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

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Speaker 1: You Did. My name is Millie to Jericho. I'm Danielle Henderson,

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Speaker 1: and we're the film people for your Life Film for All.

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Speaker 2: Hey, hey, oh not much.

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Speaker 3: We got back a couple of weeks ago. We went

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Speaker 3: to Maine and ever since, because you also visited my

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Speaker 3: house before and we drove there epic road trip. But

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Speaker 3: ever since, I've been walking around my house and you

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Speaker 3: know how you like, you don't know how your own

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Speaker 3: house smells, but when you came in, you said, oh

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Speaker 3: my god, your house smells like a yoga.

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Speaker 2: Studio, like in a good way.

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Speaker 1: Oh ya.

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Speaker 3: I've been trying to like tap into like what does

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Speaker 3: my house smell like?

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Speaker 2: Like I can't smell it.

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Speaker 1: No, you're probably noseblind to your own house. I am too.

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Speaker 1: I asked my sister once what my smell was. Have

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Speaker 1: you ever asked anybody that? No, have you ever ever

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Speaker 1: been close to somebody like that to ask? I really haven't.

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Speaker 1: She's the only person. And I was like, what do

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Speaker 1: I smell like? And she was like vintage. I was like,

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Speaker 1: what does that mean?

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Speaker 2: Just vintage?

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Speaker 1: Yeah, it's just what you just smell like, vintage and

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Speaker 1: I was like, is that nice and cozy or is

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Speaker 1: that dead? Alarm is like alarming? What's happening? Like what

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Speaker 1: smell like?

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Speaker 3: That is a vicious and savage and really vague answer.

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Speaker 1: So what are you What are you thinking about your home?

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Speaker 1: Do you think it's the wood?

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Speaker 2: I think it's the wood. It might be the wood. Yeah,

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Speaker 2: it might be the wood.

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Speaker 3: I have a lot of the same candle out, which

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Speaker 3: is the candle that I get from the local place

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Speaker 3: that I've been getting for thirty years where you grabbed

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Speaker 3: your hand and across the counter and says, enjoy the light.

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Speaker 2: So it could be that.

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Speaker 3: But I'm glad it smells good because I feel like

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Speaker 3: it doesn't like I feel like, oh god, there's always like, yeah,

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Speaker 3: there's a lot of wood. It's a lot of theater

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Speaker 3: in this house, like a lot of theaters. Maybe that's

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Speaker 3: the smell.

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Speaker 1: Yeah, no, it's it's wonderful. It smells like you know,

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Speaker 1: because the thing about a yoga studio is that they

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Speaker 1: usually have hardwood floors. It's a mixture between like hardwood

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Speaker 1: floor and like, yeah, that kind of pallo santo meets

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Speaker 1: you know, some kind of herb, like a healing herb smell.

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Speaker 1: It's it's lovely. Actually, ah, yeah, I know that this

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Speaker 1: was like a last month when when I went up there,

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Speaker 1: so but I still have a now coarse set memory

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Speaker 1: of your home.

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Speaker 2: So it was so nice to have you here. I'm

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Speaker 2: so glad you were able to that.

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Speaker 3: We were able to do that, like you drop you

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Speaker 3: come up here, fly in, and then we drive to me.

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Speaker 2: That was great.

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Speaker 1: Well, and let me just tell you something. Actually, I'll

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Speaker 1: tell you two things. And actually I don't even have

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Speaker 1: to tell you at all because you were there. Number one,

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Speaker 1: I got more comments and likes on that fucking post

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Speaker 1: that I made where I took pictures of some safe

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Speaker 1: public areas of your house, then I have like at all.

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Speaker 1: Like I think I had more comments and likes on

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Speaker 1: that post than the one that I posted five years

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Speaker 1: ago of getting out of a surgery and being like,

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Speaker 1: guess what, my life has been saved everybody. I'm in

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Speaker 1: the hospital, but everything's fine. I'm still on Earth. People

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Speaker 1: cared more about your fucking library than they did about

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Speaker 1: the fact that I was living after.

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Speaker 3: That is a sad state of the Internet, I think,

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Speaker 3: because we're so overwhelmed with bad information all day that

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Speaker 3: I think anything good that pops up in people's eyeballs,

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Speaker 3: they're like, oh my god, thank god, thank you for

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Speaker 3: posing that.

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Speaker 1: Yeah, well that's honest. That was that whole hospital stay

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Speaker 1: thing was before we started the podcast, before anybody knew

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Speaker 1: you and I at all, essentially, so you know, to

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Speaker 1: be fair, people do maybe would have cared that I

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Speaker 1: lived and survived septic shock. However, people went fucking nutty

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Speaker 1: for your house, and I think that they were just

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Speaker 1: excited that we were together. Because the other thing, too,

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Speaker 1: is that we pretty much like decided to start leaving

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Speaker 1: some Instagram stories about us driving up to Maine, and

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Speaker 1: people were heavily invested in our journey.

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Speaker 2: That was so much fun. It was super fun and

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Speaker 2: I loved I love that.

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Speaker 3: I love being able to share that with with our

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Speaker 3: listeners and our friends because it.

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Speaker 2: Was really fun to do. Like that trip was great.

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Speaker 2: I love that. And you were so nicely.

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Speaker 3: You asked me if you could post pictures in my

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Speaker 3: house and I'm like, yeah, of course, it's not like

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Speaker 3: you know, I've got like a den of iniquity in

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Speaker 3: here or something, but oh, I know better trust me.

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Speaker 2: I loved it, and you had your own room and

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Speaker 2: your own bathroom.

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Speaker 1: I did actually, and I slept the other thing too,

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Speaker 1: and maybe this is part of it, was the yoga smell.

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Speaker 1: But I slept very well at your house, which I'm

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Speaker 1: one of those people now, I think as I've gotten older,

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Speaker 1: where getting a good night's sleep outside of my own

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Speaker 1: house is like such a roll of the dice, right,

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Speaker 1: especially in hotels, Like the hotel pillow scenario that's happening

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Speaker 1: currently is so bad for me.

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Speaker 3: And it's hard to I have never traveled with a pillow, like,

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Speaker 3: I can't be that person. I don't know how to

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Speaker 3: do it effectively because I'm carry on only. Yeah, so

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Speaker 3: you can't really travel with a pillow. You do have

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Speaker 3: to roll the dice and kind of say, hey, this

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Speaker 3: is what I got.

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Speaker 1: Listen. I'm like real close to doing a thing where

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Speaker 1: I'm like because I have well, I have many pillows,

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Speaker 1: as everybody figured out, I have at least four on

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Speaker 1: my bed, but they're pretty much memory foam, Like the

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Speaker 1: ones that I actually lay my head on are memory foam.

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Speaker 1: And there's a part of me that's like, guess what,

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Speaker 1: I need a firm pillow to the point where I

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Speaker 1: might put a memory foam pillow in a one of

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Speaker 1: those compression bags. Y, suck all the fucking air out

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Speaker 1: of it with my vacuum and then put it in

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Speaker 1: my luggage because I was.

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Speaker 2: Just gonna ask if you could do that.

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Speaker 1: Yeah, I could. I could potentially do that. The the

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Speaker 1: problem with hotel pillows really is that they're too fucking soft.

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Speaker 2: Oh I love a soft pillow.

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Speaker 1: See.

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Speaker 3: I like to scrunch them up and like put them

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Speaker 3: under my neck and like, yeah, see, I'm a side sleeper.

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Speaker 3: I'm a side to stomach sleeper. So I start on

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Speaker 3: my side and then I end up on my face

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Speaker 3: slash stomach. So I have to have something that like

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Speaker 3: helps the neck. And these soft, luxurious down feather pillowy

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Speaker 3: things are fucking me up, like fucking me straight up.

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Speaker 3: Can't take it to get out of here at that

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Speaker 3: soft shit. I'm a hard life living motherfucker.

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Speaker 1: I'll tell you right now I've done this.

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Speaker 3: Is.

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Speaker 1: This happened to me after we parted ways in Maine.

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Speaker 1: So we'll talk about the event in just a second,

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Speaker 1: because it was really lovely and we met some amazing

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Speaker 1: people up there. But so we after our University of

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Speaker 1: Main thing, you went back to New York and then

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Speaker 1: I stayed on a couple of days and went to

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Speaker 1: Katia and you know, went hiking and stuff, did all

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Speaker 1: this like fucking hippie bullshit that I love. So I

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Speaker 1: stayed at a cottage like right outside of the National

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Speaker 1: Park in Bar Harbor. That the pillows were so bad

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Speaker 1: that I actually took a blanket that was meant for

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Speaker 1: the common area, like maybe a fucking throw blanket for

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Speaker 1: you know, I don't know, like sitting on the couch,

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Speaker 1: rolled it up like a yoga mat, took a took

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Speaker 1: the pillow case off of an existing pillow, and then

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Speaker 1: used it as a fucking pillow, like and I was

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Speaker 1: stuffing all kinds of linens in there. I was like, yo, litten,

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Speaker 1: put some fucking towels in there, like I need, I

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Speaker 1: need a firm pillow. The saint working for me. So

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Speaker 1: so what.

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Speaker 3: I'm hearing is you got to mean and within three

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Speaker 3: days you were making your own pillows. Yeah, the foraged goods.

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Speaker 3: Like a wilderness woman, I.

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Speaker 1: Adapted to the environment. But what I was saying is

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Speaker 1: the that those moments in that thing made me miss

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Speaker 1: your house. Like I was like, oh, I wish I

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Speaker 1: was still dan Ail's house. Roads slipping real good.

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Speaker 2: I do have.

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Speaker 3: I have four pillows on the bed and the guess

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Speaker 3: in the guests them. I also have a bolster. Some

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Speaker 3: people have a bad bag, some people need a kneat thing.

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Speaker 3: I got a bolster for you. But I have two

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Speaker 3: pillows of one density and two pillows that are of

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Speaker 3: another density.

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Speaker 2: So that might be why it was okay, yeah, not

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Speaker 2: memory foam, but like thicker pillows.

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Speaker 1: It's fantastic.

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Speaker 2: It was.

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Speaker 1: It was such good, good sleeping. I needed it for

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Speaker 1: the rest of that trip because that trip was there

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Speaker 1: was a lot going on on our trip. I have

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Speaker 1: to say we were doing the most.

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Speaker 2: We did a lot.

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Speaker 3: We did a lot, including, but not limited to, visiting

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Speaker 3: two LL Bean stores.

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Speaker 1: Yeah, we went to two. Although I have to say,

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Speaker 1: I don't know if you knew this or not. I

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Speaker 1: don't know if I told you this, but I actually

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Speaker 1: went to a third. What after we left, after we

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Speaker 1: had ways, I actually went to the outlet, the LLBean outlet.

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Speaker 2: I knew it.

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Speaker 3: You know how I knew it because you posted pictures

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Speaker 3: from a Katia and you were wearing that jacket that

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Speaker 3: you were thinking about getting when.

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Speaker 2: We were in the mother ship, and I was like,

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Speaker 2: she went back and got a jacket.

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Speaker 1: Actually I got that jacket when you and I were together,

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Speaker 1: but I did. I went to the third L Bean store,

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Speaker 1: which was the outlet. And here's the thing about the outlet.

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Speaker 1: The thing that I hate about outlets now is that

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Speaker 1: back in the eighties, outlet stores were great. They were

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Speaker 1: literally just like discounted products from the actual store. Now

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Speaker 1: outlets have their own brand of bullshit, like it's like

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Speaker 1: worse clothing than the ones that they have in the

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Speaker 1: actual store, and then they just put like new tags

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Speaker 1: on them, and I'm like, oh good, why do I

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Speaker 1: want worse quality things from the don't want shitty versions

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Speaker 1: of things? Like I just I know that they're supposed

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Speaker 1: to be cheaper, but a lot of times they're not

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Speaker 1: even that much cheaper. So I was happy to report though,

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Speaker 1: that Elbean outlet was truly the old style of an outlet,

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Speaker 1: where it was like we had this in the store,

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Speaker 1: it didn't sell, and now we're putting it in an outlet.

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Speaker 2: I like it.

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Speaker 1: Yeah, But yeah, the fact that you took me to

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Speaker 1: a couple ll Bean stores I think was devotion friendship,

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Speaker 1: Like it meant were forever bonded a lot of people

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Speaker 1: were pointing that out to us on our Instagram when

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Speaker 1: we broke the Internet. Being in front of each other.

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Speaker 3: It was a delight. The first llll bean store was

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Speaker 3: so funny, so funny. I just piled on stuff and

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Speaker 3: made you guess how much it costs.

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Speaker 1: That's right, had you been to an lob because we

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Speaker 1: don't have that here.

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Speaker 2: So oh yeah, I've been to the l bean store.

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Speaker 3: And I did a podcast travel podcast couple of years

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Speaker 3: ago called not Lost, and we actually went not only

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Speaker 3: to the LLBAN mothership in Freeport, Maine, they let us

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Speaker 3: go in the lab. What so I got to see

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Speaker 3: them testing out the boots and they will genuinely put

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Speaker 3: their winter boots in a block of solid ice and

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Speaker 3: like see how the weather affects it and how long

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Speaker 3: does it take to mount?

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Speaker 2: Does it crack anything? Like?

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Speaker 3: They really put it through its paces before they released

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Speaker 3: a product. So I got to go to the product lab.

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Speaker 1: Look at my face, I'm pissed. I'm happy for you.

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Speaker 1: I'm pissed for me. How come I didn't get to

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Speaker 1: go to the lab.

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Speaker 2: You got to see the big boot?

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Speaker 1: Okay, fine, let me have the boot.

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Speaker 2: Last time, but I want.

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Speaker 1: To go and see fucking shoes in Ice.

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Speaker 2: They have a machine where they have like something inside

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Speaker 2: the shoe, and the shoe just walks like up, like

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Speaker 2: it's just walking for like a thousand steps or ten

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Speaker 2: thousand steps or whatever.

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Speaker 3: We'll go next time. We'll set it up. Somebody hook

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Speaker 3: us up with the LLB Lab, so Millie will come

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Speaker 3: back and we'll go to the lab.

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Speaker 1: That's because you were doing that fancy podcast with your

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Speaker 1: friend who was getting all this exclusive access to shit.

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Speaker 2: I know he set it up, so I can't even

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Speaker 2: I don't have the contacts.

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Speaker 1: I'm just saying they should have just looked at us

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Speaker 1: when we walked in and been like, those ladies deserve

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Speaker 1: to be in the fucking lab.

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Speaker 3: Instead, they looked at us and they're like, maybe we

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Speaker 3: should reconsider being a twenty four hour store.

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Speaker 1: It should be like, watch those ladies in case they

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Speaker 1: try to put some socks in their pants.

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Speaker 2: It's nine pm. No one deserves this. We went in

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Speaker 2: there like hooligans, I.

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Speaker 1: Know I did. At one point when I was in

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Speaker 1: the outlet, I found this that there was this older

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Speaker 1: gentleman who was kind of following me around the store

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Speaker 1: a little bit. He looked like the stepfather Terry O'Quinn

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Speaker 1: and the stepfather. He had kind of that vibe, and

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Speaker 1: I was like, what does he think is happening right now?

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Speaker 1: Like is he following me because he thinks I'm an

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Speaker 1: itinerant woman that just walked into the store, or does

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Speaker 1: he have a little crush on me? Like what do

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Speaker 1: I what do I think about this? My imagination as well.

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Speaker 2: I mean there's always he was he an employee? Was

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Speaker 2: he just another shopper?

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Speaker 3: Oh?

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Speaker 1: He was an employee.

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Speaker 3: Girl. Ooh see, I would have wheeled around real fast

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Speaker 3: and been like, Bubba, what's up?

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Speaker 1: I know that was about to big mistake his ass

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Speaker 1: from fucking pretty woman. I was like, Yo, I'll spend

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Speaker 1: a grip in here. You watch me buy these nine

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Speaker 1: hundred doller fucking skis on the wall. Bitch, what the fuck?

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Speaker 3: Anyway I will spend a grip in here should be

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Speaker 3: on your goddamn tombstone.

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Speaker 1: I was like, I already just did that without the

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Speaker 1: added pressure of a dude thinking I'm shoplifted. So oh no,

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Speaker 1: But it was us. It was so fun, you know.

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Speaker 1: We the thing that I think is probably the most

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Speaker 1: heartwarming about this, at least for me, besides seeing you,

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Speaker 1: is this notion that like the whole reason why we

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Speaker 1: were there is because of this podcast. Like we were

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Speaker 1: there because you know, somebody heard the clarion call that

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Speaker 1: I had never been to fucking Maine, and you know,

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Speaker 1: we had an amazing time at the University of Maine

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Speaker 1: with Jennifer and Steve and everybody that you know hosted

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Speaker 1: us up there and brought us into their home and

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Speaker 1: made us dinner and you know, getting to meet everybody

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Speaker 1: at the actual event, people who drove multiple hours to

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Speaker 1: see us. I mean, I just I don't know, I

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Speaker 1: just was really touched by that and just this kind

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Speaker 1: of reminder of just how much I love this podcast

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Speaker 1: and I love doing this podcast with you, because it

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Speaker 1: was just this thing where I was like, I literally

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Speaker 1: just said words on a microphone and people connect to us,

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Speaker 1: and they, you know, brought us here, brought us to

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Speaker 1: fucking Turkey brains up there to talk about Stephen King

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Speaker 1: and we and we had such a great time.

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Speaker 3: You know, it was an absolute blast. And the person

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Speaker 3: who heard our clearing call was Professor Jennifer Moxley, and

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Speaker 3: we just adore her and see so much. Yes, just

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Speaker 3: made it so easy for us to be there as well,

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Speaker 3: which I'm really loved, Like we just kind of had

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Speaker 3: to show up.

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Speaker 1: Yeah. It was very well organized and planned and the

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Speaker 1: facilities up there are so nice. And I think we

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Speaker 1: both were like.

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Speaker 3: I missed school, Yes, Yeah, I miss being on a

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Speaker 3: campus so much.

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Speaker 1: Yeah. We had multiple events where we basically talked to

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Speaker 1: students and you know, went into you know, a couple

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Speaker 1: of classes and just kind of sat around and talked

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Speaker 1: to talk to people. And just the environment of Higher

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Speaker 1: ed Is was like something that I missed and have

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Speaker 1: missed and you know, now that I'm teaching, you know,

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Speaker 1: I'm kind of getting it. But it's also just the vibe,

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Speaker 1: like the vibe of school in the fall, people run

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Speaker 1: around campus and they're you know llb and fleece, and

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Speaker 1: you know, the feeling of like just being in these

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Speaker 1: like older hallways with the books everywhere. It was so great,

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Speaker 1: I know.

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Speaker 3: And we were at the University of Maine and RNO

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Speaker 3: and it was close to Banger, so we actually got

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Speaker 3: to go to Stephen King's house, which was also my

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Speaker 3: favorite part. His house is now part it's the I

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Speaker 3: think the main building for the Stephen and Tabitha King Foundation,

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Speaker 3: so they don't live there anymore.

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Speaker 2: But it had the coolest gate and it was just nice.

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Speaker 3: It's so nice to be to see where he lived

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Speaker 3: because it was so normal, like that was a normal neighborhood. Yeah,

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Speaker 3: the houses were big, but it was a normal neighborhood.

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Speaker 2: And I'm like, oh, Stephen King just lived like in

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Speaker 2: the middle of normalcy in this incredibly cool small city,

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Speaker 2: small town.

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Speaker 1: Yeah, we didn't get to go inside, we didn't get

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Speaker 1: to go into the lab where they were testing Stephen

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Speaker 1: King books. But it was fun to be around in

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Speaker 1: that in sort of the region, even where a lot

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Speaker 1: of his inspiration came from, you know. And I was

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Speaker 1: I did the whole nerdy thing after you left too,

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Speaker 1: like the day when you when you drove back to

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Speaker 1: New York. I was like telling my friend who met

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Speaker 1: me there to just drive me around to see all

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Speaker 1: the Stephen King stuff. Like we went to the you know,

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Speaker 1: the the sewer where Penny Wise pops out, you know,

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Speaker 1: and like, uh, we ran around the there's a famous

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Speaker 1: cemetery there in Banger that I guess they did shoot

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Speaker 1: a scene from pet Cemeterian And I ran around that

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Speaker 1: place and it was so beautiful and you know, like

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Speaker 1: I said, it was fall and the leaves were beautiful,

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Speaker 1: and it was just like such a great part of

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Speaker 1: the world that I had. Like again, I would have

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Speaker 1: never gone if it hadn't been for this podcast.

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Speaker 2: I know, thank you, thank you, thank you, Professor Moxley.

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Speaker 1: No. The one thing I will say though, and I

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Speaker 1: think you'll totally you'll totally see eye on this with me.

