker 2: You better meet in broad daylight in the middle of

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Speaker 2: a park with a grenade.

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Speaker 1: Also, they could be a machine, like they may not

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Speaker 1: even be a real person.

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Speaker 2: Like you go to the park and like Wally kind

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Speaker 2: of rolls up and it's like, hello, Melly, like you,

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Speaker 2: I was talking to.

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Speaker 1: You this whole time. Wally again again. I was created

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Speaker 1: by a lab in a university.

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Speaker 2: Or that you know, that robot that's just it was

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Speaker 2: just like the woman's head and she was like, we

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Speaker 2: should eradicate all humans and they had to like reprogram

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Speaker 2: if that head showed up on like a wheelbarrow and

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Speaker 2: was just like, what's up, motherfucker?

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Speaker 1: You're first. Fuck, that's creepy. I that like, I can't

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Speaker 1: watch those videos where they have I know that it's

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Speaker 1: a bunch of scientists that are like, look at this

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Speaker 1: amazing thing we just figured out. But to me, I'm like,

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Speaker 1: the takeover has begun. Absolutely, the countdown is on. You know.

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Speaker 2: I'm like, uh, when scientists are standing around a robot

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Speaker 2: that's like doing backflips and they're like losing their sh

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Speaker 2: I'm like, you guys, you're you're the you're the problem.

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Speaker 1: You're not the solution.

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Speaker 2: You just fucked things the fuck up for us forever

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Speaker 2: now that you gave this robot like a conscious thought.

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Speaker 1: And commands like we're done, We're done. The event.

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Speaker 2: I keep calling that the event horizon, but that is

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Speaker 2: not it.

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Speaker 1: It's the singularity term for future stuff.

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Speaker 2: It's genary term, and it's absolutely it's not it.

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Speaker 1: It's the singularity.

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Speaker 2: So yeah, these scientists creating the singularity and thinking they're

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Speaker 2: doing something for the benefit of mankind, and I'm like,

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Speaker 2: how about you slow that down. Don't make me meet

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Speaker 2: a ship posting robot in a field that is actually

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Speaker 2: just a head.

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Speaker 1: On a stick, and we'll be all right.

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Speaker 2: Give me a couple more years of like normalcy with

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Speaker 2: my friends, yeah please?

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Speaker 1: I uh so, speaking of I'm going to try to

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Speaker 1: make a segue, and the segue is relating to being

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Speaker 1: old people that were around at the beginning of the Internet.

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Speaker 1: Perhaps something happened in the mail bag that I think

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Speaker 1: you and I took to text and we that we

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Speaker 1: just started texting each other about and I don't know,

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Speaker 1: I kind of want to talk about it. Is that

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Speaker 1: if that's.

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Speaker 2: Okay, I do too, because It was at the end

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Speaker 2: of an email that we actually kind of had already

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Speaker 2: read through and then just kind of caught this part

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Speaker 2: and we were both it was jarring for both of

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Speaker 2: us in different ways.

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Speaker 1: Yeah, this part.

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Speaker 2: And I have to say as a preface that the

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Speaker 2: person who wrote to us, like everyone who writes to us,

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Speaker 2: had no ill intent. The rest of this email was

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Speaker 2: incredibly kind and thoughtful, and you know, just I know

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Speaker 2: that they are fans of us, So we're not going

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Speaker 2: to say their name because it's not our goal here

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Speaker 2: to make this person feel bad and talking about this,

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Speaker 2: but we're just really want to talk about the feelings

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Speaker 2: it brought up. And it's not about what the person

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Speaker 2: itself who sent it.

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Speaker 1: Yeah, it's about our own neurosis essentially. Yes.

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Speaker 2: Yes, and also this is something that we talk about

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Speaker 2: a lot as friends.

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Speaker 1: Yeah.

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Speaker 2: I got it in front of me and again got

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Speaker 2: to say to the person who wrote this, we know

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Speaker 2: that your intent was not to be hurtful or rude

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Speaker 2: or anything. It's just really hit us in a certain

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Speaker 2: way because of who we are, So thank you for

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Speaker 2: writing in. But also, ouch, this is just the last

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Speaker 2: part of it. I love your podcast. It's been so

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Speaker 2: educational for me and brings me a lot of comfort

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Speaker 2: in a time where I'm very stressed out. I think

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Speaker 2: it has also made me realize that the only type

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Speaker 2: of podcast I currently care for is ones where only

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Speaker 2: slightly bitter middle aged women talk about their weird crushes

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Speaker 2: and their favorite kinds of underwear. I'm only twenty four myself,

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Speaker 2: but i still find myself relating very frequently. So what

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Speaker 2: part of that for you made you text me in

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Speaker 2: the dead of night?

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Speaker 1: Oh? I don't know. I mean, it could have been underwear,

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Speaker 1: but really it was more about the idea that I'm

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Speaker 1: a slightly bitter middle aged woman. Yeah. I don't think

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Speaker 1: I was ready for that at all. That hit me

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Speaker 1: right in the heartbones.

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Speaker 2: I did not expect that sentence to really just like

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Speaker 2: hit me like it appears to me like an arrow.

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Speaker 2: Oh yeah, And for me, it was the bitter, the

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Speaker 2: slightly bitter part of it. I think that because I'm

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Speaker 2: currently at the happiest moment of my life and I

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Speaker 2: don't think I sound bitter because bitterness to me might

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Speaker 2: mean something different than it means to this person. But

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Speaker 2: I don't think of myself as bitter, and that that

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Speaker 2: really shocked me that that could be how I'm coming across.

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Speaker 1: I don't think that bitter applies. That's just me personally.

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Speaker 1: I don't think bitter applies to you necessarily. I don't

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Speaker 1: think you. Yeah, I think bitter is like a much meaner,

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Speaker 1: nastier kind of thing, where if I was bitter, I

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Speaker 1: would be sitting around being like I have contempt for

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Speaker 1: these people and I hate them and I wish they

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Speaker 1: would die fuck them, right, you know? I mean for me,

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Speaker 1: I think just not liking the term joggers is not

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Speaker 1: bitter necessary, right. I don't know if I'm wrong about that.

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Speaker 2: I don't think you are, because that's how I feel too.

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Speaker 2: And I think we live in a culture. What's really more,

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Speaker 2: you know, maybe it helps me metabolize this in order,

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Speaker 2: you know, to kind of blow it up a little

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Speaker 2: bit into a macro sense instead of a micro sense.

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Speaker 2: But that feeling for me is also that we're not

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Speaker 2: accustomed to hearing women's opinions, yes, in our culture, unless

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Speaker 2: they're framed as decidedly positive or decidedly negative, or specifically

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Speaker 2: angry or extremely happy, Like, we're not used to just

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Speaker 2: hearing and again, in a broad cultural sense, women talking

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Speaker 2: about their lives without needing an input on it. So

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Speaker 2: I'm happy that we're doing that. But I know that

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Speaker 2: it's foreign to a lot of people to hear this,

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Speaker 2: and it might you might have to you know, you're

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Speaker 2: using the tools that you have in the toolbox of

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Speaker 2: how you're ingesting that information.

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Speaker 1: But for us, it's not bitter. I don't think we're bitter.

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Speaker 2: I think we're pretty joyful people who have a lot

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Speaker 2: to say and have a lot of opinions and are

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Speaker 2: able to level, you know, some barbs at ourselves that

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Speaker 2: are in the moment. It's not something we carry around

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Speaker 2: with us. Plus, we're funny, like part of what we're

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Speaker 2: doing here. And again, I do not want any animosity

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Speaker 2: for the person who wrote this to come out of

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Speaker 2: comments or any part of this, because they are lovely.

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Speaker 2: But I think it's also part of the thing that

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Speaker 2: we're dealing with right now, which is that it's we're

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Speaker 2: putting our voices out into the world and it breeds

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Speaker 2: familiarity that you know, we're right in your ears and

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Speaker 2: we're talking honestly and truthfully about ourselves, and that breeds

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Speaker 2: a familiarity that I think we're just not accustomed to.

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Speaker 1: So I get it. I get it. Yeah, And I

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Speaker 1: was like I was going, I mean, there was a

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Speaker 1: moment where I was like, oh my god, are we bitter?

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Speaker 1: And that Carrie Bradshaw kind of questioned, I'm like, oh

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Speaker 1: my gosh, are we bitter? And I'm like, no, I

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Speaker 1: don't feel bitter at all. Oh, I feel like like

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Speaker 1: you said, and I know you, and I feel like

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Speaker 1: you are generally a pretty happy person and you've got

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Speaker 1: a lot of good stuff going on. Obviously, just start

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Speaker 1: a job, you're a showrunner, and you have a book

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Speaker 1: coming out that's pretty great, and so I don't know.

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Speaker 1: I think it was kind of jarring because I don't

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Speaker 1: think I see you as bitter. But for me, I

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Speaker 1: will say that the middle aged part was quite a stunner.

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Speaker 1: And I think this is one hundred percent my shit,

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Speaker 1: where I just think as I'm my age, I just

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Speaker 1: had a birthday not too long ago, and I'm not

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Speaker 1: hug up on my age whatsoever. Like, I'm very comfortable

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Speaker 1: with being who I am. I don't feel the need

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Speaker 1: to be cool. I feel like I can be age appropriate.

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Speaker 1: I'm not I'm not threatened by the idea that I'm

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Speaker 1: in my forties. But the term middle age is also

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Speaker 1: very weird to me because, uh, I remember, like a

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Speaker 1: couple of years ago, I was on Twitter speaking of

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Speaker 1: and I said something. I made some sort of a

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Speaker 1: joke about middle age in reference to myself. And I

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Speaker 1: have a friend who is about ten years older than me,

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Speaker 1: she's in her early to mid fifties, and she told me,

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Speaker 1: like she scolded me and said, you're not middle aged,

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Speaker 1: And I was like, okay, I was assuming that middle

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Speaker 1: age meant if the average life expectancy is like eighty

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Speaker 1: ninety years old, Oh you're like forty five, you're middle

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Speaker 1: age because you're literally middle right of life. But I

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Speaker 1: think that term also has meant sort of in the

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Speaker 1: culture that we're in that you know you're fifty, you're sixty,

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Speaker 1: that's middle age, which I often am like, I'm confused

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Speaker 1: by it all, to be honest, because I like, you know, well,

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Speaker 1: then if you're sixty in your middle age, then when

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Speaker 1: are you a senior citizen? Is it eighty exactly? Or

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Speaker 1: like if you qualify for your Social Security Like, aren't

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Speaker 1: you a senior citizen? If you can get a senior

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Speaker 1: citizens discount, you're a senior you're no longer a middle age.

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Speaker 2: Look, if I get a free popcorn in a movie theater,

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Speaker 2: I'm I'm a senior citizen. Even if it happens tomorrow,

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Speaker 2: I will claim it. I've got enough gray hair. If

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Speaker 2: that someone wants to give me a free popcorn because

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Speaker 2: I'm old, knock yourself out.

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Speaker 1: There are times where I'm getting somebody sliding me an

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Speaker 1: extra pickle, like what I'm doing takeout, and I'm like,

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Speaker 1: what's this about? Is this because I'm old? What's going

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Speaker 1: on here? But it does. It is jarring, I think,

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Speaker 1: especially since the person who rode in gave their age,

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Speaker 1: which did not help by the way that I was like,

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Speaker 1: oh wow, we are a lot older than them.

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Speaker 2: We're double their age. Essentially, we're almost double their age.

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Speaker 1: Right, But it just kind of made me stop to think, like,

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Speaker 1: you know, okay, like now somebody who's twice as young

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Speaker 1: as I am thinks that I'm middle aged, right, and

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Speaker 1: does that mean that I'm middle aged? Now that if

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Speaker 1: somebody has called me that, then now am I middle aged?

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Speaker 1: And I mean it's kind of all TVD to be

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Speaker 1: honest on whether or not I actually apply to that term, right,

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Speaker 1: But the feeling is definitely like oh wow, because you know,

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Speaker 1: I work with a lot of young people at my job,

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Speaker 1: and I'm definitely in those Twitter streets seeing young people

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Speaker 1: interact and you know, Instagram and that kind of thing,

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Speaker 1: and I do feel I feel a difference, Like, yeah,

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Speaker 1: I have friends that are in their mid twenties and I,

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Speaker 1: as much as I love them and I feel very

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Speaker 1: like connected to them, I'm older than them and I

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Speaker 1: know it and I feel it. Yes, you know, And.

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Speaker 2: Truthfully, if you I hear you loud and clear, and

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Speaker 2: if you the way, I kind of tend to find

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Speaker 2: it and feel fine. Calling myself middle aged is because

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Speaker 2: if you belonged to a generation and the style of

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Speaker 2: your generation is now a trendy comeback, you're middle aged.

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Speaker 2: Like the minute I saw someone eighteen years old wearing

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Speaker 2: a choker, I was like, well, that's fucking it. I'm

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Speaker 2: staring down the cannon of perimenopause and somebody is cosplaying

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Speaker 2: as me when I was eighteen.

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Speaker 1: I'm middle aged. I'm middle age.

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Speaker 2: We've lived long enough to see the shit we liked

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Speaker 2: as kids make a comeback as like an old school

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Speaker 2: trendy thing.

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Speaker 1: Yeah. Oh, like when we talked about H and M.

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Speaker 1: I mean, like, yeah, I to me, when I went

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Speaker 1: into H and M and saw the fucking Nirvana T

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Speaker 1: shirts and all that stuff, I was like, oh, like,

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Speaker 1: I feel like I'm definitely, you know, of a certain

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00:21:56,520 --> 00:21:59,120
Speaker 1: generation that has aged out of all this. I think

435
00:21:59,160 --> 00:22:02,520
Speaker 1: to me, also, I'm literally seeing young people sort of

436
00:22:02,600 --> 00:22:04,920
Speaker 1: go through the same motions that I went through. Because

437
00:22:04,920 --> 00:22:06,880
Speaker 1: that's I think, ultimately, that's what it is, is that

438
00:22:07,000 --> 00:22:09,760
Speaker 1: I'm sitting here going like I know that I'm older

439
00:22:09,760 --> 00:22:12,800
Speaker 1: than you because I can literally see myself at your

440
00:22:13,119 --> 00:22:16,840
Speaker 1: specific age doing exactly what you're doing. Like I remember

441
00:22:16,920 --> 00:22:19,760
Speaker 1: being in film school in my early twenties and kind

442
00:22:19,760 --> 00:22:23,280
Speaker 1: of discovering films, and you know, I remember when I

443
00:22:23,320 --> 00:22:25,720
Speaker 1: first started getting into film. I mean I'm going to

444
00:22:25,720 --> 00:22:29,000
Speaker 1: talk about this maybe a little bit today in our episode,

445
00:22:29,119 --> 00:22:31,600
Speaker 1: Like when I started getting into art movies and I

446
00:22:31,600 --> 00:22:34,200
Speaker 1: started getting into foreign films and that kind of thing.

447
00:22:34,280 --> 00:22:37,240
Speaker 1: I mean, that was kind of like a big revelation

448
00:22:37,359 --> 00:22:39,960
Speaker 1: for me. And that was definitely like an early twenties

449
00:22:40,359 --> 00:22:43,320
Speaker 1: thing for me. I was in college, I was going

450
00:22:43,359 --> 00:22:46,760
Speaker 1: to you know, the university movie theaters. I was hanging

451
00:22:46,760 --> 00:22:51,160
Speaker 1: out with people, you know, getting recommendations from professors, and

452
00:22:51,320 --> 00:22:54,680
Speaker 1: it was all sort of like, oh, now I'm into

453
00:22:54,720 --> 00:22:58,159
Speaker 1: French new wave and now I've watched Woody Allen movies.

454
00:22:58,200 --> 00:23:02,520
Speaker 1: I watched you know, sort of nineties independent cinema, and

455
00:23:02,760 --> 00:23:05,240
Speaker 1: that was kind of like what I did in my

456
00:23:05,280 --> 00:23:09,240
Speaker 1: early twenties. And I'm watching it happen now, like especially online,

457
00:23:09,640 --> 00:23:11,800
Speaker 1: where you know, I see like a twenty four year

458
00:23:11,800 --> 00:23:16,680
Speaker 1: old being like I just discovered, you know, and a Karna,

459
00:23:16,760 --> 00:23:20,320
Speaker 1: and I'm like, yeah, wow, I remember that feeling like

460
00:23:20,359 --> 00:23:22,879
Speaker 1: I remember being twenty four and being like, oh, I

461
00:23:22,920 --> 00:23:26,720
Speaker 1: want to be a French girl in a sixties movie

462
00:23:26,760 --> 00:23:30,639
Speaker 1: with my you know, black of white postcard pinned to

463
00:23:30,680 --> 00:23:34,920
Speaker 1: the wall, and my like dried flowers and my blonde

464
00:23:34,920 --> 00:23:40,280
Speaker 1: furniture and my giant white billowy tunics, with my you know,

465
00:23:40,320 --> 00:23:42,640
Speaker 1: cigarette pants. You know. I was like, oh, I want to.

466
00:23:42,600 --> 00:23:45,800
Speaker 2: Do that, right, I feel you so hard, and I

467
00:23:45,840 --> 00:23:49,800
Speaker 2: can't I can't help but think about how when I

468
00:23:49,960 --> 00:23:52,960
Speaker 2: was a teenager, when I was fifteen sixteen, and I

469
00:23:53,000 --> 00:23:56,359
Speaker 2: went to like, you know, the the head shop in

470
00:23:56,400 --> 00:23:59,240
Speaker 2: the mall, you know, every mall had one, and I

471
00:23:59,320 --> 00:24:01,359
Speaker 2: bought a lads Eeppelin poster and hung it up, and

472
00:24:01,400 --> 00:24:04,680
Speaker 2: I was like so excited because I just discovered led Zeppelin,

473
00:24:04,720 --> 00:24:06,439
Speaker 2: and I was like, they're fucking great, Like they used

474
00:24:06,440 --> 00:24:08,320
Speaker 2: to play a Stairway to Heaven at my like eighth

475
00:24:08,359 --> 00:24:10,480
Speaker 2: grade dances and shit like that. But I actually discovered

476
00:24:10,520 --> 00:24:13,160
Speaker 2: like the rest of their music when I was a teenager,

477
00:24:13,480 --> 00:24:16,399
Speaker 2: and I remember distinctly being on a phone call with

478
00:24:16,440 --> 00:24:20,040
Speaker 2: my with my aunt and being like, oh my god.

479
00:24:19,920 --> 00:24:22,520
Speaker 1: It's so cool, Like I just you know, I've been

480
00:24:22,560 --> 00:24:23,080
Speaker 1: listening to.

481
00:24:23,119 --> 00:24:25,760
Speaker 2: Like led Zeppelin four, you know, the one like it

482
00:24:25,800 --> 00:24:28,400
Speaker 2: doesn't say four on the cover, it says and her

483
00:24:28,520 --> 00:24:30,880
Speaker 2: just cutting me off and being like I've seen them

484
00:24:30,920 --> 00:24:33,040
Speaker 2: live like five times, like that was my.

