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Speaker 1: Oh, Casey, what's up, Millie? Not much. We are recreating

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Speaker 1: a scene from Remember My Name at We're recording at

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Speaker 1: the restaurant Dubrovnick, and we are drunk, and we are

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Speaker 1: making our way much like in the movie. We're making

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Speaker 1: our way through the drink list, starting at the bottomfuff puff.

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Speaker 2: I'm actually not alone really smoking, but I'm doing it

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Speaker 2: anyway because I don't give a shit.

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Speaker 1: Even though they said don't smoke in here. You can't

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Speaker 1: smoke in here, Millie puffing, puffing, and passing, MILLI, how

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Speaker 1: great would it be just to fill a little ash

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Speaker 1: tray full of cigarettes at a restaurant inside?

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Speaker 2: Yeah, dark as hell in here.

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Speaker 1: Dark as hell.

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Speaker 2: I can't see a thing. I feel like we're drinking

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Speaker 2: double zombies. I don't even know zombies. What's in a zombie?

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Speaker 2: Tell me? Tell me what I what.

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Speaker 1: Isn't a zombie? It's like the most to me, it's

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Speaker 1: like the most alcoholic drink there is. It's it's almost

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Speaker 1: like a Long Island iced tea where it's so much

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Speaker 1: stuff that it turns you into a zombie. Let me see,

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Speaker 1: have you ever had one?

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Speaker 2: Maybe a trader vix?

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Speaker 1: Is it a tiki? Drink. Yeah, the one in the

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Speaker 1: movie did look disgusting and they were like, this is bad,

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Speaker 1: but they had to.

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Speaker 2: They were going backwards alphabetical order. But they also had

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Speaker 2: a beer. They were drinking a beer, which I guess

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Speaker 2: we're drinking now too.

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Speaker 1: Yes, we're having a beer. We're having martinis, double martinis,

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Speaker 1: double Manhattan's, double zombies like in the movie. Honestly, if

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Speaker 1: I drank that combo, I think I would die. And

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Speaker 1: I'm a drinker. Yeah, but that's like an insane amount

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Speaker 1: of alcohol.

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Speaker 2: I'm puke it.

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Speaker 1: You know what.

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Speaker 2: As you were talking, I've been puke it in the.

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Speaker 1: Port, puking into like a flower pot in the corner. Well,

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Speaker 1: this is thrilling. We're drunk, We're feeling great, and uh

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Speaker 1: we got a great episode coming up here.

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Speaker 2: Yeah, boy, we do. We are going to talk about

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Speaker 2: a fantastic film, something that I would consider a masterpiece.

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Speaker 2: I have to I would do.

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Speaker 1: Yeah, after watching it.

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Speaker 2: We're going to be talking about the movie Remember My

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Speaker 2: Name from nineteen seventy eight, directed by the great Alan Rudolph.

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Speaker 1: This is a whole Alan Rudolph episode because you also

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Speaker 1: spoke to the man himself. Can you tell us just

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Speaker 1: a little bit about that or like where you recorded

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Speaker 1: that and that conversation that we're going to include in

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Speaker 1: this episode.

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Speaker 2: Hell yeah, I will. I you know, I have been

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Speaker 2: a fan of this movie for a very long time.

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Speaker 2: Just a little bit of background. When I was a

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Speaker 2: programmer at TCM, I played Remember my Name on TCM

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Speaker 2: Underground because because it is very hard to find even

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Speaker 2: to this day. Right it's currently on the Criterion Channel,

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Speaker 2: by the way, so you can check it out in

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Speaker 2: all of its actual glory. But for the longest time,

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Speaker 2: it was not. I think that maybe a rip on

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Speaker 2: YouTuber in it an archive or something, but that rip

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Speaker 2: I think comes from TCM because I threw it up

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Speaker 2: there knowing that I was like, Okay, well this is

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Speaker 2: a great film and if people should see it, so

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Speaker 2: cut to I guess a few months ago. Video Drome

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Speaker 2: was the local Atlanta video store that I love, and

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Speaker 2: the Plaza Theater, which is the local Rep cinema theater

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Speaker 2: that I love, got together and actually all of us

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Speaker 2: collectively brought Allan and his wife Choice to Atlanta to

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Speaker 2: do two nights of screening. So we screened Remember my

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Speaker 2: Name and Choose Me, which I'm sure we'll come up

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Speaker 2: again in this yeah, but essentially, Yeah, the first night,

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Speaker 2: I sat down with Alan after the film and talked

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Speaker 2: to him for a while about it because I was

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Speaker 2: such a fan, and he was very very sweet and

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Speaker 2: complimentary towards me, and he actually thanked me for putting

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Speaker 2: it on TCM because he claimed that it was like

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Speaker 2: saving the movie by.

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Speaker 1: Doing that, which was amazing.

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Speaker 2: That was like incredible to hear, Like I was like

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Speaker 2: blown away by him saying that to me, and we

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Speaker 2: became best friends forever. Actually three of us are me

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Speaker 2: and Joyce. I just talked to her.

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Speaker 1: The other day, So matching tattoos.

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Speaker 2: Yeah, we've got, you know, one of those three part

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Speaker 2: heart necklaces that are cracked in three anyway, we all

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Speaker 2: have a piece. Yes, And I'm just so excited to

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Speaker 2: be talking about this movie because we actually did this

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Speaker 2: movie on I saw what you did. But I feel

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Speaker 2: like we're going to be talking about it again in

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Speaker 2: it kind of a different way and definitely play a

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Speaker 2: little bit of our conversation.

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Speaker 1: So yes, absolutely thrilling.

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Speaker 2: That's right.

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Speaker 1: So gather your drinks, gather your fallen soldiers.

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Speaker 2: And you know, have one, have a little long, tall

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Speaker 2: one on us. You are listening to Deer Movies.

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Speaker 3: I Love you, Dear, I love you, and I've got

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Speaker 3: to know you love me to.

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Speaker 2: Check the box. Well, hello there, this is the podcast

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Speaker 2: Dear Movies, I Love You. This is a little ditty

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Speaker 2: that we do every week. It's all about loving movies

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Speaker 2: for people who are in a relationship with movies as

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Speaker 2: we are. My name is Millie de Chericho.

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Speaker 1: I'm Casey O'Brien. We both sobered up, drank a bunch

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Speaker 1: of coffee. We're feeling fine. We slept in the back

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Speaker 1: of our car.

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Speaker 2: I put myself in the shower, turned on the cold water,

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Speaker 2: clothes and all, so we're good. Or I dumped my

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Speaker 2: head in an ice.

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Speaker 1: Have you ever done that, by the way, Like put

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Speaker 1: like a bunch of ice in the sink and then

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Speaker 1: put your face right in it.

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Speaker 2: Yeah, like that Huey Lewis in the news video.

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Speaker 1: Oh I've never done that.

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Speaker 2: Wow, I've done a polar plunge, but I've never put

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Speaker 2: my face and ice.

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Speaker 1: I've got a polar plunger. Two. Have you really yes,

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Speaker 1: being a Minnesotan.

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Speaker 2: Were you purifying yourself in the.

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Speaker 1: Water waters of Lake Minnetonka. Yeah, yes, Bah.

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Speaker 2: Having said that, Yeah, this episode is going to be

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Speaker 2: all about the movie Remember My Name from nineteen to eight,

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Speaker 2: and we'll probably talk a lot more about Alan's career

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Speaker 2: because he's made some super duper interesting movies. And I

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Speaker 2: have to say, like kind of a director that I

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Speaker 2: think was just sort of doing his own thing for

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Speaker 2: so long and kind of working in the it's like

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Speaker 2: weird independent slash studio space like kind of yeah, back

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Speaker 2: and forth a little bit, and I feel like he's

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Speaker 2: kind of getting his flowers again recently. Yeah, which is

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Speaker 2: so cool and interesting to me. So we'll unpack that.

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Speaker 1: I think that absolutely. But Milli, we start every episode

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Speaker 1: the same way we open up the film diary, and

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Speaker 1: it's very heavy for listeners. This is first episode. Our

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Speaker 1: diaries are very heavy, and we talk about the movies

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Speaker 1: we watched from the last week. Yeah, Milli, what do

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Speaker 1: you get.

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Speaker 2: Oh Jesus, I actually watched movies this week.

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Speaker 4: Wow.

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Speaker 2: I'm very proud of myself and that. So I saw

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Speaker 2: this week. I went to the movie theater. I went

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Speaker 2: to the Plaza the aforementioned Plaza Theater as part of

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Speaker 2: their the tail end of their Pride programming month. I

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Speaker 2: watch a movie called Pink Narcissus from nineteen seventy one.

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Speaker 2: This is a movie that I had heard about for

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Speaker 2: many years. First of all, it's an art house, erotic

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Speaker 2: gay film.

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Speaker 1: Does it have any connection to Black Narcissus.

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Speaker 2: I think in spirit perhaps, but I don't think there's

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Speaker 2: no direct tie. And it was directed by a director

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Speaker 2: named James Bidgood, and there's a little bit of drama there.

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Speaker 2: He basically had his name taken off the film because

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Speaker 2: I guess there was some back and forth with him

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Speaker 2: and the people who financed the film, and so he,

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Speaker 2: I guess his name was removed from it for many

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Speaker 2: many years, and then he essentially his name got put

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Speaker 2: back on the project, which I think is really great.

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Speaker 2: But it's basically this really dreamy, avant gardish art house

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Speaker 2: film about gay male sex worker who is kind of

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Speaker 2: in a dream like state or has like kind of

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Speaker 2: these erotic fantasies. And it was all like apparently shot

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Speaker 2: in his apartment or was in an apartment. And if

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Speaker 2: you think about if you watch the film and you

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Speaker 2: look at it, you're like, oh, these are like really

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Speaker 2: elaborate sets. I can't believe this was actually done in

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Speaker 2: like a room in somebody's house or something. But it's

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Speaker 2: kind of like, god, it's like hard to describe. It's

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Speaker 2: kind of like a Midsummer Night's Dream meets I don't know,

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Speaker 2: like a Fastbender thing meets I don't know, just like

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Speaker 2: something super. I think it's definitely of the time seventy one.