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Speaker 1: So you told me pretty early on that there might

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Speaker 1: be a moose sighting perhaps, and I was like, that

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Speaker 1: blew my mind. That was like you saying you're gonna

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Speaker 1: see a saber tooth tiger or something, and I was

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Speaker 1: just like, what, like a moose? And so then I

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Speaker 1: became kind of obsessed with the idea that I might

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Speaker 1: see a moose. And I remember when we were pulling

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Speaker 1: into Banger, we were there at night because this road

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Speaker 1: trip was like literally all day at night.

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Speaker 2: We would beat at night.

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Speaker 3: We added a couple hours by going to two llll Beans,

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Speaker 3: but that's we pulled it around eleven o'clock at night.

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Speaker 1: Yeah, we also went to a McDonald's and a house,

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Speaker 1: so it was we were stopping for every fucking side

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Speaker 1: of the road thing.

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Speaker 2: It was the fanciest McDonald's I've ever seen.

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Speaker 1: Oh, it truly was.

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Speaker 3: When I walked up, I'm like, did Gwyneth Paltrow like

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Speaker 3: design this place?

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Speaker 2: Is this a goop McDonald's? Like what is going on?

385
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Speaker 1: And not for nothing? It was actually good for McDonald's.

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Speaker 1: Like I was like, this is good. I don't know

387
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Speaker 1: if it's the house or you know what.

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Speaker 2: I will never forget that man though, who ordered after us.

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Speaker 3: This man comes in, he goes, I want French fries

390
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Speaker 3: and I want a filet of fish. I want the

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Speaker 3: French fries hot and fresh. I want my filet of

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Speaker 3: fish hot and fresh. Can you do that for me?

393
00:20:13,320 --> 00:20:15,879
Speaker 3: Like he was just so specific about having a hot,

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Speaker 3: fresh pilet of fish sandwich, like, don't.

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Speaker 1: Nuke that fish that you made six hours ago.

396
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Speaker 3: I wanted to have a fresh halfway over the counter

397
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Speaker 3: like can you do my hot and fresh?

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Speaker 2: And I'm like, oh my god, yeah. But yeah, we

399
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Speaker 2: stopped a lot. We stopped a lot.

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Speaker 1: We stopped a lot. So we were driving, you know,

401
00:20:32,920 --> 00:20:37,520
Speaker 1: on the road, you know in rural Maine at night,

402
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Speaker 1: pitch and then yeah, pitch black, no fucking lights on.

403
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Speaker 1: And then every so often you'd see this like road

404
00:20:45,040 --> 00:20:47,280
Speaker 1: sign that has a giant moose on it, and it's

405
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Speaker 1: like moose swarning for the next seventeen miles, and I

406
00:20:51,280 --> 00:20:57,400
Speaker 1: just I just got immediately tense, like I was got quiet.

407
00:20:57,680 --> 00:20:59,639
Speaker 1: Oh my god. Yeah, I think we were both kind

408
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Speaker 1: of like white knuckling it for the rest of the trip. Ah.

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00:21:03,960 --> 00:21:06,960
Speaker 3: We went from like I've never seen someone so excited

410
00:21:07,000 --> 00:21:08,600
Speaker 3: to hear dizzy Rascal.

411
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Speaker 2: To dance silence.

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00:21:12,280 --> 00:21:15,159
Speaker 1: Listen, I've seen the beginning of get out. I know

413
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Speaker 1: what happens when the deer jumps out in the fucking car.

414
00:21:17,840 --> 00:21:20,160
Speaker 1: Like I was like that, ain't us. We're not doing that.

415
00:21:21,040 --> 00:21:24,080
Speaker 1: I don't want a moose jumping out. That'd be crazy.

416
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Speaker 1: We would probably have died if a moose. If we

417
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Speaker 1: hit a moose at like ninety miles an hour, forget it,

418
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Speaker 1: rip queens, like come on.

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Speaker 3: My favorite part though, was that your friend Emily was

420
00:21:37,520 --> 00:21:41,560
Speaker 3: send you a text message while we're in the middle

421
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Speaker 3: of white knuckling it and looking at these sides in

422
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Speaker 3: the middle of nowhere, the pitch dark, We're tired at

423
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Speaker 3: eleven o'clock at night, and your friend Emily sends you

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Speaker 3: a message it's like beware of the moose, it's mating

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Speaker 3: season or something like that.

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Speaker 1: Oh yeah, I was like, don't send me this fucking

427
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Speaker 1: text right now. I'm already nervous as it is.

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Speaker 2: I think she was like a bunch of people died

429
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Speaker 2: or I don't know.

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Speaker 3: There was something some tinge of horror to it that

431
00:22:05,200 --> 00:22:06,760
Speaker 3: made you go real quiet.

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Speaker 1: Oh yeah. It wasn't until we got to the hotel

433
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Speaker 1: that I like hugged the carpeted bathroom floor like I

434
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Speaker 1: love you. I am so glad we're not out in

435
00:22:17,960 --> 00:22:20,400
Speaker 1: the middle of nowhere where a moose could just show

436
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Speaker 1: up and jump in front of our cart.

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Speaker 3: So oh, what a fantastic Joe. How did you feel though,

438
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Speaker 3: Like you've went to Maine and did an event. You

439
00:22:28,520 --> 00:22:30,359
Speaker 3: went to Maine and state and went to a national park?

440
00:22:30,400 --> 00:22:31,959
Speaker 3: Like was it everything you thought it would be?

441
00:22:32,400 --> 00:22:36,560
Speaker 1: Of course? I mean it's like, I mean between where

442
00:22:36,600 --> 00:22:40,440
Speaker 1: you live in upstate New York, the drive to Maine,

443
00:22:40,960 --> 00:22:46,359
Speaker 1: the actual city of Bangor and Orno and then or Harbor,

444
00:22:46,400 --> 00:22:50,880
Speaker 1: all that National park stuff. I was like plotting thinking

445
00:22:51,640 --> 00:22:54,080
Speaker 1: how do I live around here? Like I was like,

446
00:22:54,600 --> 00:22:57,720
Speaker 1: how do what changes can I make to like live

447
00:22:57,760 --> 00:23:00,480
Speaker 1: around here, But then I remember, it's snows so much

448
00:23:00,560 --> 00:23:00,960
Speaker 1: up there.

449
00:23:01,880 --> 00:23:04,560
Speaker 3: It can it can if you were to move directly

450
00:23:04,600 --> 00:23:06,320
Speaker 3: to me, And yes, it would be a shitload of

451
00:23:06,359 --> 00:23:11,399
Speaker 3: snow for you. It snows here like a regular amount. Okay,

452
00:23:12,200 --> 00:23:15,040
Speaker 3: for the most part, I'm not angling to get you

453
00:23:15,080 --> 00:23:16,760
Speaker 3: to move here. I think you would like upstate New York.

454
00:23:17,240 --> 00:23:19,520
Speaker 1: No, I know, I definitely wouldn't. Like You're not my

455
00:23:19,600 --> 00:23:22,760
Speaker 1: only friend that has lived there or lives there. I

456
00:23:22,760 --> 00:23:25,760
Speaker 1: mean a couple of friends of mine from Atlanta like

457
00:23:25,920 --> 00:23:28,000
Speaker 1: just came from there and they were like, we miss

458
00:23:28,040 --> 00:23:31,200
Speaker 1: it so much. It's so lovely. So I have nothing

459
00:23:31,240 --> 00:23:36,119
Speaker 1: but positive memories and corese set memories of your house.

460
00:23:37,400 --> 00:23:40,280
Speaker 1: I did hear, Dear, I heard. I actually heard the

461
00:23:40,320 --> 00:23:42,640
Speaker 1: wild animals that you talked about so much.

462
00:23:43,160 --> 00:23:46,840
Speaker 3: Yep, they stomp around at night, probably right outside your bedroom.

463
00:23:47,280 --> 00:23:51,280
Speaker 1: Yeah. So it was everything that I ever imagined it

464
00:23:51,320 --> 00:23:51,760
Speaker 1: would be.

465
00:23:52,640 --> 00:23:52,879
Speaker 2: You know.

466
00:23:53,040 --> 00:23:55,719
Speaker 1: It was basically like getting to like connect the dots

467
00:23:55,720 --> 00:23:59,240
Speaker 1: with like everything that you've talked about on this podcast

468
00:23:59,359 --> 00:24:00,000
Speaker 1: was so nice.

469
00:24:00,359 --> 00:24:02,520
Speaker 3: That was also my favorite part of you visiting is

470
00:24:02,680 --> 00:24:05,240
Speaker 3: every bathroom I showed you, You're like, is this the

471
00:24:05,240 --> 00:24:10,520
Speaker 3: Diva cup bathroom? The room is this And the diva

472
00:24:10,520 --> 00:24:13,080
Speaker 3: cup bathroom was the last of four that I showed you.

473
00:24:14,720 --> 00:24:16,879
Speaker 1: I really can't believe how many fucking bathrooms you have.

474
00:24:18,760 --> 00:24:19,560
Speaker 2: Bench neither could I.

475
00:24:21,400 --> 00:24:23,200
Speaker 1: Oh my god, but.

476
00:24:23,200 --> 00:24:25,440
Speaker 3: You got to see it all you got to see

477
00:24:25,480 --> 00:24:27,159
Speaker 3: And that was nice too that you got to connect

478
00:24:27,200 --> 00:24:28,800
Speaker 3: the dots to like how.

479
00:24:30,280 --> 00:24:31,920
Speaker 2: Insane it is that I live here?

480
00:24:32,200 --> 00:24:35,399
Speaker 1: Yeah. Well, it was such a wonderful trip, thanks to

481
00:24:35,600 --> 00:24:38,560
Speaker 1: everyone who made it memorable for us and for anybody

482
00:24:38,600 --> 00:24:41,480
Speaker 1: who was riding along with us on the internet while

483
00:24:41,480 --> 00:24:46,400
Speaker 1: we were being goofballs uh in the uh in the Northeast.

484
00:24:46,440 --> 00:24:47,080
Speaker 1: It was awesome.

485
00:24:47,359 --> 00:24:50,439
Speaker 3: So and people are asking like, oh, you should come

486
00:24:50,440 --> 00:24:52,159
Speaker 3: to this school, should come to that school, invite us.

487
00:24:52,320 --> 00:24:53,399
Speaker 2: We'll probably school.

488
00:24:54,880 --> 00:24:57,440
Speaker 1: Look how quickly we booked this trip, Like, we will

489
00:24:57,440 --> 00:24:59,920
Speaker 1: come to your school if you will have us all

490
00:25:00,160 --> 00:25:03,000
Speaker 1: so like not for nothing, and maybe this is a

491
00:25:03,040 --> 00:25:05,480
Speaker 1: future plan. But I would totally get in an RV

492
00:25:05,640 --> 00:25:06,960
Speaker 1: with you, would go across America.

493
00:25:07,119 --> 00:25:09,159
Speaker 2: Oh that would be a bless I know.

494
00:25:09,119 --> 00:25:13,000
Speaker 1: For some podcast stuff. So if you own an RV

495
00:25:13,200 --> 00:25:15,200
Speaker 1: company and you want to let us borrow an RV

496
00:25:15,440 --> 00:25:17,440
Speaker 1: for a while, please email us at us How she

497
00:25:17,440 --> 00:25:18,399
Speaker 1: did pot a Gmail.

498
00:25:19,480 --> 00:25:24,359
Speaker 3: Colleges, RVs, anywhere else you want to go. Cruises, Viking cruises,

499
00:25:24,400 --> 00:25:27,680
Speaker 3: specifically Viking cruises only. Don't put me on a fucking

500
00:25:27,720 --> 00:25:30,240
Speaker 3: party bus cruise with some drunk folks.

501
00:25:30,680 --> 00:25:33,560
Speaker 1: Yeah, yeah, unless it's the three eleven cruise. I would

502
00:25:33,600 --> 00:25:36,440
Speaker 1: definitely go on that they have a cruise girl, Yes

503
00:25:36,480 --> 00:25:40,680
Speaker 1: they do. Come on, I'm on the mailing list for it. Actually,

504
00:25:41,000 --> 00:25:44,960
Speaker 1: what does that cruise look like? One giant pot leaf

505
00:25:45,000 --> 00:25:50,680
Speaker 1: that just floats in the air and sparkles.

506
00:25:51,440 --> 00:25:53,400
Speaker 3: You have to greet everyone every morning with like, cut

507
00:25:53,440 --> 00:25:59,480
Speaker 3: my rege analoge, I cut my regal and then you

508
00:25:59,480 --> 00:26:01,800
Speaker 3: say it and I like, I don't know the lyrics,

509
00:26:01,840 --> 00:26:04,440
Speaker 3: but something something something something down down.

510
00:26:05,240 --> 00:26:09,200
Speaker 1: I'm going to sleep on my down down heillo.

511
00:26:09,880 --> 00:26:11,800
Speaker 2: Okay, let's get into these fucking movies.

512
00:26:12,000 --> 00:26:21,800
Speaker 1: I swear we have to. Okay, So this theme that

513
00:26:21,840 --> 00:26:24,679
Speaker 1: we got this week is so fun for me and

514
00:26:24,800 --> 00:26:28,200
Speaker 1: for you. You named it perfectly. Do you want to

515
00:26:28,240 --> 00:26:29,119
Speaker 1: tell them what it is?

516
00:26:30,440 --> 00:26:33,760
Speaker 3: I would love to, because our theme this week is

517
00:26:34,480 --> 00:26:35,680
Speaker 3: this motherfucker right here.

518
00:26:36,840 --> 00:26:38,440
Speaker 2: It's about guys who got away with it.

519
00:26:39,119 --> 00:26:43,159
Speaker 1: That's right, guys who got away with it. But also

520
00:26:43,240 --> 00:26:46,520
Speaker 1: right here, this motherfucker right here. But also I'll say this,

521
00:26:47,640 --> 00:26:49,359
Speaker 1: the reason why it's fun for me is because I

522
00:26:49,400 --> 00:26:53,680
Speaker 1: figured out that it's also about something else, and I

523
00:26:53,720 --> 00:26:59,560
Speaker 1: don't think we've discussed it, okay, So this theme also

524
00:27:00,000 --> 00:27:05,199
Speaker 1: happens to be about at least from my analysis of it,

525
00:27:05,240 --> 00:27:08,880
Speaker 1: after watching both these movies. Again, these are movies about

526
00:27:09,920 --> 00:27:16,159
Speaker 1: men who are being confronted by a new culture of

527
00:27:16,280 --> 00:27:24,840
Speaker 1: violence that they cannot understand. Oh, and they are partnered

528
00:27:25,520 --> 00:27:32,560
Speaker 1: with younger men who lack patience for any kind of

529
00:27:32,920 --> 00:27:35,479
Speaker 1: real detective work that they're used to, and they make

530
00:27:35,520 --> 00:27:37,440
Speaker 1: a lot of assumptions about things.

531
00:27:38,240 --> 00:27:43,200
Speaker 3: Ooh, that is for sure true, and it's great connection

532
00:27:43,480 --> 00:27:44,440
Speaker 3: between both films.

533
00:27:44,960 --> 00:27:46,680
Speaker 1: Thank you so much. I mean that is like the

534
00:27:46,800 --> 00:27:49,119
Speaker 1: joy of this podcast for us is that we figure

535
00:27:49,160 --> 00:27:52,159
Speaker 1: out that not only were the two movies that we

536
00:27:52,200 --> 00:27:54,520
Speaker 1: decided to put together about this thing we thought was

537
00:27:54,520 --> 00:27:57,800
Speaker 1: really amusing or interesting, but they also just happen to

538
00:27:57,840 --> 00:28:01,120
Speaker 1: be about this other thing that maybe they didn't get.

539
00:28:01,760 --> 00:28:04,440
Speaker 3: It's so true because in both instances, it's like I think,

540
00:28:04,440 --> 00:28:06,240
Speaker 3: and I actually wrote this down in my notes, that

541
00:28:07,200 --> 00:28:12,160
Speaker 3: in both instances, it's like pairing the the law enforcement pairings,

542
00:28:12,200 --> 00:28:17,880
Speaker 3: it's like pairing a puppy with a grizzly bear totally, totally, Which.

543
00:28:17,640 --> 00:28:22,520
Speaker 1: I think is an interesting concept, especially as I've gotten older,

544
00:28:22,760 --> 00:28:25,120
Speaker 1: is that when you age, you start contemplating a lot

545
00:28:25,119 --> 00:28:28,800
Speaker 1: of shit about the way things are and who's who's

546
00:28:28,880 --> 00:28:34,160
Speaker 1: coming down the stairs behind you in that very Show

547
00:28:34,200 --> 00:28:35,600
Speaker 1: Girls kind of way.

548
00:28:36,680 --> 00:28:40,640
Speaker 3: And I'm super intrigued though. I love this connection about

549
00:28:40,680 --> 00:28:46,080
Speaker 3: how it's about people facing a new type of violence. Yeah,

550
00:28:46,440 --> 00:28:49,560
Speaker 3: as so true, like the heightened violence because you know,

551
00:28:49,600 --> 00:28:54,240
Speaker 3: No Country for Old Men was set in the seventies, eighties,

552
00:28:54,800 --> 00:28:59,120
Speaker 3: eighties maybe early eighties, and then you know Seven was

553
00:28:59,160 --> 00:29:01,880
Speaker 3: sent and set in a more modern day closer to

554
00:29:01,880 --> 00:29:04,360
Speaker 3: when it was released, but it was still this ultra

555
00:29:04,480 --> 00:29:08,280
Speaker 3: violence that I don't think we had seen culturally, Like

556
00:29:08,400 --> 00:29:12,880
Speaker 3: that wasn't really a time of you know, mass shootings

557
00:29:12,920 --> 00:29:16,040
Speaker 3: and you know family slayers.

558
00:29:15,560 --> 00:29:19,000
Speaker 2: Or what do they call those guys that killed their

559
00:29:19,040 --> 00:29:19,640
Speaker 2: whole families?

560
00:29:19,720 --> 00:29:23,720
Speaker 1: That trip sidled? No, is that when you kill the dad?

561
00:29:24,080 --> 00:29:30,200
Speaker 3: That's when you kill the dad? Oh, annihilators, sorry, annihilators?

562
00:29:30,360 --> 00:29:31,840
Speaker 1: Is that what annihilators mean?

563
00:29:32,160 --> 00:29:36,360
Speaker 3: I think so they think they call them family annihilators? Wow,

564
00:29:36,880 --> 00:29:39,760
Speaker 3: So we hadn't like reached that cultural moment yet so

565
00:29:39,800 --> 00:29:43,080
Speaker 3: even in film, Yes, they're being confronted in this film

566
00:29:43,120 --> 00:29:45,959
Speaker 3: by a new level of violence, but I think that

567
00:29:46,040 --> 00:29:48,680
Speaker 3: level of violence was kind of heightened culturally as well.

568
00:29:49,200 --> 00:29:51,840
Speaker 1: Yeah. Well, and that's the thing is that, like, yeah,

569
00:29:51,840 --> 00:29:54,760
Speaker 1: in both these movies, you've got these like older characters

570
00:29:55,200 --> 00:29:58,800
Speaker 1: who are in law enforcement and they're basically like you know,

571
00:29:58,960 --> 00:30:01,920
Speaker 1: kind of in their like waning days. They're about to

572
00:30:02,000 --> 00:30:05,080
Speaker 1: retire or this is like their last gig before they retire,

573
00:30:05,680 --> 00:30:09,040
Speaker 1: and they're like, this is the worst crime. Like what

574
00:30:09,560 --> 00:30:12,360
Speaker 1: am I doing? What is like how have things changed

575
00:30:12,440 --> 00:30:16,080
Speaker 1: since I started? And you know what is this kind

576
00:30:16,080 --> 00:30:20,680
Speaker 1: of like new era of you know, chaos and you

577
00:30:20,680 --> 00:30:24,520
Speaker 1: know uncertainty and what does it mean for everybody? So

578
00:30:24,560 --> 00:30:29,120
Speaker 1: it's just it's just interesting on that point too. But

579
00:30:29,520 --> 00:30:35,719
Speaker 1: I will say I have not seen your movie since

580
00:30:36,560 --> 00:30:41,440
Speaker 1: nineteen ninety five, As you famously know by this point,

581
00:30:42,120 --> 00:30:44,600
Speaker 1: I was a huge fan of your movie. When I

582
00:30:44,680 --> 00:30:51,400
Speaker 1: was in high school, I had a club alongside a

583
00:30:51,440 --> 00:30:55,840
Speaker 1: bunch of dudes that was inspired in part by your.

584
00:30:55,760 --> 00:30:57,920
Speaker 2: Film Seven Deadly Monkeys.

585
00:30:58,400 --> 00:30:59,800
Speaker 1: The Seven Deadly Monkeys.

586
00:31:01,120 --> 00:31:02,920
Speaker 2: I'm not letting you get away without saying the name.

587
00:31:03,200 --> 00:31:06,000
Speaker 1: Oh no, The Seven Deadly Monkeys, which by the way,

588
00:31:06,040 --> 00:31:10,320
Speaker 1: were it was a mashup between seven and twelve Monkeys,

589
00:31:10,760 --> 00:31:14,440
Speaker 1: which is the other film that everybody liked a lot.