485
00:24:33,200 --> 00:24:37,600
Speaker 1: Music growing up. Like she would do that to me constantly.

486
00:24:37,680 --> 00:24:39,800
Speaker 2: Or I would be like infatuated with the sixties and

487
00:24:39,840 --> 00:24:43,800
Speaker 2: seventies and she'd be like I saw Rocky Horror on

488
00:24:43,920 --> 00:24:46,359
Speaker 2: stage with Tim Curry in the original production, and she

489
00:24:46,400 --> 00:24:49,120
Speaker 2: would just like blow my fucking mind. I'm like, oh,

490
00:24:49,200 --> 00:24:52,000
Speaker 2: because when you discover something, you think you are literally

491
00:24:52,160 --> 00:24:55,560
Speaker 2: the person who discovered it exactly, and it's not true.

492
00:24:55,600 --> 00:24:58,040
Speaker 2: So I now feel about like I felt as a

493
00:24:58,080 --> 00:25:01,160
Speaker 2: teenager about the sixties and seventies. The way teenagers feel

494
00:25:01,160 --> 00:25:04,200
Speaker 2: now and you know, young adults feel now about the nineties,

495
00:25:04,760 --> 00:25:07,159
Speaker 2: and it is jarring. And that's why I think middle

496
00:25:07,160 --> 00:25:10,240
Speaker 2: aged is fitting. But let us call ourselves that.

497
00:25:11,400 --> 00:25:15,000
Speaker 1: I know, it just simply stings when somebody else tells

498
00:25:15,040 --> 00:25:19,280
Speaker 1: you that you're middle aged and bitter, and you know,

499
00:25:19,520 --> 00:25:24,399
Speaker 1: but I do think it's healthy though, to have discussed it,

500
00:25:24,440 --> 00:25:26,480
Speaker 1: because I I think I texted you when I saw

501
00:25:26,520 --> 00:25:28,680
Speaker 1: the email and I was like, damn, girl, what the fuck?

502
00:25:28,720 --> 00:25:32,080
Speaker 1: And you were like wow, And it just made us

503
00:25:32,119 --> 00:25:34,560
Speaker 1: sort of talk about it, like amongst us, whether or

504
00:25:34,600 --> 00:25:36,639
Speaker 1: not we're middle aged women or not, like as women

505
00:25:36,720 --> 00:25:40,480
Speaker 1: of our particular age. I think the worst thing that

506
00:25:40,520 --> 00:25:42,720
Speaker 1: could have happened was that we both pretended that it

507
00:25:42,760 --> 00:25:45,439
Speaker 1: didn't exist, and that we just continued to believe that

508
00:25:45,480 --> 00:25:50,119
Speaker 1: we were like spry twenty one year old trapesing around

509
00:25:50,160 --> 00:25:53,399
Speaker 1: the world with you know, our perfect knees and our.

510
00:25:53,240 --> 00:25:56,879
Speaker 2: Perfect skin, and you know, like I am someone who

511
00:25:56,960 --> 00:26:01,200
Speaker 2: gives herselves blister from blisters from her eating. So I

512
00:26:01,280 --> 00:26:04,479
Speaker 2: cannot claim spry or youth in any way, and I

513
00:26:04,520 --> 00:26:05,560
Speaker 2: know it, and it's fine.

514
00:26:05,600 --> 00:26:06,320
Speaker 1: It's fine.

515
00:26:06,480 --> 00:26:09,520
Speaker 2: It's almost like that that moment when when you're a

516
00:26:09,520 --> 00:26:14,360
Speaker 2: gynecologist first, like very casually uses the term geriatric eggs. Yes,

517
00:26:14,400 --> 00:26:16,439
Speaker 2: and you're like thirty two, and you're like, I'm sorry

518
00:26:16,440 --> 00:26:19,399
Speaker 2: what And she's like, well, technically you have like geriatric eggs,

519
00:26:19,440 --> 00:26:21,359
Speaker 2: And I'm like, did you need to say that? Knowing

520
00:26:21,359 --> 00:26:23,119
Speaker 2: that I don't want to do anything with these eggs

521
00:26:23,320 --> 00:26:25,160
Speaker 2: and I've never wanted to do anything with these eggs,

522
00:26:25,200 --> 00:26:28,240
Speaker 2: you feel we need to tell me my eggs are geriatric.

523
00:26:28,320 --> 00:26:32,080
Speaker 2: Oh yeah, it's coming for you. If you haven't experienced

524
00:26:32,080 --> 00:26:34,240
Speaker 2: it yet, it's coming for you because it is a

525
00:26:34,359 --> 00:26:36,800
Speaker 2: jarring moment where I'm like, I don't I definitely don't

526
00:26:36,800 --> 00:26:39,080
Speaker 2: want to think of myself as geriatric. I know that

527
00:26:39,080 --> 00:26:41,800
Speaker 2: that is a very different place to be, but middle

528
00:26:41,840 --> 00:26:44,479
Speaker 2: aged it's nothing to be afraid of, and it's definitely

529
00:26:44,680 --> 00:26:48,280
Speaker 2: an assignation. But you know, let people decide for themselves

530
00:26:48,280 --> 00:26:50,040
Speaker 2: what they are because I don't think we're old even

531
00:26:50,080 --> 00:26:52,000
Speaker 2: I don't even think we're like, I know, I feel old,

532
00:26:52,000 --> 00:26:53,960
Speaker 2: but I know where you're not old. And I think

533
00:26:54,040 --> 00:26:56,720
Speaker 2: that you know, we kind of understand our place in

534
00:26:56,760 --> 00:26:58,280
Speaker 2: life and we're in our prime.

535
00:26:58,840 --> 00:27:02,760
Speaker 1: Yeah, I think the foolishness of being young for me

536
00:27:03,600 --> 00:27:07,239
Speaker 1: was because I often joke about this, which is that

537
00:27:07,320 --> 00:27:09,080
Speaker 1: I felt like I was eighty years old when I

538
00:27:09,160 --> 00:27:11,880
Speaker 1: was in middle school, like obviously I was having crushes

539
00:27:11,880 --> 00:27:18,760
Speaker 1: on ghosts. You know. It's funny because now there was

540
00:27:18,800 --> 00:27:21,400
Speaker 1: a lot of stuff that I think that I thought

541
00:27:21,760 --> 00:27:23,840
Speaker 1: I was too old for that I was actually not

542
00:27:23,880 --> 00:27:28,280
Speaker 1: too old for whatsoever, and that things change so much

543
00:27:28,560 --> 00:27:31,560
Speaker 1: when you turn forty. In that for me, I feel

544
00:27:31,600 --> 00:27:34,639
Speaker 1: like the best part of being forty is really just

545
00:27:34,680 --> 00:27:37,720
Speaker 1: sort of like I get to fucking relax about the

546
00:27:38,520 --> 00:27:42,120
Speaker 1: amp up to forty because so much of what we've

547
00:27:42,160 --> 00:27:44,119
Speaker 1: been told is that you have to fucking be like

548
00:27:44,160 --> 00:27:47,000
Speaker 1: the most successful boss bitch by the time you turn forty.

549
00:27:47,000 --> 00:27:49,560
Speaker 1: You have to have family, kids, house, all this stuff.

550
00:27:49,600 --> 00:27:53,520
Speaker 1: You have to have a fucking perfect curated lifestyle brand

551
00:27:53,720 --> 00:27:56,159
Speaker 1: that looks good on the internet. And then when I

552
00:27:56,240 --> 00:27:59,439
Speaker 1: turned forty, I was like, oh, okay, well fuck it,

553
00:27:59,560 --> 00:28:02,160
Speaker 1: Like who now, Like I don't care about being young.

554
00:28:02,200 --> 00:28:04,200
Speaker 1: I don't care that I didn't do all this shit.

555
00:28:04,400 --> 00:28:07,040
Speaker 1: It literally you just it's another fucking day.

556
00:28:07,440 --> 00:28:09,960
Speaker 2: Yeah, you just live your life in the way that

557
00:28:10,080 --> 00:28:13,240
Speaker 2: makes sense. Like I've lived my life practically backwards. You know,

558
00:28:13,240 --> 00:28:15,959
Speaker 2: I didn't go to finish college until I was thirty,

559
00:28:16,359 --> 00:28:17,679
Speaker 2: and then I did a master's degree.

560
00:28:18,080 --> 00:28:19,000
Speaker 1: Then I quit all that.

561
00:28:19,080 --> 00:28:21,000
Speaker 2: I thought I was on a career track finally, like

562
00:28:21,040 --> 00:28:23,680
Speaker 2: I'm going to be a professor. Nope, you're not surprised.

563
00:28:23,680 --> 00:28:26,120
Speaker 2: You're gonna be divorced and moving back to New York

564
00:28:26,240 --> 00:28:28,879
Speaker 2: and being starting a career as a freelance writer. Like,

565
00:28:29,440 --> 00:28:32,080
Speaker 2: your life happens as it needs to happen, and there

566
00:28:32,160 --> 00:28:35,399
Speaker 2: is no particular age designation for when you should or

567
00:28:35,440 --> 00:28:37,840
Speaker 2: could accomplish something. There are people who get their high

568
00:28:37,880 --> 00:28:40,120
Speaker 2: school diplomas in their eighties. There are people who start

569
00:28:40,160 --> 00:28:43,480
Speaker 2: businesses when they're eighteen. It's all the fucking sae. Yes,

570
00:28:43,560 --> 00:28:45,960
Speaker 2: you can be middle aged at twelve, it doesn't matter.

571
00:28:48,640 --> 00:28:52,000
Speaker 1: Honestly, do you see a kid wearing four cardigans, simply

572
00:28:52,120 --> 00:28:55,600
Speaker 1: join them in listening to their cab callaway records on

573
00:28:55,640 --> 00:28:58,200
Speaker 1: their phonograph.

574
00:28:57,320 --> 00:29:00,320
Speaker 2: Do a soft shoe back, give a bow, and walk

575
00:29:00,360 --> 00:29:02,520
Speaker 2: away from that child. They're fine.

576
00:29:03,880 --> 00:29:05,920
Speaker 1: Wow. Yes, I'm glad.

577
00:29:06,000 --> 00:29:08,240
Speaker 2: I'm glad for this email, and I'm actually thankful for

578
00:29:08,280 --> 00:29:11,280
Speaker 2: this email person who wrote it, because it did.

579
00:29:11,960 --> 00:29:13,600
Speaker 1: It did help us have a discussion that I.

580
00:29:13,560 --> 00:29:15,400
Speaker 2: Think more and more women are having and more and

581
00:29:15,400 --> 00:29:19,280
Speaker 2: more people are having about being the age that we

582
00:29:19,320 --> 00:29:20,480
Speaker 2: are and being in our forties.

583
00:29:21,480 --> 00:29:24,920
Speaker 1: Yep, And you know, it was a thought experiment that

584
00:29:25,000 --> 00:29:33,720
Speaker 1: I very much appreciate it, So thank you very much. Okay, girl,

585
00:29:33,840 --> 00:29:37,320
Speaker 1: let's talk about this theme this week because I'm pretty sure,

586
00:29:37,360 --> 00:29:39,880
Speaker 1: I mean, we always say this, but we're like, oh,

587
00:29:40,000 --> 00:29:42,560
Speaker 1: welcome to the deep recesses of our mind and our

588
00:29:42,600 --> 00:29:46,080
Speaker 1: friendship with some of these themes. But for some reason,

589
00:29:46,160 --> 00:29:48,440
Speaker 1: this one is really a joke, like an inside joke

590
00:29:48,480 --> 00:29:51,400
Speaker 1: that we both like thought of and laughed at. So

591
00:29:51,960 --> 00:29:52,920
Speaker 1: what's the theme for this week?

592
00:29:53,520 --> 00:29:57,840
Speaker 2: Our theme for this week is Y two K, prom

593
00:29:57,960 --> 00:30:03,080
Speaker 2: King and Queen, and were only discussing movies starring both

594
00:30:04,040 --> 00:30:06,440
Speaker 2: Toby McGuire and Katie.

595
00:30:06,080 --> 00:30:13,080
Speaker 1: Holmes, and there are only two so far. Why is

596
00:30:13,120 --> 00:30:15,920
Speaker 1: it funny that we're talking about Toby McGuire and Katie Holmes?

597
00:30:15,960 --> 00:30:21,040
Speaker 1: Because I really do think that the Y two K

598
00:30:21,200 --> 00:30:26,280
Speaker 1: aspect of this is funny because they were famous like this,

599
00:30:26,440 --> 00:30:30,320
Speaker 1: I think, like late nineties moving into the early two

600
00:30:30,400 --> 00:30:33,720
Speaker 1: thousands was obviously like a it felt like sort of

601
00:30:33,760 --> 00:30:36,240
Speaker 1: generally a teen era, you know, how like have we

602
00:30:36,240 --> 00:30:38,080
Speaker 1: go through these periods where there seems to be like

603
00:30:38,160 --> 00:30:42,280
Speaker 1: a lot of teen entertainment all at once. And I

604
00:30:42,280 --> 00:30:44,640
Speaker 1: think we've talked about this before. It might have been

605
00:30:44,680 --> 00:30:46,960
Speaker 1: in a bonus episode. It might have been in a

606
00:30:47,040 --> 00:30:51,160
Speaker 1: very early episode about like kind of the late nineties

607
00:30:51,240 --> 00:30:54,200
Speaker 1: and early two thousands and sort of like what was

608
00:30:54,240 --> 00:30:57,880
Speaker 1: happening culturally with like the boy bands and you know,

609
00:30:58,280 --> 00:30:59,920
Speaker 1: kind of like the youth Mark.

610
00:31:00,600 --> 00:31:03,720
Speaker 2: Yeah, I mean other stars of this this this time

611
00:31:03,760 --> 00:31:09,200
Speaker 2: include Cleia Duval, Josh Hartnett. Yes, like the movie The Faculty.

612
00:31:09,240 --> 00:31:12,000
Speaker 2: You've ever seen that movie stars everyone who was popular

613
00:31:12,040 --> 00:31:12,880
Speaker 2: from this era.

614
00:31:13,280 --> 00:31:17,560
Speaker 1: Kevin Williamson big part of it. In fact, that's kind

615
00:31:17,600 --> 00:31:20,560
Speaker 1: of how Katie Holmes got her start really was through

616
00:31:20,640 --> 00:31:24,120
Speaker 1: Dawson's Creek. I think everybody knows that by now a

617
00:31:24,160 --> 00:31:26,920
Speaker 1: lot of w B shows. It seemed to be like

618
00:31:27,440 --> 00:31:31,880
Speaker 1: kind of that television moving into film because I think

619
00:31:31,920 --> 00:31:34,720
Speaker 1: initially when we were thinking about this theme, it initially

620
00:31:34,760 --> 00:31:37,160
Speaker 1: was about Katie Holmes because we were like, Katie Holmes

621
00:31:37,160 --> 00:31:38,760
Speaker 1: was in like a lot of movies that, you know,

622
00:31:38,800 --> 00:31:40,760
Speaker 1: a lot of horror stuff that was happening like in

623
00:31:40,800 --> 00:31:44,200
Speaker 1: the late nineties, and then we were like, wait a minute,

624
00:31:44,280 --> 00:31:47,200
Speaker 1: she's been in two movies with Toby maguire. And Toby

625
00:31:47,320 --> 00:31:50,040
Speaker 1: McGuire is actually that person too. He's almost like the

626
00:31:50,040 --> 00:31:53,760
Speaker 1: male version of Katie Holmes, where you know, he started

627
00:31:53,800 --> 00:31:56,760
Speaker 1: out in you know, some a smattering of kind of

628
00:31:56,800 --> 00:31:59,320
Speaker 1: like side character roles, and then you know, obviously in

629
00:31:59,360 --> 00:32:01,280
Speaker 1: my movie it was kind of his like big role,

630
00:32:01,640 --> 00:32:04,560
Speaker 1: and then he moved into like bigger movies and then

631
00:32:04,640 --> 00:32:07,120
Speaker 1: was Spider Man, and you're just kind of like, okay,

632
00:32:07,160 --> 00:32:09,680
Speaker 1: so here are like these two young people that were

633
00:32:09,720 --> 00:32:11,360
Speaker 1: kind of like at the height of their fame at

634
00:32:11,360 --> 00:32:14,280
Speaker 1: the same time, and it happened to be during like

635
00:32:14,360 --> 00:32:17,040
Speaker 1: the late nineties early two thousands, and how are they

636
00:32:17,040 --> 00:32:20,160
Speaker 1: in two movies together? It's great and we want to

637
00:32:20,200 --> 00:32:21,840
Speaker 1: and they're prom King and Queen.

638
00:32:22,560 --> 00:32:24,440
Speaker 2: They are the prom King and Queen, and I want

639
00:32:24,480 --> 00:32:25,880
Speaker 2: to know if they talk about it when they go

640
00:32:25,920 --> 00:32:27,720
Speaker 2: to lunch with their children.

641
00:32:28,480 --> 00:32:30,800
Speaker 1: And part of the joke about that for me is

642
00:32:30,800 --> 00:32:34,880
Speaker 1: that they played they were much older, especially Tobey maguire.

643
00:32:34,960 --> 00:32:38,640
Speaker 1: I mean, he was playing like young people in his twenties.

644
00:32:38,840 --> 00:32:41,160
Speaker 1: It's kind of that Cissy Spacek thing too, where you're like,

645
00:32:42,000 --> 00:32:46,200
Speaker 1: here are two actors who were playing like high schoolers

646
00:32:46,240 --> 00:32:48,320
Speaker 1: when they were like in their twenties, and that's just

647
00:32:48,480 --> 00:32:52,760
Speaker 1: kind of a funny concept. It's definitely about nostalgia, and

648
00:32:52,840 --> 00:32:55,760
Speaker 1: as we saw with the bracket, I think a lot

649
00:32:55,840 --> 00:33:00,720
Speaker 1: of people have nostalgia for this period of time aka intentions.

650
00:33:01,040 --> 00:33:04,320
Speaker 1: So I'm hoping that you enjoy this little journey we're

651
00:33:04,360 --> 00:33:06,360
Speaker 1: going to go on today. I'm curious, what were you

652
00:33:06,400 --> 00:33:09,920
Speaker 1: doing in the year two thousand, What were you doing

653
00:33:09,920 --> 00:33:12,320
Speaker 1: for Y two K, for the actual dawn of Y

654
00:33:12,360 --> 00:33:15,280
Speaker 1: two K. I think it was I was in my

655
00:33:15,360 --> 00:33:18,880
Speaker 1: apartment with April, my friend April that I've talked about

656
00:33:19,320 --> 00:33:23,320
Speaker 1: many times on this podcast, and I remember we were

657
00:33:23,800 --> 00:33:25,720
Speaker 1: we stayed up. We were in the habit at this

658
00:33:25,840 --> 00:33:29,400
Speaker 1: time of staying up literally until like seven or eight

659
00:33:29,400 --> 00:33:31,280
Speaker 1: in the morning, and I think a lot of it

660
00:33:31,320 --> 00:33:32,800
Speaker 1: had to do with the fact that we wanted to

661
00:33:32,800 --> 00:33:35,560
Speaker 1: get Burger king breakfast, which is kind of bally, but

662
00:33:35,840 --> 00:33:37,840
Speaker 1: we were like, they're not going to serve this breakfast

663
00:33:37,960 --> 00:33:38,880
Speaker 1: until six am.