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Speaker 2: I mean, it's definitely like kind of you know, it's

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Speaker 2: got kind of countercultural elements to it, and so, I

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Speaker 2: don't know, it was really really interesting and it was

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Speaker 2: kind of like one of those things and I was like, oh,

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Speaker 2: I want to It's been on my list forever to

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Speaker 2: see and I just like crossed it off. So I

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Speaker 2: was really, yeah, really thrilled that I got that actually

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Speaker 2: screened in my town, which is like so the after

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Speaker 2: that I saw real random here, but we're going for it.

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Speaker 1: Friday the thirteenth, the final chapter. Okay, let's talk about this.

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Speaker 1: Did you watch it on Friday thirteenth?

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Speaker 2: I mean I might have.

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Speaker 1: Yeah, yeah, well I watched Jason x Friday the thirteenth

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Speaker 1: from two thousand and one, which is obviously Jason in Space,

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Speaker 1: and it was a damn delight. Yeah, loved it. I

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Speaker 1: had never seen this one before, so tell me about

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Speaker 1: which one did you see Friday the thirteenth the final chapter?

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Speaker 1: Which one is that? See?

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Speaker 2: This is the thing that I got a little bit

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Speaker 2: of beef with with the Friday Thirteenth franchises that I

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Speaker 2: can't remember which I think it's the fourth or fifth one.

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Speaker 2: It's I think it's the fourth one.

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Speaker 1: Yeah, I've seen this one.

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Speaker 2: Nineteen eighty four. It has Crispin Glover in it. Yep,

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Speaker 2: and most memorably Corey Feldman. Also not the final chapter.

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Speaker 2: It should be noted it's not the I mean, you

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Speaker 2: obviously saw Jason ten.

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Speaker 1: Yeah, so's damn space, you know. I will say, of

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Speaker 1: the big, you know, heavy hitters like Nightmare and Elm Street, Halloween,

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Speaker 1: Friday the thirteenth, I would say Friday the thirteenth is

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Speaker 1: my least favorite of those franch of those like kind

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Speaker 1: of famous slasher franchises.

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Speaker 2: Yes, I will go you one further and say that

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Speaker 2: it's probably on It's probably one of my least favorite

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Speaker 2: of the horror big horror franchises. But Jason Morhees is

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Speaker 2: my most attractive of the horror villains, if that makes sense.

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Speaker 1: Ah, you're horniest for Jason Voorhees. What's what is it

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Speaker 1: about him?

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Speaker 2: I think it's a it's the height, it's the weight,

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Speaker 2: it's the countenance, it's the out fits.

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Speaker 1: He's a big boy.

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Speaker 2: Yeah, I love him. I will climb that tree real fast.

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Speaker 1: I do like with Friday the Thirteenth though, that they

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Speaker 1: take bigger swings than the other, like they're less beholden

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Speaker 1: to some sort of format of their films because they

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Speaker 1: like Jason goes to Manhattan, Jason goes to Space, Jason

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Speaker 1: goes to Hell. He's going all over the place.

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Speaker 2: Yo, And let me tell you, god, it, like I

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Speaker 2: the kills are brutal in this one, like real brutal.

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Speaker 2: I was fucking shocked. Actually, I was like, damn, there's

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Speaker 2: a lot, a lot of hardcore like trauma to the

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Speaker 2: face type of stuff. And I gotta tell you the

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Speaker 2: I mean, spoiler alert for anybody who hasn't seen this.

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Speaker 1: Somehow spoiler alert that Tommy.

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Speaker 2: Jarvis turn, that Corey Feldman turn at the end is

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Speaker 2: so insane. Obviously a star making role, sure, but I

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Speaker 2: like the end of Friday the Thirteenth. The final chapter

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Speaker 2: is how I felt at the end of Barbarian, where

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Speaker 2: I just screamed in delight the entire time because I'm like,

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Speaker 2: this is so fucking stupid and ridiculous, but I'm here anyway, enjoyable,

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Speaker 2: enjoy very good.

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Speaker 1: Okay, my turn. Okay. Like I said, I watched Jason

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Speaker 1: X from two thousand and one, brilliant. Then I watched

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Speaker 1: So on the Criterion channel. They have all of the movies,

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Speaker 1: or maybe not all of them, but a ton of

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Speaker 1: movies by Handmade Productions, which is this production company from

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Speaker 1: England that I don't even know if they're around anymore,

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Speaker 1: but it was like co founded by George Harrison, and

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Speaker 1: they did a lot of like kind of weird avant

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Speaker 1: garde comedies in the eighties and nineties, like they did

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Speaker 1: with Nail and I and like Mona Lisa with Bob

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Speaker 1: Haskin Bob Hoskins, excuse me. And one of their maybe

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Speaker 1: most famous movies is Time Bandits from nineteen eighty one

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Speaker 1: by Terry Gilliam. And this was a movie I used

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Speaker 1: to watch as a kid a lot and it really

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Speaker 1: scared me, and I was like, oh, I'd like to

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Speaker 1: watch that again. So I watched it for the first

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Speaker 1: time probably thirty years, and it was freaky again, but

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Speaker 1: it was like so great and so imaginative, and it

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Speaker 1: makes me sad that Terry Gillium is such a monstrous

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Speaker 1: creep and I like hate him as a person so much,

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Speaker 1: but I really do like his movies.

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Speaker 2: Yeah, well that's amazing. Like I have never seen Time Band.

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Speaker 2: It's even though every person I know has probably seen it.

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Speaker 1: So yeah, it's good. It's fun and interesting and weird

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Speaker 1: and idiosyncratic, and yeah it's great. I don't know, I

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Speaker 1: had a great time watching it. Yeah that's isy, Yeah,

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Speaker 1: that's it. Really shouldn't children really shouldn't watch it because

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Speaker 1: it really messed me up as a kid. So it

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Speaker 1: was kind of fun to watch that. Again. Well that's exciting.

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Speaker 1: I'll have to check that out on criteria. Yeah, there's

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Speaker 1: a lot on there. I'm very interested. I have never

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Speaker 1: seen with Neil and I and I'm curious to watch that.

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Speaker 1: Oh and then I watched as I promised I would

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Speaker 1: watch The Accountant too. And here's the thing. Two criticisms. Okay,

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Speaker 1: number one, The Accountant, it is the way the title is.

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Speaker 1: It's actually the Accountant squared, so like you know, that's

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Speaker 1: kind of doing a cutese thing. But if the but

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Speaker 1: the character of the accountant would not like that because

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Speaker 1: that doesn't make any sense. You know, it's not the

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Speaker 1: same as a number two squaring it. It just doesn't

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Speaker 1: mathematically make sense. And I think he'd have a real

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Speaker 1: problem with that. So my biggest complaint about this movie

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Speaker 1: not enough accounting. There should have been way more accounting.

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Speaker 1: There was a ton of accounting in the first one,

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Speaker 1: not enough in this one.

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Speaker 5: So what he did, So you're mad that there wasn't

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Speaker 5: enough of uh fucking ben.

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Speaker 1: Yes going through papers. Literally there's so much of that

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Speaker 1: in the first one, and it's thrilling and interesting, and

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Speaker 1: in this one it's much more of an action to

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Speaker 1: beat him up. And they kind of got rid of

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Speaker 1: the accounting, but they forgot about the the basis for

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Speaker 1: the whole series. He's an accountant, So.

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Speaker 2: You're mad that they didn't show enough of him tinkering

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Speaker 2: with someone suggested gross income correct.

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Speaker 1: There wasn't enough spreadsheets, not enough calculators. There wasn't enough

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Speaker 1: white board writing and circling, you know, there wasn't enough

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Speaker 1: papers being pinned to surfaces in the wall. There's just

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Speaker 1: a so well that's to that exact point.

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Speaker 2: I mean, I don't know a lot about math. I

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Speaker 2: was in really bad remedial math when I was in

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Speaker 2: high school. But I do believe that squaring the accountant

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Speaker 2: would just means doubling the first one. And it's clear

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Speaker 2: that it's not the first one.

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Speaker 1: No, it's not doubling the first one. It's multiplying the

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Speaker 1: first one by the first one. So it would be

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Speaker 1: the accountant multiplied by the accountant, not by two.

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Speaker 2: Oh, this is why I'm not in math. Like, I'm

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Speaker 2: not a math or an accountant. So to that exact

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Speaker 2: point that you just made, that's also not what the

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Speaker 2: account two was.

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Speaker 1: That's correct, there was There was a subtraction, not not

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Speaker 1: a multiplication. Wow. Anyways, God blessed. It's it. That's it

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Speaker 1: for our film diary.

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Speaker 2: Schools more clothes, clothes.

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Speaker 1: All right, we are back for our main discussion about

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Speaker 1: Alan Rudolph and his nineteen seventy eight movie Remember my Name, Millie.

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Speaker 1: You've talked to the man, you've seen his movies? Who

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Speaker 1: is Alan Rudolph.

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Speaker 2: Alan Rudolph is its being my best friend. Yes, is

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Speaker 2: a really great American director and screenwriter. He writes pretty

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Speaker 2: much all of his movies. But he, you know, came

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Speaker 2: from I mean I think he's an LA boy and

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Speaker 2: his his father was a director and an actor. But

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Speaker 2: he I think he sort of got his real kind

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Speaker 2: of star in Hollywood working alongside Robert Altman, the director

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Speaker 2: Robert Altman, And you know, he was an AD on

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Speaker 2: The Long Goodbye and Nashville, and.

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Speaker 1: Which is interesting to go from a lot of people

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Speaker 1: do not go from being an assistant director to a

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Speaker 1: director because it's actually an entirely different job being an

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Speaker 1: assistant director and AD is like the person who's like

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Speaker 1: essentially screaming at everybody to get them to do their

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Speaker 1: jobs properly, or like where's this person? We need this person?

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Speaker 1: Here are we ready to go? You know, they're the

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Speaker 1: one that are like keeping the shoot moving. So a

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Speaker 1: lot of times that oh, you know, that doesn't necessarily

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Speaker 1: transition easily into being a director, which is a little

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Speaker 1: bit more of like the creative oh, you know, overseeing

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Speaker 1: the whole creative vision.

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Speaker 2: Have you have you ever been an AD? You seem

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Speaker 2: like you would be.

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Speaker 1: Just the type that's so rude. That is not iird

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Speaker 1: I have done, you know, on a lot of the

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Speaker 1: movies that I've directed, I've had to be kind of

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Speaker 1: an AD because we have such a small crew and

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Speaker 1: I'm like, where's so and so I need them here?