590
00:31:14,960 --> 00:31:17,120
Speaker 2: You all really loved Brad Pitt from the beginning.

591
00:31:17,520 --> 00:31:21,360
Speaker 1: And as I talked about on this now free and

592
00:31:21,480 --> 00:31:24,480
Speaker 1: open bonus episode that anybody could listen to if they

593
00:31:24,560 --> 00:31:30,920
Speaker 1: wanted to, every member of the group had a different name,

594
00:31:31,400 --> 00:31:36,560
Speaker 1: a code name, and they were the lush anger, you know,

595
00:31:36,640 --> 00:31:42,240
Speaker 1: like the fucking seven Deadly Sins, much like seven the movie.

596
00:31:42,280 --> 00:31:46,720
Speaker 1: And it's so embarrassing to think about now, but all

597
00:31:46,800 --> 00:31:50,200
Speaker 1: that stuff came rushing back, and I swear to God,

598
00:31:50,440 --> 00:31:54,360
Speaker 1: I cannot think of like just the music, the vibe,

599
00:31:54,560 --> 00:32:00,000
Speaker 1: the the style of the film is so nineteen ninety five.

600
00:32:00,000 --> 00:32:04,360
Speaker 1: I have goth industrial nerd shit. I just I almost

601
00:32:04,360 --> 00:32:05,880
Speaker 1: don't want to talk about my movie. I just want

602
00:32:05,920 --> 00:32:06,880
Speaker 1: to talk about your movie.

603
00:32:06,920 --> 00:32:09,920
Speaker 3: So I know I had a feeling, but we are

604
00:32:09,920 --> 00:32:11,320
Speaker 3: going to talk about your movie, for sure.

605
00:32:11,520 --> 00:32:12,960
Speaker 2: But I know you have a lot to say about

606
00:32:13,000 --> 00:32:13,520
Speaker 2: my movie.

607
00:32:13,840 --> 00:32:16,040
Speaker 1: Yes I do, And I think you're going first, so

608
00:32:16,880 --> 00:32:17,720
Speaker 1: I'm going first.

609
00:32:17,760 --> 00:32:20,640
Speaker 3: So I'm gonna just walk us right into it. My

610
00:32:20,760 --> 00:32:23,400
Speaker 3: movie came out in nineteen ninety five, It was written

611
00:32:23,400 --> 00:32:27,040
Speaker 3: by Andrew Kevin Walker. It was directed by David Fincher.

612
00:32:27,440 --> 00:32:29,440
Speaker 3: My movie is seven.

613
00:32:30,400 --> 00:32:32,160
Speaker 1: Have you ever seen anything like this?

614
00:32:35,440 --> 00:32:39,520
Speaker 3: Also known as sassen se with a number in the

615
00:32:39,520 --> 00:32:42,520
Speaker 3: middle e enssen.

616
00:32:41,960 --> 00:32:46,080
Speaker 1: Lucky number, sleven or whatever. Isn't that a movie too?

617
00:32:46,240 --> 00:32:47,120
Speaker 1: That's a movie too.

618
00:32:50,920 --> 00:32:52,440
Speaker 2: Isn't Josh Hartnett in that one?

619
00:32:52,560 --> 00:32:55,880
Speaker 1: Oh? God, I don't even know. I've never seen it,

620
00:32:55,920 --> 00:33:00,360
Speaker 1: But it's like, there's like weird stylized versions of these

621
00:33:00,400 --> 00:33:03,120
Speaker 1: fucking movie names drive me crazy. And if you've ever

622
00:33:03,160 --> 00:33:06,040
Speaker 1: worked in a record store or like, uh, you know,

623
00:33:06,120 --> 00:33:08,320
Speaker 1: anything that has a database and you have to come

624
00:33:08,360 --> 00:33:12,120
Speaker 1: across one of these fucking movie titles, you're just like, no.

625
00:33:13,360 --> 00:33:16,720
Speaker 3: I tried to put I put seven in my search

626
00:33:16,760 --> 00:33:21,480
Speaker 3: engine bar to rent this and it came up as

627
00:33:21,640 --> 00:33:25,560
Speaker 3: sissen And that was like, how fucking dare you?

628
00:33:27,920 --> 00:33:29,800
Speaker 1: It's cessas seven?

629
00:33:30,440 --> 00:33:33,200
Speaker 3: It doesn't even make sense. Seven does not resemble a

630
00:33:33,280 --> 00:33:34,960
Speaker 3: be in any sense of the word. And if you're

631
00:33:34,960 --> 00:33:36,880
Speaker 3: just gonna put the number in, you don't need the letters,

632
00:33:36,920 --> 00:33:42,240
Speaker 3: like come on. But again, those gritty stylized nineties ways.

633
00:33:42,920 --> 00:33:45,959
Speaker 1: God, that's how we did it. That is how we

634
00:33:46,080 --> 00:33:46,440
Speaker 1: did it.

635
00:33:47,120 --> 00:33:50,720
Speaker 3: And even from Unfortunately, from the credits of this movie,

636
00:33:51,440 --> 00:33:55,200
Speaker 3: I was like, Ooh, I forgot about this, like glitchy font,

637
00:33:56,000 --> 00:33:59,680
Speaker 3: scratchy record, look that was kind of prevalent at a

638
00:33:59,720 --> 00:34:00,960
Speaker 3: point point in time.

639
00:34:01,120 --> 00:34:07,520
Speaker 1: And also that weird like this like prologue to Closer,

640
00:34:07,640 --> 00:34:10,320
Speaker 1: the nine Ish Nailsalt Closer, where it's like, yeah, I

641
00:34:10,320 --> 00:34:11,840
Speaker 1: don't know if it was like a remix or like

642
00:34:11,920 --> 00:34:15,239
Speaker 1: an extended version, and I was like, holy fucking shit,

643
00:34:15,360 --> 00:34:17,960
Speaker 1: this is so nineties. I can't take it.

644
00:34:18,880 --> 00:34:21,160
Speaker 3: I Also, what I love about the credits is that

645
00:34:21,160 --> 00:34:25,680
Speaker 3: you can see the killer making his crazy journals. How

646
00:34:25,680 --> 00:34:28,360
Speaker 3: do we feel about a killer's journals situation?

647
00:34:28,840 --> 00:34:30,200
Speaker 2: We can get into it later, but I just.

648
00:34:30,160 --> 00:34:32,560
Speaker 3: Wanted just an initial thought of like someone with the

649
00:34:32,640 --> 00:34:35,759
Speaker 3: tiny handwriting and the black and white composition notebook and

650
00:34:35,760 --> 00:34:38,319
Speaker 3: they're pasting things in it, and they're like really putting

651
00:34:38,360 --> 00:34:41,200
Speaker 3: a lot of work into it, and it's unintelligible and

652
00:34:41,280 --> 00:34:44,680
Speaker 3: makes everyone sigh with resignation that they even have to

653
00:34:44,680 --> 00:34:44,960
Speaker 3: read them.

654
00:34:45,000 --> 00:34:47,200
Speaker 1: At one point, we'll put a pin at it, because

655
00:34:47,239 --> 00:34:50,000
Speaker 1: I'm definitely interested in what you feel about that as

656
00:34:50,000 --> 00:34:50,400
Speaker 1: a writer.

657
00:34:51,040 --> 00:34:54,000
Speaker 3: So scillent excellent. Well, I'm gonna give you my one

658
00:34:54,040 --> 00:34:57,920
Speaker 3: sentence synopsis. A fucking lunatic is running around killing people

659
00:34:57,920 --> 00:35:00,520
Speaker 3: based on the Seven Deadly Sins, and it's to an

660
00:35:00,560 --> 00:35:05,440
Speaker 3: almost retired detective and his brand new partner to catch him.

661
00:35:05,560 --> 00:35:08,960
Speaker 1: Done so.

662
00:35:09,120 --> 00:35:12,640
Speaker 3: This movie, as we have said, was directed by David Fincher,

663
00:35:12,680 --> 00:35:14,200
Speaker 3: who did do another movie before this.

664
00:35:14,320 --> 00:35:16,520
Speaker 2: I for a long time thought this was his first film,

665
00:35:16,560 --> 00:35:20,839
Speaker 2: but he directed Alien three, which I did not know.

666
00:35:21,120 --> 00:35:25,160
Speaker 3: But prior to that, David Fincher came up through and

667
00:35:25,239 --> 00:35:27,840
Speaker 3: really said that this was his film school.

668
00:35:28,400 --> 00:35:30,960
Speaker 2: He was a video director, music video director, like so

669
00:35:31,040 --> 00:35:33,640
Speaker 2: many directors that we love nowadays. That's how he came up.

670
00:35:34,080 --> 00:35:37,200
Speaker 3: But I was shocked to learn what some of the

671
00:35:37,239 --> 00:35:42,520
Speaker 3: videos were that he directed, including but not limited to,

672
00:35:43,520 --> 00:35:48,719
Speaker 3: George Michael's Freedom ninety. Yeah, remember the dark, moody look

673
00:35:48,760 --> 00:35:49,440
Speaker 3: of that video.

674
00:35:49,719 --> 00:35:54,279
Speaker 2: That's David Fincher Aerosmith Janey got a gun.

675
00:35:54,480 --> 00:35:57,600
Speaker 1: Ooh, I should have known. I thought that one.

676
00:35:58,080 --> 00:35:59,920
Speaker 2: Billy Idol's Cradle of Love.

677
00:36:00,000 --> 00:36:03,000
Speaker 1: I'm a huge fan of that one, big fan.

678
00:36:03,480 --> 00:36:04,440
Speaker 2: And for Madonna.

679
00:36:04,880 --> 00:36:09,680
Speaker 3: He directed several videos, but my two favorites would be

680
00:36:09,800 --> 00:36:12,080
Speaker 3: Express Yourself and Vogue.

681
00:36:12,360 --> 00:36:14,040
Speaker 1: Yeah you aventure.

682
00:36:14,680 --> 00:36:17,520
Speaker 2: I know. Vogue is one of the most the best

683
00:36:17,560 --> 00:36:18,399
Speaker 2: videos of all time.

684
00:36:18,880 --> 00:36:22,520
Speaker 1: Oh yeah, he's got chops. I think he's got chops.

685
00:36:23,239 --> 00:36:26,279
Speaker 2: So he was brought in to direct Alien three.

686
00:36:27,120 --> 00:36:28,879
Speaker 3: There are interviews out there with him where he talks

687
00:36:28,880 --> 00:36:32,160
Speaker 3: about how seven kind of helped him recover from the

688
00:36:32,200 --> 00:36:34,560
Speaker 3: experience of Alien three. I don't think he really loved it.

689
00:36:35,200 --> 00:36:38,359
Speaker 3: Probably wasn't really in his ouvra. And you know, first

690
00:36:38,400 --> 00:36:40,400
Speaker 3: time directing is hard and if you're not doing something

691
00:36:40,400 --> 00:36:42,680
Speaker 3: that's your work that you're passionate about.

692
00:36:43,680 --> 00:36:44,560
Speaker 2: But he went on.

693
00:36:44,800 --> 00:36:49,560
Speaker 3: To just absolutely demolish it, like he I feel like

694
00:36:49,600 --> 00:36:51,440
Speaker 3: he's one of those directors who came out of the

695
00:36:51,480 --> 00:36:56,320
Speaker 3: gate with his own sense of style and really cemented

696
00:36:56,400 --> 00:36:58,239
Speaker 3: himself as.

697
00:36:59,320 --> 00:37:04,600
Speaker 2: A specific voice very early on. But I've also liked watching.

698
00:37:04,400 --> 00:37:08,080
Speaker 3: How that voice has developed so through Zodiac and Gone Girl,

699
00:37:08,200 --> 00:37:10,560
Speaker 3: and like, yes, it's still moody, it's still gritty, but

700
00:37:10,600 --> 00:37:13,840
Speaker 3: it's a little more stylized, a little more finessed.

701
00:37:14,800 --> 00:37:17,000
Speaker 2: But he hasn't lost anything. I think he's just kind.

702
00:37:16,840 --> 00:37:20,560
Speaker 3: Of adding to his own identity, which feels kind of nice.

703
00:37:20,800 --> 00:37:24,680
Speaker 1: Oh yeah, Zodiac is a fucking masterpiece in my mind.

704
00:37:24,719 --> 00:37:28,200
Speaker 1: It's absolutely good, and it's like a thing where I

705
00:37:28,480 --> 00:37:31,279
Speaker 1: don't know what like that. I think the critical appraisal,

706
00:37:31,440 --> 00:37:33,600
Speaker 1: or at least the audience appraisal of that movie has

707
00:37:33,640 --> 00:37:36,080
Speaker 1: totally come around. I remember when that first that Zodiac

708
00:37:36,080 --> 00:37:38,480
Speaker 1: first came out, everybody was like, this sucks. I think

709
00:37:38,480 --> 00:37:43,160
Speaker 1: it's brilliant, Like absolutely, yeah, totally one of my favorites.

710
00:37:43,160 --> 00:37:45,960
Speaker 1: I think I'm so glad that that movie got rediscovered

711
00:37:46,000 --> 00:37:48,680
Speaker 1: and recontextualized because it rules.

712
00:37:49,400 --> 00:37:52,080
Speaker 2: It rules, And I'm even gonna say Gone Girl is great.

713
00:37:52,840 --> 00:37:54,840
Speaker 1: Yeah, I haven't seen it in a while, but I have.

714
00:37:55,080 --> 00:37:56,760
Speaker 2: A killer job on Gone Girl.

715
00:37:57,200 --> 00:37:59,600
Speaker 3: And I know it's more recent, but it's it's it's

716
00:37:59,600 --> 00:38:01,600
Speaker 3: one of those movies that I can watch again and

717
00:38:01,640 --> 00:38:02,640
Speaker 3: see something new in it.

718
00:38:03,400 --> 00:38:04,759
Speaker 2: So I don't know.

719
00:38:04,760 --> 00:38:07,920
Speaker 3: I just I love I just I really appreciate his style.

720
00:38:08,120 --> 00:38:10,040
Speaker 3: And I can't say that about a lot of directors,

721
00:38:10,719 --> 00:38:13,400
Speaker 3: but I really I like that I can recognize it

722
00:38:13,480 --> 00:38:14,520
Speaker 3: David Fincher movie.

723
00:38:14,560 --> 00:38:17,920
Speaker 2: I like that he again kind.

724
00:38:17,800 --> 00:38:22,399
Speaker 3: Of pushes his own boundaries in some ways while still

725
00:38:22,440 --> 00:38:24,840
Speaker 3: remaining very true to himself. And at the time of

726
00:38:24,840 --> 00:38:29,160
Speaker 3: this recording, he hasn't said anything wild or done anything crazy.

727
00:38:29,440 --> 00:38:32,800
Speaker 3: He's not like a super chauvinistic or misogynistic or racist

728
00:38:32,880 --> 00:38:33,560
Speaker 3: or anything like that.

729
00:38:33,640 --> 00:38:35,920
Speaker 2: So I guess also the.

730
00:38:35,880 --> 00:38:40,000
Speaker 1: Thing about him too that I think is so he's like,

731
00:38:40,840 --> 00:38:44,359
Speaker 1: to me, he's one of these directors that made this

732
00:38:46,040 --> 00:38:52,680
Speaker 1: huge cultural explosion type of film, you know, fight Club, Right,

733
00:38:53,160 --> 00:38:56,640
Speaker 1: that is just this movie that's in the ether at

734
00:38:56,640 --> 00:38:59,960
Speaker 1: this point, and everybody is like love it, I hate it. Yeah, yeah,

735
00:39:00,000 --> 00:39:03,759
Speaker 1: I know something about Fight Club, and I feel like,

736
00:39:03,840 --> 00:39:08,560
Speaker 1: in a way, he's so's he was so known for

737
00:39:08,680 --> 00:39:11,880
Speaker 1: that movie for so long that it might have eclipsed

738
00:39:11,920 --> 00:39:14,000
Speaker 1: some of this other stuff that he was doing at

739
00:39:14,000 --> 00:39:16,600
Speaker 1: a certain points of his career. And I'm like, oh, no,

740
00:39:16,920 --> 00:39:20,520
Speaker 1: like fuck fight Club, like Zodiacs where it's out, or

741
00:39:20,520 --> 00:39:24,399
Speaker 1: Gone Girls where it's out, or even Seven, which yes,

742
00:39:24,600 --> 00:39:27,000
Speaker 1: I but grudgically say that considering how big of a

743
00:39:27,040 --> 00:39:29,600
Speaker 1: nerd I was for this fucking movie. But I actually thought,

744
00:39:29,800 --> 00:39:33,239
Speaker 1: you know, rewatching seven, I was like, oh, yeah, this

745
00:39:33,400 --> 00:39:36,480
Speaker 1: is totally great. Likes he's a great director.

746
00:39:36,719 --> 00:39:38,920
Speaker 2: Absolutely, you know. Oh, I'm so glad you feel that

747
00:39:38,960 --> 00:39:40,440
Speaker 2: way too, because I do as well.

748
00:39:41,000 --> 00:39:44,040
Speaker 3: Yeah, And I'm definitely as we before we move into

749
00:39:44,080 --> 00:39:46,839
Speaker 3: the movie itself, I'm gonna do something a little unorthodox.

750
00:39:47,280 --> 00:39:50,000
Speaker 2: I don't think we've ever done this on the pod before.

751
00:39:50,719 --> 00:39:54,000
Speaker 3: I'm not going to talk about a certain actor who's

752
00:39:54,080 --> 00:39:55,760
Speaker 3: very prominent in my film.

753
00:39:56,280 --> 00:39:59,520
Speaker 1: Oh yeah, So I'm only.

754
00:39:59,320 --> 00:40:02,239
Speaker 3: Going to say his name this once, Kevin Spacey, who

755
00:40:02,320 --> 00:40:06,520
Speaker 3: has been accused of some file heinous shit that, in

756
00:40:06,560 --> 00:40:09,960
Speaker 3: my opinion, I fully believe he did. I don't know

757
00:40:10,040 --> 00:40:12,600
Speaker 3: we're allowed to say that, but I don't.

758
00:40:12,400 --> 00:40:13,799
Speaker 2: Want to talk about him at all.

759
00:40:14,600 --> 00:40:17,279
Speaker 3: And I'm thankful that he's even though he has a

760
00:40:17,280 --> 00:40:19,319
Speaker 3: big role in this film, he doesn't have a big

761
00:40:19,360 --> 00:40:22,480
Speaker 3: presence in this film, and I just don't think he

762
00:40:22,520 --> 00:40:25,719
Speaker 3: deserves to have be part of the discussion. And maybe

763
00:40:25,719 --> 00:40:28,920
Speaker 3: that's again completely unorthodox, but I personally don't want to

764
00:40:28,920 --> 00:40:29,960
Speaker 3: shine a light on him at all.

765
00:40:30,560 --> 00:40:33,640
Speaker 1: Oh and not for nothing, he's the corniest part about

766
00:40:33,640 --> 00:40:37,319
Speaker 1: the movie. Now, Like to me, like, ah, sorry, but

767
00:40:37,440 --> 00:40:41,040
Speaker 1: his whole bullshit in this movie is so annoying.

768
00:40:43,160 --> 00:40:44,719
Speaker 2: Well good that we don't have to talk about him,

769
00:40:44,719 --> 00:40:45,360
Speaker 2: because that's.

770
00:40:45,200 --> 00:40:46,440
Speaker 1: All we're gonna say.

771
00:40:46,880 --> 00:40:47,799
Speaker 2: All we're gonna say.

772
00:40:49,320 --> 00:40:51,799
Speaker 3: So when we start on this film again, we've got

773
00:40:52,160 --> 00:40:55,000
Speaker 3: we start on a Monday, right, and the movie is

774
00:40:55,000 --> 00:40:57,600
Speaker 3: going to take us from Monday to Sunday, and we're

775
00:40:57,640 --> 00:41:01,960
Speaker 3: gonna start with these crimes that eventually are pieced together

776
00:41:02,160 --> 00:41:06,520
Speaker 3: as being the same killer who's leaving little clues that

777
00:41:06,760 --> 00:41:09,040
Speaker 3: all of these clan crimes are based on the seven

778
00:41:09,239 --> 00:41:14,719
Speaker 3: Deadly Sins. So the seven Deadly Sins are do you

779
00:41:14,719 --> 00:41:16,359
Speaker 3: want to tell us Millie since you were in seven

780
00:41:16,400 --> 00:41:16,879
Speaker 3: deadly months?

781
00:41:16,960 --> 00:41:19,920
Speaker 1: Oh god, I don't even can I remember?

782
00:41:20,040 --> 00:41:22,360
Speaker 2: You can you don't remember? I'll I'll back you up.

783
00:41:22,440 --> 00:41:34,920
Speaker 1: Okay, lust, breed, sloth, yep, gluttony, anger, no, wrath, something

784
00:41:35,280 --> 00:41:43,200
Speaker 1: something about angriness, no, no, fuck, something something about aggression.