664
00:33:39,040 --> 00:33:41,320
Speaker 2: We must stay up all night and they're going to

665
00:33:41,360 --> 00:33:43,280
Speaker 2: stop serving in at like seven am.

666
00:33:43,120 --> 00:33:46,920
Speaker 1: So we have to hit that window. Let's change our

667
00:33:47,160 --> 00:33:52,600
Speaker 1: entire biarrhythmic schedule for fucking shitty breakfast. Some French toasticks

668
00:33:52,600 --> 00:33:54,960
Speaker 1: that are goddamn delicious. I guess they are. Oh, don't

669
00:33:54,960 --> 00:33:57,520
Speaker 1: even get me started on a croissant, which my favorite

670
00:33:57,600 --> 00:34:00,400
Speaker 1: airport food. I miss it. I only eat it airports,

671
00:34:00,440 --> 00:34:03,560
Speaker 1: and I love it, my god, love it. When the

672
00:34:03,680 --> 00:34:05,800
Speaker 1: dawn of Y two K happened, April and I were

673
00:34:05,800 --> 00:34:09,400
Speaker 1: in my apartment in Atlanta and we I remember, we

674
00:34:09,440 --> 00:34:12,600
Speaker 1: said we need to see, like, what's the first city

675
00:34:12,640 --> 00:34:14,400
Speaker 1: that's going to experience white two K? And we were like,

676
00:34:14,440 --> 00:34:18,359
Speaker 1: it's Sydney, Australia. Let's turn on the news and see

677
00:34:18,360 --> 00:34:21,239
Speaker 1: if Sydney Australia goes dark at the doll you know,

678
00:34:21,239 --> 00:34:24,080
Speaker 1: because you know, there was that whole stress there. The

679
00:34:24,239 --> 00:34:27,200
Speaker 1: stress of Y two K was huge. Man, Like everybody

680
00:34:27,320 --> 00:34:29,919
Speaker 1: was like, yo, it's time to hide your money, pull

681
00:34:29,960 --> 00:34:32,280
Speaker 1: it out of the banks, put it in the mattress.

682
00:34:32,600 --> 00:34:35,680
Speaker 1: Like the computers are simply going to fail. Those fucking

683
00:34:35,800 --> 00:34:40,120
Speaker 1: computer heads on wheelbarrows are gonna take over. We're fucked.

684
00:34:40,680 --> 00:34:45,279
Speaker 1: The horizon, Yeah, it was. It's a true event. Horizon

685
00:34:46,480 --> 00:34:49,279
Speaker 1: and April and I being stupid, we were like these

686
00:34:49,320 --> 00:34:52,080
Speaker 1: like stupid twenty year olds. We were like like, let's

687
00:34:52,080 --> 00:34:54,759
Speaker 1: get the jump on this. Ye tuo k thing and

688
00:34:54,840 --> 00:34:57,400
Speaker 1: just see what happens with Australia. And then it was

689
00:34:57,400 --> 00:35:01,080
Speaker 1: that thing where like they would show Australia five minutes

690
00:35:01,080 --> 00:35:05,520
Speaker 1: after midnight, lights are still on. Then thirty minutes, lights

691
00:35:05,520 --> 00:35:08,120
Speaker 1: are still on, people are still going to work, the

692
00:35:08,160 --> 00:35:10,040
Speaker 1: trains are running. And then we were like, okay, what

693
00:35:10,160 --> 00:35:14,319
Speaker 1: about Asia? They show Asia nothing going on, and then

694
00:35:14,360 --> 00:35:17,240
Speaker 1: it was like it was real. You know, basically every

695
00:35:17,360 --> 00:35:22,760
Speaker 1: time zone that reached midnight, everything was pretty much the same.

696
00:35:23,280 --> 00:35:27,359
Speaker 1: And we were like, okay, so it's not the apocalypse. Huh,

697
00:35:27,440 --> 00:35:29,759
Speaker 1: why do we stress out about that. Let's go get breakfast.

698
00:35:29,800 --> 00:35:32,480
Speaker 1: That was the That was all why two came home.

699
00:35:32,520 --> 00:35:33,319
Speaker 1: And for me, what about you?

700
00:35:34,080 --> 00:35:38,839
Speaker 2: I was I love that by the way, You're like,

701
00:35:38,960 --> 00:35:41,360
Speaker 2: let's see if it goes dark, we're still going to

702
00:35:41,400 --> 00:35:43,680
Speaker 2: get breakfast. Because even if it goes dark, we got

703
00:35:43,719 --> 00:35:45,759
Speaker 2: a couple of hours a week, we got a little

704
00:35:45,760 --> 00:35:46,640
Speaker 2: bit of time.

705
00:35:46,400 --> 00:35:49,160
Speaker 1: As long as they don't fuck with that breakfast. Oh

706
00:35:49,239 --> 00:35:52,840
Speaker 1: my god, I know I was. I was not concerned

707
00:35:52,880 --> 00:35:54,120
Speaker 1: about it at all.

708
00:35:54,840 --> 00:35:57,640
Speaker 2: In the year two thousand, I was ending my time

709
00:35:57,920 --> 00:36:02,040
Speaker 2: in like the San Francisco Bay Air. I was like

710
00:36:02,080 --> 00:36:05,200
Speaker 2: a month away from moving back to New York, and

711
00:36:05,280 --> 00:36:07,640
Speaker 2: you know, then a year later, fucking September eleventh happened.

712
00:36:07,680 --> 00:36:09,000
Speaker 2: So I'm like, this is more what we should have

713
00:36:09,040 --> 00:36:13,920
Speaker 2: been worried about. So, yeah, ninety nine, I was in

714
00:36:14,719 --> 00:36:18,239
Speaker 2: I was in a bar in San Francisco. I was

715
00:36:18,719 --> 00:36:20,680
Speaker 2: so drunk that I could not even tell you what

716
00:36:20,800 --> 00:36:24,080
Speaker 2: happened at midnight. I don't even like Y two K

717
00:36:24,160 --> 00:36:26,239
Speaker 2: could have actually happened, and I would not have known.

718
00:36:28,520 --> 00:36:31,200
Speaker 2: I mean, I remember like buying a fucking burrito and

719
00:36:31,320 --> 00:36:34,040
Speaker 2: like going back to my friend's house and sleeping.

720
00:36:33,719 --> 00:36:35,680
Speaker 1: On the floor. I did not care.

721
00:36:35,719 --> 00:36:37,880
Speaker 2: I'm like, if it's gonna happen, guess what. I have

722
00:36:37,920 --> 00:36:39,960
Speaker 2: no money to take out of the bank, I have

723
00:36:40,000 --> 00:36:42,920
Speaker 2: no personal belongings. My landlord can go get fucked. I

724
00:36:42,960 --> 00:36:45,040
Speaker 2: don't know what you want me to do if it happens,

725
00:36:45,040 --> 00:36:47,600
Speaker 2: it goddamn happens. I was working at a Gloria Jean's

726
00:36:47,680 --> 00:36:51,080
Speaker 2: coffee shop in a mall, Like, what.

727
00:36:51,040 --> 00:36:54,160
Speaker 1: Do you want from me? Yeah, well, I'm thrilled that

728
00:36:54,280 --> 00:36:57,960
Speaker 1: nothing major happened, to be quite honest, and I am

729
00:36:58,080 --> 00:37:00,279
Speaker 1: on the hunt for Y two K themed clothes. By

730
00:37:00,320 --> 00:37:02,239
Speaker 1: the way, I do That's like one thing I do

731
00:37:02,320 --> 00:37:04,280
Speaker 1: love about. It was just sort of like the marketing

732
00:37:04,640 --> 00:37:07,440
Speaker 1: and the merch that came out of Y two K,

733
00:37:07,880 --> 00:37:10,279
Speaker 1: And I'm like, yo, I would fucking rock a Y

734
00:37:10,320 --> 00:37:13,600
Speaker 1: two K T shirt today, So I'm always that's like

735
00:37:13,600 --> 00:37:16,480
Speaker 1: a Google alert I have is like Y two K merchandise.

736
00:37:16,920 --> 00:37:20,200
Speaker 1: That's awesome, much of a much bigger deal than what

737
00:37:20,320 --> 00:37:23,799
Speaker 1: actually happened. But it's also good because you know, we

738
00:37:23,840 --> 00:37:26,520
Speaker 1: needed our money for the burger king breakfast and the drinks.

739
00:37:26,640 --> 00:37:29,080
Speaker 2: So and look, maybe if Y two K had happened,

740
00:37:29,080 --> 00:37:32,200
Speaker 2: we wouldn't all be searing our eyeballs on Twitter all

741
00:37:32,239 --> 00:37:34,520
Speaker 2: day every day. We would have realized that computers could

742
00:37:34,520 --> 00:37:36,680
Speaker 2: harm us and learned a fucking lesson.

743
00:37:36,719 --> 00:37:42,480
Speaker 1: But we didn't, and we're here, so hello, I know, God,

744
00:37:42,680 --> 00:37:48,040
Speaker 1: that's depressing. Well are you going first this week? Yeah?

745
00:37:48,040 --> 00:37:51,200
Speaker 2: I'm going first this week so we can get right

746
00:37:51,520 --> 00:37:57,160
Speaker 2: into these movies. My film for our theme of Y

747
00:37:57,200 --> 00:38:01,080
Speaker 2: two K, prom King and Queen is is directed by

748
00:38:01,080 --> 00:38:04,560
Speaker 2: Curtis Hansen, was released in the year two thousand and

749
00:38:04,640 --> 00:38:06,280
Speaker 2: it is Wonder Boys.

750
00:38:07,080 --> 00:38:08,200
Speaker 1: That is a big trunk.

751
00:38:09,120 --> 00:38:12,400
Speaker 2: It old's a tuba suitcase, a dead dog in a

752
00:38:12,440 --> 00:38:13,920
Speaker 2: garment bag, almost perfectly.

753
00:38:14,239 --> 00:38:16,560
Speaker 1: Yeah, that's just what they used to say in the ads.

754
00:38:17,239 --> 00:38:21,720
Speaker 2: This movie was based on a novel by Michael Chabin

755
00:38:22,160 --> 00:38:26,960
Speaker 2: and the screenplay was written by Steve Cloves. But the director,

756
00:38:27,120 --> 00:38:32,760
Speaker 2: the director, Curtis Hansen, is probably known best for La Confidential, massive,

757
00:38:33,160 --> 00:38:36,080
Speaker 2: massive film of his Okay, he's done plenty of other films,

758
00:38:36,080 --> 00:38:38,600
Speaker 2: but that's I think the most well known movie of his.

759
00:38:39,280 --> 00:38:41,720
Speaker 2: And this is an interesting choice for someone who directed

760
00:38:41,800 --> 00:38:45,760
Speaker 2: La Confidential because this is a very it's an indie

761
00:38:45,760 --> 00:38:49,640
Speaker 2: film at heart that has a very celebrity field cast,

762
00:38:49,920 --> 00:38:52,600
Speaker 2: which is just a very two thousand e thing as well.

763
00:38:52,640 --> 00:38:56,000
Speaker 2: When like you know, when actors kind of realized, oh wait,

764
00:38:56,400 --> 00:38:58,920
Speaker 2: these indie movies might not pay as much, but this

765
00:38:59,000 --> 00:39:02,160
Speaker 2: is where you get all your award from, that was

766
00:39:02,360 --> 00:39:06,760
Speaker 2: a moment. So this is a film about Grady Tripp,

767
00:39:06,800 --> 00:39:10,960
Speaker 2: who's played by Michael Douglas. He's a novelist who had

768
00:39:11,040 --> 00:39:14,160
Speaker 2: a very popular book come out seven years ago. He

769
00:39:14,239 --> 00:39:19,200
Speaker 2: has since started teaching at college. Toby maguire and Katie

770
00:39:19,200 --> 00:39:22,440
Speaker 2: Holmes are his students. A couple of his students, Katie

771
00:39:22,480 --> 00:39:26,279
Speaker 2: Holmes also lives with him, which is strange. We'll get

772
00:39:26,280 --> 00:39:30,040
Speaker 2: into that, but we're meeting Grady trip on a day

773
00:39:30,239 --> 00:39:33,759
Speaker 2: when his wife has left him, his editor has shown

774
00:39:33,840 --> 00:39:36,560
Speaker 2: up for a book festival expecting to see his new work.

775
00:39:37,480 --> 00:39:40,240
Speaker 2: His car that was sold to him by a friend

776
00:39:40,400 --> 00:39:43,759
Speaker 2: was apparently stolen from somebody else who's now like after him.

777
00:39:44,320 --> 00:39:47,520
Speaker 2: And his girlfriend who he's been having an affair with,

778
00:39:47,840 --> 00:39:50,000
Speaker 2: who also happens to be the chancellor of the school,

779
00:39:50,080 --> 00:39:54,880
Speaker 2: Sarah Gaskell, who's played by Frances McDormand. Frances McDormand is pregnant.

780
00:39:55,440 --> 00:39:57,640
Speaker 2: And so this is all happening on the same day,

781
00:39:58,320 --> 00:40:01,040
Speaker 2: at the midst of this or the beginning of this

782
00:40:01,080 --> 00:40:04,920
Speaker 2: book festival, this author festival's happening at this college. Michael

783
00:40:04,960 --> 00:40:10,319
Speaker 2: Douglas is high on pot the whole movie. Essentially, he's

784
00:40:10,360 --> 00:40:15,360
Speaker 2: trying to help Toby Maguire through some writing issues and

785
00:40:15,400 --> 00:40:19,560
Speaker 2: some personal issues. But that's essentially what the movie is about,

786
00:40:19,640 --> 00:40:21,560
Speaker 2: is all of these things happening to this man on

787
00:40:21,600 --> 00:40:24,400
Speaker 2: the same day. And I have not seen this movie

788
00:40:24,600 --> 00:40:26,920
Speaker 2: since it came out. I think maybe I saw it

789
00:40:26,960 --> 00:40:29,359
Speaker 2: once after that, but came out in two thousand. It's

790
00:40:29,360 --> 00:40:31,319
Speaker 2: been twenty one years, you know, I haven't seen it

791
00:40:31,640 --> 00:40:32,000
Speaker 2: and I.

792
00:40:31,840 --> 00:40:34,120
Speaker 1: Never saw it. This was a first watch for me.

793
00:40:34,920 --> 00:40:36,880
Speaker 2: That's why I want to hear your opinion on it,

794
00:40:36,920 --> 00:40:41,560
Speaker 2: because I remembered being just so fascinated by this movie

795
00:40:41,640 --> 00:40:43,480
Speaker 2: and I loved it, and I still think it's a

796
00:40:43,480 --> 00:40:44,160
Speaker 2: great film.

797
00:40:44,800 --> 00:40:48,920
Speaker 1: Yeah, I do too. I actually really like it. To me,

798
00:40:49,200 --> 00:40:52,480
Speaker 1: it was that kind of thing where they call it sleepers.

799
00:40:52,800 --> 00:40:55,400
Speaker 1: It's basically a term. I don't even think they use

800
00:40:55,440 --> 00:41:00,120
Speaker 1: them anymore, but basically a term for a movie I

801
00:41:00,160 --> 00:41:04,480
Speaker 1: was sort of released quietly and didn't maybe make a

802
00:41:04,480 --> 00:41:07,120
Speaker 1: big impression with a lot of people. A lot of

803
00:41:07,120 --> 00:41:10,960
Speaker 1: times there it's because of marketing people at studios that

804
00:41:11,080 --> 00:41:12,799
Speaker 1: just like don't know how to market a movie, and

805
00:41:12,840 --> 00:41:14,719
Speaker 1: so they just kind of quietly release it and then

806
00:41:14,760 --> 00:41:16,479
Speaker 1: just put it in a video store and then people

807
00:41:16,560 --> 00:41:19,399
Speaker 1: kind of discover it later. I actually think it's what's

808
00:41:19,400 --> 00:41:22,680
Speaker 1: happening now with Wonder Boys, because I see it a

809
00:41:22,719 --> 00:41:26,359
Speaker 1: lot on vod like I see it on Amazon and

810
00:41:26,760 --> 00:41:29,480
Speaker 1: you know, for rental on like streaming sites and stuff.

811
00:41:30,000 --> 00:41:33,719
Speaker 1: And before we did the planning for this episode, I

812
00:41:33,719 --> 00:41:36,200
Speaker 1: think we've talked about adding the movie simply because I

813
00:41:36,239 --> 00:41:38,520
Speaker 1: was like, yo, I see this movie everywhere. I remember

814
00:41:38,560 --> 00:41:41,040
Speaker 1: when it came out, I never saw it, and I

815
00:41:41,040 --> 00:41:42,720
Speaker 1: don't know, it seems like it would be something I'd

816
00:41:42,760 --> 00:41:45,759
Speaker 1: like because it's kind of like a it's like a

817
00:41:45,840 --> 00:41:52,640
Speaker 1: dark comedy, drama, romance, and it's about like intellectuals in

818
00:41:52,719 --> 00:41:55,799
Speaker 1: the Northeast, which is always a very appealing subject, and

819
00:41:55,840 --> 00:41:58,520
Speaker 1: about writers, which is also I know, a big subject

820
00:41:58,600 --> 00:42:01,279
Speaker 1: for us too. So there was just sort of like

821
00:42:01,320 --> 00:42:04,200
Speaker 1: no reason why I hadn't seen it, and then you know,

822
00:42:04,239 --> 00:42:06,000
Speaker 1: we decided to add it to the schedule. But yeah,

823
00:42:06,000 --> 00:42:08,840
Speaker 1: I actually liked it a lot, Like I thought it

824
00:42:08,880 --> 00:42:11,240
Speaker 1: was funny. It kind of reminded me, I gotta be honest,

825
00:42:11,840 --> 00:42:14,719
Speaker 1: tiny not totally, but it kind of reminded me of

826
00:42:14,760 --> 00:42:19,240
Speaker 1: Nobody's fool. It kind of had that feeling of here's

827
00:42:19,280 --> 00:42:21,839
Speaker 1: this guy who's having like the worst day of his life,

828
00:42:21,880 --> 00:42:24,480
Speaker 1: and here are those like random, weird characters in his

829
00:42:24,520 --> 00:42:26,279
Speaker 1: life that are sort of like and it's just this

830
00:42:26,680 --> 00:42:31,560
Speaker 1: kind of like growing snowball of craziness that's happening to him.

831
00:42:31,760 --> 00:42:34,680
Speaker 1: And you know, it's that kind of movie, right exactly.

832
00:42:34,719 --> 00:42:35,600
Speaker 1: It's highjinks.

833
00:42:35,800 --> 00:42:38,240
Speaker 2: It is like you don't know what's going to happen next,

834
00:42:38,320 --> 00:42:40,200
Speaker 2: and then everything that happens is weirder than the thing

835
00:42:40,200 --> 00:42:43,400
Speaker 2: that happened before it. But it is a great story.