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Speaker 1: Or like how long on this? Like my sets have

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Speaker 1: been so small that I have been able to keep

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Speaker 1: it all together just myself. I haven't really needed an AD.

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Speaker 1: But on bigger set, yeah you can.

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Speaker 2: You can yell at people as the director.

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Speaker 1: Well, yes exactly, but like the AD is the one

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Speaker 1: who's kind of like running around while the director is

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Speaker 1: working with the actor, you know, yes, or like the

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Speaker 1: set design of the costumes or all the creative stuff.

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Speaker 1: So I have never done it professionally.

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Speaker 2: No, Well, it seems kind of like a consigliary type

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Speaker 2: of job. Like you're totally basically like doing all the

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Speaker 2: doing all the business, which I think is good for you,

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Speaker 2: like as as a Capricorn. As your film professor noted,

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Speaker 2: this is something that you would easily fall into. I

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Speaker 2: feel like, but uh.

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Speaker 1: Huh, yeah, that's not a dig.

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Speaker 2: What the fuck an? You know?

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Speaker 1: Dad? I just feel like there's no creativity to being

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Speaker 1: a professional AD. You're not. There's just the creativity, isn't there.

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Speaker 1: It's more about running the show. Well, well, but thank you,

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Speaker 1: I mean I cracked a lot of skulls on this program.

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Speaker 2: That's exactly what I was talking about. I was like,

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Speaker 2: you're the one that keeps the trains on time. You're

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Speaker 2: like yelling at me to like get my shit.

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Speaker 1: Together, screaming I'm screaming at Milly behind this.

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Speaker 2: Well that's interesting because yeah, he did in fact become

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Speaker 2: a director. And really, I mean it was funny because

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Speaker 2: when I was talking to him personally, because we hung out,

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Speaker 2: you know, at dinner and things, best friends, we you know,

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Speaker 2: he told me a lot about working with all men

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Speaker 2: and it's just about how you know, he just sort

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Speaker 2: of like became part of that universe and how he

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Speaker 2: just would like smoke weed and hang out with and

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Speaker 2: he kind of created his own sort of I don't know,

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Speaker 2: troop of actors that he would use over and over

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Speaker 2: and over in his films, like Keith Carrodine and Jean

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Speaker 2: we Have bouge Old and you know, Leslie and Warren

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Speaker 2: and stuff. So it's like, you know, he he feels

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Speaker 2: like there's this sensibility to him that feels very Altman like,

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Speaker 2: which is that like Altman kind of like makes movies

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Speaker 2: with like a bunch of cool creative people and they're

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Speaker 2: like not necessarily they're kind of like driven by relationships

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Speaker 2: and conversations and dialogue, and there's no he's not making

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Speaker 2: these like action packed, huge, you know, sort of blockbuster

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Speaker 2: y type of movies with a lot of narrative and

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Speaker 2: a lot of I mean sometimes like we're gonna talk

386
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Speaker 2: about this and remember my name, there's so slow kind

387
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Speaker 2: of unraveling of details and there's a lot going on

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Speaker 2: in the background. He also uses I think in remember

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Speaker 2: my Name, which feels very Altman esque, And I feel

390
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Speaker 2: like he talked about this maybe a little bit. I

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Speaker 2: don't know if we were gonna have in the conversation,

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Speaker 2: by the way, I'm just saying it. He talked about

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Speaker 2: this a little bit in Atlanta, where you know he

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Speaker 2: did kind of he kind of worked on California Split,

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Speaker 2: which kind of has that if you've seen California Split

396
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Speaker 2: and you know this about Altman films, that kind of

397
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Speaker 2: layering of background audio, Yeah, where you can hear like

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Speaker 2: people in the background hanging out of the bar, on

399
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Speaker 2: top of or just.

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Speaker 1: It's like a messier scene than you normally see in movies.

401
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Speaker 1: You like hear everyone talking all at once and you're

402
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Speaker 1: not necessarily picking up entirely everything what the main characters

403
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Speaker 1: are saying all the time, right.

404
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Speaker 2: Like it's like the bartender talking to some dude in

405
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Speaker 2: the corner, is Mike just as loudly as like the

406
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Speaker 2: main characters, And You're hearing all these like bits of

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Speaker 2: conversation which I feel like comes up and remember my

408
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Speaker 2: name a lot. And I feel like that was something

409
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Speaker 2: that maybe was an influence. But I feel like his

410
00:23:56,960 --> 00:23:59,520
Speaker 2: filmography is I mean, if you look at it, kind

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Speaker 2: of all like comprehensively. He made a lot of different

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Speaker 2: types of movies. Some of them are studio films, some

413
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Speaker 2: of them were a little bit more independent, And you know,

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Speaker 2: I personally think that he just has like he's very

415
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Speaker 2: focused on the relationships between people and sort of they're

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Speaker 2: all his movies are very romantic to me, and they

417
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Speaker 2: have like or they have elements of romance and sort

418
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Speaker 2: of this like off kilter kind of way. Yeah, And

419
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Speaker 2: I don't know, there's something like cute and interesting about

420
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Speaker 2: that to me when I'm watching his films where I'm

421
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Speaker 2: just like, oh, I don't know if I should be

422
00:24:39,000 --> 00:24:40,960
Speaker 2: rooting for these people to get together, but I kind

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Speaker 2: of am.

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Speaker 1: Yeah, And it's clear that I definitely felt that and

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Speaker 1: remember my name. Yeah, I was like, why am I

426
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Speaker 1: pulling for this?

427
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Speaker 4: Yes?

428
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Speaker 2: Well, because it's like this weird like you don't know

429
00:24:52,920 --> 00:24:57,880
Speaker 2: necessarily where people's intentions are coming from, but you kind

430
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Speaker 2: of feel they're the character has a need for somebody

431
00:25:02,720 --> 00:25:06,000
Speaker 2: in the film, and you're kind of like you're like

432
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Speaker 2: okay with that. You're like, oh, I'm just like I

433
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Speaker 2: understand these people are bonded or connected on some level,

434
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Speaker 2: even though it makes like no sense. Yeah, but that's

435
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Speaker 2: what I think is so great about his movies though,

436
00:25:16,119 --> 00:25:18,879
Speaker 2: is that they're kind of a little bit off the

437
00:25:18,920 --> 00:25:23,160
Speaker 2: beaten path in a very like non obvious way. And

438
00:25:23,640 --> 00:25:25,959
Speaker 2: I feel like that was like by design. He was

439
00:25:26,119 --> 00:25:29,199
Speaker 2: like from what we talked about in person when he

440
00:25:29,240 --> 00:25:32,159
Speaker 2: was in Atlanta, you know, he was like, I just

441
00:25:32,160 --> 00:25:33,639
Speaker 2: want to make the movies I want to make. Like

442
00:25:33,680 --> 00:25:36,399
Speaker 2: I'm not trying to be you know, Ron Howard or

443
00:25:36,440 --> 00:25:38,439
Speaker 2: Spielberg or any of these people. I just want to

444
00:25:38,440 --> 00:25:40,320
Speaker 2: make my movies and hang out with the people that

445
00:25:40,359 --> 00:25:44,159
Speaker 2: I like. And there's something so great about that. And

446
00:25:44,200 --> 00:25:46,040
Speaker 2: I feel like Altman was kind of like that too.

447
00:25:46,080 --> 00:25:50,119
Speaker 2: I feel like it comes from this pure desire to

448
00:25:50,240 --> 00:25:53,400
Speaker 2: just like want to make movies with cool people, and

449
00:25:54,240 --> 00:25:57,119
Speaker 2: you know, and his wife, Joyce is also a total boss.

450
00:25:57,200 --> 00:26:00,480
Speaker 2: She was an on set photographer for her career. She

451
00:26:00,720 --> 00:26:04,560
Speaker 2: by the way, I have to say, she did the

452
00:26:04,560 --> 00:26:08,560
Speaker 2: on set photography for both Terminator and the First Nightmare

453
00:26:08,640 --> 00:26:11,159
Speaker 2: on Elm Street. The picture of the cover on the

454
00:26:11,160 --> 00:26:15,280
Speaker 2: First Nightmare on Elm Street with Heather Langingcamp sitting laying backwards,

455
00:26:15,480 --> 00:26:17,439
Speaker 2: she did the original photography for that.

456
00:26:17,960 --> 00:26:18,480
Speaker 1: Incredible.

457
00:26:18,560 --> 00:26:20,960
Speaker 2: So she has a copy of that photo, which was

458
00:26:21,000 --> 00:26:24,439
Speaker 2: obviously rendered later by some kind of artist because it

459
00:26:24,480 --> 00:26:28,640
Speaker 2: looks like a paint a paint portrait. But like I mean,

460
00:26:28,720 --> 00:26:32,400
Speaker 2: she was like traveling the world taking photography for all

461
00:26:32,440 --> 00:26:34,840
Speaker 2: these really really popular movies. So they're kind of this

462
00:26:35,040 --> 00:26:38,120
Speaker 2: like they're kind of relationship goals.

463
00:26:38,280 --> 00:26:38,520
Speaker 1: Got it?

464
00:26:38,640 --> 00:26:46,359
Speaker 6: I gotta say love it? Do you mind if I

465
00:26:46,400 --> 00:26:49,560
Speaker 6: do the synopsis for Remember My Name? Do I?

466
00:26:50,000 --> 00:26:53,880
Speaker 1: Here we go, jumping right in. Emily played by Geraldine

467
00:26:53,920 --> 00:26:59,639
Speaker 1: Chaplin aka Charlie Chaplin's daughter. She's fresh out of jail,

468
00:27:00,119 --> 00:27:05,520
Speaker 1: the twelve year stint in jail in New York. You

469
00:27:05,560 --> 00:27:09,080
Speaker 1: can tell immediately she does not quite know how to

470
00:27:09,200 --> 00:27:12,199
Speaker 1: fit back into regular society. She has kind of a

471
00:27:12,440 --> 00:27:17,600
Speaker 1: every interaction is weird, and she's set up camp in

472
00:27:17,640 --> 00:27:21,359
Speaker 1: Los Angeles now because an inmate at the jail with

473
00:27:21,400 --> 00:27:23,760
Speaker 1: her said that her son would give Emily a job.