785
00:41:43,320 --> 00:41:46,280
Speaker 1: All I know is this, it's an aggressive.

786
00:41:46,400 --> 00:41:47,080
Speaker 2: You got wrath?

787
00:41:47,600 --> 00:41:50,240
Speaker 1: Okay, wrath? Okay, so that's five.

788
00:41:50,760 --> 00:41:51,520
Speaker 2: That's five.

789
00:41:53,239 --> 00:41:54,400
Speaker 1: Vanity or something?

790
00:41:55,400 --> 00:41:58,800
Speaker 2: No envy and pride?

791
00:41:58,960 --> 00:42:02,320
Speaker 1: That news so that I knew it was solid, but

792
00:42:02,440 --> 00:42:02,960
Speaker 1: you didn't good?

793
00:42:02,960 --> 00:42:04,400
Speaker 2: You have five out of seven? Damn.

794
00:42:04,960 --> 00:42:11,160
Speaker 1: I'm sorry, seven deadly monkeys. I'm sorry.

795
00:42:11,600 --> 00:42:12,120
Speaker 2: I'm just saying.

796
00:42:12,160 --> 00:42:14,319
Speaker 3: I'm thinking that you just forgot who those two people were,

797
00:42:14,440 --> 00:42:15,120
Speaker 3: is what I'm thinking.

798
00:42:15,600 --> 00:42:17,440
Speaker 2: I could you forgot envy in pride?

799
00:42:17,480 --> 00:42:20,880
Speaker 1: Yeah, I'll have to look at our our workbook that

800
00:42:20,920 --> 00:42:23,439
Speaker 1: we had and I'll find out who was who was who?

801
00:42:24,520 --> 00:42:26,879
Speaker 3: Pull out that same crate that had the VHS tapes

802
00:42:26,920 --> 00:42:30,600
Speaker 3: you made with your god criminal high school teacher.

803
00:42:31,200 --> 00:42:34,040
Speaker 1: Just fucking torch that entire thing. When I die, just

804
00:42:34,080 --> 00:42:38,160
Speaker 1: torch it, like, doesn't need to exist.

805
00:42:38,360 --> 00:42:39,799
Speaker 2: Put it in your will. I'll do it.

806
00:42:40,280 --> 00:42:40,840
Speaker 1: Okay.

807
00:42:41,440 --> 00:42:44,480
Speaker 3: So we start and we're with Detective Somerset, who is

808
00:42:44,480 --> 00:42:50,400
Speaker 3: played by Morgan Freeman, who actually looks young in this movie, yeah,

809
00:42:50,680 --> 00:42:52,440
Speaker 3: which is wild because I'm like, I don't think he

810
00:42:52,480 --> 00:42:55,160
Speaker 3: looks old now, but then you see him from back

811
00:42:55,200 --> 00:42:56,960
Speaker 3: in the day and you're like, oh, yeah, he's definitely

812
00:42:56,960 --> 00:43:00,000
Speaker 3: in his seventies or eighties, Like he definitely is, yeah,

813
00:43:00,040 --> 00:43:02,040
Speaker 3: but he felt older to me then, so it's weird

814
00:43:02,040 --> 00:43:03,440
Speaker 3: to look at him now and be like, oh no,

815
00:43:04,160 --> 00:43:05,040
Speaker 3: you're old then too.

816
00:43:05,560 --> 00:43:06,719
Speaker 1: Yeah.

817
00:43:06,880 --> 00:43:11,600
Speaker 3: So Morgan Freeman a Summerset, Detective Summrset and he is

818
00:43:11,640 --> 00:43:15,240
Speaker 3: coming up on this crime scene and it's a larger

819
00:43:15,320 --> 00:43:18,719
Speaker 3: man face down in a plate of spaghetti and at

820
00:43:18,760 --> 00:43:20,719
Speaker 3: first I'm not sure if it's a heart attack or not,

821
00:43:21,840 --> 00:43:24,160
Speaker 3: until they see that he's bound at the wrists and

822
00:43:24,200 --> 00:43:27,160
Speaker 3: there's a bucket of puke under the table and realize

823
00:43:27,160 --> 00:43:31,359
Speaker 3: that the man ate until he burst. So Somerset is like, uh,

824
00:43:31,719 --> 00:43:33,040
Speaker 3: I fucking want out. This is going to be a

825
00:43:33,120 --> 00:43:36,320
Speaker 3: long ass case, and I'm a week away from retirement.

826
00:43:36,880 --> 00:43:40,279
Speaker 3: It's also too soon for my partner, who I just met,

827
00:43:40,280 --> 00:43:44,120
Speaker 3: Detective Mills, who comes in with the energy of a puppy,

828
00:43:45,400 --> 00:43:49,439
Speaker 3: and he's a nervous talker, and he like, like, he's

829
00:43:49,520 --> 00:43:53,920
Speaker 3: really nervous and excitable, and Somerset is super bitchy and tired,

830
00:43:54,080 --> 00:43:55,680
Speaker 3: and he's just like, I don't want to do this case.

831
00:43:55,680 --> 00:43:58,200
Speaker 2: This is going to be a long road that will

832
00:43:58,200 --> 00:43:59,040
Speaker 2: take more than a week.

833
00:44:00,520 --> 00:44:01,839
Speaker 1: I want to I want to get you. I want

834
00:44:01,840 --> 00:44:04,920
Speaker 1: to get your read on something I'm about to say.

835
00:44:05,000 --> 00:44:10,160
Speaker 1: I'm about to propose something. Right. Here's the thing about

836
00:44:10,360 --> 00:44:17,000
Speaker 1: my rewatch. I think in ninety five, if I remember accurately,

837
00:44:17,520 --> 00:44:19,840
Speaker 1: I thought Brad Pitt in this role was kind of cool.

838
00:44:20,080 --> 00:44:23,440
Speaker 1: He was like, you know, like a kind of you know,

839
00:44:24,560 --> 00:44:28,279
Speaker 1: off the cuff, fucking renegade kind of young cop guy

840
00:44:29,080 --> 00:44:35,000
Speaker 1: wearing his god damn long sleeve shirts with the slaves

841
00:44:35,040 --> 00:44:38,080
Speaker 1: going over his hands, and he just had that bleach

842
00:44:38,160 --> 00:44:40,719
Speaker 1: blonde hair bullshit going. I was like, Oh, he's cool.

843
00:44:40,760 --> 00:44:44,640
Speaker 1: He's like emblematic of the era of the mid nineties.

844
00:44:45,800 --> 00:44:47,799
Speaker 1: So when I watched this again, I was like, I

845
00:44:47,840 --> 00:44:53,160
Speaker 1: hate him, Yes, I hate his ass. He is so annoying.

846
00:44:53,480 --> 00:44:59,799
Speaker 1: He also is like completely freaked out by any you know,

847
00:45:01,120 --> 00:45:03,439
Speaker 1: any kind of suggestion that he might be gay.

848
00:45:04,360 --> 00:45:04,640
Speaker 2: Yep.

849
00:45:05,239 --> 00:45:09,600
Speaker 1: And I'm like, here's the thing to me in this

850
00:45:09,760 --> 00:45:13,120
Speaker 1: modern age, had watched this movie. I'm like, Brad Pitt

851
00:45:13,200 --> 00:45:17,160
Speaker 1: to me is like a homophobe bro and Morgan Freeman

852
00:45:17,760 --> 00:45:19,800
Speaker 1: kind of comes across as bisexual.

853
00:45:20,680 --> 00:45:21,920
Speaker 2: Oh, say more about that?

854
00:45:22,520 --> 00:45:24,600
Speaker 1: Yeah, I don't know. I mean, and this is like,

855
00:45:24,680 --> 00:45:27,720
Speaker 1: this is the gut feeling that I had, because it's like, Okay,

856
00:45:28,520 --> 00:45:32,520
Speaker 1: there's lots of hints at Morgan Freeman's character Somerset being

857
00:45:32,560 --> 00:45:34,120
Speaker 1: this like, you know, single guy. He might have been

858
00:45:34,160 --> 00:45:36,920
Speaker 1: married once, he almost was in a relationship with a

859
00:45:36,960 --> 00:45:39,760
Speaker 1: woman and they almost had a baby. But he doesn't

860
00:45:39,800 --> 00:45:42,759
Speaker 1: read completely straight to me. I don't know why that is.

861
00:45:43,520 --> 00:45:47,399
Speaker 3: I might need an essay on this and a narrative essay, right.

862
00:45:47,600 --> 00:45:49,920
Speaker 1: And I'm not just saying it's because he loves books

863
00:45:50,600 --> 00:45:56,480
Speaker 1: and classical music, which are classic indicators of gay things

864
00:45:56,600 --> 00:46:00,360
Speaker 1: in old movies, right, But I'm just saying that I

865
00:46:00,360 --> 00:46:06,080
Speaker 1: feel he feels not completely straight, and then Brad Pitt

866
00:46:06,120 --> 00:46:07,680
Speaker 1: feels too straight.

867
00:46:08,280 --> 00:46:11,480
Speaker 3: Yes, Brad Pitt definitely feels too straight to me in

868
00:46:11,480 --> 00:46:15,040
Speaker 3: this film. Yeah, and I think that there's an aloofness

869
00:46:15,120 --> 00:46:19,120
Speaker 3: to Somerset that I appreciate. But I think what you're

870
00:46:19,200 --> 00:46:24,480
Speaker 3: reading is bisexual. I'm just reading as old age, and

871
00:46:24,520 --> 00:46:27,319
Speaker 3: the two things could exist together. I don't think he

872
00:46:27,400 --> 00:46:30,600
Speaker 3: has fucking had it. He's like I've had it with

873
00:46:30,840 --> 00:46:32,960
Speaker 3: He's not upset with his life. This is the other

874
00:46:33,000 --> 00:46:35,880
Speaker 3: thing that's very interesting to me about Summerset. He has interest,

875
00:46:36,280 --> 00:46:39,439
Speaker 3: he has a routine. He's not upset with his life.

876
00:46:39,440 --> 00:46:41,320
Speaker 3: He's not his character from Shawshank Redemption.

877
00:46:41,400 --> 00:46:42,680
Speaker 2: Let's say, m M.

878
00:46:43,520 --> 00:46:47,920
Speaker 3: He's not read, but he is over the bullshit of

879
00:46:48,000 --> 00:46:49,600
Speaker 3: what everyone thinks he should be.

880
00:46:50,400 --> 00:46:50,640
Speaker 2: Right.

881
00:46:50,680 --> 00:46:53,160
Speaker 3: So he's like, you think I should not retire, Well,

882
00:46:53,160 --> 00:46:56,000
Speaker 3: fuck you arem retiring. You think I should be married.

883
00:46:55,800 --> 00:46:57,759
Speaker 2: Will fuck you? I'm not gonna get married. You think I.

884
00:46:57,680 --> 00:46:59,600
Speaker 3: Should I should have kids? You think I should be

885
00:46:59,640 --> 00:47:01,960
Speaker 3: working in the country instead of the city. I think

886
00:47:02,000 --> 00:47:04,120
Speaker 3: he just is making up his own life as he

887
00:47:04,160 --> 00:47:07,480
Speaker 3: goes along, and it's just better. I think he decided

888
00:47:07,520 --> 00:47:09,759
Speaker 3: a long time ago that he's better off doing that

889
00:47:09,840 --> 00:47:10,480
Speaker 3: by himself.

890
00:47:11,560 --> 00:47:16,600
Speaker 1: Yeah, and especially when he's put up against this new partner.

891
00:47:16,640 --> 00:47:18,839
Speaker 1: Because this kind of goes back to this like secondary

892
00:47:18,880 --> 00:47:21,920
Speaker 1: theme of the episode, which is just like he's seen

893
00:47:21,960 --> 00:47:26,239
Speaker 1: some shit. He has a method. He he has a

894
00:47:26,280 --> 00:47:31,840
Speaker 1: way of doing the casework that's not like immediately a

895
00:47:31,920 --> 00:47:34,280
Speaker 1: draw your gun and start firing. It's like it takes

896
00:47:34,920 --> 00:47:40,640
Speaker 1: patience and absolutely hard, unsexy research sometimes to figure out

897
00:47:40,680 --> 00:47:43,560
Speaker 1: how to solve crimes. And Brad Pitt's the absolute opposite.

898
00:47:43,600 --> 00:47:45,960
Speaker 1: He's just like I'm ready to fucking go that puppy

899
00:47:46,080 --> 00:47:48,640
Speaker 1: energy and he's like I don't want to deal with

900
00:47:48,680 --> 00:47:50,239
Speaker 1: this shit, like.

901
00:47:50,239 --> 00:47:53,000
Speaker 2: And and the Brad Pick character Mills he kept coming

902
00:47:53,000 --> 00:47:53,359
Speaker 2: in and.

903
00:47:53,320 --> 00:47:56,839
Speaker 3: Being like like I've done this before, Like I don't

904
00:47:56,880 --> 00:47:58,920
Speaker 3: need you a till like I've done this before.

905
00:47:58,960 --> 00:47:59,920
Speaker 2: And I'm like, hmm, but you have.

906
00:48:00,400 --> 00:48:02,680
Speaker 3: And yeah, even Somerset says like you haven't done it here,

907
00:48:03,360 --> 00:48:05,880
Speaker 3: and you haven't done it frequently, or you haven't done

908
00:48:05,920 --> 00:48:08,719
Speaker 3: it for a long time. So just that energy of

909
00:48:08,760 --> 00:48:11,759
Speaker 3: like hang on, Carrot is attacking a target bag right now,

910
00:48:14,520 --> 00:48:15,560
Speaker 3: Like what is this sound?

911
00:48:15,600 --> 00:48:16,920
Speaker 2: It just has socks in it, buddy.

912
00:48:17,640 --> 00:48:19,759
Speaker 3: So yeah, like Somerset comes in with this energy where

913
00:48:19,800 --> 00:48:22,919
Speaker 3: he's like you only have a week to learn from

914
00:48:22,960 --> 00:48:26,480
Speaker 3: me at first, and then by the time he decides

915
00:48:26,520 --> 00:48:28,400
Speaker 3: he wants off the case, he's like, well, you have

916
00:48:28,440 --> 00:48:30,200
Speaker 3: a week to figure your own shit out, because I

917
00:48:30,200 --> 00:48:34,800
Speaker 3: think he sees this aggressiveness in Mills that he knows

918
00:48:35,600 --> 00:48:36,120
Speaker 3: can't be.

919
00:48:37,120 --> 00:48:38,239
Speaker 2: Like taught out of you.

920
00:48:38,920 --> 00:48:39,200
Speaker 1: Yeah.

921
00:48:39,239 --> 00:48:42,080
Speaker 3: And it's interesting as the movie progresses, especially as we

922
00:48:42,120 --> 00:48:46,840
Speaker 3: get to the ending where you see something does happen

923
00:48:46,880 --> 00:48:50,239
Speaker 3: that finally breaks him. Yeah, and it is the most

924
00:48:50,239 --> 00:48:55,960
Speaker 3: devastating thing of all time, right, but Somerset sees in

925
00:48:56,040 --> 00:48:58,799
Speaker 3: Mills already like he needs to be broken down and

926
00:48:58,920 --> 00:49:01,319
Speaker 3: I'm not the one to do it right And I

927
00:49:01,400 --> 00:49:04,200
Speaker 3: kind of love that, Yeah, because I could not agree

928
00:49:04,239 --> 00:49:06,520
Speaker 3: with you more that the brad hit character of Mills

929
00:49:06,600 --> 00:49:08,960
Speaker 3: was so annoying to me this time around.

930
00:49:09,960 --> 00:49:11,439
Speaker 1: Thank god, you think that.

931
00:49:11,760 --> 00:49:13,719
Speaker 3: I just kept saying like, shut up, dude, shut up,

932
00:49:13,760 --> 00:49:15,200
Speaker 3: Like to my own TV, I'm like, dude.

933
00:49:15,040 --> 00:49:16,239
Speaker 2: To shut up, to shut up.

934
00:49:16,400 --> 00:49:17,200
Speaker 1: Oh my god.

935
00:49:17,880 --> 00:49:19,960
Speaker 3: But that's a well written character that makes you feel

936
00:49:19,960 --> 00:49:26,440
Speaker 3: like that, like ooh. So they don't start putting the

937
00:49:26,480 --> 00:49:32,359
Speaker 3: puzzle together that these crimes are connected until Tuesday, when

938
00:49:32,440 --> 00:49:35,800
Speaker 3: a lawyer is killed and you know, greed is written

939
00:49:35,840 --> 00:49:40,280
Speaker 3: on the ground in blood, and the glutton was also

940
00:49:40,400 --> 00:49:45,040
Speaker 3: fed plastic pellets that kind of lead Somerset into researching

941
00:49:45,440 --> 00:49:47,879
Speaker 3: the Seven Deadly Sins and he kind of can't help

942
00:49:47,920 --> 00:49:50,759
Speaker 3: himself from researching this case that he said he doesn't

943
00:49:50,760 --> 00:49:53,879
Speaker 3: want to be on. And then Mills's wife invites him

944
00:49:53,880 --> 00:49:59,120
Speaker 3: to dinner. And Mills's wife, Tracy is played by Gwyneth Paltrow,

945
00:49:59,440 --> 00:50:03,640
Speaker 3: and they were this time, and she is also deeply

946
00:50:03,640 --> 00:50:05,799
Speaker 3: annoying to me in this film, and that makes me.

947
00:50:05,760 --> 00:50:07,560
Speaker 1: A bad feminist because I feel like she should have

948
00:50:07,560 --> 00:50:11,560
Speaker 1: worn a bra at dinner then, so be so fucking

949
00:50:11,719 --> 00:50:12,040
Speaker 1: be it.

950
00:50:13,560 --> 00:50:15,919
Speaker 2: I put them away. Morgan Freeman is in the room.

951
00:50:17,000 --> 00:50:20,600
Speaker 1: Yeah, you don't know, You just don't know what these

952
00:50:20,640 --> 00:50:21,560
Speaker 1: other cops.

953
00:50:21,239 --> 00:50:25,040
Speaker 3: Are gonna be, like, okay there, But that to me

954
00:50:25,520 --> 00:50:29,080
Speaker 3: compounds what I think is this naivete that like a

955
00:50:29,160 --> 00:50:32,120
Speaker 3: naivete that they kind of are infusing this character with

956
00:50:32,560 --> 00:50:35,360
Speaker 3: because you learn at this dinner that that Tracy and

957
00:50:35,400 --> 00:50:38,200
Speaker 3: Mills were high school sweethearts and you know they've kind

958
00:50:38,200 --> 00:50:40,960
Speaker 3: of just always been together and she was a kindergarten teacher,

959
00:50:41,520 --> 00:50:43,799
Speaker 3: and they have the worst apartment in the world, which

960
00:50:43,840 --> 00:50:46,680
Speaker 3: is finally what gets Somerset to agree to work on

961
00:50:46,719 --> 00:50:49,399
Speaker 3: the case. Weirdly, like he can't stop laughing about how

962
00:50:49,440 --> 00:50:51,960
Speaker 3: this apartment shakes every time the subway rolls by.

963
00:50:53,360 --> 00:50:56,320
Speaker 1: Oh and another thing about this apartment. I'm just gonna

964
00:50:56,320 --> 00:50:59,880
Speaker 1: say it. They got three giant dogs in this bit,

965
00:51:00,080 --> 00:51:03,120
Speaker 1: in this small ass apartment. You know, they're not walking

966
00:51:03,120 --> 00:51:05,239
Speaker 1: those dogs all the time because it rains so much.

967
00:51:06,920 --> 00:51:08,759
Speaker 3: I'm called, And plus he's at work all the time.

968
00:51:08,840 --> 00:51:10,719
Speaker 3: So what she's walking those dogs all three at the time.

969
00:51:10,760 --> 00:51:12,879
Speaker 3: Does she have one of those belt things? I don't

970
00:51:12,920 --> 00:51:14,239
Speaker 3: see it.

971
00:51:14,719 --> 00:51:16,120
Speaker 2: Those dogs would ruin her.

972
00:51:16,440 --> 00:51:19,359
Speaker 1: Oh yeah, she's wearing a bra. She's not gonna wear

973
00:51:19,360 --> 00:51:27,000
Speaker 1: a belt like a leash belt.

974
00:51:32,239 --> 00:51:36,600
Speaker 3: This is an accessory free motherfucker. Give me a Oh good.

975
00:51:37,080 --> 00:51:39,279
Speaker 3: I absolutely love it. And again we're gonna get to

976
00:51:39,640 --> 00:51:42,920
Speaker 3: in a moment why I find her so deeply annoying.

977
00:51:42,560 --> 00:51:45,040
Speaker 2: In this film. She's a little annoying right now.