836
00:42:43,440 --> 00:42:47,800
Speaker 2: It's a very interesting, cool story, and it also feels

837
00:42:47,920 --> 00:42:50,680
Speaker 2: to me like, I don't know, it's just it's one

838
00:42:50,719 --> 00:42:52,759
Speaker 2: of those films that feels like it was probably as

839
00:42:52,800 --> 00:42:55,960
Speaker 2: fun to make as it is to watch, and it

840
00:42:56,520 --> 00:42:57,879
Speaker 2: just evokes this feeling for.

841
00:42:57,880 --> 00:43:01,160
Speaker 1: Me of if you're just.

842
00:43:00,440 --> 00:43:02,359
Speaker 2: Sitting down on a Saturday, you just want to like

843
00:43:02,600 --> 00:43:04,400
Speaker 2: chill out on your couch, maybe lay down and take

844
00:43:04,440 --> 00:43:08,000
Speaker 2: a nap and wake up and just watch something chill.

845
00:43:08,200 --> 00:43:10,759
Speaker 2: This is a great movie for that, or you don't

846
00:43:10,800 --> 00:43:12,960
Speaker 2: have to invest too much, but it is going to

847
00:43:13,040 --> 00:43:16,560
Speaker 2: keep you entertained, and the story is compelling and I

848
00:43:16,600 --> 00:43:19,439
Speaker 2: loved it. I think all of the performances are great.

849
00:43:19,520 --> 00:43:23,719
Speaker 2: Toby Maguire's character is James Lear, and James Lear is

850
00:43:23,840 --> 00:43:27,840
Speaker 2: like this catatonically depressed student who just so happens to

851
00:43:27,880 --> 00:43:30,680
Speaker 2: be a brilliant writer, come to find out, and also

852
00:43:31,120 --> 00:43:34,440
Speaker 2: the biggest liar anyone has ever met, oh.

853
00:43:34,239 --> 00:43:39,839
Speaker 1: Exactly, and also gotta say big classic movie fan, which,

854
00:43:39,880 --> 00:43:42,759
Speaker 1: of course, you know, definitely pulled me in. I was like, Oh,

855
00:43:42,800 --> 00:43:47,520
Speaker 1: here's this college kid who's a weird writer who also

856
00:43:47,560 --> 00:43:52,480
Speaker 1: watches Tyrone power movies. And knows how Gig Young died.

857
00:43:52,640 --> 00:43:56,439
Speaker 1: I'm like, uh, be still my beating heart, James Lear.

858
00:43:57,080 --> 00:44:00,000
Speaker 2: There's a scene where James Lear in front of Robert

859
00:44:00,080 --> 00:44:04,400
Speaker 2: Downey Junior, who plays Grady's editor. His editor is Terry

860
00:44:04,480 --> 00:44:08,360
Speaker 2: Terry Crabtree, and it's almost like a party trick, but

861
00:44:08,400 --> 00:44:10,360
Speaker 2: you can tell that this is just how his mind works.

862
00:44:10,440 --> 00:44:16,440
Speaker 2: And James Leeer just starts reciting the names of celebrities

863
00:44:16,440 --> 00:44:19,719
Speaker 2: who have died from drug overdoses and alcohol overdose and

864
00:44:19,800 --> 00:44:22,920
Speaker 2: alcohol and he does it alphabetically and it's just like

865
00:44:23,239 --> 00:44:25,120
Speaker 2: boom boom, boom boop. It's this person, is this person,

866
00:44:25,200 --> 00:44:28,920
Speaker 2: is this person? And Terry Crabtree is fascinated.

867
00:44:29,560 --> 00:44:31,920
Speaker 1: It is great. It's a great scene. But what cracks

868
00:44:31,960 --> 00:44:34,719
Speaker 1: me up I both because you know, we talk about

869
00:44:34,800 --> 00:44:37,480
Speaker 1: Christian Slater being that sort of archetype of like the

870
00:44:37,520 --> 00:44:40,239
Speaker 1: weirdo in the back of the classroom that kind of

871
00:44:40,320 --> 00:44:41,799
Speaker 1: drew you in. That would have been like a James

872
00:44:41,920 --> 00:44:44,319
Speaker 1: Layer for me. I'm like, oh, this guy is on

873
00:44:44,360 --> 00:44:47,520
Speaker 1: some like spooky shit about the movie stars.

874
00:44:47,800 --> 00:44:50,720
Speaker 2: I think I'm in love and he's reading celebrity bios

875
00:44:50,760 --> 00:44:53,640
Speaker 2: from that era and like, yeah, he is fully in it.

876
00:44:53,680 --> 00:44:56,600
Speaker 2: But the thing that cracks me up is how he's

877
00:44:56,640 --> 00:44:59,440
Speaker 2: perceived by his classmates. Like when you open at the

878
00:44:59,480 --> 00:45:04,080
Speaker 2: opening of film, James is finishing reading a story and

879
00:45:04,239 --> 00:45:07,560
Speaker 2: one of his classmates says his stories made me want

880
00:45:07,560 --> 00:45:11,439
Speaker 2: to kill myself. And then Grady Trip is like, let's

881
00:45:11,520 --> 00:45:15,360
Speaker 2: keep it constructive, and the next person is like, no, seriously,

882
00:45:15,400 --> 00:45:16,839
Speaker 2: I don't understand why he does this.

883
00:45:21,640 --> 00:45:25,200
Speaker 1: Oh my god, you took writing classes when you were

884
00:45:25,239 --> 00:45:27,839
Speaker 1: in school, Like, do you remember stuff like that? No,

885
00:45:27,880 --> 00:45:30,680
Speaker 1: I've never taken a single writing class. Wow, you know

886
00:45:30,800 --> 00:45:34,240
Speaker 1: I took one when I was in college. And god,

887
00:45:34,480 --> 00:45:38,160
Speaker 1: it is basically exactly like that, where people are just like, god,

888
00:45:38,200 --> 00:45:40,520
Speaker 1: I don't get this. This doesn't make any wrecking sense,

889
00:45:40,920 --> 00:45:42,480
Speaker 1: and you're just like humiliated.

890
00:45:43,560 --> 00:45:46,680
Speaker 2: There's no such thing as constructive criticism for a group

891
00:45:46,719 --> 00:45:49,800
Speaker 2: of people who are super at a super competitive age

892
00:45:49,880 --> 00:45:52,360
Speaker 2: and like fighting tooth and nail for every scrap of

893
00:45:52,920 --> 00:45:54,040
Speaker 2: recognition they can get.

894
00:45:54,160 --> 00:45:56,879
Speaker 1: Like, there's no constructive criticism coming out of that. Yeah,

895
00:45:56,880 --> 00:45:59,000
Speaker 1: and everybody in the class especially, I mean, it was

896
00:45:59,080 --> 00:46:01,440
Speaker 1: unclear kind of how he was I was assuming probably

897
00:46:01,520 --> 00:46:05,080
Speaker 1: like eighteen nineteen years old or something. But it also

898
00:46:05,239 --> 00:46:07,040
Speaker 1: is that moment two where you're that young and you're

899
00:46:07,040 --> 00:46:09,520
Speaker 1: in a writing class and you literally are just copying

900
00:46:09,680 --> 00:46:13,120
Speaker 1: like writers that you like. So everybody in that classroom

901
00:46:13,200 --> 00:46:15,719
Speaker 1: is like trying to be Hemingway, trying to be like,

902
00:46:16,280 --> 00:46:19,359
Speaker 1: you know, Sylvia Plath or whoever. And you know, it's

903
00:46:19,400 --> 00:46:22,160
Speaker 1: just a bunch of like young people that don't really

904
00:46:22,200 --> 00:46:25,000
Speaker 1: know shit from fuck, as you have said in the past,

905
00:46:25,320 --> 00:46:28,120
Speaker 1: and they're just critiquing each other. And I was like, damn, man,

906
00:46:28,200 --> 00:46:32,000
Speaker 1: I remember, this was awful brutal. It's so brutal.

907
00:46:32,000 --> 00:46:34,160
Speaker 2: And what's great about this movie is that you've got

908
00:46:34,280 --> 00:46:36,120
Speaker 2: kind of both ends of the spectrum, where you have

909
00:46:36,760 --> 00:46:39,799
Speaker 2: Grady Tripp who has been working on a book for

910
00:46:39,880 --> 00:46:42,920
Speaker 2: seven years, and there's a moment which is in the trailer,

911
00:46:42,960 --> 00:46:44,839
Speaker 2: so I don't think it's a spoiler, where you see

912
00:46:44,880 --> 00:46:47,960
Speaker 2: him type on a typewriter the number is two six '

913
00:46:48,000 --> 00:46:49,600
Speaker 2: one and he's like, yeah, you know, I've been working

914
00:46:49,600 --> 00:46:50,799
Speaker 2: on this book for a while and it kind of

915
00:46:50,800 --> 00:46:53,520
Speaker 2: balloomed up to two hundred and fifty pages, and then

916
00:46:53,560 --> 00:46:56,600
Speaker 2: he types two six's one and then says and then

917
00:46:56,640 --> 00:46:58,839
Speaker 2: it got a little bit bigger than that, and then

918
00:46:58,840 --> 00:46:59,880
Speaker 2: he types types another.

919
00:47:00,360 --> 00:47:01,239
Speaker 1: So he has a.

920
00:47:01,200 --> 00:47:05,440
Speaker 2: Two thousand, five hundred page book that has been working

921
00:47:05,480 --> 00:47:09,000
Speaker 2: on for seven years that is not done.

922
00:47:09,480 --> 00:47:13,400
Speaker 1: Single space, by the way, somebody points that, Katie Holmes

923
00:47:13,680 --> 00:47:17,960
Speaker 1: points that out. Are they might think Robertsonry Junior. Yees.

924
00:47:18,000 --> 00:47:22,400
Speaker 2: Somebody points that out, and he is like petrified because

925
00:47:22,400 --> 00:47:24,360
Speaker 2: his editor, who he picks up at the airport, and

926
00:47:24,400 --> 00:47:26,840
Speaker 2: we will talk about that scene as well. His editor

927
00:47:26,920 --> 00:47:29,200
Speaker 2: is like excited because he's like, you keep telling me

928
00:47:29,200 --> 00:47:32,800
Speaker 2: you're almost done, and Grady's like, yeah, I'm almost done.

929
00:47:32,840 --> 00:47:35,880
Speaker 2: And then he's got this like boxes full of book

930
00:47:37,120 --> 00:47:39,440
Speaker 2: that are just nowhere near being done. And on the

931
00:47:39,480 --> 00:47:44,480
Speaker 2: flip side of that, you have this sullen, depressed, like catatonic,

932
00:47:44,719 --> 00:47:50,640
Speaker 2: practically catatonic teenager who is an astoundingly good writer, as

933
00:47:50,640 --> 00:47:52,759
Speaker 2: we come to find out, and he's being taught by

934
00:47:52,800 --> 00:47:56,200
Speaker 2: someone who cannot write anymore in a way that is

935
00:47:56,239 --> 00:47:57,840
Speaker 2: cohesive or comprehensive.

936
00:47:58,400 --> 00:48:00,799
Speaker 1: I love that. I love that the position. I love

937
00:48:00,840 --> 00:48:03,919
Speaker 1: that dichotomy. Yeah, I was wondering because as a writer,

938
00:48:04,040 --> 00:48:06,000
Speaker 1: I was thinking, Wow, Danielle probably has a lot to

939
00:48:06,040 --> 00:48:09,000
Speaker 1: say about that, because you know of that moment where

940
00:48:09,040 --> 00:48:11,840
Speaker 1: he talks about like there are moments where Grady is

941
00:48:11,880 --> 00:48:15,520
Speaker 1: basically like, I don't believe in writer's block. I think

942
00:48:15,560 --> 00:48:19,560
Speaker 1: he said that at one point, and everyone's like, clearly

943
00:48:19,600 --> 00:48:22,040
Speaker 1: he wrote, like a two thousand page you're just writing

944
00:48:22,080 --> 00:48:24,040
Speaker 1: through your bullshit. You don't even know what's going on.

945
00:48:24,560 --> 00:48:27,839
Speaker 1: And to me, I mean, like, I know we talked

946
00:48:27,880 --> 00:48:30,440
Speaker 1: a lot about age at the beginning of this episode,

947
00:48:30,480 --> 00:48:33,319
Speaker 1: but I was basically like, yeah, that must have been

948
00:48:34,400 --> 00:48:38,160
Speaker 1: like as a like that story of sort of like

949
00:48:38,680 --> 00:48:41,480
Speaker 1: the teacher is the failure and the student is sort

950
00:48:41,520 --> 00:48:46,360
Speaker 1: of better and brighter than the person that he admires.

951
00:48:46,560 --> 00:48:50,240
Speaker 1: Is such an interesting kind of concept like in books

952
00:48:50,280 --> 00:48:52,879
Speaker 1: and in movies and stuff. But as a writer, did

953
00:48:52,920 --> 00:48:57,120
Speaker 1: you like have an anxiety about like that concept of

954
00:48:57,760 --> 00:49:01,799
Speaker 1: him just sort of having in so many words but

955
00:49:01,880 --> 00:49:05,160
Speaker 1: they just don't go anywhere and like that feeling of God,

956
00:49:05,360 --> 00:49:08,080
Speaker 1: the last book that I wrote was so awesome and

957
00:49:09,080 --> 00:49:10,719
Speaker 1: now what, like what am I gonna do?

958
00:49:11,360 --> 00:49:13,080
Speaker 2: Yeah, like the last book he wrote, by the way,

959
00:49:13,160 --> 00:49:15,120
Speaker 2: his call was. His first book was called or the

960
00:49:15,120 --> 00:49:17,600
Speaker 2: book that was very well well known was called The

961
00:49:17,719 --> 00:49:21,160
Speaker 2: Arsonist's Daughter, which is such a movie, such a spot

962
00:49:21,239 --> 00:49:25,960
Speaker 2: on movie note about how novels are named. But I

963
00:49:26,040 --> 00:49:27,920
Speaker 2: didn't you know, it's strange, and I think this is

964
00:49:28,560 --> 00:49:31,840
Speaker 2: potentially why I didn't. I haven't taken any writing courses,

965
00:49:32,000 --> 00:49:36,280
Speaker 2: and I didn't really have like an attack of seeing

966
00:49:36,320 --> 00:49:39,120
Speaker 2: that because I don't think you can teach writing. And

967
00:49:39,160 --> 00:49:43,520
Speaker 2: I know that's a controversial statement potentially, but I don't

968
00:49:43,760 --> 00:49:47,320
Speaker 2: think that I have ever felt that kind of pressure

969
00:49:47,560 --> 00:49:50,200
Speaker 2: in writing because it was never the only thing I

970
00:49:50,239 --> 00:49:53,000
Speaker 2: was doing, and I have a lot of creative outlets,

971
00:49:53,040 --> 00:49:55,440
Speaker 2: so it never felt like, well, I don't feel like

972
00:49:55,440 --> 00:49:57,879
Speaker 2: writing today, I'm fucked. It's more like, well, I don't

973
00:49:57,880 --> 00:50:00,719
Speaker 2: feel like writing today, I'll knit something, or I'll i'll

974
00:50:00,760 --> 00:50:04,040
Speaker 2: make a fucking tissue holder, or like whatever, I'll do

975
00:50:04,120 --> 00:50:07,840
Speaker 2: other things. So I never allowed myself to be blocked

976
00:50:07,920 --> 00:50:10,960
Speaker 2: creatively because I didn't put all my eggs in one basket.

977
00:50:11,320 --> 00:50:13,440
Speaker 2: But what really did give me a little bit of

978
00:50:13,480 --> 00:50:18,239
Speaker 2: anxiety was seeing this James Leer character be so depressed

979
00:50:18,440 --> 00:50:23,760
Speaker 2: and so like fed up with life because he felt

980
00:50:23,760 --> 00:50:25,920
Speaker 2: like he was as worthless as people were telling him

981
00:50:25,960 --> 00:50:28,360
Speaker 2: he was, and he didn't believe in his own writing.

982
00:50:28,800 --> 00:50:31,080
Speaker 2: That was hard for me because I think that happens

983
00:50:31,120 --> 00:50:34,640
Speaker 2: a lot where people stifle themselves and silence themselves because

984
00:50:34,640 --> 00:50:37,680
Speaker 2: the world is telling them you're weird or this isn't

985
00:50:37,719 --> 00:50:40,560
Speaker 2: what we want to read. And if somebody doesn't want

986
00:50:40,600 --> 00:50:43,080
Speaker 2: to read it, it doesn't mean you shouldn't write it, you know.

987
00:50:43,200 --> 00:50:44,360
Speaker 1: So that that hurt.

988
00:50:44,440 --> 00:50:47,120
Speaker 2: That hurt a lot to see that, like so expertly

989
00:50:47,160 --> 00:50:49,040
Speaker 2: portrayed in film.

990
00:50:49,200 --> 00:50:50,879
Speaker 1: And then you know what's really interesting about the Katie

991
00:50:50,920 --> 00:50:55,520
Speaker 1: Holmes character is that Katie Holmes is very reverent towards

992
00:50:55,560 --> 00:50:57,920
Speaker 1: Grady almost Okay, first of all, it is weird that

993
00:50:57,960 --> 00:51:00,680
Speaker 1: she's living with him, Like I was like, wow, that's strange.

994
00:51:01,000 --> 00:51:03,879
Speaker 1: To be honest, at the beginning of the film when

995
00:51:03,920 --> 00:51:06,880
Speaker 1: they mentioned that, I just assumed that they were in

996
00:51:06,920 --> 00:51:09,520
Speaker 1: a romance. I was like, oh, Katie Holmes is dating

997
00:51:09,719 --> 00:51:11,799
Speaker 1: Michael Douglas, Like, uh, is it gonna be like one

998
00:51:11,800 --> 00:51:14,279
Speaker 1: of these movies. But as it turns out, that's not

999
00:51:14,360 --> 00:51:17,640
Speaker 1: the case. She, I think, is in that position where

1000
00:51:17,680 --> 00:51:19,920
Speaker 1: she's like, oh my god, I like really admire this

1001
00:51:20,000 --> 00:51:23,120
Speaker 1: older man and I think he's brilliant and I want to,

1002
00:51:23,760 --> 00:51:26,040
Speaker 1: you know, start a romance with him, and he's like

1003
00:51:26,200 --> 00:51:28,520
Speaker 1: the person that's like, no, not interested, And you know

1004
00:51:28,560 --> 00:51:31,319
Speaker 1: it's because he's obviously like as we find out in

1005
00:51:31,360 --> 00:51:34,840
Speaker 1: love with the Francis McDorman character. But that is something

1006
00:51:34,840 --> 00:51:37,399
Speaker 1: that you very rarely see, by the way, you very

1007
00:51:37,480 --> 00:51:44,000
Speaker 1: rarely see that middle aged professor guy turned down a

1008
00:51:44,080 --> 00:51:48,360
Speaker 1: young student. You know, I appreciate that shit. Let's just

1009
00:51:48,360 --> 00:51:48,920
Speaker 1: say that.