474
00:27:24,240 --> 00:27:26,800
Speaker 1: She gets this job at a kind of a convenience store,

475
00:27:26,920 --> 00:27:33,919
Speaker 1: grocery store, goods store run by Jeff very young Jeff Golblum,

476
00:27:34,200 --> 00:27:38,760
Speaker 1: but most of her time is spent inexplicably stalking and

477
00:27:38,840 --> 00:27:44,120
Speaker 1: tormenting this couple Neil played by Anthony Perkins and Barbara,

478
00:27:44,200 --> 00:27:47,399
Speaker 1: his wife played by Barry Berenson. And it's at for

479
00:27:47,520 --> 00:27:51,440
Speaker 1: most of the movie it's very unclear why she has

480
00:27:51,800 --> 00:27:54,440
Speaker 1: her laser beams sort of focused on this couple, in

481
00:27:54,600 --> 00:27:58,280
Speaker 1: this man in particular, but it soon becomes very clear

482
00:27:59,119 --> 00:28:03,639
Speaker 1: why she is focusing in on them, which we'll get into.

483
00:28:03,760 --> 00:28:06,960
Speaker 1: I'm sure this movie will spoiler alert, I will say,

484
00:28:07,040 --> 00:28:09,840
Speaker 1: but yeah, something we had talked about before we started

485
00:28:09,840 --> 00:28:12,880
Speaker 1: recording was just these kind of these two leads, Anthony

486
00:28:12,920 --> 00:28:16,560
Speaker 1: Perkins and Geraldine Chaplain, and I thought it was very

487
00:28:16,600 --> 00:28:20,840
Speaker 1: savvy casting because these are people I guess we recognize,

488
00:28:21,320 --> 00:28:25,000
Speaker 1: you know, but we both agree there's something they both

489
00:28:25,080 --> 00:28:31,280
Speaker 1: look off. They both have a look of they're not

490
00:28:31,560 --> 00:28:37,480
Speaker 1: quite right and aren't fitting in society properly, wouldn't you

491
00:28:37,560 --> 00:28:41,640
Speaker 1: say they have kind of an odd yeah look to them.

492
00:28:42,040 --> 00:28:44,840
Speaker 2: Yeah, I think I would. I mean, I, first of all,

493
00:28:44,880 --> 00:28:47,479
Speaker 2: I have to apologize to anybody who is ever like

494
00:28:47,600 --> 00:28:50,160
Speaker 2: I wrote about this movie in the TCM Underground book,

495
00:28:50,840 --> 00:28:55,440
Speaker 2: I've you know, obsessed, I'm obsessed. I'm just as obsessed.

496
00:28:55,520 --> 00:28:59,600
Speaker 2: I'm Geraldine Chaplain smoking cigarettes in the window of this

497
00:28:59,680 --> 00:29:03,240
Speaker 2: movie basically. But I've talked about this movie a lot

498
00:29:03,280 --> 00:29:08,840
Speaker 2: because I'm a huge fan of it, and I I

499
00:29:08,920 --> 00:29:13,040
Speaker 2: feel like and I again, there was a moment when

500
00:29:13,360 --> 00:29:15,360
Speaker 2: I was in the Q and A with Alan where

501
00:29:15,360 --> 00:29:18,120
Speaker 2: I was like, I want to go so hard on

502
00:29:18,200 --> 00:29:21,240
Speaker 2: all of my like weird like film nerd isn't like

503
00:29:21,280 --> 00:29:23,680
Speaker 2: I just want to ask, like, what's the motivation behind

504
00:29:23,680 --> 00:29:26,400
Speaker 2: this and stuff? Which is like the most irritating shit

505
00:29:26,480 --> 00:29:27,720
Speaker 2: you could ever do?

506
00:29:28,400 --> 00:29:29,200
Speaker 1: What does this mean?

507
00:29:29,400 --> 00:29:31,760
Speaker 2: What does this mean? Like? Did you intend for the

508
00:29:32,040 --> 00:29:36,840
Speaker 2: movie to be you know, so fucking dumb. I'm horrified

509
00:29:36,880 --> 00:29:39,760
Speaker 2: by the even thought that I had that thought.

510
00:29:40,040 --> 00:29:45,920
Speaker 1: We should have some Q and a horror story episode segments. Yes,

511
00:29:45,960 --> 00:29:46,960
Speaker 1: because we could.

512
00:29:46,800 --> 00:29:50,720
Speaker 2: Be like an offshoot of Film Regrets, Yes, exactly, But

513
00:29:52,080 --> 00:29:55,000
Speaker 2: to me, I and I picked up on this and

514
00:29:55,040 --> 00:29:57,520
Speaker 2: I'm not sure it, Like again, like I don't know

515
00:29:57,560 --> 00:30:00,520
Speaker 2: if this was intentional or if this is I read

516
00:30:00,560 --> 00:30:02,720
Speaker 2: of it, which is kind of great. I can have

517
00:30:02,760 --> 00:30:04,480
Speaker 2: a read. That's Like. The thing that I love about

518
00:30:04,480 --> 00:30:07,640
Speaker 2: this film in particular is that it's so it's such

519
00:30:07,640 --> 00:30:10,959
Speaker 2: a rich text to where you're like noticing a lot

520
00:30:11,000 --> 00:30:13,600
Speaker 2: of stuff in the background, noticing all these character quirks,

521
00:30:13,640 --> 00:30:16,040
Speaker 2: and you're just kind of forming your own opinions about

522
00:30:16,040 --> 00:30:18,240
Speaker 2: who these people are, which I feel like, you know,

523
00:30:18,280 --> 00:30:21,240
Speaker 2: I have my own thoughts about who I think the

524
00:30:21,320 --> 00:30:24,000
Speaker 2: Geraldine Chaplin character is and where she comes from and

525
00:30:24,000 --> 00:30:27,240
Speaker 2: what motivates her. But I feel like there is this

526
00:30:27,360 --> 00:30:31,560
Speaker 2: kind of oddness of them in the sense that the

527
00:30:31,600 --> 00:30:38,000
Speaker 2: Geraldine Chaplin character Emily feels slightly butch to me. And yeah,

528
00:30:38,360 --> 00:30:41,880
Speaker 2: I know that there is a big runner in the

529
00:30:41,920 --> 00:30:46,280
Speaker 2: film is her trying to adapt to like her re

530
00:30:46,520 --> 00:30:52,120
Speaker 2: entry into society right where she almost is sort of relearning.

531
00:30:51,720 --> 00:30:56,880
Speaker 1: Femininity totally in a way, right, And there's some very

532
00:30:56,920 --> 00:31:01,640
Speaker 1: telling scenes where she's buying clothes at this department store

533
00:31:01,680 --> 00:31:05,200
Speaker 1: and it's very hostile with it feels very hostile with

534
00:31:05,240 --> 00:31:07,640
Speaker 1: the woman she's purchasing the clothes from in a way

535
00:31:07,720 --> 00:31:11,720
Speaker 1: that's like, why is this so loaded? Yes, you know so.

536
00:31:12,120 --> 00:31:17,080
Speaker 2: Right, And you know her physical body, she's small and

537
00:31:17,120 --> 00:31:21,720
Speaker 2: she's tiny, but she's also like wearing like kind of

538
00:31:22,000 --> 00:31:23,520
Speaker 2: you know when she especially when she first comes out,

539
00:31:23,560 --> 00:31:26,200
Speaker 2: she's wearing kind of like work clothes and she's smoking

540
00:31:26,240 --> 00:31:29,760
Speaker 2: cigarettes and literally is like stubbing out a cigarette in

541
00:31:29,800 --> 00:31:33,160
Speaker 2: her fingers, which is so insane. Did you catch that

542
00:31:33,200 --> 00:31:33,480
Speaker 2: where she.

543
00:31:33,480 --> 00:31:36,560
Speaker 1: Would just like rub the Yes, she's she's always rolling

544
00:31:36,640 --> 00:31:39,840
Speaker 1: the cigarette like to put out a cigarette. Sometimes you

545
00:31:39,880 --> 00:31:42,720
Speaker 1: like roll it to like get the spark charity of

546
00:31:43,480 --> 00:31:47,239
Speaker 1: the cherry out of it. And there's several close ups

547
00:31:47,280 --> 00:31:48,160
Speaker 1: of that in this movie.

548
00:31:48,240 --> 00:31:50,600
Speaker 2: Yeah, And there's just scenes of her like kind of

549
00:31:50,640 --> 00:31:53,080
Speaker 2: trying to put on makeup and being very like, you know,

550
00:31:53,120 --> 00:31:56,600
Speaker 2: trying to figure out if this is something that she

551
00:31:56,880 --> 00:31:58,720
Speaker 2: should be doing as a woman and this kind of stuff.

552
00:31:59,000 --> 00:32:01,480
Speaker 2: So there's that, and then you'd like look at the

553
00:32:01,520 --> 00:32:04,160
Speaker 2: flip and you look at the Anthony Perkins character, which,

554
00:32:04,160 --> 00:32:06,480
Speaker 2: by the way, there's all like a whole story about

555
00:32:06,520 --> 00:32:08,560
Speaker 2: him and trying him trying to be in this movie,

556
00:32:08,640 --> 00:32:11,680
Speaker 2: and he you know, actually was like I don't think

557
00:32:11,680 --> 00:32:13,440
Speaker 2: I should be in this movie because I don't think

558
00:32:13,520 --> 00:32:21,400
Speaker 2: I would make a convincing construction worker, right, Yeah, which.

559
00:32:22,200 --> 00:32:25,719
Speaker 1: I think he doesn't feel like a construction worker, but

560
00:32:25,920 --> 00:32:28,880
Speaker 1: that's intent, Like that feels right for this movie.

561
00:32:29,000 --> 00:32:30,960
Speaker 2: Yeah, And it was kind of like it was hard

562
00:32:30,960 --> 00:32:33,400
Speaker 2: to say, Like upon rewatching it most recently, I was

563
00:32:33,440 --> 00:32:35,840
Speaker 2: kind of like, he sort of has an architect vibe,

564
00:32:35,840 --> 00:32:39,680
Speaker 2: but he's also hammering nails into so he's kind of

565
00:32:39,680 --> 00:32:42,200
Speaker 2: doing it all. But like, you're right, if you know

566
00:32:42,280 --> 00:32:44,440
Speaker 2: Anthony Perkins, you know the career of Anthony Perkins, and

567
00:32:44,440 --> 00:32:46,160
Speaker 2: you know his life. I mean you're basically like, oh,

568
00:32:46,160 --> 00:32:51,200
Speaker 2: here's a lithe, tall gay man trying to act like

569
00:32:51,280 --> 00:32:54,800
Speaker 2: a construction worker, which you're kind of like, there's something

570
00:32:54,800 --> 00:32:55,520
Speaker 2: weird about that.