978
00:51:46,120 --> 00:51:49,160
Speaker 3: I cannot understand, Like, inviting your new partner, you know,

979
00:51:49,320 --> 00:51:51,360
Speaker 3: your husband's new partner over like that seems totally.

980
00:51:51,200 --> 00:51:51,640
Speaker 2: Normal to me.

981
00:51:51,640 --> 00:51:53,239
Speaker 3: But he's already said I don't want to work with you,

982
00:51:53,920 --> 00:51:56,000
Speaker 3: And I think there's like kind of hubris to her.

983
00:51:56,560 --> 00:51:58,600
Speaker 3: Where she's like, I can get you over here and

984
00:51:58,640 --> 00:52:02,719
Speaker 3: like talking to us, Sinda. Anyway, they start piecing this

985
00:52:02,800 --> 00:52:07,359
Speaker 3: case together and they find these little clues like, oh,

986
00:52:07,400 --> 00:52:10,200
Speaker 3: this painting was upside down, or he left prince behind,

987
00:52:10,239 --> 00:52:13,520
Speaker 3: but they're not his handprints, or they're the handprints of

988
00:52:13,520 --> 00:52:16,520
Speaker 3: some other dude. And from the fingerprints they get this

989
00:52:16,640 --> 00:52:22,960
Speaker 3: name Victor, this guy who is a criminal pedophile, and

990
00:52:23,480 --> 00:52:25,719
Speaker 3: they go to his house and this to me, I

991
00:52:25,719 --> 00:52:27,640
Speaker 3: don't know, this is one of the most memorable scenes

992
00:52:27,680 --> 00:52:31,160
Speaker 3: of this movie to me one percent. They walk into

993
00:52:31,200 --> 00:52:34,200
Speaker 3: this goddamn house and Victor is not the killer. He

994
00:52:34,239 --> 00:52:36,600
Speaker 3: is a victim, they soon discover, because.

995
00:52:36,360 --> 00:52:37,440
Speaker 2: He is laying in bed.

996
00:52:37,880 --> 00:52:40,840
Speaker 3: There are air pine air fresheners hanging all over the ceiling,

997
00:52:42,000 --> 00:52:46,359
Speaker 3: and he's in bed as the example of sloth, and

998
00:52:46,400 --> 00:52:50,040
Speaker 3: he's basically been starved to death and kept on the

999
00:52:50,040 --> 00:52:55,759
Speaker 3: brink of death for a year. There are photos in

1000
00:52:55,800 --> 00:52:58,840
Speaker 3: his apartment dated a year ago when he was perfectly healthy,

1001
00:52:58,840 --> 00:53:01,719
Speaker 3: and this first started to when he was where he

1002
00:53:01,800 --> 00:53:03,160
Speaker 3: is now, which is you know. They walk up to

1003
00:53:03,239 --> 00:53:05,439
Speaker 3: him and they're like, this guy is a skeleton. He's dead,

1004
00:53:06,840 --> 00:53:09,360
Speaker 3: and then this motherfucker lets out of breath and sits

1005
00:53:09,440 --> 00:53:11,080
Speaker 3: up and I have never jumped so hard in my

1006
00:53:11,120 --> 00:53:13,080
Speaker 3: life as when I first saw this movie.

1007
00:53:13,239 --> 00:53:15,680
Speaker 2: And it's still got me this time. It's still got me.

1008
00:53:16,239 --> 00:53:20,400
Speaker 1: Yeah, still got me this time too. The fucking Scrubs guy.

1009
00:53:20,880 --> 00:53:24,200
Speaker 1: What's the guy from scrub m Yeah, John McGinley that

1010
00:53:24,360 --> 00:53:28,680
Speaker 1: like plays that like agro what is he an ATF

1011
00:53:28,719 --> 00:53:31,080
Speaker 1: guy or something? You know, like a swat team guy

1012
00:53:31,760 --> 00:53:34,640
Speaker 1: gets down at his face and he's just like fuck

1013
00:53:34,719 --> 00:53:38,320
Speaker 1: this motherfucker, you know, like hell, he says something really snarky,

1014
00:53:38,640 --> 00:53:42,879
Speaker 1: and then the dude's like, I'm a lot witch, Get

1015
00:53:43,000 --> 00:53:46,240
Speaker 1: the shit out of me, and like like I couldn't sleep,

1016
00:53:46,400 --> 00:53:49,319
Speaker 1: Like unbeknownst to the Seven Deadly Monkeys, I could not

1017
00:53:49,520 --> 00:53:51,160
Speaker 1: fucking sleep when I saw that.

1018
00:53:51,320 --> 00:53:53,279
Speaker 3: Freak to me, there's one other scene coming up that

1019
00:53:53,320 --> 00:53:55,399
Speaker 3: truly ruined my life, but this one freaked me out

1020
00:53:55,400 --> 00:53:57,120
Speaker 3: and scared me more than anything i'd seen up to

1021
00:53:57,160 --> 00:53:57,720
Speaker 3: that point.

1022
00:53:57,960 --> 00:54:00,880
Speaker 1: Goo for at least to study like fifty in twenty years.

1023
00:54:00,920 --> 00:54:04,160
Speaker 1: If I saw more than one pine air freshener anywhere,

1024
00:54:04,200 --> 00:54:06,160
Speaker 1: like in someone's car, like, ah, get.

1025
00:54:06,000 --> 00:54:09,200
Speaker 3: Me the fuck out of there, like no way, Like

1026
00:54:09,480 --> 00:54:11,360
Speaker 3: people who leave them and just keep adding to them

1027
00:54:11,400 --> 00:54:12,839
Speaker 3: instead of taking the old one off.

1028
00:54:13,280 --> 00:54:15,720
Speaker 1: Yes, I'm like, what are you fucking psycho?

1029
00:54:16,239 --> 00:54:17,480
Speaker 2: You gotta buy shit down?

1030
00:54:18,080 --> 00:54:19,440
Speaker 1: Have you seen seven?

1031
00:54:19,920 --> 00:54:20,200
Speaker 3: Ah?

1032
00:54:20,400 --> 00:54:20,600
Speaker 1: Ah?

1033
00:54:22,680 --> 00:54:25,080
Speaker 3: Well, what I also love about this scene is they're

1034
00:54:25,160 --> 00:54:28,520
Speaker 3: looking at Victor and he's like again strapped to this bed.

1035
00:54:28,719 --> 00:54:33,120
Speaker 3: He's been completely hindered and emaciated, and like they realize

1036
00:54:33,160 --> 00:54:35,160
Speaker 3: somebody's been kind of keeping him alive and like giving

1037
00:54:35,200 --> 00:54:36,799
Speaker 3: him antibiotics and all kinds of shit.

1038
00:54:37,440 --> 00:54:39,280
Speaker 2: But he also is missing.

1039
00:54:38,960 --> 00:54:42,000
Speaker 3: His left hand, and they realized that that hand is

1040
00:54:42,000 --> 00:54:44,360
Speaker 3: what was used to leave the fingerprints. So this killer

1041
00:54:44,480 --> 00:54:47,200
Speaker 3: cut off this man's hand to leave the fingerprints. And

1042
00:54:47,239 --> 00:54:49,320
Speaker 3: this is what truly fucks me up about this movie

1043
00:54:49,880 --> 00:54:53,839
Speaker 3: and most serial killers in real life. A serial killer

1044
00:54:53,840 --> 00:54:57,439
Speaker 3: who's methodical is a different kind of fucking beast. Someone

1045
00:54:57,480 --> 00:55:00,560
Speaker 3: who is planning shit a year out and is smart

1046
00:55:00,680 --> 00:55:03,120
Speaker 3: enough to leave clues and shit like that and put

1047
00:55:03,120 --> 00:55:04,040
Speaker 3: this puzzle together.

1048
00:55:04,640 --> 00:55:05,560
Speaker 2: That freaks me out.

1049
00:55:05,800 --> 00:55:10,040
Speaker 1: How many packs of the air fresheners did he staple

1050
00:55:10,160 --> 00:55:13,480
Speaker 1: to the ceiling? He had to staple all these air

1051
00:55:13,600 --> 00:55:14,640
Speaker 1: freshers to the ceiling.

1052
00:55:14,680 --> 00:55:20,760
Speaker 2: He was paying this man's rent he would rent every month.

1053
00:55:21,320 --> 00:55:24,719
Speaker 2: Leave those stone unturned that's maniacal shit.

1054
00:55:24,960 --> 00:55:26,799
Speaker 3: Nobody would pay my rent for me, and I mean

1055
00:55:27,239 --> 00:55:29,160
Speaker 3: even people who wouldn't kill me, Like, no one was

1056
00:55:29,280 --> 00:55:32,439
Speaker 3: ever paying my rent. Well, even a roommate wouldn't drop

1057
00:55:32,440 --> 00:55:35,040
Speaker 3: off the rent at the fucking landlord's office.

1058
00:55:35,760 --> 00:55:39,480
Speaker 2: I always had to do it. Oh my god.

1059
00:55:40,400 --> 00:55:44,880
Speaker 3: Well, by the time we get to Friday, Tracy is

1060
00:55:44,920 --> 00:55:48,719
Speaker 3: on my last fucking nerve. Tracy and Mills are so

1061
00:55:48,920 --> 00:55:54,480
Speaker 3: well haired for how annoying they are perfect because she

1062
00:55:54,560 --> 00:55:59,200
Speaker 3: is literally interrupting this investigation because she's lonely and sad,

1063
00:55:59,440 --> 00:56:02,760
Speaker 3: so she called Summerset. She's like, I fucking hate this city.

1064
00:56:03,120 --> 00:56:05,120
Speaker 3: I used to have a life and be a kindergarten teacher.

1065
00:56:05,360 --> 00:56:07,839
Speaker 3: Now I'm living in this apartment where the subway comes

1066
00:56:07,840 --> 00:56:11,960
Speaker 3: through every five minutes. Oh and also I'm pregnant. And

1067
00:56:12,040 --> 00:56:14,040
Speaker 3: Somerset is like, please leave me out of this.

1068
00:56:15,120 --> 00:56:16,600
Speaker 2: He's like, don't you.

1069
00:56:16,640 --> 00:56:20,880
Speaker 1: Have three dogs you can pour this out onto? Why me?

1070
00:56:21,239 --> 00:56:22,480
Speaker 2: Do you have a college roommate?

1071
00:56:22,560 --> 00:56:25,000
Speaker 3: Do you have literally anyone else you can go to,

1072
00:56:26,000 --> 00:56:28,160
Speaker 3: maybe talk to your actual husband.

1073
00:56:29,880 --> 00:56:33,040
Speaker 2: He is so like, what have I gotten myself into?

1074
00:56:33,120 --> 00:56:35,480
Speaker 3: And the look on his face His words are very kind,

1075
00:56:36,040 --> 00:56:37,759
Speaker 3: but the look on his face is you gotta be

1076
00:56:37,840 --> 00:56:41,160
Speaker 3: kidding me, right, I mean, that's again.

1077
00:56:41,480 --> 00:56:45,400
Speaker 1: The the part of the movie that is annoying actually

1078
00:56:45,600 --> 00:56:49,000
Speaker 1: is just like, oh, well, this beautiful white woman has

1079
00:56:49,040 --> 00:56:52,640
Speaker 1: a problem, and I have to stop my entire fucking life,

1080
00:56:53,360 --> 00:57:02,799
Speaker 1: my last days of my career thinking about her issues exactly.

1081
00:57:04,120 --> 00:57:08,040
Speaker 3: I got the Hubris the entitlement in the nineties. I

1082
00:57:08,160 --> 00:57:09,759
Speaker 3: was like, Oh, that's sweet that they have like a

1083
00:57:09,760 --> 00:57:10,880
Speaker 3: sweet little relationship.

1084
00:57:11,080 --> 00:57:14,200
Speaker 2: Yeah, she feels like she can go to him. But

1085
00:57:14,280 --> 00:57:15,279
Speaker 2: time has jaded me.

1086
00:57:16,440 --> 00:57:16,880
Speaker 1: I hear you.

1087
00:57:17,360 --> 00:57:19,760
Speaker 3: Time has jaded me because I saw that scene and

1088
00:57:19,800 --> 00:57:21,280
Speaker 3: I'm like, will you let this man try to find

1089
00:57:21,280 --> 00:57:23,680
Speaker 3: this fucking serial killer in the last three days he

1090
00:57:23,720 --> 00:57:24,320
Speaker 3: has to work.

1091
00:57:25,160 --> 00:57:27,320
Speaker 1: I'm like, this lady needs to put on a bra

1092
00:57:27,560 --> 00:57:37,640
Speaker 1: and go see a therapist. That's age for you, baby.

1093
00:57:38,440 --> 00:57:42,400
Speaker 3: Well she doesn't, and they're still trying to do any

1094
00:57:42,440 --> 00:57:45,960
Speaker 3: of that, and we're still trying to track down this killer.

1095
00:57:46,000 --> 00:57:49,840
Speaker 3: And there's three fucking deadly sins left, Envy, Bride, and Wrath,

1096
00:57:50,760 --> 00:57:52,400
Speaker 3: and they're kind of running out of options. So they

1097
00:57:52,440 --> 00:57:55,360
Speaker 3: finally connect the dots when Somerset is like, all right,

1098
00:57:55,400 --> 00:57:59,280
Speaker 3: I've got this guy at the FBI, and he looks

1099
00:57:59,360 --> 00:58:02,080
Speaker 3: up information for me and this is kind of a

1100
00:58:02,080 --> 00:58:05,520
Speaker 3: weird reveal, but he's like, oh, ps, the FBI tracks

1101
00:58:06,400 --> 00:58:11,600
Speaker 3: everyone's library checkout lists, so if somebody checks out something

1102
00:58:12,600 --> 00:58:15,480
Speaker 3: that can be flagged, then we can like build a

1103
00:58:16,040 --> 00:58:19,040
Speaker 3: profile on them. And that was the first time again

1104
00:58:19,120 --> 00:58:22,040
Speaker 3: nineteen ninety five, I'm eighteen years old, seventeen, eighteen years old,

1105
00:58:22,640 --> 00:58:23,000
Speaker 3: and I was.

1106
00:58:23,000 --> 00:58:25,200
Speaker 2: Like, wait, they're doing that? Are they doing that for real?

1107
00:58:25,320 --> 00:58:26,960
Speaker 2: Are they tracking my shit at the library?

1108
00:58:27,040 --> 00:58:28,960
Speaker 3: Do they know how many times I've checked down these

1109
00:58:29,080 --> 00:58:32,360
Speaker 3: VC Andrews' books, Like that was the first time I

1110
00:58:32,400 --> 00:58:34,320
Speaker 3: thought the government even knew who I was.

1111
00:58:35,640 --> 00:58:39,080
Speaker 1: Yeah, I can see me like, looks like Henderson Danielle

1112
00:58:39,400 --> 00:58:42,760
Speaker 1: wants to have sex with her brother. She's rented VC

1113
00:58:42,960 --> 00:58:48,520
Speaker 1: Andrews Flowers in the Attic twelve times in the past year.

1114
00:58:49,600 --> 00:58:55,760
Speaker 3: Oh no, oh that freaked me out too.

1115
00:58:55,760 --> 00:58:57,760
Speaker 2: I'm like, again, the scares of this movie just keep

1116
00:58:57,760 --> 00:58:58,200
Speaker 2: on coming.

1117
00:58:58,600 --> 00:58:59,439
Speaker 1: Oh for sure.

1118
00:58:59,560 --> 00:59:02,680
Speaker 3: I also love that Mills can't pronounce anything, like he's like,

1119
00:59:02,720 --> 00:59:07,680
Speaker 3: oh this he read into he checked out Marquis de Charde, Like,

1120
00:59:07,720 --> 00:59:09,600
Speaker 3: I just love that they made that character kind of

1121
00:59:10,880 --> 00:59:12,440
Speaker 3: untell intelligent in that way.

1122
00:59:12,480 --> 00:59:15,080
Speaker 2: He's smart in other ways. But he's like not BookSmart.

1123
00:59:15,280 --> 00:59:21,360
Speaker 1: This motherfucker is so stupid that he can't oh good,

1124
00:59:21,720 --> 00:59:27,920
Speaker 1: he calls Dante an F word. I'm just like, why

1125
00:59:28,040 --> 00:59:31,480
Speaker 1: do I hate this character so much? Here's why?

1126
00:59:31,720 --> 00:59:32,320
Speaker 3: Oh good.

1127
00:59:32,800 --> 00:59:41,240
Speaker 1: He's so threatened at all times.

1128
00:59:38,480 --> 00:59:45,840
Speaker 3: Perpetually threatened by everyone, oh even Dante, even Dante, even

1129
00:59:45,880 --> 00:59:47,960
Speaker 3: the long dead Dante.

1130
00:59:49,480 --> 00:59:51,120
Speaker 2: Lord.

1131
00:59:51,720 --> 00:59:55,520
Speaker 3: So we they find out who they think is the killer,

1132
00:59:55,880 --> 00:59:58,560
Speaker 3: they go to his apartment and then Summerset is like,

1133
00:59:58,600 --> 01:00:02,560
Speaker 3: wait a minute, we can't barge in because then I'll

1134
01:00:02,560 --> 01:00:06,040
Speaker 3: have to explain how I have this information. And Mills

1135
01:00:06,120 --> 01:00:08,000
Speaker 3: is like, or fuck you, and he kicks the fucking

1136
01:00:08,040 --> 01:00:13,520
Speaker 3: door down. After an epic foot chase in the rain,

1137
01:00:14,320 --> 01:00:17,400
Speaker 3: And there's also a point where, you know, during after this,

1138
01:00:17,800 --> 01:00:20,040
Speaker 3: before this epic foot chaser's a guy in a stairwell

1139
01:00:20,040 --> 01:00:23,120
Speaker 3: who's like taking pictures of them and pretending to be

1140
01:00:23,240 --> 01:00:25,760
Speaker 3: part of the like pretending to be a journalist. And

1141
01:00:26,320 --> 01:00:29,360
Speaker 3: Mills is all agro and like, didn't take my fucking picture.

1142
01:00:31,280 --> 01:00:33,400
Speaker 3: But they get into this house and it is like

1143
01:00:33,920 --> 01:00:38,040
Speaker 3: stock serial killer territory. There's this the thing that freaks

1144
01:00:38,080 --> 01:00:40,840
Speaker 3: me out the most about this apartment, many horrors within

1145
01:00:41,000 --> 01:00:42,440
Speaker 3: the thing that freaks me out the most is the

1146
01:00:42,440 --> 01:00:44,800
Speaker 3: twin bed under the glowing red cross.

1147
01:00:46,760 --> 01:00:47,520
Speaker 1: Twin bed.

1148
01:00:47,720 --> 01:00:51,600
Speaker 2: Oh, a twin bed under a glowing red cross.

1149
01:00:51,600 --> 01:00:54,200
Speaker 3: And I'm like that that's a detail that's a little

1150
01:00:54,200 --> 01:00:54,959
Speaker 3: too close to home.

1151
01:00:55,200 --> 01:00:57,000
Speaker 2: If you know some weirdos, you know what I'm talking about.

1152
01:00:57,680 --> 01:01:03,040
Speaker 1: A twin bed, my dude, full bare minimum bare men's

1153
01:01:03,120 --> 01:01:07,960
Speaker 1: get a full. A full is a twin bed for adults,

1154
01:01:08,960 --> 01:01:10,080
Speaker 1: just upgrades slightly.

1155
01:01:10,120 --> 01:01:10,800
Speaker 2: It's not even that.

1156
01:01:10,800 --> 01:01:14,520
Speaker 3: Much more expensive than a twin There's something about a

1157
01:01:14,600 --> 01:01:18,400
Speaker 3: twin in this film especially. I'm not shaming anyone who

1158
01:01:18,440 --> 01:01:21,040
Speaker 3: sleeps in a twin bed, trust there's something about a

1159
01:01:21,080 --> 01:01:24,120
Speaker 3: twin bed in this film that tells me more about

1160
01:01:24,120 --> 01:01:27,040
Speaker 3: this dude, because I'm like, oh, you never even plan

1161
01:01:27,120 --> 01:01:29,360
Speaker 3: on getting laid, Like you never even plan on having

1162
01:01:29,560 --> 01:01:33,320
Speaker 3: a friend or company, Like it's just the narrowing of

1163
01:01:33,360 --> 01:01:34,880
Speaker 3: your own life down to that.

1164
01:01:37,400 --> 01:01:40,520
Speaker 1: He's so busy, staple and damn air fresheners to the ceiling.

1165
01:01:40,560 --> 01:01:44,440
Speaker 1: He's like, I don't care about my own needs. I

1166
01:01:44,760 --> 01:01:47,680
Speaker 1: would love to spread out in a full but I

1167
01:01:47,720 --> 01:01:49,120
Speaker 1: have a twin He's.