1010
00:51:48,840 --> 00:51:50,759
Speaker 2: And turn her down and be in love with someone

1011
00:51:50,800 --> 00:51:52,120
Speaker 2: whose age appropriate.

1012
00:51:52,880 --> 00:51:57,000
Speaker 1: Yes, my god, I was thrilled by that. And I

1013
00:51:57,040 --> 00:51:59,400
Speaker 1: know that's like sad, but I was thrilled.

1014
00:51:59,600 --> 00:52:01,640
Speaker 2: No, I think it's bad at all, because you're right,

1015
00:52:01,680 --> 00:52:04,200
Speaker 2: it's so rare. Twenty one years later, it's still rare

1016
00:52:05,120 --> 00:52:08,040
Speaker 2: to see that. And I love that that character of

1017
00:52:08,200 --> 00:52:11,600
Speaker 2: Sarah Gaskell, who's a chancellor of the school, was played

1018
00:52:11,600 --> 00:52:14,760
Speaker 2: by Francis McDorman, who is just always such a bright

1019
00:52:15,120 --> 00:52:18,440
Speaker 2: light gem of an actor for me, and she played

1020
00:52:18,440 --> 00:52:20,400
Speaker 2: the fuck out of that role where she's like, you know,

1021
00:52:20,480 --> 00:52:23,840
Speaker 2: I'm pregnant and that's what's up, and I don't know

1022
00:52:23,880 --> 00:52:26,200
Speaker 2: what we should do about it, but I'm not going

1023
00:52:26,200 --> 00:52:28,040
Speaker 2: to wait around for you to make a goddamn decision,

1024
00:52:28,120 --> 00:52:31,080
Speaker 2: so you know, I might do it on my own.

1025
00:52:32,040 --> 00:52:35,200
Speaker 2: But I love seeing a woman in flux in that

1026
00:52:35,239 --> 00:52:37,319
Speaker 2: way who's like, I've got these two men who are

1027
00:52:37,360 --> 00:52:40,239
Speaker 2: not doing it for me, and I'm prepared to go

1028
00:52:40,280 --> 00:52:42,880
Speaker 2: it alone if I need to, because like she's recognizing

1029
00:52:42,920 --> 00:52:46,080
Speaker 2: her own power and her own direction in that, and

1030
00:52:46,160 --> 00:52:48,560
Speaker 2: I really love that, Like I just love seeing that.

1031
00:52:48,680 --> 00:52:52,080
Speaker 2: So she's always fantastic, but she was particularly great in

1032
00:52:52,120 --> 00:52:54,880
Speaker 2: this role. And her husband is played by Richard Thomas.

1033
00:52:55,640 --> 00:52:59,160
Speaker 2: Good Night, John boy, if that means anything to anyone.

1034
00:52:59,320 --> 00:53:02,680
Speaker 2: And Richard Thomas just so happens to be Grady's boss.

1035
00:53:02,760 --> 00:53:04,879
Speaker 2: He heads up the English department, So it's a very

1036
00:53:04,920 --> 00:53:09,440
Speaker 2: convoluted thing that I think. What also gets me about

1037
00:53:09,440 --> 00:53:12,640
Speaker 2: this film now is now that I've been through college,

1038
00:53:12,800 --> 00:53:15,360
Speaker 2: is that it was so indicative of what academia is

1039
00:53:15,440 --> 00:53:17,800
Speaker 2: like at that level when it comes to like I

1040
00:53:17,800 --> 00:53:19,520
Speaker 2: don't know if this professor really knows what the fuck

1041
00:53:19,520 --> 00:53:21,680
Speaker 2: they're talking about, but they have tenures, so I don't know.

1042
00:53:22,719 --> 00:53:25,560
Speaker 1: They're not going anywhere. Yeah, and all the reviews that

1043
00:53:25,640 --> 00:53:28,560
Speaker 1: I read, like the original reviews when the movie first

1044
00:53:28,560 --> 00:53:32,600
Speaker 1: came out, that was kind of the biggest thing that

1045
00:53:32,680 --> 00:53:34,960
Speaker 1: I kept saying was that everybody was like, this is

1046
00:53:35,000 --> 00:53:39,000
Speaker 1: exactly what academia is, Like they nailed it, And yeah,

1047
00:53:39,120 --> 00:53:40,920
Speaker 1: I mean, having been to college, I gotta be honest,

1048
00:53:40,960 --> 00:53:43,560
Speaker 1: I was not. You know, my college was sort of

1049
00:53:43,600 --> 00:53:48,320
Speaker 1: like not as not that that world seemed very baked

1050
00:53:48,360 --> 00:53:51,799
Speaker 1: in with like students living with professors, and you know,

1051
00:53:51,840 --> 00:53:55,000
Speaker 1: it's kind of that like Northeastern, you know, sort of

1052
00:53:55,120 --> 00:54:00,200
Speaker 1: preppy ish, like you know, intellectual kind of university environment, right,

1053
00:54:01,160 --> 00:54:05,200
Speaker 1: Like I love Michael Douglas's house. It's like I watched

1054
00:54:05,239 --> 00:54:07,680
Speaker 1: the movie for that fucking house with those giant windows

1055
00:54:07,719 --> 00:54:09,839
Speaker 1: and all the wood and everything, and it takes place

1056
00:54:09,880 --> 00:54:13,640
Speaker 1: in Philly, takes place until yes, and my college experience

1057
00:54:13,760 --> 00:54:18,080
Speaker 1: was way less sort of that, but it's fascinating because

1058
00:54:18,120 --> 00:54:23,480
Speaker 1: it was that thing of like I remember worshiping professors certainly, yes,

1059
00:54:23,560 --> 00:54:25,520
Speaker 1: but not hanging out with them, I guess in that way,

1060
00:54:25,880 --> 00:54:28,600
Speaker 1: not living with them or trying to date. That definitely not.

1061
00:54:29,920 --> 00:54:32,200
Speaker 1: I want to ask you though about the Robert Downey

1062
00:54:32,239 --> 00:54:37,040
Speaker 1: Junior character, because we've talked about Robert Downey Junior's thing

1063
00:54:37,320 --> 00:54:39,759
Speaker 1: that he does and like all of his movies, which

1064
00:54:39,800 --> 00:54:42,399
Speaker 1: is essentially what he is in this movie too. He's

1065
00:54:42,440 --> 00:54:48,000
Speaker 1: like definitely his Robert Downey Junior self, but for whatever reason,

1066
00:54:48,680 --> 00:54:50,600
Speaker 1: it's a little different and and for some reason I

1067
00:54:50,640 --> 00:54:54,239
Speaker 1: really enjoyed it. I enjoyed him being himself in this role,

1068
00:54:55,000 --> 00:54:56,520
Speaker 1: but I know that he has a lot going on

1069
00:54:56,600 --> 00:54:58,319
Speaker 1: in this movie as a character, and.

1070
00:54:58,280 --> 00:55:00,919
Speaker 2: It's baked into the character, which I find fascinating too,

1071
00:55:00,960 --> 00:55:03,480
Speaker 2: because for something that came out in two thousand, it

1072
00:55:03,560 --> 00:55:07,120
Speaker 2: was kind of wild at that point, I think, to

1073
00:55:07,200 --> 00:55:11,400
Speaker 2: see someone who was not necessarily nailing down their sexuality

1074
00:55:11,719 --> 00:55:16,280
Speaker 2: as a character and was very fluid, very sexually fluid.

1075
00:55:16,760 --> 00:55:20,560
Speaker 2: And when he arrives at the airport and Grady is

1076
00:55:20,600 --> 00:55:24,840
Speaker 2: picking him up, he just so had Terry Crabtree just

1077
00:55:24,880 --> 00:55:28,320
Speaker 2: so happens to have met a beautiful woman on the plane.

1078
00:55:28,840 --> 00:55:31,279
Speaker 2: And the first thing Grady says is like, that is

1079
00:55:31,320 --> 00:55:34,160
Speaker 2: a transvestite, right, And He's like yeah. And they're using

1080
00:55:34,200 --> 00:55:36,920
Speaker 2: the term for the time, which is, you know, someone

1081
00:55:36,960 --> 00:55:42,239
Speaker 2: who dresses in alternate gender clothing. So they weren't using

1082
00:55:42,320 --> 00:55:45,319
Speaker 2: the umbrella term re used now of trans and it

1083
00:55:45,400 --> 00:55:48,279
Speaker 2: wasn't said as a slight. It was just kind of like, yeah,

1084
00:55:48,280 --> 00:55:52,040
Speaker 2: that's Terry, that's Terry all over. Terry's sexual life is

1085
00:55:53,080 --> 00:55:57,640
Speaker 2: very diverse, and so they don't expressly.

1086
00:55:57,120 --> 00:55:58,560
Speaker 1: Land on him being gay.

1087
00:55:59,400 --> 00:56:02,000
Speaker 2: I think he's he's I feel like this character would

1088
00:56:02,000 --> 00:56:04,120
Speaker 2: identify as queer and he's fine with it. And I

1089
00:56:04,120 --> 00:56:07,759
Speaker 2: think that's why his Robert Downey juniorness is kind of

1090
00:56:07,800 --> 00:56:11,520
Speaker 2: more more appreciative in this film, because he's got He's

1091
00:56:11,600 --> 00:56:13,640
Speaker 2: kind of one of the lighter characters in this not

1092
00:56:13,760 --> 00:56:16,720
Speaker 2: because there's no depth to the character, but because his approach,

1093
00:56:16,760 --> 00:56:19,839
Speaker 2: in his boyishness is a part of what makes this

1094
00:56:19,920 --> 00:56:22,360
Speaker 2: character feel more more joyful.

1095
00:56:23,400 --> 00:56:25,319
Speaker 1: The one part though, that really like stuck out to

1096
00:56:25,320 --> 00:56:27,960
Speaker 1: me too about the person that he meets on the

1097
00:56:28,000 --> 00:56:33,799
Speaker 1: plane is when Grady is driving her home and she

1098
00:56:33,800 --> 00:56:37,480
Speaker 1: starts removing her makeup and her wig and everything because

1099
00:56:37,520 --> 00:56:39,319
Speaker 1: she's going home to her.

1100
00:56:39,280 --> 00:56:42,000
Speaker 2: And she says that she said he calls her Antonia,

1101
00:56:42,040 --> 00:56:45,239
Speaker 2: and she's like, it's Anthony Nathan, I'm home right, which

1102
00:56:45,280 --> 00:56:48,560
Speaker 2: is heartbreaking in a way, you know, like it's really

1103
00:56:48,680 --> 00:56:49,760
Speaker 2: a beautiful scene.

1104
00:56:50,040 --> 00:56:52,320
Speaker 1: Yeah, that's a that's real. I mean, that's a real

1105
00:56:52,560 --> 00:56:55,120
Speaker 1: scene to me. And you know, they didn't have to

1106
00:56:55,160 --> 00:56:57,560
Speaker 1: have that in the movie, but they did, and you know,

1107
00:56:57,640 --> 00:57:02,200
Speaker 1: I think that's just an interesting choice. But yeah, this

1108
00:57:02,239 --> 00:57:04,640
Speaker 1: movie was, like I mean, I kept I keep saying

1109
00:57:04,640 --> 00:57:06,880
Speaker 1: nobody's fool in the sense that it does feel like

1110
00:57:07,600 --> 00:57:09,520
Speaker 1: that vibe of just sort of like, oh, here are

1111
00:57:09,560 --> 00:57:11,920
Speaker 1: these people in a town, and they're all kind of

1112
00:57:12,000 --> 00:57:15,600
Speaker 1: characters and it's all kind of set around. There's a

1113
00:57:15,680 --> 00:57:18,280
Speaker 1: there's some dog trauma. I have to say it, like.

1114
00:57:18,320 --> 00:57:20,800
Speaker 2: There is some dog trauma in this film, po the

1115
00:57:20,840 --> 00:57:24,560
Speaker 2: Blind Dog. There is some some Poe trauma.

1116
00:57:26,600 --> 00:57:28,400
Speaker 1: Yeah, they build it.

1117
00:57:28,360 --> 00:57:33,600
Speaker 2: Into the hydrinks, I got to say, but it's pretty yeah.

1118
00:57:33,080 --> 00:57:35,360
Speaker 1: But it is. That's kind of what it did. Remind

1119
00:57:35,400 --> 00:57:37,480
Speaker 1: me of Nobody's fool in that way, just sort of like, oh,

1120
00:57:37,520 --> 00:57:41,240
Speaker 1: here's the here's a sample of a town. There's a

1121
00:57:41,600 --> 00:57:45,160
Speaker 1: kind of grumpyish guy in the center of it, and

1122
00:57:45,240 --> 00:57:48,480
Speaker 1: you know, his life is kind of a ridiculous farce,

1123
00:57:48,720 --> 00:57:52,160
Speaker 1: but hopefully it gets back on track. And you know,

1124
00:57:52,400 --> 00:57:54,560
Speaker 1: like I love that. That's that's a fun type of

1125
00:57:54,600 --> 00:57:55,200
Speaker 1: movie to watch.

1126
00:57:55,360 --> 00:57:58,600
Speaker 2: I was really happy to see that this movie was

1127
00:57:58,640 --> 00:58:01,400
Speaker 2: as good as I remembered it being all around.

1128
00:58:02,120 --> 00:58:06,360
Speaker 1: Yeah, it felt kind of cozy and I appreciate that

1129
00:58:06,480 --> 00:58:09,280
Speaker 1: so much. And yeah, I'm so glad you picked it.

1130
00:58:09,360 --> 00:58:11,880
Speaker 1: I'm so glad it gave me the opportunity to finally

1131
00:58:11,920 --> 00:58:13,920
Speaker 1: see it. And you know what it comes down to

1132
00:58:13,960 --> 00:58:16,040
Speaker 1: it with Michael Douglas too, you know, I think a

1133
00:58:16,040 --> 00:58:18,560
Speaker 1: lot of people remember him, especially in the nineties, like

1134
00:58:18,640 --> 00:58:21,680
Speaker 1: leading up to something like this. They remember a lot

1135
00:58:21,720 --> 00:58:24,760
Speaker 1: for his like erotic thrillers or his like tense dramas,

1136
00:58:25,200 --> 00:58:28,200
Speaker 1: and you forget that he can actually be like kind

1137
00:58:28,240 --> 00:58:31,280
Speaker 1: of you know, a warm like he can play this

1138
00:58:31,320 --> 00:58:35,280
Speaker 1: type of character like a professor. And you know, I

1139
00:58:35,840 --> 00:58:39,080
Speaker 1: appreciated that as well. I liked his like little professor

1140
00:58:39,160 --> 00:58:41,560
Speaker 1: glasses that he kept, like, you know, wearing on and

1141
00:58:41,600 --> 00:58:42,680
Speaker 1: off his.

1142
00:58:42,720 --> 00:58:46,640
Speaker 2: Scarves and his bathroom he writes in this pink bathroom

1143
00:58:46,720 --> 00:58:50,040
Speaker 2: and wears these big wolf scarves. And yeah, it's almost

1144
00:58:50,080 --> 00:58:51,960
Speaker 2: like we talked about last week with with you know,

1145
00:58:52,040 --> 00:58:54,520
Speaker 2: Bruce Den playing that kind of stern character, but you

1146
00:58:54,520 --> 00:58:56,440
Speaker 2: put it in a comedic setting and suddenly it's a

1147
00:58:56,480 --> 00:58:58,280
Speaker 2: different it's a different ballgame.

1148
00:58:58,600 --> 00:59:00,840
Speaker 1: Yeah, it's a diffact way of acting for them. So

1149
00:59:00,880 --> 00:59:04,920
Speaker 1: I like that too. Yeah, good choice. So glad you

1150
00:59:05,000 --> 00:59:10,200
Speaker 1: picked it. Things. What your pick is? Fire? Oh boy,

1151
00:59:10,200 --> 00:59:13,840
Speaker 1: oh boy, oh boy? All right, So my movie for

1152
00:59:13,880 --> 00:59:17,280
Speaker 1: this week for the theme, Y two K prom King

1153
00:59:17,400 --> 00:59:21,680
Speaker 1: and Queen is a movie from nineteen eighty seven. It

1154
00:59:22,000 --> 00:59:25,520
Speaker 1: was based on a book of the same name that

1155
00:59:25,600 --> 00:59:28,680
Speaker 1: was written by Rick Moody. It is called The Ice

1156
00:59:28,680 --> 00:59:31,400
Speaker 1: Storm and it was directed by ang Lee. Are you

1157
00:59:31,440 --> 00:59:35,960
Speaker 1: watching this watching what Nixon duffis? He's a liar? Calmed down.

1158
00:59:36,000 --> 00:59:39,439
Speaker 1: I wasn't in on it. It was nineteen seventy three

1159
00:59:39,800 --> 00:59:43,480
Speaker 1: and the climate was changing. Care fly. It's strictly volunteer,

1160
00:59:43,520 --> 00:59:46,080
Speaker 1: of course. I keep hearing the men put their car

1161
00:59:46,160 --> 00:59:48,160
Speaker 1: keys in a ball in at the end of the evening,

1162
00:59:48,200 --> 00:59:52,320
Speaker 1: the women line up and fish them out. So in

1163
00:59:52,440 --> 00:59:55,360
Speaker 1: nineteen ninety seven, when this movie came out, I drove

1164
00:59:55,480 --> 00:59:59,360
Speaker 1: to Athens, Georgia, because I was living in Atlanta at

1165
00:59:59,360 --> 01:00:02,240
Speaker 1: the time with my friend April Ledbutter, who, by the way,

1166
01:00:02,280 --> 01:00:04,680
Speaker 1: I have to say, she owns this. She co owns

1167
01:00:04,720 --> 01:00:09,680
Speaker 1: this incredible record label called Dust Digital with her husband Lance.

1168
01:00:10,040 --> 01:00:13,520
Speaker 1: I've known them forever. But April and I in ninety

1169
01:00:13,520 --> 01:00:15,760
Speaker 1: seven drove to Athens, which is about like an hour

1170
01:00:16,160 --> 01:00:19,000
Speaker 1: and a half away from Atlanta, and we went to

1171
01:00:19,040 --> 01:00:23,120
Speaker 1: the University of Georgia's student movie theater to see this movie.

1172
01:00:23,560 --> 01:00:26,760
Speaker 1: And I totally went in blind. I had never seen

1173
01:00:26,760 --> 01:00:29,560
Speaker 1: an angling movie before. I had never even heard of

1174
01:00:29,560 --> 01:00:33,520
Speaker 1: this movie before, and at the time this was like

1175
01:00:33,560 --> 01:00:36,000
Speaker 1: one of the first art films that I remember seeing

1176
01:00:36,040 --> 01:00:38,480
Speaker 1: in a movie theater like on my own, you know,

1177
01:00:38,600 --> 01:00:43,000
Speaker 1: with like friends, and I sort of only had a

1178
01:00:43,160 --> 01:00:46,919
Speaker 1: vague idea of what art film was. And ultimately it's

1179
01:00:47,000 --> 01:00:49,720
Speaker 1: interesting because it became kind of like a big passion

1180
01:00:49,720 --> 01:00:53,280
Speaker 1: of mine, especially when I was in undergrad film school

1181
01:00:53,360 --> 01:00:55,240
Speaker 1: in the late nineties. It just was like a good

1182
01:00:55,360 --> 01:00:59,080
Speaker 1: era to be watching art films or like in the cinema. Right.