571
00:32:55,600 --> 00:32:58,160
Speaker 1: And he Yah, it feels you know, it feels wrong

572
00:32:58,400 --> 00:33:01,959
Speaker 1: in the movie. Yeah, Like everyone, like both Geraldine Chaplain

573
00:33:02,000 --> 00:33:05,880
Speaker 1: and him are not fitting in correctly, Like they don't

574
00:33:05,920 --> 00:33:07,400
Speaker 1: fit in easily right.

575
00:33:07,720 --> 00:33:09,400
Speaker 2: And I would even go as far as to say

576
00:33:09,960 --> 00:33:17,520
Speaker 2: so Barry Berenson, who it was his wife in real life,

577
00:33:18,000 --> 00:33:20,760
Speaker 2: Anthony Anthony Perkins's wife in real life, but she plays

578
00:33:20,800 --> 00:33:25,800
Speaker 2: his wife in the film as well. There's something a

579
00:33:25,960 --> 00:33:30,120
Speaker 2: little butch about her too. She's got a she's got

580
00:33:30,120 --> 00:33:34,000
Speaker 2: a short kind of haircut, and she's beautiful, and she's

581
00:33:34,040 --> 00:33:36,200
Speaker 2: she's she was a model, so it's kind of like okay,

582
00:33:36,560 --> 00:33:40,120
Speaker 2: but she kind of has this like butch energy of

583
00:33:40,160 --> 00:33:40,600
Speaker 2: her own.

584
00:33:41,240 --> 00:33:41,440
Speaker 1: Right.

585
00:33:42,080 --> 00:33:44,360
Speaker 2: So there's this point where I was thinking, you know,

586
00:33:44,520 --> 00:33:46,440
Speaker 2: when I was watching this movie, going like, oh, so,

587
00:33:46,520 --> 00:33:48,920
Speaker 2: here you have these like two women who are kind

588
00:33:48,920 --> 00:33:52,960
Speaker 2: of like a little you know, when it comes to

589
00:33:53,200 --> 00:33:55,960
Speaker 2: sort of that femininity question, You're like, Okay, they're kind

590
00:33:55,960 --> 00:33:59,960
Speaker 2: of not towards the you know, tail end of being

591
00:34:00,080 --> 00:34:03,200
Speaker 2: super feminine. And then you have this sensibly a gay

592
00:34:03,200 --> 00:34:07,360
Speaker 2: man playing this like butch archetype like the construction work. Yeah,

593
00:34:07,760 --> 00:34:10,600
Speaker 2: and there's this inversion to me that exists in this

594
00:34:10,640 --> 00:34:14,040
Speaker 2: movie that I think is really fascinating, and it kind

595
00:34:14,080 --> 00:34:17,640
Speaker 2: of contributes to the story in the sense that you're like,

596
00:34:18,400 --> 00:34:22,439
Speaker 2: who is if you want to think of this movie

597
00:34:22,440 --> 00:34:24,920
Speaker 2: as like a Noar or like a Nianawar or like

598
00:34:24,960 --> 00:34:27,440
Speaker 2: some kind of thriller, who is the femme fatale? Like

599
00:34:27,520 --> 00:34:33,440
Speaker 2: who is the person who is wreaking havoc? You know,

600
00:34:34,480 --> 00:34:39,880
Speaker 2: running rampant through the hearts and minds of these main characters, Right,

601
00:34:40,920 --> 00:34:44,600
Speaker 2: And that whole question is like one of my favorite

602
00:34:44,600 --> 00:34:46,880
Speaker 2: things about this movie. It's sort of like who, Like

603
00:34:47,280 --> 00:34:49,040
Speaker 2: as the movie unfolds, you're like, Okay, well, you have

604
00:34:49,120 --> 00:34:51,839
Speaker 2: this woman who seems to be like stalking this man

605
00:34:52,239 --> 00:34:55,960
Speaker 2: and his wife. But then what is happening with him

606
00:34:56,440 --> 00:34:59,279
Speaker 2: where he like as his character on folds, you're like, oh,

607
00:34:59,320 --> 00:35:03,600
Speaker 2: maybe he is like a dog. Maybe he has these

608
00:35:03,600 --> 00:35:06,840
Speaker 2: moments where he's like been with women and kind of

609
00:35:06,920 --> 00:35:10,719
Speaker 2: run through women, and you know, do these women are

610
00:35:10,719 --> 00:35:11,480
Speaker 2: they scorned?

611
00:35:12,239 --> 00:35:12,480
Speaker 4: You know?

612
00:35:12,680 --> 00:35:14,600
Speaker 2: And then you've really figured that out towards the end.

613
00:35:15,280 --> 00:35:17,920
Speaker 2: I don't know. It's one of the best parts of

614
00:35:17,920 --> 00:35:22,000
Speaker 2: the movie for me. So there's something too about the

615
00:35:22,000 --> 00:35:23,920
Speaker 2: There's a lot again we were going back to the

616
00:35:23,960 --> 00:35:26,360
Speaker 2: audio question of this film. There's a lot of audio

617
00:35:26,400 --> 00:35:30,279
Speaker 2: in the background that plays throughout the film, and one

618
00:35:30,320 --> 00:35:33,640
Speaker 2: of them is the sound of jail ye, the sound

619
00:35:33,640 --> 00:35:38,359
Speaker 2: of like bars clanking and jail doors being shut, and

620
00:35:38,440 --> 00:35:44,920
Speaker 2: it typically comes into the film when Emily is alone,

621
00:35:45,080 --> 00:35:49,000
Speaker 2: and maybe that's you know, a for a reason. And

622
00:35:49,040 --> 00:35:52,280
Speaker 2: then you have the sound of airplanes, which I think

623
00:35:53,000 --> 00:35:56,960
Speaker 2: in the film is because the Anthony Perkinson Barry Bearnson

624
00:35:57,080 --> 00:36:00,879
Speaker 2: character live near the airport or something. Yeah, but there's

625
00:36:01,000 --> 00:36:07,800
Speaker 2: that whole like audio comparison of like incarceration and freedom,

626
00:36:08,000 --> 00:36:13,200
Speaker 2: so it's like jail and air travel, flying whatever you

627
00:36:13,239 --> 00:36:17,520
Speaker 2: want to call it. And that again not to be

628
00:36:17,600 --> 00:36:24,319
Speaker 2: this obnoxious, you know, grad school film programmed person, but

629
00:36:24,400 --> 00:36:27,279
Speaker 2: I'm like that to me seems intentional. There seems to

630
00:36:27,320 --> 00:36:30,480
Speaker 2: be some intention behind that, which I think is super interesting.

631
00:36:31,280 --> 00:36:37,560
Speaker 1: Can we talk about the scene where Emily Jerldine Chaplin

632
00:36:37,719 --> 00:36:41,920
Speaker 1: goes into their house, yes, and is like walking around?

633
00:36:42,239 --> 00:36:46,440
Speaker 1: Of course we can, because that was so this movie

634
00:36:46,520 --> 00:36:50,480
Speaker 1: has an element that to me was scary. Yes, and

635
00:36:50,680 --> 00:36:52,880
Speaker 1: Emily's our main character, were with her like the whole movie,

636
00:36:52,960 --> 00:36:56,880
Speaker 1: but she there's something so off about her that it's scary.

637
00:36:57,520 --> 00:37:01,960
Speaker 1: And basically she goes into Anthony Perkins and Barry Berenson's

638
00:37:02,000 --> 00:37:07,919
Speaker 1: house when Barry Berenson is making dinner and she's sort

639
00:37:07,920 --> 00:37:12,719
Speaker 1: of just floating around the house like just like out

640
00:37:12,760 --> 00:37:17,600
Speaker 1: of eyeshot of Barry Berenson, and she seems so at

641
00:37:17,640 --> 00:37:23,560
Speaker 1: ease and so comfortable infiltrating these people's space, and it

642
00:37:23,600 --> 00:37:26,799
Speaker 1: is really You're like, I'm so tense. You're like, when

643
00:37:26,840 --> 00:37:30,759
Speaker 1: are they going to see each other? And then all

644
00:37:30,800 --> 00:37:33,560
Speaker 1: of a sudden, Emily's just kind of like standing there

645
00:37:33,600 --> 00:37:39,279
Speaker 1: in front of her and freaking Barbara out, you know,

646
00:37:39,960 --> 00:37:44,240
Speaker 1: but she like seems more at ease, like being breaking

647
00:37:44,239 --> 00:37:47,040
Speaker 1: into this person's house than she is in like regular society,

648
00:37:47,440 --> 00:37:50,799
Speaker 1: you know, because I feel like she's, like in regular society,

649
00:37:50,880 --> 00:37:53,759
Speaker 1: she is like a straight She's a stranger. Everywhere she's out,

650
00:37:53,800 --> 00:37:56,040
Speaker 1: she's not welcome anywhere. So how is this any different?

651
00:37:56,400 --> 00:37:58,520
Speaker 1: You know, like breaking into someone's house and just kind

652
00:37:58,560 --> 00:38:04,000
Speaker 1: of like floating around. But that scene was so scary

653
00:38:04,200 --> 00:38:06,640
Speaker 1: to me. Oh yeah, it's it's intense.

654
00:38:06,719 --> 00:38:09,840
Speaker 2: And when I saw it in the theater, you know,

655
00:38:09,920 --> 00:38:11,840
Speaker 2: back a few months ago, there's a lot of people

656
00:38:11,840 --> 00:38:14,360
Speaker 2: in that movie theater. I hadn't seen it, and everybody

657
00:38:14,480 --> 00:38:18,319
Speaker 2: gasped when she finally shows up in front of Barry

658
00:38:18,320 --> 00:38:20,239
Speaker 2: Barnson's face with the knife or whatever or.