1168
01:01:48,960 --> 01:01:53,120
Speaker 3: Too busy slice it off his own fingerprints to actually

1169
01:01:53,160 --> 01:01:55,960
Speaker 3: pay attention to his living space, that's right, but he

1170
01:01:56,000 --> 01:01:59,040
Speaker 3: does have over two hundred goddamn journals filled with his

1171
01:01:59,120 --> 01:02:03,200
Speaker 3: fucking or no, i'm sorry, two thousand notebooks. And Somerset

1172
01:02:03,240 --> 01:02:04,320
Speaker 3: takes a look at that and he's like, this is

1173
01:02:04,360 --> 01:02:06,320
Speaker 3: gonna take us all fucking year to get through this shit.

1174
01:02:06,960 --> 01:02:10,080
Speaker 1: Shit, And you know how Mills feels about reading is like,

1175
01:02:10,200 --> 01:02:10,800
Speaker 1: no way.

1176
01:02:11,400 --> 01:02:16,000
Speaker 3: When I say us, I mean me, because clearly Mills

1177
01:02:16,040 --> 01:02:19,040
Speaker 3: ain't going to reach shits. But while they're in the apartment,

1178
01:02:19,200 --> 01:02:21,160
Speaker 3: there's a dark room and they, you know, they find

1179
01:02:21,160 --> 01:02:23,360
Speaker 3: this picture of a blonde and a never seat for

1180
01:02:23,400 --> 01:02:27,160
Speaker 3: a leather store, and that's what leads them to the

1181
01:02:27,280 --> 01:02:30,640
Speaker 3: lust murder. And this is the killing that ruined my

1182
01:02:30,680 --> 01:02:36,040
Speaker 3: fucking life when I was seventeen and seeing the shit,

1183
01:02:36,600 --> 01:02:41,800
Speaker 3: oh yeah, oh yeah, I cannot even describe. I mean,

1184
01:02:42,200 --> 01:02:45,440
Speaker 3: leland Orser plays the character who was forced into doing

1185
01:02:45,520 --> 01:02:48,960
Speaker 3: this horrible deed by the serial killer, and his reaction

1186
01:02:49,080 --> 01:02:54,600
Speaker 3: is my reaction, like just trauma, trauma response, and it

1187
01:02:54,600 --> 01:02:57,439
Speaker 3: hasn't changed. I hate that scene to this day. It's

1188
01:02:57,480 --> 01:03:00,600
Speaker 3: so graphic. I'm just gonna say, there's a knife day involved.

1189
01:03:01,080 --> 01:03:05,240
Speaker 1: Yeah, the dick knife. This is again annoying, and the

1190
01:03:05,360 --> 01:03:10,160
Speaker 1: serial killer sucks so bad. He's so annoying, he's ha

1191
01:03:10,160 --> 01:03:13,520
Speaker 1: had to go to like get a custom dick knife

1192
01:03:13,520 --> 01:03:16,080
Speaker 1: made to enact his stupid crimes.

1193
01:03:17,840 --> 01:03:21,000
Speaker 3: There's nothing funnier to me than you getting angry at.

1194
01:03:20,880 --> 01:03:26,400
Speaker 2: A serial killer for out they are. We get it.

1195
01:03:26,440 --> 01:03:28,280
Speaker 2: You're smart and lonely, We get it.

1196
01:03:28,520 --> 01:03:30,720
Speaker 1: And you hate everybody so much.

1197
01:03:30,680 --> 01:03:32,000
Speaker 2: Join the goddamn club.

1198
01:03:33,400 --> 01:03:35,680
Speaker 3: None of us around her making knife dicks just because

1199
01:03:35,720 --> 01:03:36,880
Speaker 3: we're part of the human condition.

1200
01:03:39,440 --> 01:03:43,600
Speaker 2: So by the time we can't to fucking Sunday, we're like,

1201
01:03:43,640 --> 01:03:45,560
Speaker 2: wait a minute, what's going on here?

1202
01:03:46,000 --> 01:03:48,200
Speaker 3: We still got two fucking killings to go, or two

1203
01:03:48,400 --> 01:03:53,600
Speaker 3: you know, killings to go, and Summerset's abounds to fucking retire. Well,

1204
01:03:53,600 --> 01:03:57,360
Speaker 3: don't worry, because the killer walks himself into the precinct

1205
01:03:57,920 --> 01:03:59,840
Speaker 3: and turns himself in. Yep.

1206
01:04:00,280 --> 01:04:03,760
Speaker 2: And this is why I chose this for this.

1207
01:04:03,640 --> 01:04:06,040
Speaker 3: Theme, Okay, even though I don't want to, I know

1208
01:04:06,080 --> 01:04:07,920
Speaker 3: it's probably some of your probably like it's so unfair

1209
01:04:07,920 --> 01:04:10,240
Speaker 3: that you don't want to talk about the killer. I

1210
01:04:10,400 --> 01:04:12,440
Speaker 3: chose this because this is a killer who would have

1211
01:04:12,840 --> 01:04:14,840
Speaker 3: who would have gotten away with it fully if he

1212
01:04:14,880 --> 01:04:19,480
Speaker 3: hadn't walked himself into the police station, but who also

1213
01:04:19,920 --> 01:04:24,000
Speaker 3: still gets away with it after he's caught. I will

1214
01:04:24,000 --> 01:04:28,520
Speaker 3: explain because the last two murders still take place, so

1215
01:04:28,600 --> 01:04:31,480
Speaker 3: he doesn't turn himself in until he knows he has

1216
01:04:31,520 --> 01:04:32,600
Speaker 3: completed his cycle.

1217
01:04:33,480 --> 01:04:36,960
Speaker 2: Yes, brilliant, fucking brilliant.

1218
01:04:37,120 --> 01:04:41,000
Speaker 1: And he's like, I can't wait for you to see it. Oh,

1219
01:04:41,040 --> 01:04:55,760
Speaker 1: shut up, so annoying. In ninety five, this was all terror,

1220
01:04:56,320 --> 01:04:59,720
Speaker 1: terror filled details, Like I was like, I can't believe

1221
01:04:59,800 --> 01:05:01,720
Speaker 1: him I would do that. I can't believe that that

1222
01:05:01,760 --> 01:05:04,960
Speaker 1: would This guy is so insane he's done this, and

1223
01:05:05,000 --> 01:05:07,520
Speaker 1: now I'm like god because he has a lot of

1224
01:05:07,560 --> 01:05:10,240
Speaker 1: pomp and circumstance at the end, like this is to

1225
01:05:10,320 --> 01:05:12,800
Speaker 1: your exact point. It's like this thing that's like he

1226
01:05:12,880 --> 01:05:19,160
Speaker 1: got away with it. Oh good for you. Aren't you

1227
01:05:19,320 --> 01:05:23,480
Speaker 1: cute with your fucking like murderous Rube Goldberg bullshit like

1228
01:05:30,400 --> 01:05:33,120
Speaker 1: Rube Goldberg murder.

1229
01:05:35,520 --> 01:05:40,560
Speaker 3: Oh God, you're killing me. I mean, I don't like

1230
01:05:40,640 --> 01:05:43,800
Speaker 3: this to this character at all, but you hate this motherfucker.

1231
01:05:43,880 --> 01:05:46,000
Speaker 3: It's the best thing I've ever heard. I could go

1232
01:05:46,040 --> 01:05:48,920
Speaker 3: another hour just you rip it on this fucking dude.

1233
01:05:49,400 --> 01:05:52,080
Speaker 1: Oh, I could easily go another hour just talking about

1234
01:05:52,080 --> 01:05:53,000
Speaker 1: this movie period.

1235
01:05:53,480 --> 01:05:56,000
Speaker 3: It is so wild, but he does like he's annoying

1236
01:05:56,040 --> 01:05:58,200
Speaker 3: as shit. He walks in, He's like, here, I am,

1237
01:05:58,320 --> 01:06:02,200
Speaker 3: you're trying to find me in that exact voice, and

1238
01:06:02,720 --> 01:06:05,320
Speaker 3: he's like, na hi, I heard you were trying to

1239
01:06:05,400 --> 01:06:07,880
Speaker 3: find me. And he takes Mills in Somerset to the

1240
01:06:07,960 --> 01:06:12,280
Speaker 3: last two bodies in trade for a full confession. But

1241
01:06:12,440 --> 01:06:14,800
Speaker 3: the last killing is the most fucked up killing of

1242
01:06:14,840 --> 01:06:18,960
Speaker 3: all time. It is life ruining for everyone involved. It

1243
01:06:19,040 --> 01:06:22,040
Speaker 3: is masterful and it's how diabolical it is.

1244
01:06:22,360 --> 01:06:24,280
Speaker 2: And I will say this, a lot of people.

1245
01:06:24,040 --> 01:06:27,080
Speaker 3: Have not seen this movie, but they know the ending

1246
01:06:28,240 --> 01:06:30,560
Speaker 3: and it involves a head in a box. And I

1247
01:06:30,560 --> 01:06:32,600
Speaker 3: will say, if you haven't seen the film, you are

1248
01:06:32,640 --> 01:06:38,240
Speaker 3: missing out on one of the most expert expertly deployed

1249
01:06:39,000 --> 01:06:42,240
Speaker 3: uses of tension because this scene goes on for so

1250
01:06:42,360 --> 01:06:46,280
Speaker 3: much longer than I remember, and it is tension filled

1251
01:06:46,280 --> 01:06:50,840
Speaker 3: for about five solid fucking minutes, and when the reveal comes,

1252
01:06:50,920 --> 01:06:53,479
Speaker 3: it is not a relief, It is just another wave

1253
01:06:53,520 --> 01:06:54,520
Speaker 3: of tension and terror.

1254
01:06:56,080 --> 01:07:01,280
Speaker 2: It is again, to me, masterful. Love that scene.

1255
01:07:01,800 --> 01:07:07,960
Speaker 1: Yeah, my favorite part of the scene now is Somerset's running.

1256
01:07:08,680 --> 01:07:10,880
Speaker 2: Yes, basically desperate.

1257
01:07:11,520 --> 01:07:13,080
Speaker 1: Yeah, that part is great.

1258
01:07:14,040 --> 01:07:18,600
Speaker 2: Oh my god, absolutely unreal, unreal.

1259
01:07:18,640 --> 01:07:21,520
Speaker 3: So that that's seven, That's that's I think one of

1260
01:07:21,560 --> 01:07:23,760
Speaker 3: the best movies of the nineties, one of the best

1261
01:07:23,760 --> 01:07:27,200
Speaker 3: movies of David Fincher's career, better than I remembered it being.

1262
01:07:28,640 --> 01:07:32,200
Speaker 3: And just so it's a as Melli would say, it's

1263
01:07:32,240 --> 01:07:33,080
Speaker 3: a rich text.

1264
01:07:33,640 --> 01:07:36,600
Speaker 1: It is a rich text. It to me was it's

1265
01:07:36,600 --> 01:07:38,600
Speaker 1: so funny because I was like thinking about it on

1266
01:07:38,600 --> 01:07:40,720
Speaker 1: so many different levels. By the way, I texted you,

1267
01:07:40,800 --> 01:07:43,440
Speaker 1: like right when we were about to record, and I

1268
01:07:43,480 --> 01:07:45,480
Speaker 1: was basically like, I think I'm gonna skip my movie

1269
01:07:45,480 --> 01:07:47,440
Speaker 1: this week and only talk about Seven because it just

1270
01:07:47,600 --> 01:07:52,400
Speaker 1: was so it was There was just so much that

1271
01:07:52,480 --> 01:07:56,600
Speaker 1: I had to talk about because it brought back all

1272
01:07:56,640 --> 01:08:01,440
Speaker 1: these feelings of being a teenager, be thinking that this

1273
01:08:01,640 --> 01:08:04,720
Speaker 1: was the edgiest movie I'd ever seen in my life,

1274
01:08:06,760 --> 01:08:12,720
Speaker 1: realizing that this movie was like a vibe for a

1275
01:08:12,760 --> 01:08:17,920
Speaker 1: lot of kids in the nineties, being that it was violent, dark,

1276
01:08:18,560 --> 01:08:22,000
Speaker 1: goth you know, and there was you know, the nine

1277
01:08:22,000 --> 01:08:26,160
Speaker 1: inch Nails shit on the soundtrack, you know, just the

1278
01:08:26,280 --> 01:08:30,160
Speaker 1: like idea that it's takes place in a town where

1279
01:08:30,160 --> 01:08:33,160
Speaker 1: it literally never the sun never comes out like and

1280
01:08:33,360 --> 01:08:39,080
Speaker 1: every apartment, literally every apartment is a fucking pig style,

1281
01:08:39,240 --> 01:08:43,320
Speaker 1: like no one has light bulbs in Seattle or whatever.

1282
01:08:43,720 --> 01:08:45,240
Speaker 3: And well, that's the other thing that I love about

1283
01:08:45,240 --> 01:08:49,440
Speaker 3: this film is that they intentionally leave the city vague. Yeah,

1284
01:08:49,479 --> 01:08:53,600
Speaker 3: and so the notion that this could be anywhere, I

1285
01:08:53,640 --> 01:08:56,680
Speaker 3: think is incredibly thoughtful.

1286
01:08:57,200 --> 01:09:01,200
Speaker 1: Yeah. Yeah, I think my immediate thoughts for Seattle maybe

1287
01:09:01,240 --> 01:09:03,800
Speaker 1: San Francisco. But you know, like you said, they don't

1288
01:09:03,840 --> 01:09:05,439
Speaker 1: really tell you.

1289
01:09:06,240 --> 01:09:09,479
Speaker 2: I'm like, yeah, it's Chicago, it's New York, like right.

1290
01:09:09,920 --> 01:09:12,679
Speaker 1: And and and I think that's actually maybe probably smart

1291
01:09:12,720 --> 01:09:15,080
Speaker 1: at the end of the day, because so much of

1292
01:09:15,280 --> 01:09:20,360
Speaker 1: like the the location of this film plays heavily into

1293
01:09:20,720 --> 01:09:24,760
Speaker 1: the plot, and you know, it's obviously like something that

1294
01:09:24,960 --> 01:09:28,120
Speaker 1: Somerset communicates to Mills at some point, like you don't

1295
01:09:28,160 --> 01:09:30,920
Speaker 1: you've never worked here, you never worked in this place.

1296
01:09:31,600 --> 01:09:35,200
Speaker 1: That is extra violent, extra dark, extra depressing. But also

1297
01:09:35,240 --> 01:09:37,839
Speaker 1: so like I carried a lot of that like ninety

1298
01:09:37,920 --> 01:09:42,120
Speaker 1: five feeling to this rewatch. But then yeah, being much

1299
01:09:42,160 --> 01:09:46,479
Speaker 1: older now, thinking that the edgy things about it are

1300
01:09:46,520 --> 01:09:51,200
Speaker 1: now annoying is really funny because that's like, that's how

1301
01:09:51,240 --> 01:09:54,080
Speaker 1: you know, I've gotten older is that all the cool

1302
01:09:54,120 --> 01:09:58,479
Speaker 1: shit is now annoying as shit, but also the idea

1303
01:09:58,560 --> 01:10:01,520
Speaker 1: that it's still a great movie and it's really entertaining.

1304
01:10:01,600 --> 01:10:04,200
Speaker 1: And despite the fact that, like you know, I no

1305
01:10:04,240 --> 01:10:08,240
Speaker 1: longer and I am an edge lord, a teenage edge lord,

1306
01:10:08,280 --> 01:10:10,920
Speaker 1: I still like thought it was a great film and

1307
01:10:11,000 --> 01:10:12,639
Speaker 1: that David Fincher's a great director.

1308
01:10:12,760 --> 01:10:16,080
Speaker 3: So can you please name your next book I was

1309
01:10:16,080 --> 01:10:17,280
Speaker 3: a teenage edge lord?

1310
01:10:17,520 --> 01:10:21,680
Speaker 1: Oh, yes, of course I will. I would love it

1311
01:10:22,120 --> 01:10:24,040
Speaker 1: even though I wasn't an edge lord in the same

1312
01:10:24,080 --> 01:10:29,200
Speaker 1: way that you know, these characters these films are but

1313
01:10:29,280 --> 01:10:30,160
Speaker 1: you know what I mean.

1314
01:10:30,280 --> 01:10:33,320
Speaker 3: Absolutely and there again, this film also has a great cast.

1315
01:10:33,840 --> 01:10:37,599
Speaker 3: So you've got Richard Rowntree, rest in Peace, King, Reggie,

1316
01:10:37,680 --> 01:10:42,040
Speaker 3: Kathy Arley, Ernie love It Like, there's all these incredible

1317
01:10:42,040 --> 01:10:45,080
Speaker 3: actors in this John c. McGinley like just great, great,

1318
01:10:45,120 --> 01:10:47,600
Speaker 3: great cast as well. And I kind of think that

1319
01:10:47,680 --> 01:10:49,960
Speaker 3: for a young young director and you know, kind of

1320
01:10:50,000 --> 01:10:53,439
Speaker 3: newer writer, that must be so exciting. And they weren't

1321
01:10:53,439 --> 01:10:55,080
Speaker 3: put in big roles, you know, they were kind of

1322
01:10:55,120 --> 01:10:57,639
Speaker 3: put in more minor roles that really I.

1323
01:10:57,560 --> 01:11:00,160
Speaker 2: Think emphasize the heft of the of the movie. This

1324
01:11:00,240 --> 01:11:01,760
Speaker 2: is one of those dudes in the.

1325
01:11:01,720 --> 01:11:06,120
Speaker 3: Canon that I believe should be there, rare, rare, right.

1326
01:11:06,479 --> 01:11:10,680
Speaker 1: And for the theme, it's perfect because you know, technically

1327
01:11:11,479 --> 01:11:14,000
Speaker 1: this motherfucker right here a guy got away with it.

1328
01:11:14,280 --> 01:11:17,680
Speaker 1: But also the alternate theme, which is again about you know,

1329
01:11:19,680 --> 01:11:23,400
Speaker 1: the older detective characters and whatnot.

1330
01:11:23,880 --> 01:11:27,880
Speaker 3: Absolutely, and your movie I could talk about all day

1331
01:11:27,880 --> 01:11:28,160
Speaker 3: as well.

1332
01:11:28,200 --> 01:11:29,240
Speaker 2: I mean your movie is great.

1333
01:11:29,439 --> 01:11:34,240
Speaker 1: Yeah. So my movie for the theme this motherfucker right here,

1334
01:11:35,400 --> 01:11:38,879
Speaker 1: is one from two thousand and seven. It was written

1335
01:11:38,920 --> 01:11:42,000
Speaker 1: by Joel and Ethan Cohne from a book of the

1336
01:11:42,040 --> 01:11:46,200
Speaker 1: same name by Cormack McCarthy, obviously directed by Joel and

1337
01:11:46,240 --> 01:11:48,760
Speaker 1: Ethan Cone, and it's called No Country for Old Men.

1338
01:11:50,320 --> 01:11:54,840
Speaker 2: Let me ask you, said, what's the most if you

1339
01:11:54,920 --> 01:11:55,559
Speaker 2: ever lost?

1340
01:11:55,840 --> 01:11:59,320
Speaker 1: In CONTs? So I don't need to go into the

1341
01:11:59,360 --> 01:12:02,719
Speaker 1: Cone Brothers really, because we've done episodes about Blood Simple

1342
01:12:02,760 --> 01:12:05,960
Speaker 1: and Raising Arizona. We've talked about them before, so check

1343
01:12:06,000 --> 01:12:09,680
Speaker 1: those out if you can. But I think that No

1344
01:12:09,760 --> 01:12:15,240
Speaker 1: Country for Old Men is considered one of the Coen

1345
01:12:15,280 --> 01:12:19,160
Speaker 1: brothers best movies, if not their best movie. I think

1346
01:12:20,040 --> 01:12:23,920
Speaker 1: it came out sort of like it was like a

1347
01:12:23,960 --> 01:12:26,400
Speaker 1: few years had gone by where they had made these

1348
01:12:26,479 --> 01:12:32,439
Speaker 1: kind of I don't know, like these like lukewarmly received comedies, right,

1349
01:12:33,720 --> 01:12:37,200
Speaker 1: and people were really excited when this movie came out

1350
01:12:37,200 --> 01:12:40,280
Speaker 1: that they were maybe kind of returning to these early

1351
01:12:40,400 --> 01:12:43,920
Speaker 1: days of these you know, neo nowars like Blood Simple

1352
01:12:44,000 --> 01:12:47,479
Speaker 1: and Miller's Crossing and stuff. This movie was really popular.