1183
01:01:00,040 --> 01:01:04,720
Speaker 1: So The Ice Storm is about two families that are

1184
01:01:04,760 --> 01:01:08,800
Speaker 1: living in the same upper middle class community in this

1185
01:01:08,880 --> 01:01:15,360
Speaker 1: town called New Canaan, Connecticut. As the train conductor says,

1186
01:01:15,680 --> 01:01:20,720
Speaker 1: or the trained guy he says, Connecticut. Never been to Connecticut,

1187
01:01:20,760 --> 01:01:23,400
Speaker 1: so I don't know what New Canaan's like. But it's

1188
01:01:24,200 --> 01:01:29,439
Speaker 1: Thanksgiving break in the year nineteen seventy three, and there's

1189
01:01:29,600 --> 01:01:32,600
Speaker 1: this giant storm on the horizon for that weekend where

1190
01:01:32,640 --> 01:01:36,320
Speaker 1: basically it rains a bunch and then it just immediately freezes, right,

1191
01:01:36,560 --> 01:01:39,480
Speaker 1: So it's causing this great, big ice storm, which is

1192
01:01:39,520 --> 01:01:42,520
Speaker 1: obviously the name of the movie. So these two families

1193
01:01:42,560 --> 01:01:47,600
Speaker 1: are comprised of this like really incredible ensemble cast of characters.

1194
01:01:47,640 --> 01:01:52,600
Speaker 1: So there's the Hoods, who are Kevin Klein and Joan Allen,

1195
01:01:52,760 --> 01:01:56,200
Speaker 1: who play Ben and Elena, and their kids are Paul

1196
01:01:56,240 --> 01:01:59,560
Speaker 1: and Wendy who are played by Toby maguire and Christina Ricci.

1197
01:02:00,320 --> 01:02:03,640
Speaker 1: And then there's the Carvers, who are played by Sigourney

1198
01:02:03,680 --> 01:02:06,640
Speaker 1: Weaver and Jamie Sheridan as the parents, and then their

1199
01:02:06,720 --> 01:02:09,920
Speaker 1: kids are Sandy and Mikey who are played by Elijah

1200
01:02:09,960 --> 01:02:14,160
Speaker 1: Wood and Adam Handbird. And he was the little Man

1201
01:02:14,200 --> 01:02:18,680
Speaker 1: Tate in Little Man Tate. And basically we see through

1202
01:02:18,680 --> 01:02:21,480
Speaker 1: these two families the ways in which they are sort

1203
01:02:21,520 --> 01:02:30,480
Speaker 1: of navigating the world during a very culturally tumultuous time, right,

1204
01:02:31,080 --> 01:02:34,400
Speaker 1: And the film is narrated by the Toby maguire character

1205
01:02:34,560 --> 01:02:38,320
Speaker 1: who is coming home for Thanksgiving from this private school

1206
01:02:38,360 --> 01:02:41,440
Speaker 1: in New York City that he attends. And you know,

1207
01:02:41,480 --> 01:02:45,080
Speaker 1: this was essentially The Ice Storm was Toby McGuire's kind

1208
01:02:45,080 --> 01:02:47,840
Speaker 1: of first big role, and he was in his early

1209
01:02:47,880 --> 01:02:49,960
Speaker 1: twenties playing a sixteen year old, like I think I

1210
01:02:50,040 --> 01:02:54,680
Speaker 1: mentioned before, and the narration that he gives in the

1211
01:02:54,680 --> 01:02:57,400
Speaker 1: film is kind of set inside the world of this

1212
01:02:57,560 --> 01:03:00,640
Speaker 1: comic book that he's reading on the trail, which is

1213
01:03:00,680 --> 01:03:05,760
Speaker 1: The Fantastic Four. And unfortunately I have like zero knowledge

1214
01:03:05,800 --> 01:03:09,800
Speaker 1: of comic books, but essentially what he's saying in the

1215
01:03:09,880 --> 01:03:13,840
Speaker 1: narration is that the Fantastic Four is a family, and

1216
01:03:14,000 --> 01:03:16,840
Speaker 1: just like all family is, it's a powerful bond, but

1217
01:03:16,880 --> 01:03:20,480
Speaker 1: it's also very complex and complicated. And he kind of

1218
01:03:20,480 --> 01:03:22,320
Speaker 1: pops in and out of the story because he's away

1219
01:03:22,320 --> 01:03:24,840
Speaker 1: at school for most of it, where he's kind of

1220
01:03:24,880 --> 01:03:28,640
Speaker 1: like smoking weed and like learning philosophy, and he's competing

1221
01:03:28,680 --> 01:03:31,840
Speaker 1: with his roommate, who's played by David Crumholtz, by the way,

1222
01:03:31,840 --> 01:03:35,560
Speaker 1: who I love. He's such a good actor, plays a

1223
01:03:35,560 --> 01:03:39,920
Speaker 1: lot of like weird guys. I love it. And then

1224
01:03:40,400 --> 01:03:42,200
Speaker 1: to him and his roommate are kind of like fighting

1225
01:03:42,240 --> 01:03:45,680
Speaker 1: for the attention of this like beautiful rich girl who

1226
01:03:45,760 --> 01:03:48,400
Speaker 1: is played by Katie Holmes and this was her first movie,

1227
01:03:48,800 --> 01:03:53,520
Speaker 1: and her character is named Libbts, which is, like Casey

1228
01:03:54,040 --> 01:03:56,800
Speaker 1: a running joke in the movie where he says Libbts

1229
01:03:56,800 --> 01:04:00,560
Speaker 1: and everyone's like, who is named Libbitts? And I have

1230
01:04:00,640 --> 01:04:02,520
Speaker 1: to say, I've never heard that name before you there,

1231
01:04:02,560 --> 01:04:03,080
Speaker 1: So I.

1232
01:04:03,080 --> 01:04:07,040
Speaker 2: Was, and I like that in both of both of

1233
01:04:07,080 --> 01:04:09,000
Speaker 2: our films, and I didn't mention in my film, but

1234
01:04:09,040 --> 01:04:14,040
Speaker 2: they're they're friends, like they're friends who you know. In

1235
01:04:14,080 --> 01:04:16,920
Speaker 2: one film, this one, he wants to be more than friends,

1236
01:04:16,960 --> 01:04:19,560
Speaker 2: but in the in Wonder Boys, they're content to be

1237
01:04:19,720 --> 01:04:21,640
Speaker 2: just friends and know kind of about each other. So

1238
01:04:21,680 --> 01:04:25,240
Speaker 2: I like seeing them play these characters. They don't necessarily

1239
01:04:25,280 --> 01:04:26,240
Speaker 2: have to be romantic.

1240
01:04:27,000 --> 01:04:30,120
Speaker 1: Yeah, they're They're definitely connected. They interact in both of

1241
01:04:30,120 --> 01:04:33,240
Speaker 1: these movies. But The Ice Storm really is rooted in

1242
01:04:33,320 --> 01:04:37,160
Speaker 1: this specific time and place where it's set. And there's

1243
01:04:37,160 --> 01:04:41,280
Speaker 1: actually this really great YouTube video that I will definitely

1244
01:04:41,280 --> 01:04:46,480
Speaker 1: post a link to where Charlie Rose is interviewing Anglee

1245
01:04:47,200 --> 01:04:50,920
Speaker 1: and James Seamus, who was the producer and the screenwriter

1246
01:04:51,080 --> 01:04:53,439
Speaker 1: for The Ice Storm. You know, him and Anglee were

1247
01:04:53,480 --> 01:04:56,600
Speaker 1: frequent collaborators. They worked on a lot of stuff together.

1248
01:04:56,760 --> 01:04:58,800
Speaker 1: And it's the two of them with Rick Moody, who

1249
01:04:58,920 --> 01:05:02,560
Speaker 1: was the author of the original A book. And there's

1250
01:05:02,600 --> 01:05:06,360
Speaker 1: this amazing quote that James Seamus says in the interview

1251
01:05:06,360 --> 01:05:08,760
Speaker 1: with Charlie Rose, which is, and this is a quote

1252
01:05:08,760 --> 01:05:14,720
Speaker 1: from him, there is something essentially cinematic about how embarrassing

1253
01:05:15,240 --> 01:05:20,600
Speaker 1: nineteen seventy three is in particular for Americans. And I

1254
01:05:20,640 --> 01:05:23,440
Speaker 1: think that he's referencing the idea that we were like

1255
01:05:23,560 --> 01:05:26,720
Speaker 1: smack dab in the middle of the Watergate scandal and

1256
01:05:26,880 --> 01:05:31,680
Speaker 1: America's situation in Vietnam, which funnily enough, is something that

1257
01:05:31,760 --> 01:05:34,560
Speaker 1: we're just reminded of all the time in the film

1258
01:05:34,960 --> 01:05:38,640
Speaker 1: by the Christina Ricci character, who's essentially this kind of

1259
01:05:38,640 --> 01:05:43,440
Speaker 1: like fourteen year old rawwel rouser, and she's going around

1260
01:05:43,480 --> 01:05:46,600
Speaker 1: reminding like her parents and everybody of kind of the

1261
01:05:46,640 --> 01:05:51,520
Speaker 1: political implications of things that are happening around them during

1262
01:05:51,520 --> 01:05:54,000
Speaker 1: this time. And like, I gotta tell you, man, that

1263
01:05:54,640 --> 01:05:59,160
Speaker 1: thanksgiving grace that she gives is epic, Like I ca

1264
01:05:59,560 --> 01:06:03,840
Speaker 1: nick in the truest sense of that word. I know,

1265
01:06:03,960 --> 01:06:06,480
Speaker 1: I was like, that girl has her head on straight.

1266
01:06:06,680 --> 01:06:12,240
Speaker 1: My god, And here's the thing too. Additionally, and I

1267
01:06:12,280 --> 01:06:14,840
Speaker 1: think that this is the main focus of the film.

1268
01:06:15,360 --> 01:06:18,440
Speaker 1: We were also in the midst of the sexual revolution

1269
01:06:18,760 --> 01:06:23,760
Speaker 1: and second wave feminism, and I think that this informs

1270
01:06:23,800 --> 01:06:27,840
Speaker 1: almost kind of every single character in this film. And

1271
01:06:28,520 --> 01:06:30,200
Speaker 1: when I was prepared for this episode, you know, I

1272
01:06:30,200 --> 01:06:31,960
Speaker 1: was watching this Charlie Rose thing, and I also was

1273
01:06:31,960 --> 01:06:35,000
Speaker 1: reading the Roger Ebert review of The Ice Storm when

1274
01:06:35,000 --> 01:06:37,120
Speaker 1: it came out, and he makes this point which I

1275
01:06:37,120 --> 01:06:40,200
Speaker 1: think really crystallize the beats of the story for me,

1276
01:06:40,280 --> 01:06:42,920
Speaker 1: which is, you know, because I was obviously not alive

1277
01:06:43,080 --> 01:06:47,760
Speaker 1: in nineteen seventy three. But Roger Ebert says the early

1278
01:06:47,880 --> 01:06:50,880
Speaker 1: seventies were a time when the social revolution of the

1279
01:06:50,920 --> 01:06:55,840
Speaker 1: nineteen sixties had saped down or up into the yuppie

1280
01:06:55,840 --> 01:06:59,800
Speaker 1: classes who wanted to be with it and supplemented their

1281
01:06:59,840 --> 01:07:01,120
Speaker 1: mare teenies with reefer.

1282
01:07:02,240 --> 01:07:05,560
Speaker 2: Right, Oh my god, is that about nineteen seventy three

1283
01:07:05,880 --> 01:07:08,480
Speaker 2: or two thousand and twenty world?

1284
01:07:10,920 --> 01:07:13,960
Speaker 1: That's the eye storm to a tee. Like the like

1285
01:07:14,240 --> 01:07:18,320
Speaker 1: the characters in this film, these families, they're rich people

1286
01:07:18,560 --> 01:07:23,120
Speaker 1: in modern homes. They're sending their children to elite private schools,

1287
01:07:23,120 --> 01:07:27,880
Speaker 1: they're going to couple's therapy. But they're also talking about

1288
01:07:27,920 --> 01:07:34,120
Speaker 1: deep throat, both the movie and the person obviously because Watergate. Right,

1289
01:07:35,000 --> 01:07:39,640
Speaker 1: they're having affairs. Like Joan Allen's character is like she's

1290
01:07:39,760 --> 01:07:41,920
Speaker 1: like kind of out one day and she's scanning this

1291
01:07:42,080 --> 01:07:44,520
Speaker 1: table of books and she's kind of like looking at

1292
01:07:44,520 --> 01:07:46,480
Speaker 1: a bunch of stuff that's on the table, and it's

1293
01:07:46,520 --> 01:07:51,240
Speaker 1: like Erica Jong's fear of flying is on it, you know.

1294
01:07:51,280 --> 01:07:55,520
Speaker 1: Sigourney Weaver, her character is like reading Philip Roth in bed,

1295
01:07:56,120 --> 01:08:00,439
Speaker 1: and they're also like at this time have a lot

1296
01:08:00,440 --> 01:08:04,040
Speaker 1: of kind of like conversations about sex, and they're having

1297
01:08:04,040 --> 01:08:08,520
Speaker 1: these sort of like lectures with their children, very awkward

1298
01:08:08,680 --> 01:08:13,720
Speaker 1: or with children period, yeah, who are experimenting with their

1299
01:08:13,720 --> 01:08:20,200
Speaker 1: own sexuality and they're all like very strange lectures. Where

1300
01:08:20,280 --> 01:08:24,920
Speaker 1: Kevin Klein is basically like he's he's driving his son

1301
01:08:25,000 --> 01:08:27,600
Speaker 1: the Toby Maguire character home from the bus station or

1302
01:08:27,640 --> 01:08:30,280
Speaker 1: I'm sorry, the train station, and he starts like trying

1303
01:08:30,320 --> 01:08:33,400
Speaker 1: to have a conversation about masturbation with him, and I

1304
01:08:33,400 --> 01:08:35,800
Speaker 1: think his biggest point was that he was like, you

1305
01:08:35,800 --> 01:08:38,639
Speaker 1: should never jerk off in the shower because it wastes water.

1306
01:08:40,520 --> 01:08:43,960
Speaker 1: And I'm like, ok, on the linens and not on

1307
01:08:44,000 --> 01:08:46,840
Speaker 1: the linens. So it's like he's saying like, oh, it's

1308
01:08:46,880 --> 01:08:48,880
Speaker 1: okay that you do these things, but you know, just

1309
01:08:49,080 --> 01:08:51,320
Speaker 1: you know, have some grace about it or whatever. And

1310
01:08:51,360 --> 01:08:54,120
Speaker 1: I'm like, that's an interesting take. I love this ben

1311
01:08:54,200 --> 01:08:54,799
Speaker 1: Hood character.

1312
01:08:54,840 --> 01:08:56,880
Speaker 2: I gotta say that, like the reason I saw this

1313
01:08:57,000 --> 01:08:59,240
Speaker 2: film because you know, ninety seven was also a time

1314
01:08:59,240 --> 01:09:02,040
Speaker 2: when I wasn't really hip to a lot of indie

1315
01:09:02,040 --> 01:09:05,320
Speaker 2: films and stuff like that. But yeah, I have had

1316
01:09:05,360 --> 01:09:07,439
Speaker 2: a crush on Kevin Klin since I saw a fish

1317
01:09:07,439 --> 01:09:08,000
Speaker 2: called Wanda.

1318
01:09:08,520 --> 01:09:11,320
Speaker 1: How could everyone's in it? I'm seeing it.

1319
01:09:12,080 --> 01:09:14,680
Speaker 2: And what is hilarious to me about Kevin Clin in

1320
01:09:14,760 --> 01:09:20,839
Speaker 2: this film is that his character Ben is so boring

1321
01:09:21,120 --> 01:09:22,280
Speaker 2: when he talks.

1322
01:09:21,960 --> 01:09:24,120
Speaker 1: That almost everyone in his life wants him to shut up.

1323
01:09:24,160 --> 01:09:26,600
Speaker 1: It is so funny. I know, there's I'm going to

1324
01:09:26,640 --> 01:09:28,680
Speaker 1: talk about that part with him and Sigourney Weaver in

1325
01:09:28,760 --> 01:09:30,920
Speaker 1: just a second. But it's that thing where like, yeah,

1326
01:09:30,960 --> 01:09:33,400
Speaker 1: he starts off with an ascot and he's very like

1327
01:09:33,920 --> 01:09:36,479
Speaker 1: it's funny because he seems really buttoned up. I mean

1328
01:09:36,720 --> 01:09:41,519
Speaker 1: essentially he has this kind of hoity toity miss to

1329
01:09:41,600 --> 01:09:45,519
Speaker 1: his voice when he speaks, and you can tell that

1330
01:09:45,600 --> 01:09:49,000
Speaker 1: he's probably coming from this like older generation that now

1331
01:09:49,080 --> 01:09:51,840
Speaker 1: is in the midst of this like sexual revolution where

1332
01:09:51,880 --> 01:09:54,120
Speaker 1: he's sort of like, oh, well, now we're talking about

1333
01:09:54,160 --> 01:09:57,599
Speaker 1: porn movies like in you know, Mixed Company, and I'm

1334
01:09:57,600 --> 01:10:01,120
Speaker 1: talking to my son about h you know, masturbation. But

1335
01:10:01,400 --> 01:10:04,880
Speaker 1: I can't help it be like the fifties guy with like,

1336
01:10:05,560 --> 01:10:08,040
Speaker 1: you know, the very like straight and narrow, you.

1337
01:10:08,000 --> 01:10:10,679
Speaker 2: Know, and his wife is like wearing a crochet doily

1338
01:10:10,840 --> 01:10:14,080
Speaker 2: couch thing as a vest. Like they are definitely out

1339
01:10:14,080 --> 01:10:15,679
Speaker 2: of step at a time, a little bit.