659
00:38:20,520 --> 00:38:24,680
Speaker 1: Well, there's a jump scare, yeah, and she like Emily

660
00:38:24,719 --> 00:38:30,520
Speaker 1: does something unexpected that really made me jump. Yeah, and

661
00:38:30,640 --> 00:38:34,279
Speaker 1: like and it's a scary, Like I mean basically she

662
00:38:34,360 --> 00:38:36,319
Speaker 1: like pulls out a knife and is like ah, like

663
00:38:36,480 --> 00:38:39,480
Speaker 1: literally like that. Yeah, and but you're like so not

664
00:38:39,640 --> 00:38:40,359
Speaker 1: expecting it.

665
00:38:41,200 --> 00:38:45,279
Speaker 2: Yeah, there there is this Okay, This is such a

666
00:38:45,800 --> 00:38:49,560
Speaker 2: this is such a sidebar observation, but I have to

667
00:38:49,880 --> 00:38:53,880
Speaker 2: talk about it. So in that scene, Bary Bearnson is

668
00:38:53,920 --> 00:38:56,320
Speaker 2: like making some kind of salad or so she's cutting

669
00:38:56,360 --> 00:39:00,120
Speaker 2: up some vetables and yes, she's got a head of

670
00:39:00,160 --> 00:39:03,960
Speaker 2: romee lettuce and she pulls out this was This feels

671
00:39:03,960 --> 00:39:07,520
Speaker 2: like a very LA apartment thing. But there's this wood

672
00:39:07,560 --> 00:39:09,880
Speaker 2: cutting board, Yes, that comes out of the almost like

673
00:39:10,040 --> 00:39:11,239
Speaker 2: underneath the countertop.

674
00:39:11,960 --> 00:39:16,600
Speaker 1: Every LA apartment I had had a built in wooden

675
00:39:16,600 --> 00:39:19,040
Speaker 1: cutting board that you could that kind of comes out

676
00:39:19,040 --> 00:39:21,640
Speaker 1: from the countertop and you could chop yes on it.

677
00:39:21,840 --> 00:39:24,760
Speaker 2: That's how I know. So there's like a couple different

678
00:39:24,800 --> 00:39:27,759
Speaker 2: things that when I watch movies after having lived in

679
00:39:27,840 --> 00:39:29,360
Speaker 2: LA I'm like, oh, I know that's an LA apartment

680
00:39:29,440 --> 00:39:32,239
Speaker 2: number one or book the built in bookshelves that are

681
00:39:32,280 --> 00:39:35,359
Speaker 2: always in every LA apartment. The second is that wood

682
00:39:35,400 --> 00:39:36,319
Speaker 2: cutting board.

683
00:39:36,760 --> 00:39:39,440
Speaker 1: Can I say watching this movie? So this movie was

684
00:39:39,480 --> 00:39:42,920
Speaker 1: primarily filmed I looked this up in Culver City, Marina

685
00:39:42,960 --> 00:39:47,279
Speaker 1: del Rey, and Santa Monica. I believe I lived in

686
00:39:47,320 --> 00:39:50,279
Speaker 1: all three of those places a long time. That's the

687
00:39:50,320 --> 00:39:53,520
Speaker 1: West side of La particularly Culver City. A lot of

688
00:39:53,520 --> 00:39:55,880
Speaker 1: this was shot in Culver City. I think their apartment

689
00:39:56,040 --> 00:39:58,160
Speaker 1: or the house that they lived in was in Culver City,

690
00:39:58,480 --> 00:40:01,120
Speaker 1: and the department store where she worked was in Culver City.

691
00:40:01,480 --> 00:40:04,239
Speaker 1: And if you don't know Culver City, it has a

692
00:40:04,400 --> 00:40:09,600
Speaker 1: very specific kind of bland seventies feel. It looks the

693
00:40:09,680 --> 00:40:13,160
Speaker 1: exact same as it does did in this movie. And

694
00:40:13,360 --> 00:40:15,880
Speaker 1: watching this instantaneously, I was like, this is this is

695
00:40:15,920 --> 00:40:18,839
Speaker 1: shot in Culver Sell. I knew it, like before any

696
00:40:18,880 --> 00:40:21,000
Speaker 1: sort of landmarks came up. I was like, I know

697
00:40:21,239 --> 00:40:24,240
Speaker 1: exactly this place. And it's kind of an interesting place

698
00:40:24,280 --> 00:40:29,359
Speaker 1: to set the movie because Culver City is not it's

699
00:40:29,400 --> 00:40:33,000
Speaker 1: not touching the ocean. It's inland Los Angeles. It's kind

700
00:40:33,040 --> 00:40:37,560
Speaker 1: of suburban within the city. It's kind of boring. A

701
00:40:37,560 --> 00:40:40,880
Speaker 1: lot of people consider Culver City boring and so but

702
00:40:40,960 --> 00:40:44,160
Speaker 1: it's still California. It's still like the Land of Freedom,

703
00:40:44,440 --> 00:40:48,759
Speaker 1: but it's kind of like boring in a way. And

704
00:40:49,040 --> 00:40:51,839
Speaker 1: I don't know, I just felt like the vibe fit

705
00:40:51,960 --> 00:40:53,680
Speaker 1: perfectly with this movie.

706
00:40:54,080 --> 00:40:58,480
Speaker 2: Yeah, I got to say, first of all, it's so

707
00:40:58,800 --> 00:41:00,960
Speaker 2: it's so interesting that you lived you were like a

708
00:41:01,000 --> 00:41:02,560
Speaker 2: West Side boy for a long time.

709
00:41:02,840 --> 00:41:05,759
Speaker 1: Well, I would say about half my time I lived

710
00:41:05,800 --> 00:41:07,600
Speaker 1: in La. I was a west side boy because the

711
00:41:07,640 --> 00:41:10,120
Speaker 1: east side is where the cool kids. Yeah, that's where

712
00:41:10,200 --> 00:41:12,399
Speaker 1: Silver Lake and Los Felises, which I lived in both

713
00:41:12,400 --> 00:41:15,799
Speaker 1: those places too. But I have a special appreciation for

714
00:41:15,840 --> 00:41:17,759
Speaker 1: Culver City because everyone shits on it.

715
00:41:17,960 --> 00:41:21,120
Speaker 2: That's so funny. I think the only time that went

716
00:41:21,160 --> 00:41:25,160
Speaker 2: to Culver was to go to Arcana, the bookstore.

717
00:41:25,440 --> 00:41:29,560
Speaker 1: Arcana, Okay, the cool bookstore and Apple Pan isn't that

718
00:41:29,600 --> 00:41:34,040
Speaker 1: in that's West Lay not Culver City, but it's kind

719
00:41:34,080 --> 00:41:34,799
Speaker 1: of close to.

720
00:41:34,880 --> 00:41:39,560
Speaker 2: There is the Museum of Jurassic Technology in Culver City.

721
00:41:40,239 --> 00:41:45,480
Speaker 1: That's I believe mar Vista, but yeah, it's near Culver City. See,

722
00:41:45,480 --> 00:41:51,839
Speaker 1: Culver City has the Sony studios and it doesn't have

723
00:41:52,080 --> 00:41:57,359
Speaker 1: much else for landmarks, which is why it's kind of

724
00:41:57,440 --> 00:42:02,200
Speaker 1: like an un impressive in a way.

725
00:42:02,520 --> 00:42:05,439
Speaker 2: Yeah, they had that big cop but there's that big

726
00:42:05,480 --> 00:42:08,400
Speaker 2: complex now that has the Arkana and there's like a

727
00:42:08,480 --> 00:42:09,879
Speaker 2: Poketto what is it.

728
00:42:09,880 --> 00:42:13,439
Speaker 1: It's like a huge now it's becoming cooler. Yeah, there's

729
00:42:13,480 --> 00:42:16,000
Speaker 1: like all this built. There's all these things being built

730
00:42:16,200 --> 00:42:18,880
Speaker 1: there now, the Poketto, Yeah, which is like kind of

731
00:42:18,960 --> 00:42:26,160
Speaker 1: like a cute, little dispensive design story exactly well, but yeah,

732
00:42:26,200 --> 00:42:27,720
Speaker 1: so I love Culver City.

733
00:42:27,760 --> 00:42:30,120
Speaker 2: Well that's cool. And then like, that's the thing is

734
00:42:30,160 --> 00:42:32,880
Speaker 2: that I when she pulled out that wooden board. So

735
00:42:32,920 --> 00:42:34,759
Speaker 2: I remember when I first roved in that apartment, I

736
00:42:34,800 --> 00:42:37,239
Speaker 2: was like looking around in all the drawers and I

737
00:42:37,280 --> 00:42:40,200
Speaker 2: saw that wooden and I kind of clocked that it

738
00:42:40,320 --> 00:42:42,040
Speaker 2: was a cutting board, and there was like, there's no

739
00:42:42,120 --> 00:42:45,040
Speaker 2: fucking way I'm using this. There's probably like fifty or

740
00:42:45,080 --> 00:42:46,640
Speaker 2: sixty years of people like.

741
00:42:46,719 --> 00:42:48,879
Speaker 1: That's what I always thought. I'm like, am I gonna

742
00:42:49,000 --> 00:42:50,680
Speaker 1: use meat on this heapens?

743
00:42:50,719 --> 00:42:55,400
Speaker 2: No? No, there's probably like germs from like World.

744
00:42:55,120 --> 00:42:57,440
Speaker 1: War two on that, yeah, exactly.

745
00:42:57,520 --> 00:42:59,759
Speaker 2: But she she uses it very easily. And then I

746
00:42:59,800 --> 00:43:02,560
Speaker 2: was like, oh, here's somebody who's actually using that board. Interesting,

747
00:43:02,719 --> 00:43:06,399
Speaker 2: but yeah, that part is harrowing. It's really really it's

748
00:43:06,440 --> 00:43:09,920
Speaker 2: really really harrowing. And you kind of let that point going. Okay, girl,

749
00:43:10,600 --> 00:43:13,719
Speaker 2: I was kind of rooting for you, Emily, But.

750
00:43:13,840 --> 00:43:16,440
Speaker 1: Now she crosses a line there that you're like, oh,

751
00:43:16,480 --> 00:43:18,319
Speaker 1: I wasn't sure if she was capable of that, right,

752
00:43:18,440 --> 00:43:22,000
Speaker 1: because before she's like destroying their flowers and just sort

753
00:43:22,040 --> 00:43:24,319
Speaker 1: of stalking them. I mean, she does throws something through

754
00:43:24,400 --> 00:43:27,760
Speaker 1: their window, but then she actually just like casually enters.