1353
01:12:47,520 --> 01:12:50,360
Speaker 1: I mean, it was, you know, commercially successful. It was

1354
01:12:50,400 --> 01:12:54,000
Speaker 1: nominated for eight Academy Awards. It won four. It won

1355
01:12:54,479 --> 01:13:00,760
Speaker 1: Best Picture, Best Supporting Actor for Javier Bardem, Best Director Directors,

1356
01:13:00,920 --> 01:13:05,519
Speaker 1: and Best Adapted Screenplay. And the thing that I think

1357
01:13:05,560 --> 01:13:08,280
Speaker 1: is also really interesting about this film in terms of

1358
01:13:08,320 --> 01:13:11,960
Speaker 1: their filmography, this movie was kind of seen as the

1359
01:13:11,960 --> 01:13:15,840
Speaker 1: first time that the Coen Brothers had made a film

1360
01:13:15,840 --> 01:13:20,760
Speaker 1: that was faithfully based on someone else's material, Right, And

1361
01:13:20,840 --> 01:13:24,000
Speaker 1: you know Cornwack McCarthy obviously a very famous American author,

1362
01:13:24,960 --> 01:13:28,400
Speaker 1: and you know, they kept it pretty close to the

1363
01:13:28,439 --> 01:13:32,560
Speaker 1: original book. I mean, and apparently McCarthy liked it. He

1364
01:13:32,600 --> 01:13:35,040
Speaker 1: seemed to have liked the film. But I always think

1365
01:13:35,040 --> 01:13:41,080
Speaker 1: it's really interesting when directors who are known for writing

1366
01:13:41,080 --> 01:13:47,080
Speaker 1: and directing their own stuff decide to adapt somebody else's work. Yeah,

1367
01:13:47,160 --> 01:13:50,559
Speaker 1: and then that becomes sort of their best movie in

1368
01:13:50,600 --> 01:13:53,240
Speaker 1: a weird way. It's kind of like the Tarantino and

1369
01:13:53,360 --> 01:13:57,960
Speaker 1: Jackie Brown thing, and especially these really auteur heavy directors

1370
01:13:58,000 --> 01:14:00,479
Speaker 1: that have, like, you know, they've created their own kind

1371
01:14:00,520 --> 01:14:05,200
Speaker 1: of cinematic worlds through their filmography, and just the idea

1372
01:14:05,240 --> 01:14:07,400
Speaker 1: that their best movies might be, you know, that they

1373
01:14:07,439 --> 01:14:10,120
Speaker 1: were ones that somebody else wrote I think is really interesting.

1374
01:14:10,960 --> 01:14:11,400
Speaker 2: I agree.

1375
01:14:11,640 --> 01:14:13,120
Speaker 1: The one thing that I do I want to talk

1376
01:14:13,120 --> 01:14:16,840
Speaker 1: about about this movie too, is that the movie takes

1377
01:14:16,880 --> 01:14:20,599
Speaker 1: place in West Texas in the nineteen eighties, even though

1378
01:14:20,640 --> 01:14:22,599
Speaker 1: a lot of it was actually shot in New Mexico.

1379
01:14:23,160 --> 01:14:27,439
Speaker 1: But I did read that they filmed some in Marfa, Texas,

1380
01:14:27,479 --> 01:14:31,000
Speaker 1: and also at Big Bend National Park, which is a

1381
01:14:31,000 --> 01:14:34,760
Speaker 1: couple hours south of Marfa. And I just actually just

1382
01:14:34,800 --> 01:14:37,200
Speaker 1: went to Marfa again. I've been there a few times.

1383
01:14:37,479 --> 01:14:40,800
Speaker 1: I just got back a few months ago, and I

1384
01:14:41,000 --> 01:14:45,479
Speaker 1: feel like this is a part of Texas that I

1385
01:14:45,520 --> 01:14:49,280
Speaker 1: think holds a lot of mystique for people, especially me,

1386
01:14:50,000 --> 01:14:55,080
Speaker 1: because it feels very desolate and kind of wild. I mean,

1387
01:14:55,120 --> 01:15:00,559
Speaker 1: it's sparsely populated, you know, it's mostly desert the border

1388
01:15:00,600 --> 01:15:03,599
Speaker 1: of Mexico, especially if you're kind of in the Big

1389
01:15:03,640 --> 01:15:08,559
Speaker 1: Bend area or El Paso especially, So I feel like

1390
01:15:09,520 --> 01:15:14,120
Speaker 1: this is a location too that the Coen Brothers find fascinating.

1391
01:15:14,160 --> 01:15:18,960
Speaker 1: I mean this They've obviously done multiple movies that were

1392
01:15:19,000 --> 01:15:22,280
Speaker 1: set in Texas, but I feel like the West Texas

1393
01:15:22,360 --> 01:15:27,719
Speaker 1: environment especially plays into the tension of this film, right

1394
01:15:28,520 --> 01:15:31,559
Speaker 1: because the I mean, if you just think about it,

1395
01:15:31,600 --> 01:15:36,200
Speaker 1: the simple idea of people who are staging a drug deal,

1396
01:15:37,040 --> 01:15:42,080
Speaker 1: it goes wrong, everybody shoots each other, and then they're

1397
01:15:42,120 --> 01:15:45,760
Speaker 1: basically just out there until somebody stumbles upon them or

1398
01:15:45,800 --> 01:15:48,880
Speaker 1: the animals come. I mean, that's like a very austere

1399
01:15:49,240 --> 01:15:53,000
Speaker 1: type of scenario, right, Like there is something creepy about that,

1400
01:15:54,720 --> 01:15:55,080
Speaker 1: you know.

1401
01:15:55,240 --> 01:15:56,960
Speaker 2: And that can't happen just anywhere.

1402
01:15:57,680 --> 01:16:02,240
Speaker 1: Yeah, there are times actually in the film where there

1403
01:16:02,280 --> 01:16:06,320
Speaker 1: are references to places like Sanderson, Texas at Alpine and

1404
01:16:06,360 --> 01:16:11,960
Speaker 1: Alpine is actually probably the most It's probably the closest,

1405
01:16:12,240 --> 01:16:16,280
Speaker 1: most decently sized town next to Marfa. Like if you've

1406
01:16:16,280 --> 01:16:19,200
Speaker 1: ever been to Marfa, it is like it's lovely, but

1407
01:16:19,680 --> 01:16:23,880
Speaker 1: it is in the middle of nowhere. Like I've gone

1408
01:16:23,880 --> 01:16:26,720
Speaker 1: through there from both sides, So I've come in from

1409
01:16:26,760 --> 01:16:28,840
Speaker 1: the El Paso side and then I've come in through

1410
01:16:28,880 --> 01:16:31,640
Speaker 1: the Austin side. And like from El Paso's probably like

1411
01:16:31,680 --> 01:16:33,439
Speaker 1: three and a half hours, and from Austin it's like

1412
01:16:33,640 --> 01:16:36,040
Speaker 1: an all day event type of thing, and it's like

1413
01:16:36,280 --> 01:16:41,280
Speaker 1: when you're driving there, you're like there is mehing around.

1414
01:16:41,640 --> 01:16:45,360
Speaker 1: So the idea that Alpine is like the big town,

1415
01:16:46,720 --> 01:16:53,760
Speaker 1: which Alpine is like Warwick basically, So that gives you

1416
01:16:53,800 --> 01:16:57,320
Speaker 1: an indication on how out there this part of the

1417
01:16:57,360 --> 01:17:02,120
Speaker 1: world is right. And also funny little trivia point too,

1418
01:17:02,280 --> 01:17:06,040
Speaker 1: is that Paul Thomas Anderson was filming There Will Be

1419
01:17:06,120 --> 01:17:08,800
Speaker 1: Blood in Marfa pretty much at the exact same time

1420
01:17:08,800 --> 01:17:10,720
Speaker 1: as they were making No Country for Old Men. So

1421
01:17:11,160 --> 01:17:14,320
Speaker 1: I think those two movies in particular always remind me

1422
01:17:14,479 --> 01:17:17,160
Speaker 1: of of that this kind of area of the world.

1423
01:17:18,120 --> 01:17:20,599
Speaker 1: A one sentence synopsis of No Country for Old Men,

1424
01:17:21,560 --> 01:17:25,360
Speaker 1: a man gets involved in a tense cat and mouse

1425
01:17:25,400 --> 01:17:31,639
Speaker 1: game with a psychotic killer after discovering a suitcase full

1426
01:17:31,640 --> 01:17:33,720
Speaker 1: of money in the desert.

1427
01:17:34,240 --> 01:17:34,760
Speaker 2: Perfecttion.

1428
01:17:35,320 --> 01:17:38,439
Speaker 1: That is it, right. So the man in question we're

1429
01:17:38,479 --> 01:17:43,320
Speaker 1: talking about here is Llewellyn Moss. He's played by Josh Brolin,

1430
01:17:44,680 --> 01:17:47,240
Speaker 1: and Llewellyn is kind of like a normal everyday dude

1431
01:17:47,280 --> 01:17:50,080
Speaker 1: really living in Texas. He's married to a woman named

1432
01:17:50,120 --> 01:17:54,839
Speaker 1: Carla Jean. She figures prominently in the story at some point.

1433
01:17:55,120 --> 01:17:58,400
Speaker 1: But you know, he's one day just out hunting prong

1434
01:17:58,479 --> 01:18:01,479
Speaker 1: horns in the desert, right, and then he comes across

1435
01:18:01,560 --> 01:18:05,439
Speaker 1: this drug deal that has gone horribly wrong. Everybody's dead.

1436
01:18:05,800 --> 01:18:08,599
Speaker 1: You know, it was basically to me it felt kind

1437
01:18:08,640 --> 01:18:11,200
Speaker 1: of like they did the whole like Reservoir Dogs thing

1438
01:18:11,240 --> 01:18:13,200
Speaker 1: where everybody shot each other type of thing.

1439
01:18:13,680 --> 01:18:15,840
Speaker 2: The spoiler, oh, spoiler.

1440
01:18:16,080 --> 01:18:21,400
Speaker 1: Spoiler for reservoir Dogs or spoiler for Reservoir Dogs. Whatever,

1441
01:18:23,720 --> 01:18:28,600
Speaker 1: let me spoil Reservoir Dogs for you look back on

1442
01:18:28,680 --> 01:18:37,040
Speaker 1: the drag back. Madonna's uh, not a virgin, that's reservoir Dogs.

1443
01:18:37,080 --> 01:18:37,479
Speaker 2: There you go.

1444
01:18:43,720 --> 01:18:45,200
Speaker 3: What was that song he was singing when you cut

1445
01:18:45,200 --> 01:18:47,080
Speaker 3: that dude's ear off?

1446
01:18:50,479 --> 01:18:52,200
Speaker 2: There it is. That's the whole. Oh and also, I

1447
01:18:52,200 --> 01:18:53,080
Speaker 2: guy's ear gets cut off.

1448
01:18:53,520 --> 01:19:01,560
Speaker 1: Spilers And see if Chevy doesn't tip spoilers, there's spoilers.

1449
01:19:01,800 --> 01:19:03,439
Speaker 1: There's the entire way. You don't have to watch it.

1450
01:19:04,080 --> 01:19:07,880
Speaker 1: So he finds the money from this drug deal, send

1451
01:19:07,880 --> 01:19:12,439
Speaker 1: a suitcase, and he makes this very film noir character decision,

1452
01:19:12,920 --> 01:19:14,960
Speaker 1: which is that he's just going to take it. And

1453
01:19:15,040 --> 01:19:17,840
Speaker 1: he figures nobody's gonna know what's gone because guess what,

1454
01:19:18,000 --> 01:19:20,600
Speaker 1: they're in West Texas. No one is gonna even know

1455
01:19:20,680 --> 01:19:24,599
Speaker 1: these people are dead, right, But we find out pretty

1456
01:19:24,640 --> 01:19:27,599
Speaker 1: quickly that somebody actually does know that he took the money,

1457
01:19:27,720 --> 01:19:33,200
Speaker 1: and it's this character named and Tom Sugar, who is

1458
01:19:33,240 --> 01:19:38,200
Speaker 1: played by javey er Bardem Academy Award winning javiy er Bardem.

1459
01:19:39,800 --> 01:19:42,680
Speaker 1: How to describe this dude if you don't know, he

1460
01:19:42,800 --> 01:19:45,240
Speaker 1: is so a part of our pop culture at this point,

1461
01:19:45,280 --> 01:19:47,400
Speaker 1: it feels like everybody kind of knows this character, but

1462
01:19:47,520 --> 01:19:52,320
Speaker 1: if you somehow do not, he has a full on psychopath.

1463
01:19:54,720 --> 01:20:01,679
Speaker 1: He kills people with this thing that is primarily used

1464
01:20:01,720 --> 01:20:05,920
Speaker 1: to kill cattle, but it's a air powered kind of

1465
01:20:05,960 --> 01:20:10,200
Speaker 1: bolt pistol thing that comes with like a compressed air tank.

1466
01:20:11,120 --> 01:20:14,679
Speaker 1: It's like the most his most visible weapon you could

1467
01:20:14,680 --> 01:20:20,080
Speaker 1: probably use to be a psychopath. He has this famously

1468
01:20:20,439 --> 01:20:24,799
Speaker 1: ridiculous haircut, which we talked about.

1469
01:20:24,560 --> 01:20:27,519
Speaker 2: In the pod before. I cannot believe that's his own hair.

1470
01:20:29,040 --> 01:20:30,120
Speaker 1: But wasn't his own hair.

1471
01:20:30,120 --> 01:20:32,960
Speaker 2: It wasn't a wig, his own hair.

1472
01:20:33,240 --> 01:20:36,599
Speaker 1: He grew that shit out and flat ironed it wow

1473
01:20:37,160 --> 01:20:40,280
Speaker 1: and girled it. That's why he got an oscar baby

1474
01:20:41,200 --> 01:20:41,639
Speaker 1: we'll have.

1475
01:20:41,520 --> 01:20:43,680
Speaker 2: The double check that fact, but I'm pretty sure this

1476
01:20:43,720 --> 01:20:44,200
Speaker 2: is own hair.

1477
01:20:44,320 --> 01:20:49,559
Speaker 1: Oh well, that is splendid trivia. I didn't know that. Also,

1478
01:20:50,479 --> 01:20:54,080
Speaker 1: imagine a guy with that hair who also drinks milk

1479
01:20:54,280 --> 01:20:58,559
Speaker 1: as a grown man. Ooh, disgusting. And you know he's

1480
01:20:58,600 --> 01:21:00,080
Speaker 1: also one of these people. And this is what I

1481
01:21:00,120 --> 01:21:05,559
Speaker 1: think takes them from creepy to psycho. He makes these

1482
01:21:05,720 --> 01:21:09,160
Speaker 1: very big speeches about fate and he makes people flip

1483
01:21:09,200 --> 01:21:11,920
Speaker 1: a coin and that will decide whether or not he

1484
01:21:12,240 --> 01:21:16,880
Speaker 1: kills them. And it's this very like grim Reaper type

1485
01:21:16,880 --> 01:21:20,840
Speaker 1: of scenario for this character, right, and it's.

1486
01:21:20,680 --> 01:21:23,559
Speaker 3: Super taunting, Like there's a scene in the gas station.

1487
01:21:24,800 --> 01:21:26,880
Speaker 3: It's super tense. But then at one point you're like,

1488
01:21:26,920 --> 01:21:27,800
Speaker 3: this is just mean.

1489
01:21:28,360 --> 01:21:34,599
Speaker 1: Oh yeah, I feel so nervous for that old man

1490
01:21:34,680 --> 01:21:38,639
Speaker 1: in the gas station. Yes, And if you know anything

1491
01:21:38,680 --> 01:21:41,719
Speaker 1: about the Coen Brothers world, you know they always find

1492
01:21:42,000 --> 01:21:46,360
Speaker 1: the fucking best, most authentic people to play these like

1493
01:21:46,439 --> 01:21:50,400
Speaker 1: side characters, like people who own gas stations and motor

1494
01:21:50,960 --> 01:21:54,800
Speaker 1: lodges and they're secretaries and shit, like they're all like

1495
01:21:54,960 --> 01:22:01,639
Speaker 1: normal people. So you really feel this poor Texas man

1496
01:22:02,760 --> 01:22:07,080
Speaker 1: like coming across this fucking dude with a bob haircut,

1497
01:22:07,400 --> 01:22:09,240
Speaker 1: you know, flipping a corn and be like are you

1498
01:22:09,320 --> 01:22:12,200
Speaker 1: going to live or die? I don't know, and you're like, god, damn,

1499
01:22:12,600 --> 01:22:13,440
Speaker 1: that's ruthless.

1500
01:22:14,000 --> 01:22:15,679
Speaker 2: It's so brutal and so mean.

1501
01:22:16,080 --> 01:22:17,960
Speaker 1: Well, and part of I think, you know, so you've

1502
01:22:18,000 --> 01:22:21,360
Speaker 1: got this like grim reaper kind of character coming through Menacing,

1503
01:22:22,360 --> 01:22:26,559
Speaker 1: and he is following Llewellyn through this, you know, very harsh,

1504
01:22:26,640 --> 01:22:29,479
Speaker 1: desolate landscape. But on top of that, this movie is

1505
01:22:29,600 --> 01:22:34,800
Speaker 1: essentially scoreless. I mean, there's no it has very little dialogue, which,

1506
01:22:34,840 --> 01:22:38,559
Speaker 1: of course also because of these things, makes that kind

1507
01:22:38,560 --> 01:22:41,800
Speaker 1: of it. It makes the kind of diegetic sounds of

1508
01:22:41,840 --> 01:22:47,599
Speaker 1: the film way creepier. So Anton has a transponder that's

1509
01:22:47,720 --> 01:22:51,280
Speaker 1: inside of the suitcase that Llewellyn is carrying full of money,

1510
01:22:51,320 --> 01:22:53,400
Speaker 1: and that's kind of how he figures out where he is.

1511
01:22:53,880 --> 01:22:55,720
Speaker 1: And it makes this like kind of beeping noise and

1512
01:22:55,760 --> 01:22:59,479
Speaker 1: this is like a fucking it's like a death beep

1513
01:22:59,640 --> 01:23:04,720
Speaker 1: throughout the entire film. Whi's just like so scary. Every footstep,

1514
01:23:05,320 --> 01:23:07,320
Speaker 1: you know, the sound of the air gun, like all

1515
01:23:07,360 --> 01:23:10,479
Speaker 1: of these like sounds in the film are made even

1516
01:23:10,520 --> 01:23:13,360
Speaker 1: scarier because there's like no other sounds in the film

1517
01:23:13,439 --> 01:23:17,200
Speaker 1: essentially right. But you know, here's the thing. This is

1518
01:23:17,200 --> 01:23:19,800
Speaker 1: what I think that this is what I think makes

1519
01:23:19,800 --> 01:23:23,280
Speaker 1: this movie very much related to your movie, is that

1520
01:23:23,320 --> 01:23:26,400
Speaker 1: you have this sheriff character who's in charge of figuring

1521
01:23:26,479 --> 01:23:28,720
Speaker 1: all this mess out because there's the drug deal that

1522
01:23:28,800 --> 01:23:34,040
Speaker 1: went wrong, there's you know, Anton menacing everyone he comes across,

1523
01:23:34,320 --> 01:23:37,920
Speaker 1: and then there's the missing money in Llewellyn and Carla Jean. Right,

1524
01:23:37,960 --> 01:23:41,280
Speaker 1: So there's this sheriff who is played by Tommy Lee

1525
01:23:41,360 --> 01:23:46,080
Speaker 1: Jones perfectly, by the way, perfectly played Tommy Lee Jones

1526
01:23:46,080 --> 01:23:49,320
Speaker 1: as a Texas dude. He plays the Texas sheriff perfectly,

1527
01:23:50,000 --> 01:23:53,479
Speaker 1: Sheriff Bell. And you know, I think when I first

1528
01:23:53,520 --> 01:23:57,720
Speaker 1: saw this movie, I really suck my teeth into this

1529
01:23:57,840 --> 01:24:03,200
Speaker 1: sort of the interactions between Llewellyn and Anton, right, and

1530
01:24:03,240 --> 01:24:07,439
Speaker 1: it's a huge part of the film. But I think

1531
01:24:07,520 --> 01:24:10,479
Speaker 1: that this Sheriff Bell character is ultimately who the film

1532
01:24:10,520 --> 01:24:13,800
Speaker 1: is about, right, because he's sort of the mediator between

1533
01:24:15,160 --> 01:24:20,920
Speaker 1: Llewellyn and Anton. And I think as I've gotten older,

1534
01:24:20,960 --> 01:24:23,439
Speaker 1: and I've seen this movie multiple times since it came out,

1535
01:24:23,800 --> 01:24:26,800
Speaker 1: I think I just connect with this character more. Right.

1536
01:24:27,920 --> 01:24:31,200
Speaker 1: He is near a retirement, just like Somerset in seven.

1537
01:24:31,840 --> 01:24:35,599
Speaker 1: He's seen a lot of things. He's questioning this new world,

1538
01:24:36,040 --> 01:24:39,000
Speaker 1: right that has changed from the old days that he

1539
01:24:39,080 --> 01:24:42,559
Speaker 1: knows right because he comes from this like Old West

1540
01:24:43,200 --> 01:24:47,760
Speaker 1: type of vibe where it was very easy to distinguish

1541
01:24:47,800 --> 01:24:54,200
Speaker 1: between right and wrong, and there was honor generally. There

1542
01:24:54,280 --> 01:24:58,439
Speaker 1: weren't like Anton's running around killing everyone for the sake

1543
01:24:58,479 --> 01:25:02,720
Speaker 1: of killing type of thing right, right. And part of

1544
01:25:02,760 --> 01:25:05,800
Speaker 1: what I think is brilliant about the Coen Brothers is

1545
01:25:05,840 --> 01:25:11,000
Speaker 1: that they are interested in the Western as a genre. Right.