1340
01:10:15,760 --> 01:10:19,280
Speaker 1: A little bit, yeah, no kidding, And honestly, like the

1341
01:10:19,360 --> 01:10:22,479
Speaker 1: other kind of sexual lecture in the film that is

1342
01:10:22,760 --> 01:10:27,840
Speaker 1: mind blowing is when Sigourney Weaver catches Christina Ricci. Now

1343
01:10:27,840 --> 01:10:32,400
Speaker 1: this is like Ben and Elena's daughter, so the neighbor

1344
01:10:32,520 --> 01:10:37,080
Speaker 1: mom catches Christina Ricci and Sigourney we were son in

1345
01:10:37,280 --> 01:10:40,559
Speaker 1: their bathroom kind of doing the whole like if I

1346
01:10:40,680 --> 01:10:44,000
Speaker 1: show you mine, you show me yours thing and the

1347
01:10:44,080 --> 01:10:47,200
Speaker 1: way that Sigourney we Were like snatches Christina Reachi and

1348
01:10:47,280 --> 01:10:52,759
Speaker 1: then starts like evoking Margaret Meade like coming of age

1349
01:10:52,760 --> 01:10:56,320
Speaker 1: and samoa fucking you know, like this idea that we're

1350
01:10:56,360 --> 01:10:58,840
Speaker 1: sending our children out into the world. You know, it's

1351
01:10:58,880 --> 01:11:03,519
Speaker 1: like this total like ridiculous speech. And Christina reach is like,

1352
01:11:03,560 --> 01:11:06,280
Speaker 1: what are you talking about? I mean, it's just sort

1353
01:11:06,280 --> 01:11:09,639
Speaker 1: of like mind blowing to me. And also like again

1354
01:11:09,800 --> 01:11:13,439
Speaker 1: it's this new era where in any other era before this,

1355
01:11:13,560 --> 01:11:16,160
Speaker 1: you would have taken a child, send her to boarding school,

1356
01:11:16,960 --> 01:11:21,880
Speaker 1: sent her away because she did this like egregious, foul, disgusting,

1357
01:11:21,920 --> 01:11:22,719
Speaker 1: a moral thing.

1358
01:11:23,120 --> 01:11:25,200
Speaker 2: But she would have had like a clitterectomy, her nipples

1359
01:11:25,240 --> 01:11:26,439
Speaker 2: would have been cut off like.

1360
01:11:28,000 --> 01:11:31,280
Speaker 1: This as far away from sex as possible exactly, and

1361
01:11:31,400 --> 01:11:36,760
Speaker 1: instead now we're having these, like you know, anthropological conversations

1362
01:11:36,800 --> 01:11:41,360
Speaker 1: with the children about discovering their own sexuality. It's very interesting, and.

1363
01:11:41,520 --> 01:11:43,400
Speaker 2: I do think it was interesting for this film to

1364
01:11:43,439 --> 01:11:45,800
Speaker 2: focus on the upper middle class white families because if

1365
01:11:45,800 --> 01:11:48,840
Speaker 2: this had been a middle class black family, or at

1366
01:11:48,960 --> 01:11:51,400
Speaker 2: truly any class level of black family in the nineteen

1367
01:11:51,439 --> 01:11:55,800
Speaker 2: seventies and saw their children playing if I show you mind,

1368
01:11:55,840 --> 01:11:58,519
Speaker 2: you show me yours, that child would have been picked

1369
01:11:58,560 --> 01:12:01,439
Speaker 2: up and tossed out the door like Jazzy Jeff, like, just.

1370
01:12:03,200 --> 01:12:05,000
Speaker 1: You are never allowed to come in this house again.

1371
01:12:05,400 --> 01:12:08,360
Speaker 1: I don't want to know you, right, And that I

1372
01:12:08,400 --> 01:12:11,720
Speaker 1: think is the most important point is the idea that

1373
01:12:11,760 --> 01:12:15,360
Speaker 1: these are people who are of the suburbs, like they

1374
01:12:15,400 --> 01:12:19,880
Speaker 1: are upper middle class living in the white suburbs. They

1375
01:12:20,000 --> 01:12:24,240
Speaker 1: are finally discovering the revolution that had already been going

1376
01:12:24,240 --> 01:12:26,719
Speaker 1: on since the sixties and now sort of like again,

1377
01:12:26,760 --> 01:12:30,559
Speaker 1: like Roger Ebert says, it's trickled down or trickled up

1378
01:12:30,680 --> 01:12:34,559
Speaker 1: into their class, into their neighborhood. And it's fascinating because

1379
01:12:34,560 --> 01:12:37,960
Speaker 1: they kind of have like this weird vibe to it,

1380
01:12:38,080 --> 01:12:42,920
Speaker 1: like they're curious, but they're also like proper, so there's

1381
01:12:42,960 --> 01:12:45,840
Speaker 1: this weird kind of dichotomy there. And one of the

1382
01:12:45,880 --> 01:12:49,879
Speaker 1: biggest moments of the film revolves around a key party

1383
01:12:50,680 --> 01:12:53,559
Speaker 1: that's hosted in the neighborhood by one of their friends,

1384
01:12:53,800 --> 01:12:58,080
Speaker 1: who was played by Alison Janny, who looks fucking incredible

1385
01:12:58,120 --> 01:13:03,559
Speaker 1: in that dress. Phenomenal best look ever. I was like,

1386
01:13:04,520 --> 01:13:07,200
Speaker 1: her hair is like pinned back, she's got that flowy

1387
01:13:07,200 --> 01:13:11,040
Speaker 1: Pocodat dress, and she's in her like fancy colonial house.

1388
01:13:11,200 --> 01:13:12,280
Speaker 1: It's so incredible.

1389
01:13:12,600 --> 01:13:15,519
Speaker 2: I hope one day there is like a met Gala

1390
01:13:15,680 --> 01:13:21,000
Speaker 2: exhibit of all of Alison Janny's costumes throughout the ages,

1391
01:13:21,040 --> 01:13:25,640
Speaker 2: because her and Ititanya, her and drop dead gorgeous in

1392
01:13:25,720 --> 01:13:28,240
Speaker 2: this film, Like, just give us the costumes, put them

1393
01:13:28,280 --> 01:13:31,800
Speaker 2: on some annequins, let us weep communally about how great

1394
01:13:31,840 --> 01:13:32,120
Speaker 2: she is.

1395
01:13:32,520 --> 01:13:35,800
Speaker 1: I mean, she is one of the best actresses but

1396
01:13:35,880 --> 01:13:39,080
Speaker 1: she also is one of the best character actresses ever,

1397
01:13:39,320 --> 01:13:42,040
Speaker 1: because she gets to play like weird, quirky characters and

1398
01:13:42,120 --> 01:13:45,519
Speaker 1: awesome outfits, and I'm like, man, what a fucking career.

1399
01:13:45,560 --> 01:13:47,839
Speaker 1: I would love to be that. If I was an actor,

1400
01:13:47,880 --> 01:13:50,040
Speaker 1: I would definitely be like an Alison Janny. I would

1401
01:13:50,080 --> 01:13:54,760
Speaker 1: aspire to that. But here she is in this movie

1402
01:13:54,800 --> 01:13:57,439
Speaker 1: having a key party. Right. I think you guys know

1403
01:13:57,479 --> 01:13:59,320
Speaker 1: what a key party is. I don't have to explain it.

1404
01:13:59,320 --> 01:14:03,559
Speaker 1: It seems so hokey and corny now, but wait, anyway,

1405
01:14:03,920 --> 01:14:07,679
Speaker 1: it was the thing. Essentially, it's a party game where

1406
01:14:08,080 --> 01:14:11,240
Speaker 1: people come into the party put their car keys in

1407
01:14:11,320 --> 01:14:14,479
Speaker 1: a bowl, and at the end of the night, people

1408
01:14:14,560 --> 01:14:17,000
Speaker 1: go into the bowl one by one and pull out

1409
01:14:17,000 --> 01:14:19,240
Speaker 1: a pair of keys. And that's who you went home

1410
01:14:19,320 --> 01:14:21,439
Speaker 1: and fucked. That is a key party.

1411
01:14:21,560 --> 01:14:23,200
Speaker 2: I love that you say that, like it's the most

1412
01:14:23,240 --> 01:14:27,679
Speaker 2: boring thing in thet You've been married for twenty five years,

1413
01:14:27,680 --> 01:14:32,280
Speaker 2: You're gonna go home and fuck somebody else who cares well,

1414
01:14:32,360 --> 01:14:32,559
Speaker 2: you know.

1415
01:14:32,720 --> 01:14:35,920
Speaker 1: But it's that thing where it became kind of like

1416
01:14:36,040 --> 01:14:41,320
Speaker 1: a cliche when talking about this era, and especially in

1417
01:14:42,200 --> 01:14:46,720
Speaker 1: this sort of racial class context, because it's like, oh,

1418
01:14:46,760 --> 01:14:49,800
Speaker 1: here's like a bunch of like rich people's parents out

1419
01:14:49,800 --> 01:14:52,200
Speaker 1: in the burbs cheating on their spouses is based on

1420
01:14:52,280 --> 01:14:56,280
Speaker 1: a game that involves car keys, and you know, but yeah,

1421
01:14:56,320 --> 01:14:59,599
Speaker 1: you're right, I mean this sort of like the foundation

1422
01:14:59,720 --> 01:15:03,200
Speaker 1: of that is actually pretty crazy. But it did become

1423
01:15:03,240 --> 01:15:07,080
Speaker 1: this kind of like cliche thing about this time, but

1424
01:15:07,160 --> 01:15:10,480
Speaker 1: you know, infidelity is a big part of this movie especially,

1425
01:15:10,880 --> 01:15:15,599
Speaker 1: you know, because the infidelity is kind of a part

1426
01:15:15,680 --> 01:15:20,320
Speaker 1: of these characters sort of examining their wants and desires,

1427
01:15:20,400 --> 01:15:23,000
Speaker 1: which obviously is a big part of the sexual revolution.

1428
01:15:23,640 --> 01:15:26,639
Speaker 1: And you figure out that Sigourney Weaver's character is having

1429
01:15:26,640 --> 01:15:31,000
Speaker 1: an affair with the Kevin Klein character, but she's basically

1430
01:15:31,040 --> 01:15:34,240
Speaker 1: detached from it, and she's also detached from her duties

1431
01:15:34,280 --> 01:15:37,559
Speaker 1: as a mom and a wife. Like, and what we

1432
01:15:37,560 --> 01:15:39,719
Speaker 1: were talking about earlier is that there's a scene where

1433
01:15:39,880 --> 01:15:43,000
Speaker 1: they've just finished having sex and then you know, of

1434
01:15:43,000 --> 01:15:48,360
Speaker 1: course Kevin Klein is talking about his office and golf

1435
01:15:48,439 --> 01:15:51,200
Speaker 1: games and doing all the shit, and he's talking kind

1436
01:15:51,200 --> 01:15:55,679
Speaker 1: of endlessly, and Sigourney Weaver is basically like, oh wait,

1437
01:15:55,960 --> 01:15:57,760
Speaker 1: you need to stop. She's like, I don't want to

1438
01:15:57,800 --> 01:16:00,400
Speaker 1: hear this, Like I already have a husband. I don't

1439
01:16:00,400 --> 01:16:05,920
Speaker 1: need this stuff, okay, And he's like, wow, you're actually

1440
01:16:05,960 --> 01:16:08,400
Speaker 1: right about that. This is just we're just having a

1441
01:16:08,479 --> 01:16:11,680
Speaker 1: sex affair and yeah, I don't get to talk to

1442
01:16:11,680 --> 01:16:15,639
Speaker 1: you about my golf game or whatever. Such a great scene, Yeah,

1443
01:16:15,760 --> 01:16:19,680
Speaker 1: very bold obviously for that time, but also too, you know,

1444
01:16:19,720 --> 01:16:22,160
Speaker 1: with a Joe Allen character, she's sort of a drift

1445
01:16:22,240 --> 01:16:24,880
Speaker 1: as well, and she's trying to figure out her own womanhood,

1446
01:16:24,920 --> 01:16:28,160
Speaker 1: and you know, she's wearing the Doiley shirt. She's kind

1447
01:16:28,160 --> 01:16:31,000
Speaker 1: of the opposite of that of that supporting Weaver character,

1448
01:16:31,040 --> 01:16:33,000
Speaker 1: where she's very much like, I'm a wife and a

1449
01:16:33,000 --> 01:16:34,760
Speaker 1: mom and I don't know who I am beyond that.

1450
01:16:35,439 --> 01:16:38,759
Speaker 1: And at the same time, you know, her daughter, Christina

1451
01:16:38,800 --> 01:16:42,360
Speaker 1: Ritchie's character is very bold in her life at her age.

1452
01:16:42,360 --> 01:16:45,439
Speaker 1: I mean she's supposed to be fourteen years old. You know,

1453
01:16:45,479 --> 01:16:49,200
Speaker 1: she's very bold politically, like we said before, and she's

1454
01:16:49,360 --> 01:16:53,439
Speaker 1: very sexually aware and has been experimenting both with Mikey

1455
01:16:53,640 --> 01:16:58,479
Speaker 1: and Sandy in the basement. And it sort of implied

1456
01:16:58,520 --> 01:17:04,040
Speaker 1: that the Elijah Wood character Mikey is a stoner but

1457
01:17:04,120 --> 01:17:07,599
Speaker 1: also Sigourny Weaver. His own mother says, Oh, he's been

1458
01:17:07,600 --> 01:17:10,599
Speaker 1: out of it since the day was born, right, which.

1459
01:17:10,439 --> 01:17:14,479
Speaker 2: Is so fucked up. It is fonder because he's not stoned.

1460
01:17:14,560 --> 01:17:20,720
Speaker 2: He's just a very scientifically strangely minded person, and to

1461
01:17:20,760 --> 01:17:22,599
Speaker 2: the point where like his dad comes in at once.

1462
01:17:22,840 --> 01:17:25,760
Speaker 2: In one scene, the Jamie Sheridan character and says, you know,

1463
01:17:26,920 --> 01:17:28,720
Speaker 2: you know, I'm back, and he kind of looks up

1464
01:17:28,720 --> 01:17:30,880
Speaker 2: and he's like you were gone. Like he just doesn't

1465
01:17:30,920 --> 01:17:33,879
Speaker 2: notice things that other people would find important.

1466
01:17:33,920 --> 01:17:39,360
Speaker 1: And he is obsessed with molecules. Mikey loves molecules. It's

1467
01:17:39,400 --> 01:17:41,240
Speaker 1: all he wants to talk about. He will freak you

1468
01:17:41,280 --> 01:17:44,479
Speaker 1: the fuck out with some molecule information. He's using the

1469
01:17:44,560 --> 01:17:48,240
Speaker 1: molecules to explain like the existence of man. It's like

1470
01:17:48,600 --> 01:17:51,320
Speaker 1: he's on one. He's deep and I mean, honestly, like,

1471
01:17:51,400 --> 01:17:53,320
Speaker 1: you know, it could be that he is simply like

1472
01:17:53,360 --> 01:17:56,439
Speaker 1: on the spectrum or something like that, but honestly, you know,

1473
01:17:56,479 --> 01:17:58,679
Speaker 1: they allude to the fact that he might just be stoned.

1474
01:17:58,760 --> 01:18:00,559
Speaker 1: But I don't think in the movie he I never

1475
01:18:00,640 --> 01:18:02,519
Speaker 1: see him smoking weed or anything. I think it's just

1476
01:18:02,560 --> 01:18:04,719
Speaker 1: like an intense young man.

1477
01:18:05,240 --> 01:18:09,400
Speaker 2: Meanwhile, his brother is out in the backyard whipping a

1478
01:18:09,479 --> 01:18:12,759
Speaker 2: hibiscus with an actual real leather whip that his mom

1479
01:18:12,880 --> 01:18:15,599
Speaker 2: gives to him to play with instead of a lighter.

1480
01:18:16,320 --> 01:18:19,880
Speaker 1: Yeah, he's blowing up his damn toys on the back porch.

1481
01:18:20,800 --> 01:18:23,120
Speaker 1: I mean, like speaking of intense, like both these sons

1482
01:18:23,160 --> 01:18:28,360
Speaker 1: are intense as fuck, and he and Sandy in particular

1483
01:18:29,200 --> 01:18:31,760
Speaker 1: so you know, Mikey and Wendy are of the same

1484
01:18:31,800 --> 01:18:33,920
Speaker 1: age and they go to the same school and they're

1485
01:18:34,000 --> 01:18:38,080
Speaker 1: kind of like, you know, fooling around a lot after school.

1486
01:18:38,360 --> 01:18:43,240
Speaker 1: But Sandy, the little brother, is also obsessed with Wendy,

1487
01:18:43,479 --> 01:18:46,200
Speaker 1: and he kind of is like always like looking at

1488
01:18:46,200 --> 01:18:50,000
Speaker 1: her these big eyes and is like basically says he

1489
01:18:50,040 --> 01:18:52,360
Speaker 1: loves her and all this stuff, and you know, they

1490
01:18:52,400 --> 01:18:55,400
Speaker 1: and they have a little it plays out in a

1491
01:18:55,400 --> 01:18:57,120
Speaker 1: big way in the movie, but they kind of end

1492
01:18:57,160 --> 01:18:59,599
Speaker 1: up kind of messing around with each other too, and

1493
01:19:00,280 --> 01:19:03,599
Speaker 1: it's very interesting because it's like, again it's the parents

1494
01:19:03,640 --> 01:19:06,280
Speaker 1: who are experimenting, but also the children, and you can

1495
01:19:06,360 --> 01:19:10,880
Speaker 1: see that this revolution that's happening is like everywhere, like

1496
01:19:10,960 --> 01:19:13,800
Speaker 1: all ages sort of it's in their world in a

1497
01:19:13,840 --> 01:19:16,400
Speaker 1: big way. And you know, of course, like if you

1498
01:19:16,439 --> 01:19:18,760
Speaker 1: want to get down to brass tacks, it's like the

1499
01:19:18,800 --> 01:19:23,680
Speaker 1: metaphor of ice, you know, and the storm. You know,

1500
01:19:24,000 --> 01:19:27,439
Speaker 1: the notion that we're just like seeing multiple scenes where

1501
01:19:27,479 --> 01:19:31,200
Speaker 1: people are cracking ice out of those like old school

1502
01:19:31,280 --> 01:19:34,280
Speaker 1: metal ice trays. You know, if you want to take

1503
01:19:34,320 --> 01:19:37,760
Speaker 1: those scenes and sort of make the connection that maybe

1504
01:19:37,760 --> 01:19:42,519
Speaker 1: we're talking about the thawing of morality and hang ups

1505
01:19:42,680 --> 01:19:45,640
Speaker 1: and everything in this era. I mean that's like a

1506
01:19:45,960 --> 01:19:49,080
Speaker 1: it's not lost on me. That's a metaphor I completely understood.

1507
01:19:50,000 --> 01:19:52,040
Speaker 1: Like look, I'm smart, I get it. I get it.