755
00:43:27,840 --> 00:43:30,520
Speaker 1: Oh what would you do in that situation, Milly, if

756
00:43:30,520 --> 00:43:34,440
Speaker 1: you were confronted by an Emily just standing in your apartment?

757
00:43:35,040 --> 00:43:37,520
Speaker 2: Oh, I'd have like an instant heart attack. When you're talking.

758
00:43:37,560 --> 00:43:39,960
Speaker 2: I live by myself. I'd be like, what are you doing?

759
00:43:40,960 --> 00:43:44,640
Speaker 2: And knowing Jodine Chaplin having that face with her huge eyes,

760
00:43:44,719 --> 00:43:47,560
Speaker 2: I would fucking It's like when you watch tiktoks of

761
00:43:47,600 --> 00:43:49,719
Speaker 2: like people who are trying to scare their partners by

762
00:43:49,760 --> 00:43:52,200
Speaker 2: like hiding under the bed and like wrapping their ankles

763
00:43:52,200 --> 00:43:52,680
Speaker 2: and stuff.

764
00:43:52,880 --> 00:43:53,600
Speaker 1: I think it's cool.

765
00:43:53,760 --> 00:43:56,839
Speaker 2: I'd be like, divorce, don't prank me.

766
00:43:57,080 --> 00:43:59,200
Speaker 1: I am not good with this shit, and I'm not

767
00:43:59,239 --> 00:44:01,520
Speaker 1: good at like an I don't like when people try

768
00:44:01,560 --> 00:44:04,640
Speaker 1: to scare me, like startle me, pisses me on no way.

769
00:44:04,800 --> 00:44:09,919
Speaker 2: Yeah, to that point, this back and forth between whether

770
00:44:10,000 --> 00:44:11,759
Speaker 2: or not you're rooting for Emily or not, I think

771
00:44:12,080 --> 00:44:14,799
Speaker 2: generally I'm rooting for her. I do think she goes

772
00:44:14,800 --> 00:44:18,520
Speaker 2: a little ham at points. Here's the thing that's really

773
00:44:18,520 --> 00:44:21,360
Speaker 2: interesting to me is that ultimately I feel like, and

774
00:44:21,400 --> 00:44:23,560
Speaker 2: again this is kind of spoiler alert, I know we

775
00:44:23,640 --> 00:44:25,719
Speaker 2: shouldn't be like talking about this if you haven't seen

776
00:44:25,760 --> 00:44:27,960
Speaker 2: the movie, but I don't care. This is like, yeah,

777
00:44:28,000 --> 00:44:32,000
Speaker 2: this is too enticing, and I have the platform. I

778
00:44:32,080 --> 00:44:34,520
Speaker 2: want to diarrhea out all my thoughts.

779
00:44:34,520 --> 00:44:35,319
Speaker 1: I'm sorry.

780
00:44:37,360 --> 00:44:42,600
Speaker 2: That was a bad analogy, but whatever. I There's something

781
00:44:42,640 --> 00:44:46,480
Speaker 2: that happens at some point in the film that flips

782
00:44:46,520 --> 00:44:50,080
Speaker 2: the script about all of it, right, yeah, which is

783
00:44:50,120 --> 00:44:55,040
Speaker 2: that eventually Emily gets busted for being a creep stalker

784
00:44:56,000 --> 00:45:02,600
Speaker 2: and she gets sent to jail. Okay, Anthony Perkins's character

785
00:45:02,719 --> 00:45:06,840
Speaker 2: Neil comes to visit her, and it's basically like, I

786
00:45:06,920 --> 00:45:10,040
Speaker 2: have to like this is I have to like I

787
00:45:10,080 --> 00:45:13,719
Speaker 2: know this woman. We got to talk it out. And

788
00:45:14,120 --> 00:45:19,280
Speaker 2: there's this moment that makes me gasp every single time,

789
00:45:19,520 --> 00:45:23,120
Speaker 2: and it made everybody in the theater gasp, which is

790
00:45:23,160 --> 00:45:28,799
Speaker 2: that they have the big conversation, the big reuniting, which

791
00:45:28,840 --> 00:45:32,440
Speaker 2: had been building and building and building throughout the entire movie.

792
00:45:33,239 --> 00:45:37,320
Speaker 2: And then he turns to what is it, the officer

793
00:45:37,680 --> 00:45:42,160
Speaker 2: or the detective and says he says it's line, but

794
00:45:42,239 --> 00:45:47,160
Speaker 2: he basically says, my wife, my other wife mm hmm,

795
00:45:47,360 --> 00:45:50,560
Speaker 2: And it's clear that he is like, oh, this is

796
00:45:50,600 --> 00:45:53,440
Speaker 2: my wife. Emily is my wife. My other wife is

797
00:45:53,480 --> 00:45:55,440
Speaker 2: the woman that was being stalked by my.

798
00:45:55,440 --> 00:46:00,000
Speaker 1: Wife, but Emily's the primary wife.

799
00:46:00,120 --> 00:46:05,560
Speaker 2: Yeah, and you're like, holy shit, Like at that moment,

800
00:46:06,440 --> 00:46:09,040
Speaker 2: were you not like, oh this is on, baby, this

801
00:46:09,120 --> 00:46:09,879
Speaker 2: is fucking.

802
00:46:09,600 --> 00:46:12,719
Speaker 1: On, Like well yeah, because like Neil you can tell

803
00:46:12,800 --> 00:46:15,960
Speaker 1: has like the whole movie, You're like, some some something's

804
00:46:16,000 --> 00:46:18,440
Speaker 1: up here, something wrong with this guy. He's got something

805
00:46:18,480 --> 00:46:23,480
Speaker 1: going on. He's something going on. And so when he's

806
00:46:23,560 --> 00:46:26,480
Speaker 1: like my wife, my mother wife, You're like, oh shit.

807
00:46:27,200 --> 00:46:30,480
Speaker 1: I was like, we're we are we are so back baby.

808
00:46:30,680 --> 00:46:34,440
Speaker 1: I felt like it was. But the weird thing that

809
00:46:34,480 --> 00:46:39,239
Speaker 1: this movie does is like my body was saying, oh, yeah,

810
00:46:39,239 --> 00:46:41,319
Speaker 1: they should go out on a date. They should they

811
00:46:41,320 --> 00:46:44,280
Speaker 1: should like hang out, like let's see where this goes,

812
00:46:45,120 --> 00:46:50,000
Speaker 1: which is like so weird because his other wife, Barbara,

813
00:46:50,320 --> 00:46:52,560
Speaker 1: she's done nothing wrong. She has been the victim of

814
00:46:52,640 --> 00:46:56,120
Speaker 1: all of this this whole movie, and yet the movie

815
00:46:56,160 --> 00:46:59,040
Speaker 1: makes me want to see where things go with these

816
00:46:59,120 --> 00:47:02,879
Speaker 1: two with Neil Emily, those two crazy cats, Like.

817
00:47:03,200 --> 00:47:08,360
Speaker 2: There's some okay, like we're talking about this in context

818
00:47:08,400 --> 00:47:12,799
Speaker 2: of this narrative film, right, yeah, there's something kind of

819
00:47:14,440 --> 00:47:16,880
Speaker 2: I don't know if it's camp, I don't know what

820
00:47:17,000 --> 00:47:25,680
Speaker 2: it is, but the idea of this like character being like, oh, yeah,

821
00:47:25,680 --> 00:47:29,399
Speaker 2: this woman loves the shit out of me, Like look

822
00:47:29,440 --> 00:47:31,960
Speaker 2: at all the stuff that she's doing for me, Like

823
00:47:32,840 --> 00:47:36,600
Speaker 2: she's been, yeah, taking over my flowers and putting knives

824
00:47:36,640 --> 00:47:42,120
Speaker 2: in my woman's face and stealing my artful photography that is,

825
00:47:42,360 --> 00:47:44,000
Speaker 2: you know, in my house.

826
00:47:44,800 --> 00:47:47,000
Speaker 1: If I can make a comparison just for everybody to

827
00:47:47,080 --> 00:47:50,080
Speaker 1: understand this better, It's kind of like on vander Pump

828
00:47:50,200 --> 00:47:54,680
Speaker 1: Rules when Stossy was like, I want nothing to do

829
00:47:54,760 --> 00:47:58,680
Speaker 1: with Jack's but then Jack's got a tattoo of Stossy's

830
00:47:58,760 --> 00:48:02,560
Speaker 1: name on his chest and she's kind of like kind

831
00:48:02,560 --> 00:48:06,279
Speaker 1: of like it. I kind of like that. So that's

832
00:48:06,320 --> 00:48:08,960
Speaker 1: exactly this sort of scenario where it's kind of like

833
00:48:09,040 --> 00:48:11,960
Speaker 1: I shouldn't like this, but it's working for me.

834
00:48:12,440 --> 00:48:19,520
Speaker 2: It's devotion, right, You're like devotion, the devotion of this

835
00:48:19,719 --> 00:48:22,640
Speaker 2: fucked up story, like you're kind of going and again

836
00:48:22,840 --> 00:48:27,520
Speaker 2: it plays with this more. It's more it's morally very murky.

837
00:48:28,560 --> 00:48:29,160
Speaker 1: Yeah right.

838
00:48:30,120 --> 00:48:32,799
Speaker 2: But if you're just a fucking romantic, Like if you're

839
00:48:32,840 --> 00:48:40,280
Speaker 2: just a romantic, big hearted bitch like I am, you're like, oh,

840
00:48:40,320 --> 00:48:44,359
Speaker 2: there's some devotion happening here, and this is so fucked up,

841
00:48:44,480 --> 00:48:48,279
Speaker 2: but like he is loving it. Why the hell else

842
00:48:48,320 --> 00:48:51,440
Speaker 2: would he call her his wife again? Go out for

843
00:48:51,600 --> 00:48:54,280
Speaker 2: cocktails at the restaurant.

844
00:48:54,200 --> 00:48:56,520
Speaker 1: Yes, the scene we were re enacting at the top,

845
00:48:57,000 --> 00:49:01,839
Speaker 1: Anthony Perkins aka Meal and Emily out to this restaurant

846
00:49:01,960 --> 00:49:04,080
Speaker 1: and get blasted together.