1546
01:25:11,120 --> 01:25:17,560
Speaker 1: So Westerns are classically about these things. They're about frontierism,

1547
01:25:18,400 --> 01:25:20,840
Speaker 1: you know, not just sort of geographically, of course, but

1548
01:25:20,920 --> 01:25:27,439
Speaker 1: like metaphorically, right, Like characters who are contemplating change and

1549
01:25:27,600 --> 01:25:33,880
Speaker 1: aging and younger people or outsiders who are entering into

1550
01:25:34,000 --> 01:25:39,840
Speaker 1: this sort of very established way of doing things, and

1551
01:25:40,000 --> 01:25:46,599
Speaker 1: how the new people can sometimes mess things up and

1552
01:25:46,680 --> 01:25:49,880
Speaker 1: they don't play it by the old rules and that

1553
01:25:50,040 --> 01:25:54,599
Speaker 1: is unsettling to these you know, Sheriff Bell characters, right.

1554
01:25:55,600 --> 01:25:59,600
Speaker 1: And there's also a version of the Mills character in

1555
01:25:59,640 --> 01:26:02,120
Speaker 1: No Kind for Old Men. There's this younger guy on

1556
01:26:02,160 --> 01:26:05,800
Speaker 1: the force named Wendell, who is played by Garrett Dilla

1557
01:26:05,920 --> 01:26:12,640
Speaker 1: Hunt and he's not as obnoxious certainly as Mills, but

1558
01:26:13,120 --> 01:26:17,639
Speaker 1: he's that character, like he's the young guy who doesn't

1559
01:26:17,680 --> 01:26:20,880
Speaker 1: rely on instinct or patience when it comes to solving crimes.

1560
01:26:20,880 --> 01:26:22,519
Speaker 1: He's just like, let's just go get the dude, Like

1561
01:26:22,520 --> 01:26:27,120
Speaker 1: why are we waiting around? Like he doesn't have he

1562
01:26:27,240 --> 01:26:31,080
Speaker 1: just doesn't let things be. They're just more aggressive, they're younger,

1563
01:26:31,160 --> 01:26:33,800
Speaker 1: they're they're like puppies, They've got puppy energy, right.

1564
01:26:34,400 --> 01:26:35,400
Speaker 2: Yeah.

1565
01:26:35,600 --> 01:26:38,759
Speaker 1: And you know part of why I picked this movie

1566
01:26:38,800 --> 01:26:45,240
Speaker 1: for this theme and spoiler alert because ultimately you you

1567
01:26:45,240 --> 01:26:49,120
Speaker 1: you sense that Anton is.

1568
01:26:49,080 --> 01:26:52,320
Speaker 3: Gonna get away with everything well because he starts getting

1569
01:26:52,360 --> 01:26:54,479
Speaker 3: away with it. Like at the beginning of the film,

1570
01:26:54,680 --> 01:26:58,000
Speaker 3: he's being arrested, right, and you think, oh, how's this

1571
01:26:58,000 --> 01:27:00,559
Speaker 3: gonna factor into the story if he's being arrested, And

1572
01:27:00,600 --> 01:27:04,559
Speaker 3: then you watch him snake out of his handcuffs in

1573
01:27:04,640 --> 01:27:10,200
Speaker 3: the creepiest possible way, right and like kill a small

1574
01:27:10,240 --> 01:27:12,840
Speaker 3: town cop and leave.

1575
01:27:13,520 --> 01:27:14,280
Speaker 1: Yeah.

1576
01:27:14,680 --> 01:27:16,040
Speaker 2: So, like he starts the.

1577
01:27:16,000 --> 01:27:18,360
Speaker 3: Movie getting away with it, so you're like, oh, oh,

1578
01:27:18,400 --> 01:27:19,519
Speaker 3: he gonna get away with it again.

1579
01:27:20,000 --> 01:27:25,840
Speaker 1: Yeah, And that is like the message of this film.

1580
01:27:26,280 --> 01:27:28,320
Speaker 1: This is why there is no country for old men.

1581
01:27:29,880 --> 01:27:32,280
Speaker 1: It is because a guy like Anton is literally going

1582
01:27:32,360 --> 01:27:38,080
Speaker 1: to reset his own broken arm, you know, or like

1583
01:27:38,400 --> 01:27:43,160
Speaker 1: he's going to remove bullets from his own body. Like

1584
01:27:43,280 --> 01:27:48,479
Speaker 1: evil will persist, Evil finds a way, right, which is

1585
01:27:48,520 --> 01:27:52,720
Speaker 1: like a fucked up concept but also intriguing as a

1586
01:27:53,760 --> 01:27:57,240
Speaker 1: you know, a viewer or somebody that you know loves

1587
01:27:57,280 --> 01:28:00,960
Speaker 1: a rich text as we do. But the thing about

1588
01:28:00,960 --> 01:28:03,160
Speaker 1: this film that I love about it so much is

1589
01:28:03,160 --> 01:28:05,519
Speaker 1: that it's very meditative in that way. So you have

1590
01:28:05,640 --> 01:28:08,880
Speaker 1: these like big moral concepts happening, but then you have

1591
01:28:09,040 --> 01:28:16,479
Speaker 1: this like vibe right of this West Texas landscape, no scorer,

1592
01:28:16,840 --> 01:28:20,360
Speaker 1: no conversations. You do have the kind of like again

1593
01:28:20,439 --> 01:28:24,280
Speaker 1: requisite kind of funny Coen Brothers moments, Like you've got

1594
01:28:24,280 --> 01:28:28,120
Speaker 1: this Woody Harrelson character that comes into plants a certain point.

1595
01:28:28,200 --> 01:28:30,240
Speaker 1: He kind of comes and goes as you will see

1596
01:28:30,280 --> 01:28:33,280
Speaker 1: if you've seen this movie before or we'll see it.

1597
01:28:33,800 --> 01:28:35,800
Speaker 1: But then you know, you've got these like side characters,

1598
01:28:35,840 --> 01:28:40,280
Speaker 1: like the older ladies that work in the motels. But

1599
01:28:40,320 --> 01:28:45,320
Speaker 1: everything is very methodical, like even Llewellyn who is trying

1600
01:28:45,720 --> 01:28:50,200
Speaker 1: to make away with this money, like he doesn't want

1601
01:28:50,320 --> 01:28:52,559
Speaker 1: these people to find out that he has his money

1602
01:28:52,600 --> 01:28:56,759
Speaker 1: because he's got Anton's case, he's got the actual drug

1603
01:28:56,800 --> 01:29:01,000
Speaker 1: cartel people who have figured it out, and he's in

1604
01:29:01,040 --> 01:29:04,760
Speaker 1: that very noir way. He's like running out of options

1605
01:29:04,840 --> 01:29:07,160
Speaker 1: type of thing. But even in the ways that he

1606
01:29:07,280 --> 01:29:10,160
Speaker 1: kind of plans out how to hide the money, you know,

1607
01:29:10,600 --> 01:29:13,400
Speaker 1: when he's in the hotels and that kind of stuff,

1608
01:29:13,479 --> 01:29:17,639
Speaker 1: is very Maybe people think that those details are boring,

1609
01:29:17,680 --> 01:29:20,680
Speaker 1: but I love them. I think they're very Uh. It

1610
01:29:20,720 --> 01:29:22,720
Speaker 1: really sets a tone, right.

1611
01:29:22,800 --> 01:29:24,280
Speaker 3: Well, you get into the mind of the character a

1612
01:29:24,320 --> 01:29:26,200
Speaker 3: little bit and trying to understand like, oh, this is

1613
01:29:26,240 --> 01:29:29,320
Speaker 3: a this is something obviously he's never encountered before. But

1614
01:29:29,400 --> 01:29:33,120
Speaker 3: he's smart in this particular way. Like he's smart in

1615
01:29:33,160 --> 01:29:35,479
Speaker 3: a devious way, which makes me wonder what has his

1616
01:29:35,520 --> 01:29:36,320
Speaker 3: life been like.

1617
01:29:36,600 --> 01:29:38,679
Speaker 2: That he could come up with this so quickly?

1618
01:29:39,240 --> 01:29:42,599
Speaker 1: Yeah, which is I again, I think I think that's

1619
01:29:42,640 --> 01:29:47,519
Speaker 1: what makes this a noir because these these classic noir

1620
01:29:47,680 --> 01:29:51,599
Speaker 1: characters are the or Llewellyn. They're like guys who aren't normal.

1621
01:29:51,640 --> 01:29:54,000
Speaker 1: They're just trying to get by. They have you know,

1622
01:29:54,160 --> 01:29:56,360
Speaker 1: they live in trailers, they have wives, like they're just

1623
01:29:56,439 --> 01:30:00,799
Speaker 1: kind of but they but they they see a chance

1624
01:30:01,640 --> 01:30:06,400
Speaker 1: at like a big score, you know, they feel like

1625
01:30:07,120 --> 01:30:09,960
Speaker 1: I got nothing to lose, Like, let's just fucking go

1626
01:30:10,040 --> 01:30:13,640
Speaker 1: for it. The situation looks a little fool proof, like

1627
01:30:15,040 --> 01:30:17,320
Speaker 1: it's in the middle of the desert, everyone's dead, no

1628
01:30:17,360 --> 01:30:20,000
Speaker 1: one's gonna even know if this money was arrived, he

1629
01:30:20,120 --> 01:30:23,559
Speaker 1: had arrived or was gone. But then he's in over

1630
01:30:23,600 --> 01:30:27,559
Speaker 1: his head, you know, and it starts getting I mean,

1631
01:30:27,640 --> 01:30:29,759
Speaker 1: part of the pacing of the film is very pleasing

1632
01:30:29,800 --> 01:30:33,280
Speaker 1: to me, where it is like a kind of minute

1633
01:30:33,280 --> 01:30:36,080
Speaker 1: by minute, hour by hour kind of thing of him

1634
01:30:36,120 --> 01:30:37,640
Speaker 1: trying to figure out what the fuck is going to

1635
01:30:37,760 --> 01:30:40,080
Speaker 1: do to get away from these people, to get away

1636
01:30:40,080 --> 01:30:43,040
Speaker 1: from Anton. Especially there's a point where he goes to

1637
01:30:43,080 --> 01:30:46,519
Speaker 1: Mexico and there's this like constant runner in the film

1638
01:30:46,520 --> 01:30:53,639
Speaker 1: about borrowing other guy's shirts and other guy's clothes, which

1639
01:30:53,720 --> 01:30:54,720
Speaker 1: is really interesting to me.

1640
01:30:55,680 --> 01:30:59,360
Speaker 2: It's like a very Cohen Brothers nod. Yeah, like a

1641
01:30:59,400 --> 01:31:02,479
Speaker 2: weird detail. Yeah, like a weird comedic detail that they

1642
01:31:02,520 --> 01:31:03,320
Speaker 2: could include here.

1643
01:31:04,680 --> 01:31:09,040
Speaker 1: Yeah. The part where I guess it is towards the

1644
01:31:09,080 --> 01:31:11,280
Speaker 1: end of the film where Anton is like, let me

1645
01:31:11,320 --> 01:31:13,479
Speaker 1: borrow let me how much for your shirt? And the

1646
01:31:13,560 --> 01:31:15,040
Speaker 1: kid's like, dude.

1647
01:31:14,920 --> 01:31:15,000
Speaker 3: What.

1648
01:31:18,000 --> 01:31:20,000
Speaker 2: It's like, mister, I'll give you my shirt, your arms

1649
01:31:20,000 --> 01:31:20,920
Speaker 2: poking out of your arm.

1650
01:31:21,200 --> 01:31:26,960
Speaker 1: Oh god, that shit. That was my new sloth basically

1651
01:31:27,360 --> 01:31:32,040
Speaker 1: is seeing the bone protruding was I was like horrified

1652
01:31:32,040 --> 01:31:35,519
Speaker 1: by that. I kept thinking about that all night long

1653
01:31:35,600 --> 01:31:38,800
Speaker 1: after I saw this movie again. But you know the

1654
01:31:38,880 --> 01:31:41,559
Speaker 1: thing about again, I think, what what what makes this

1655
01:31:41,640 --> 01:31:43,519
Speaker 1: movie very special to me? It's like, it's such a

1656
01:31:43,520 --> 01:31:48,799
Speaker 1: great film. It's just that it is a a very

1657
01:31:48,840 --> 01:31:54,080
Speaker 1: simply made film and it communicates so much, you know.

1658
01:31:54,920 --> 01:31:58,120
Speaker 1: And again I love the idea that we paired this

1659
01:31:58,200 --> 01:32:01,240
Speaker 1: movie with Seven, because again it's it's about these concepts.

1660
01:32:01,240 --> 01:32:05,040
Speaker 1: I mean, honestly, Seven is also a no Country for

1661
01:32:05,160 --> 01:32:09,479
Speaker 1: old man type of thing too, right, Like yeah, And

1662
01:32:09,560 --> 01:32:12,080
Speaker 1: I don't know, as I've gotten older, I think that

1663
01:32:13,000 --> 01:32:15,599
Speaker 1: these kind of things come front of mine about like, oh,

1664
01:32:15,640 --> 01:32:17,559
Speaker 1: what is the world like? What was the world like

1665
01:32:17,600 --> 01:32:21,200
Speaker 1: in nineteen ninety five when I was running around being

1666
01:32:21,240 --> 01:32:26,680
Speaker 1: a teenage edge lord, thinking that, you know, violence of

1667
01:32:26,720 --> 01:32:31,440
Speaker 1: this scale was like relegated to fucking Hollywood movies, right,

1668
01:32:31,520 --> 01:32:34,320
Speaker 1: And now I'm like in a world where that shit

1669
01:32:34,439 --> 01:32:42,840
Speaker 1: happens in real life sometimes too, you know. So it's

1670
01:32:42,840 --> 01:32:46,240
Speaker 1: wild and I don't know, I didn't mean to get

1671
01:32:46,280 --> 01:32:49,000
Speaker 1: so contemplative at the end of this episode. But no,

1672
01:32:49,000 --> 01:32:52,400
Speaker 1: now you put me here, bitch. Well, I loved it.

1673
01:32:52,479 --> 01:32:54,720
Speaker 2: I loved watching it. It was creepier that I thought

1674
01:32:54,760 --> 01:32:55,320
Speaker 2: it would be.

1675
01:32:56,080 --> 01:32:58,760
Speaker 3: I agree that it's like the pacing of it, and

1676
01:32:58,800 --> 01:33:01,760
Speaker 3: it's a really beauty full movie. And I think that

1677
01:33:01,920 --> 01:33:06,240
Speaker 3: the quiet nature of the film like helps you pay

1678
01:33:06,240 --> 01:33:10,400
Speaker 3: attention to some of the more tense moments. It just,

1679
01:33:10,439 --> 01:33:12,360
Speaker 3: I don't know, I just I really loved watching it. Again.

1680
01:33:12,400 --> 01:33:15,000
Speaker 3: It feels like it feels like a very special movie.

1681
01:33:15,000 --> 01:33:19,000
Speaker 3: And it was very well received and has received a

1682
01:33:19,000 --> 01:33:21,120
Speaker 3: lot of accolades and awards. But I still think it's

1683
01:33:21,160 --> 01:33:23,519
Speaker 3: a it's a it's a special movie. Like it's rare

1684
01:33:23,520 --> 01:33:26,040
Speaker 3: that a movie gets that much attention that's actually worth it.

1685
01:33:26,680 --> 01:33:29,639
Speaker 1: Yeah, I think so too. I think it's it's such

1686
01:33:29,640 --> 01:33:34,240
Speaker 1: a good film in their filmography, you know. Again, I

1687
01:33:34,240 --> 01:33:36,960
Speaker 1: think it does kind of harken back to the blood

1688
01:33:37,000 --> 01:33:40,559
Speaker 1: Simply type of days. And yeah, I mean, there are

1689
01:33:40,560 --> 01:33:45,160
Speaker 1: some of my favorite filmmakers working in America. They're just

1690
01:33:45,439 --> 01:33:50,439
Speaker 1: I've always loved them. I will always see their movies

1691
01:33:50,600 --> 01:33:54,080
Speaker 1: like in theaters usually opening weekend. They kind of feel

1692
01:33:54,120 --> 01:33:57,920
Speaker 1: like those types of directors to me. So yeah. In

1693
01:33:58,000 --> 01:34:00,880
Speaker 1: terms of the theme this week, I loved it. Like

1694
01:34:00,920 --> 01:34:03,800
Speaker 1: I said, I think the pairing was so good and

1695
01:34:03,840 --> 01:34:05,680
Speaker 1: I didn't realize how good it would be until I

1696
01:34:05,720 --> 01:34:07,599
Speaker 1: saw these both together and was like, oh, yeah, this

1697
01:34:07,680 --> 01:34:08,800
Speaker 1: is about something else too.

1698
01:34:09,520 --> 01:34:13,160
Speaker 2: Yeah. It's very very smart, very smart of you, very astute.

1699
01:34:13,680 --> 01:34:20,839
Speaker 1: Yeah. Well listen, hey, if you want to email us,

1700
01:34:21,680 --> 01:34:23,640
Speaker 1: we are at I Saw What You Did pod at

1701
01:34:23,640 --> 01:34:28,599
Speaker 1: gmail dot com. Send us questions for bonus episodes. Please

1702
01:34:28,640 --> 01:34:31,679
Speaker 1: make them shorter if possible. We also have a po

1703
01:34:31,760 --> 01:34:34,920
Speaker 1: box if you want to send us handwritten letters.

1704
01:34:34,960 --> 01:34:36,840
Speaker 3: And you can leave us a voicemail to play on

1705
01:34:36,880 --> 01:34:38,720
Speaker 3: the show. All you have to do is record a

1706
01:34:38,760 --> 01:34:41,760
Speaker 3: voice memo on your phone and email it to I

1707
01:34:41,840 --> 01:34:44,679
Speaker 3: Saw It you Did pot at gmail dot com. Please

1708
01:34:44,760 --> 01:34:47,240
Speaker 3: make it sixty seconds or less and please record in

1709
01:34:47,280 --> 01:34:48,439
Speaker 3: a quiet space.

1710
01:34:49,439 --> 01:34:52,200
Speaker 1: Also, we are on social media, of course, we are

1711
01:34:52,280 --> 01:34:55,759
Speaker 1: at I saw a pod on Instagram, Blue Sky and Twitter.

1712
01:34:57,280 --> 01:34:59,640
Speaker 2: Oh my gosh, do you want to tell them what

1713
01:34:59,720 --> 01:35:00,800
Speaker 2: the movie movies for next week?

1714
01:35:00,840 --> 01:35:01,000
Speaker 3: Are?

1715
01:35:02,040 --> 01:35:05,519
Speaker 1: Sure? I'll do that. The movies for our next episode

1716
01:35:05,520 --> 01:35:12,160
Speaker 1: are Damn The French Connection from nineteen seventy one and

1717
01:35:12,560 --> 01:35:15,360
Speaker 1: Vanishing Point from nineteen seventy one.

1718
01:35:16,400 --> 01:35:19,840
Speaker 2: Seventy one a big year for themed double features.

1719
01:35:20,000 --> 01:35:23,439
Speaker 1: Apparently that's right and actually just a little tip for

1720
01:35:23,520 --> 01:35:24,760
Speaker 1: me to you, you might need to go to the

1721
01:35:24,800 --> 01:35:28,439
Speaker 1: Internet archive to fun vanishing points.

1722
01:35:28,960 --> 01:35:31,719
Speaker 3: Oh, I can't wait, I'm gonna I might watch them tonight,

1723
01:35:32,120 --> 01:35:33,360
Speaker 3: and might watch them tonight.

1724
01:35:33,800 --> 01:35:36,360
Speaker 1: There's a couple of bangers for sure. We'll listen. Danielle

1725
01:35:36,400 --> 01:35:38,720
Speaker 1: as always a fucking pleasure doing this podcast with you.

1726
01:35:39,240 --> 01:35:43,240
Speaker 1: I love it, love it.

1727
01:35:49,040 --> 01:35:50,559
Speaker 2: This has been an exactly right production.

1728
01:35:50,800 --> 01:35:54,280
Speaker 3: Produced by Casey O'Brien, Episode mixing and theme music by

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Speaker 3: Tom Bryfogel, artwork by Garrett Ross. Our executive producers are

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Speaker 3: Georgia Hartstart, Karen kil Garrett Daniel Kramer. You can follow

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Speaker 3: us on Instagram and Twitter at I Saw pod, and

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Speaker 3: you can email us at I Saw What you Did

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Speaker 3: Pod at gmail