1508
01:19:53,640 --> 01:19:55,400
Speaker 1: But anyway, I mean, at the end of the day,

1509
01:19:55,680 --> 01:19:58,519
Speaker 1: this movie is to me. I haven't seen it in

1510
01:19:58,520 --> 01:20:01,080
Speaker 1: a while and it is still incredible. Just to kind

1511
01:20:01,080 --> 01:20:03,200
Speaker 1: of give you a little bit more information about Anglee,

1512
01:20:03,200 --> 01:20:05,880
Speaker 1: like this was his second English language movie because he

1513
01:20:06,360 --> 01:20:10,559
Speaker 1: immigrated from Taiwan in nineteen seventy eight to attend school

1514
01:20:10,600 --> 01:20:15,080
Speaker 1: in Illinois, and he later went to NYU and he

1515
01:20:15,240 --> 01:20:17,840
Speaker 1: was actually in the same class as Spike Lee, and

1516
01:20:17,880 --> 01:20:21,000
Speaker 1: he worked on Spike Lee's thesis film when they were

1517
01:20:21,000 --> 01:20:24,600
Speaker 1: both at NYU together Whoa. And he was going to

1518
01:20:24,680 --> 01:20:27,840
Speaker 1: go back to Taiwan, but he was persuaded to state

1519
01:20:27,840 --> 01:20:30,040
Speaker 1: in America after he made a short film and he

1520
01:20:30,120 --> 01:20:31,880
Speaker 1: got an agent and the agent was like, you should

1521
01:20:31,880 --> 01:20:34,719
Speaker 1: stay in America and make movies. And he had made

1522
01:20:35,000 --> 01:20:37,360
Speaker 1: like a kind of a trilogy of these Mandarin language

1523
01:20:37,400 --> 01:20:40,559
Speaker 1: films before he made Sense and Sensibility, which is his

1524
01:20:40,600 --> 01:20:43,599
Speaker 1: first English language film. I think it was like ninety five,

1525
01:20:44,280 --> 01:20:46,280
Speaker 1: but I will say that I think it's really interesting

1526
01:20:47,400 --> 01:20:51,240
Speaker 1: knowing that this movie is about a very specific moment

1527
01:20:51,320 --> 01:20:57,320
Speaker 1: in American cultural history, right, that an outsider, like an

1528
01:20:57,400 --> 01:21:02,000
Speaker 1: Asian immigrant, was able to make this like really thoughtful,

1529
01:21:02,479 --> 01:21:06,839
Speaker 1: sort of nuanced film about white people living in America,

1530
01:21:07,200 --> 01:21:11,000
Speaker 1: right because he did not come to the States until

1531
01:21:11,040 --> 01:21:13,800
Speaker 1: seventy eight, So he wasn't even here in seventy three,

1532
01:21:14,600 --> 01:21:18,559
Speaker 1: and I'm certain there were many differences between his life

1533
01:21:18,640 --> 01:21:20,839
Speaker 1: up until that point and the lives of these characters

1534
01:21:20,880 --> 01:21:24,479
Speaker 1: that are in this film. But I think in that

1535
01:21:24,600 --> 01:21:30,040
Speaker 1: Charlie Rose interview, he says that that this concept kind

1536
01:21:30,040 --> 01:21:33,200
Speaker 1: of served the movie. You know, it was basically that

1537
01:21:34,000 --> 01:21:37,679
Speaker 1: he has a detachment that made him sort of focus

1538
01:21:37,680 --> 01:21:40,439
Speaker 1: on the characters and their emotions, and it kind of

1539
01:21:40,479 --> 01:21:46,120
Speaker 1: prevented maybe the sort of, I don't know, like the

1540
01:21:46,160 --> 01:21:49,720
Speaker 1: stylistic kind of pitfalls of making a movie about the

1541
01:21:49,720 --> 01:21:52,439
Speaker 1: seventies in America, because you could honestly make it like

1542
01:21:52,600 --> 01:21:56,200
Speaker 1: Austin Power's gold Member, where it's just like the seventies

1543
01:21:56,200 --> 01:22:00,639
Speaker 1: are a laughingstock joke of like bell bottoms and fucking bullshit.

1544
01:22:00,760 --> 01:22:06,360
Speaker 1: But you know that Anglee was not in America during

1545
01:22:06,360 --> 01:22:10,160
Speaker 1: this time and came from Taiwan basically made him kind

1546
01:22:10,200 --> 01:22:12,960
Speaker 1: of approach the material differently. Well, he approached it from.

1547
01:22:12,840 --> 01:22:16,160
Speaker 2: The emotional side and the character perspective, which is universal

1548
01:22:16,400 --> 01:22:19,400
Speaker 2: and yeah, you know can translate across decades and across time,

1549
01:22:20,560 --> 01:22:22,760
Speaker 2: you know, the these time frames that we're looking at.

1550
01:22:22,800 --> 01:22:25,160
Speaker 2: So I think that was really smart and it made

1551
01:22:25,160 --> 01:22:27,600
Speaker 2: it more of a I think that's why for me

1552
01:22:27,680 --> 01:22:30,360
Speaker 2: it's a classic film because it just, you know, it

1553
01:22:30,400 --> 01:22:33,599
Speaker 2: evokes a time. He's definitely talking about a specific year,

1554
01:22:33,640 --> 01:22:38,000
Speaker 2: a specific moment, but the emotional heft of this film

1555
01:22:38,160 --> 01:22:39,360
Speaker 2: is just everlasting.

1556
01:22:40,000 --> 01:22:42,439
Speaker 1: Yeah, there's I mean it is. There's a lot going

1557
01:22:42,479 --> 01:22:46,000
Speaker 1: on in this movie. There's a lot of characters who

1558
01:22:46,160 --> 01:22:50,800
Speaker 1: are having their own journeys and discoveries and they're kind

1559
01:22:50,800 --> 01:22:53,080
Speaker 1: of like moving in and out of each other, and

1560
01:22:53,360 --> 01:22:57,360
Speaker 1: that's a really hard task. And even like Rick Moody,

1561
01:22:57,560 --> 01:23:01,400
Speaker 1: the author of the book, he he actually thinks that

1562
01:23:01,479 --> 01:23:04,280
Speaker 1: the movie was in a lot of ways better than

1563
01:23:04,360 --> 01:23:08,240
Speaker 1: his book because he was saying that, like, Anglee was

1564
01:23:08,320 --> 01:23:14,280
Speaker 1: able to kind of remove the first person miss of

1565
01:23:14,360 --> 01:23:17,360
Speaker 1: the book and was able to really like kind of

1566
01:23:17,640 --> 01:23:20,840
Speaker 1: you know, show the characters and play with that part

1567
01:23:20,840 --> 01:23:23,519
Speaker 1: of the story, and that in a lot of ways.

1568
01:23:23,600 --> 01:23:25,559
Speaker 1: The movie was better than the book that he wrote,

1569
01:23:25,600 --> 01:23:26,959
Speaker 1: which is kind of incredible.

1570
01:23:27,040 --> 01:23:30,599
Speaker 2: What makes sense because they used that Toby maguire as

1571
01:23:30,720 --> 01:23:34,280
Speaker 2: narrator very sparingly. It's not like he's narrating every scene

1572
01:23:34,640 --> 01:23:37,479
Speaker 2: or you know, he's he It's a very light touch

1573
01:23:37,600 --> 01:23:40,920
Speaker 2: to use that device, and I appreciated that because it

1574
01:23:40,960 --> 01:23:42,400
Speaker 2: allowed that story to be bigger.

1575
01:23:42,920 --> 01:23:46,280
Speaker 1: Yeah, it's definitely not like, you know, there's narration in

1576
01:23:46,320 --> 01:23:49,040
Speaker 1: your movie too, when it's happening, you know, all the time.

1577
01:23:49,080 --> 01:23:52,920
Speaker 1: It's just a different technique. You're right, it's not. His

1578
01:23:53,040 --> 01:23:55,439
Speaker 1: narration is sparse and only kind of when it kind

1579
01:23:55,479 --> 01:23:59,000
Speaker 1: of adds to the story. But yeah, it's I you know,

1580
01:23:59,240 --> 01:24:03,000
Speaker 1: Anglee has made many, many incredible movies. I mean, obviously

1581
01:24:03,040 --> 01:24:06,679
Speaker 1: he's made like Crouching Tiger, Hidden Dragon in Life of Pie,

1582
01:24:06,680 --> 01:24:09,120
Speaker 1: and he did Broke Back Mountain, and he's he's done

1583
01:24:09,160 --> 01:24:12,320
Speaker 1: a lot of incredible films that are all about, you know,

1584
01:24:12,400 --> 01:24:15,519
Speaker 1: a large a large number of them are about the

1585
01:24:15,640 --> 01:24:19,960
Speaker 1: hidden emotions within characters and within people. And he's he's

1586
01:24:19,960 --> 01:24:24,280
Speaker 1: got such an amazing visual style. His pacing is really

1587
01:24:24,360 --> 01:24:26,640
Speaker 1: really attractive to me, Like I love that sort of

1588
01:24:26,760 --> 01:24:31,439
Speaker 1: slow moving especially in this movie where it's about you know,

1589
01:24:31,479 --> 01:24:35,160
Speaker 1: this ice storm, it's cold, it's in this like wooded area,

1590
01:24:35,760 --> 01:24:39,600
Speaker 1: and I just I there's a coziness to it, you know,

1591
01:24:39,720 --> 01:24:43,000
Speaker 1: while also being about these kind of frigid white people

1592
01:24:43,200 --> 01:24:45,759
Speaker 1: who are rich and kind of dealing with their own

1593
01:24:46,360 --> 01:24:49,000
Speaker 1: you know, sort of neurosis. So it's very interesting. It's

1594
01:24:49,040 --> 01:24:50,120
Speaker 1: a it's a great movie.

1595
01:24:50,439 --> 01:24:53,559
Speaker 2: An ice storm is a rare occurrence, and this moment

1596
01:24:53,680 --> 01:24:55,840
Speaker 2: is a rare occurrence, this moment of the seventies, this

1597
01:24:55,920 --> 01:24:59,360
Speaker 2: moment of sexual questioning is a rare occurrence. So I

1598
01:24:59,400 --> 01:25:01,760
Speaker 2: love that as a metaphor as well, that it's just,

1599
01:25:02,760 --> 01:25:05,600
Speaker 2: you know, the these singularities that are happening, not in

1600
01:25:05,640 --> 01:25:11,960
Speaker 2: the robot takeover sense, but in the defining moments. I just, yeah,

1601
01:25:12,000 --> 01:25:15,400
Speaker 2: I love I absolutely love this movie.

1602
01:25:15,479 --> 01:25:16,040
Speaker 1: I think that.

1603
01:25:17,560 --> 01:25:21,920
Speaker 2: For me, just thinking about who these characters become, I

1604
01:25:21,920 --> 01:25:26,839
Speaker 2: feel like Sandy, the younger brother of Mikey, definitely becomes

1605
01:25:26,960 --> 01:25:33,840
Speaker 2: like a serial killer of some kind. He was already weird,

1606
01:25:33,880 --> 01:25:37,879
Speaker 2: but his first sexual experience ended in like a majorly

1607
01:25:37,920 --> 01:25:43,640
Speaker 2: traumatic way, so I'm sure that he became like the BTK.

1608
01:25:43,360 --> 01:25:45,800
Speaker 1: Killer or whatever exactly.

1609
01:25:47,120 --> 01:25:49,720
Speaker 2: But all in all, what I really love about this

1610
01:25:49,960 --> 01:25:54,960
Speaker 2: is that this is a really beautiful movie about absolutely

1611
01:25:55,080 --> 01:25:56,560
Speaker 2: terrible relationships.

1612
01:25:56,680 --> 01:25:57,680
Speaker 1: Yeah, that's what it is.

1613
01:25:57,720 --> 01:25:59,160
Speaker 2: The longest short of it for me is that it

1614
01:25:59,280 --> 01:26:03,760
Speaker 2: is just it's a beautiful movie. It really is, and

1615
01:26:03,800 --> 01:26:08,719
Speaker 2: it's about these these unseen tender moments that are about

1616
01:26:08,880 --> 01:26:12,240
Speaker 2: terrible relationships and the ways that we fail each other

1617
01:26:12,320 --> 01:26:16,240
Speaker 2: in communicating our desires. And I just I love it.

1618
01:26:16,280 --> 01:26:18,439
Speaker 2: I absolutely love this film. And again, like I said

1619
01:26:18,640 --> 01:26:19,559
Speaker 2: to me, it's a classic.

1620
01:26:20,080 --> 01:26:23,519
Speaker 1: Yeah, same here, love it too. It really is a

1621
01:26:23,560 --> 01:26:29,040
Speaker 1: great period piece that doesn't have the vibe of a

1622
01:26:29,080 --> 01:26:31,599
Speaker 1: period piece where it's kind of just like a mockery

1623
01:26:31,720 --> 01:26:34,280
Speaker 1: of the era. I mean, it really feels lived in.

1624
01:26:36,120 --> 01:26:39,360
Speaker 1: And there's actually a really great video that's on the

1625
01:26:39,360 --> 01:26:44,240
Speaker 1: Criterion Channel's website about the production designer for the film

1626
01:26:44,280 --> 01:26:46,759
Speaker 1: and how they found all these different types of houses,

1627
01:26:46,920 --> 01:26:50,040
Speaker 1: and it's really really great. You know, it's it's it's

1628
01:26:50,200 --> 01:26:52,880
Speaker 1: it's to me, this is a very like artfully made,

1629
01:26:53,479 --> 01:26:59,120
Speaker 1: masterful film. Toby Maguire plays a schoolboy in both your

1630
01:26:59,200 --> 01:27:01,400
Speaker 1: movie and My movie, and I feel like that type

1631
01:27:01,439 --> 01:27:03,640
Speaker 1: serves him very well. He kind of has a schoolboy

1632
01:27:03,640 --> 01:27:06,880
Speaker 1: look to him. He's the prom King. Yeah, So basically,

1633
01:27:06,920 --> 01:27:10,240
Speaker 1: the prom King and Queen just happened to be together

1634
01:27:10,960 --> 01:27:13,240
Speaker 1: in two really great movies. And I'm glad that we

1635
01:27:13,320 --> 01:27:15,559
Speaker 1: got to like play them both and talk about them both.

1636
01:27:15,720 --> 01:27:19,960
Speaker 1: And yeah, it's a time to be alive. What a time,

1637
01:27:21,080 --> 01:27:21,840
Speaker 1: Gloria Jeans.

1638
01:27:21,880 --> 01:27:23,519
Speaker 2: I don't know if you're still in business, but your

1639
01:27:23,560 --> 01:27:24,559
Speaker 2: aprons were sick.

1640
01:27:27,960 --> 01:27:30,439
Speaker 1: Oh my goodness. What about next week? What are our movies?

1641
01:27:30,880 --> 01:27:37,280
Speaker 1: All right? So next episode films? Are you ready for them?

1642
01:27:38,120 --> 01:27:42,479
Speaker 1: The movies for next week are bad Lands from nineteen

1643
01:27:42,560 --> 01:27:47,840
Speaker 1: seventy three and Six Degrees of Separation from nineteen ninety three.

1644
01:27:48,680 --> 01:27:51,439
Speaker 2: Try to guess the theme. Try to guess the theme.

1645
01:27:51,800 --> 01:27:52,880
Speaker 2: I don't think you can.

1646
01:27:53,320 --> 01:27:54,000
Speaker 1: Maybe you can.

1647
01:27:54,080 --> 01:27:57,519
Speaker 2: This one is easy, I mean sort of.

1648
01:27:58,600 --> 01:28:01,679
Speaker 1: You might guess it. Even the hard ones you guess.

1649
01:28:01,720 --> 01:28:04,280
Speaker 1: So this Mike exactly. You guys will get it. You're

1650
01:28:04,400 --> 01:28:05,679
Speaker 1: very smart, and.

1651
01:28:05,600 --> 01:28:08,839
Speaker 2: You can guess by following us on our social media

1652
01:28:08,880 --> 01:28:11,080
Speaker 2: and sending us a comment. You can follow us on

1653
01:28:11,120 --> 01:28:14,120
Speaker 2: Twitter and Instagram at I Saw pod and.

1654
01:28:14,200 --> 01:28:16,360
Speaker 1: Our email addresses I Saw What you Did Pod at

1655
01:28:16,439 --> 01:28:17,719
Speaker 1: gmail dot com.

1656
01:28:17,800 --> 01:28:21,240
Speaker 2: And you can still use the promo code SAW for

1657
01:28:21,360 --> 01:28:24,080
Speaker 2: stitch your premium if you want to hear our bonus episodes,

1658
01:28:24,120 --> 01:28:25,960
Speaker 2: which you know what, I think you should because it's

1659
01:28:25,960 --> 01:28:29,400
Speaker 2: a very loose hangout where you just get to learn an.

1660
01:28:29,240 --> 01:28:31,400
Speaker 1: Awful lot about million and I.

1661
01:28:31,520 --> 01:28:33,120
Speaker 2: So if you go to stitch your Premium and use

1662
01:28:33,160 --> 01:28:38,000
Speaker 2: the promo code saw, you can get one month free

1663
01:28:38,040 --> 01:28:39,719
Speaker 2: trial a Stitch your Premium.

1664
01:28:39,920 --> 01:28:42,320
Speaker 1: Yeah, and we do have a bonus coming out I

1665
01:28:42,320 --> 01:28:46,120
Speaker 1: think on Thursday, and it's it's a bonus that we're

1666
01:28:46,160 --> 01:28:50,160
Speaker 1: doing that kind of expands upon the last week's episode

1667
01:28:50,280 --> 01:28:53,400
Speaker 1: where we did Headbanger's Ball. We're going to do a

1668
01:28:53,439 --> 01:28:56,839
Speaker 1: little bit of an extended conversation about that as our bonus.

1669
01:28:56,920 --> 01:29:00,840
Speaker 1: So go to stitch your Premium and check it out there. Excellent,

1670
01:29:01,000 --> 01:29:03,479
Speaker 1: Thanks y'all. This is fun. I love these films. I

1671
01:29:03,520 --> 01:29:04,479
Speaker 1: love hanging out with you.

1672
01:29:04,840 --> 01:29:09,720
Speaker 2: Even though we are potentially middle aged, we are joyful.

1673
01:29:10,320 --> 01:29:14,120
Speaker 2: We are a gregarious bunch of old bitches and I'm

1674
01:29:14,240 --> 01:29:14,960
Speaker 2: here for it.

1675
01:29:15,560 --> 01:29:17,719
Speaker 1: I am too. I love being better with you every

1676
01:29:17,760 --> 01:29:18,960
Speaker 1: week and I saw what you did.

1677
01:29:19,760 --> 01:29:33,799
Speaker 2: Bye bye, Mark one. This has been an exactly right production.

1678
01:29:34,080 --> 01:29:38,360
Speaker 2: Our producers Alexisamrossi, our engineers Annalise Nelson. Our social media

1679
01:29:38,400 --> 01:29:41,599
Speaker 2: manager is Tarreen Maza, Our theme songs by Tom bry Fogel,

1680
01:29:41,920 --> 01:29:45,559
Speaker 2: artwork by Garrett Ross. Our executive producers are Georgia hart Stark,

1681
01:29:45,640 --> 01:29:48,840
Speaker 2: Karen Til Gareth and Daniell Kramer. Follow us on Instagram

1682
01:29:48,880 --> 01:29:51,640
Speaker 2: and Twitter at I saw pod email us at I

1683
01:29:51,680 --> 01:29:53,960
Speaker 2: Saw what you did pod at Gmail, and please don't

1684
01:29:53,960 --> 01:29:57,879
Speaker 2: forget to listen, subscribe, leave us a review on Apple Podcast, Stitcher,

1685
01:29:58,040 --> 01:30:02,120
Speaker 2: or wherever you listen. Bi