847
00:49:05,360 --> 00:49:10,680
Speaker 2: And not that I think that women should be fighting

848
00:49:10,719 --> 00:49:15,480
Speaker 2: for straight men in this way at all, but the

849
00:49:16,000 --> 00:49:18,719
Speaker 2: idea that there's like a history there and there's kind

850
00:49:18,719 --> 00:49:20,799
Speaker 2: of like it's kind of again going back to the

851
00:49:20,840 --> 00:49:25,200
Speaker 2: idea of these like weird romances, like these kind of

852
00:49:26,440 --> 00:49:29,480
Speaker 2: quirky but not even really quirky in that when I

853
00:49:29,520 --> 00:49:31,920
Speaker 2: say quirky romance, it's like I'm not talking about like

854
00:49:32,040 --> 00:49:34,399
Speaker 2: fucking five hundred days of summer. I'm talking about something

855
00:49:34,440 --> 00:49:38,520
Speaker 2: that's real, rope based, real, like under the surface. And

856
00:49:38,560 --> 00:49:42,520
Speaker 2: it again as a text, as a film, as a story,

857
00:49:43,600 --> 00:49:47,840
Speaker 2: there's just so much going on there where you are like, yeah,

858
00:49:47,960 --> 00:49:49,719
Speaker 2: I don't know, like I want this to kind of

859
00:49:50,440 --> 00:49:54,719
Speaker 2: happen between them, even though it's so problematic and so

860
00:49:56,239 --> 00:50:00,080
Speaker 2: not probably what should happen for any of their mental healths.

861
00:50:01,040 --> 00:50:03,640
Speaker 1: Well, and you kind of you don't really know the

862
00:50:03,680 --> 00:50:08,720
Speaker 1: full story, but she was in jail because she ran

863
00:50:09,000 --> 00:50:13,239
Speaker 1: over a secretary that Neil has having an affair with.

864
00:50:14,320 --> 00:50:15,719
Speaker 1: But he kind of gets interrupted in this, so you

865
00:50:15,760 --> 00:50:21,840
Speaker 1: don't hear the whole story. So it wasn't murder, but

866
00:50:21,920 --> 00:50:23,640
Speaker 1: it was an accident. That's kind of like something he

867
00:50:23,760 --> 00:50:24,960
Speaker 1: is saying.

868
00:50:25,200 --> 00:50:29,200
Speaker 2: But yeah, it's very to me, and I think that

869
00:50:29,239 --> 00:50:32,600
Speaker 2: this is I think that maybe Allan at some point

870
00:50:32,680 --> 00:50:35,600
Speaker 2: would agree with us. I don't know. It feels very

871
00:50:35,880 --> 00:50:40,840
Speaker 2: like forty is melodrama, Betty Davis, Joan Crawford in this

872
00:50:40,960 --> 00:50:43,640
Speaker 2: way where you're like, and I think that's maybe why

873
00:50:43,640 --> 00:50:45,960
Speaker 2: I think it feels campy is because it kind of

874
00:50:46,000 --> 00:50:50,440
Speaker 2: comes from this like old tradition of the like women's

875
00:50:50,640 --> 00:50:55,600
Speaker 2: picture quote unquote, the melodrama of like you know, I

876
00:50:55,920 --> 00:50:58,120
Speaker 2: killed the man I love or whatever, you know, just

877
00:50:58,160 --> 00:51:01,560
Speaker 2: like that very very very over the top, you know

878
00:51:02,280 --> 00:51:06,680
Speaker 2: storyline of like of women being scored but then still

879
00:51:06,719 --> 00:51:09,560
Speaker 2: being in love with the person that hurt them, and

880
00:51:09,600 --> 00:51:13,480
Speaker 2: then you know and then you realize, Okay, Also, Neil

881
00:51:13,560 --> 00:51:16,879
Speaker 2: has probably been cheating on every girlfriend that he's ever had,

882
00:51:16,920 --> 00:51:21,560
Speaker 2: and he's a fem fatal, like he's the one that's like,

883
00:51:22,160 --> 00:51:24,760
Speaker 2: you know, wreck and shop and you know this because

884
00:51:24,800 --> 00:51:29,040
Speaker 2: at the end of the film spoiler alert, you see

885
00:51:29,080 --> 00:51:32,359
Speaker 2: Barry Benson smoking a fucking cigarette looking out the wind

886
00:51:32,440 --> 00:51:37,839
Speaker 2: like she becomes the Emily Like she's smoking pensively and intensely,

887
00:51:39,160 --> 00:51:42,200
Speaker 2: like another scorned woman. Would you know. So there's just

888
00:51:42,600 --> 00:51:47,600
Speaker 2: so much, so much about this film that is great

889
00:51:47,800 --> 00:51:50,200
Speaker 2: and I don't know, this is what again? I think

890
00:51:50,239 --> 00:51:54,560
Speaker 2: that this movie is really unique and rare because it's

891
00:51:54,640 --> 00:51:59,759
Speaker 2: not giving you all the information no, so it allows

892
00:51:59,800 --> 00:52:03,759
Speaker 2: for this liken really like rampant interpretation, which I'm obsessed with.

893
00:52:03,840 --> 00:52:07,319
Speaker 2: I love when something is ambiguous and I can just

894
00:52:07,440 --> 00:52:12,480
Speaker 2: like have my own theories about things. And but I

895
00:52:12,520 --> 00:52:16,920
Speaker 2: will say that I think that that's why maybe this

896
00:52:17,000 --> 00:52:22,040
Speaker 2: film and maybe hismography was never like commercially huge and successful,

897
00:52:22,920 --> 00:52:26,960
Speaker 2: because people can't live in that. They want the answers

898
00:52:27,360 --> 00:52:28,000
Speaker 2: so badly.

899
00:52:28,800 --> 00:52:34,759
Speaker 1: I feel like these movies they're I feel like they're

900
00:52:34,800 --> 00:52:38,640
Speaker 1: what my mom would describe as weird, which is just

901
00:52:38,680 --> 00:52:43,320
Speaker 1: sort of like an umbrella term of like this doesn't

902
00:52:43,600 --> 00:52:46,960
Speaker 1: this isn't holding my hand, I don't know what's going on.

903
00:52:47,719 --> 00:52:51,680
Speaker 1: Who are these You like, you are unsettled? Yeah, while

904
00:52:51,680 --> 00:52:56,520
Speaker 1: watching the movies, you don't know exactly what people's intentions

905
00:52:56,560 --> 00:53:00,000
Speaker 1: are or what they're going to do. And I can

906
00:53:00,040 --> 00:53:04,240
Speaker 1: see why that didn't necessarily equate to commercial success because

907
00:53:04,360 --> 00:53:07,760
Speaker 1: watching these movies, they don't feel like commercial movies.

908
00:53:07,920 --> 00:53:10,840
Speaker 2: Yeah, I would have to say that too, and I

909
00:53:10,840 --> 00:53:12,839
Speaker 2: feel like a lot of his other movies are that way.

910
00:53:13,040 --> 00:53:16,000
Speaker 2: I think it's interesting because his film Choose Me from

911
00:53:16,080 --> 00:53:18,320
Speaker 2: nineteen eighty four, which is kind of the other movie

912
00:53:18,320 --> 00:53:19,960
Speaker 2: that people have been talking about. I think it's on

913
00:53:20,000 --> 00:53:23,239
Speaker 2: the Criterion channel. It was actually released as a Criterion

914
00:53:23,320 --> 00:53:27,759
Speaker 2: disc on Blu Ray. That movie is kind of strange

915
00:53:27,800 --> 00:53:32,680
Speaker 2: and has its own weird pacing and its own ambiguities.

916
00:53:33,719 --> 00:53:36,920
Speaker 2: Even though that seems to be one of his more

917
00:53:37,000 --> 00:53:41,200
Speaker 2: popular films at least sort of currently, But a lot

918
00:53:41,200 --> 00:53:43,680
Speaker 2: of his films are challenging. I mean, like I would

919
00:53:43,680 --> 00:53:49,520
Speaker 2: say to like whatever Multiplex people, right, Like, I think

920
00:53:49,560 --> 00:53:52,799
Speaker 2: one of his most famous films or notorious films, if

921
00:53:52,800 --> 00:53:55,719
Speaker 2: you want to say that, is his adaptation of Breakfast

922
00:53:55,719 --> 00:54:01,160
Speaker 2: of Champions, which is the Kurt Vonnegut book, and it

923
00:54:01,239 --> 00:54:04,560
Speaker 2: was kind of like people were really upset by it,

924
00:54:04,640 --> 00:54:06,600
Speaker 2: I think when it came out, But then it's kind

925
00:54:06,640 --> 00:54:09,480
Speaker 2: of getting this like reappraisal right now, and a lot

926
00:54:09,480 --> 00:54:11,000
Speaker 2: of people are kind of going back to it and

927
00:54:11,080 --> 00:54:14,000
Speaker 2: kind of looking at it in a different way, which

928
00:54:14,040 --> 00:54:16,640
Speaker 2: I think is really interesting. I think he's got he's

929
00:54:16,840 --> 00:54:19,600
Speaker 2: got his own unique, rare vibe to him that I

930
00:54:19,600 --> 00:54:23,000
Speaker 2: feel like, especially now, Damn, you don't see people doing

931
00:54:23,040 --> 00:54:26,640
Speaker 2: shit like this now, Like you're not like everybody has

932
00:54:26,760 --> 00:54:30,120
Speaker 2: to have like the whole thing, the whole kit and

933
00:54:30,160 --> 00:54:33,759
Speaker 2: kamboodle in front of you, you know. And I just

934
00:54:33,960 --> 00:54:37,200
Speaker 2: the idea that his career seems to be kind of

935
00:54:37,239 --> 00:54:39,560
Speaker 2: on his own terms, and he got to kind of

936
00:54:39,600 --> 00:54:42,320
Speaker 2: do what he wanted when he wanted. I mean, I'm

937
00:54:42,360 --> 00:54:45,040
Speaker 2: sure he probably wanted to do other things that didn't

938
00:54:45,040 --> 00:54:46,480
Speaker 2: come to fruition, but you know what I mean, Like

939
00:54:46,480 --> 00:54:50,120
Speaker 2: in terms of his philography, like he's making different types

940
00:54:50,160 --> 00:54:54,320
Speaker 2: of films using like people that he loved and wanted

941
00:54:54,360 --> 00:54:57,000
Speaker 2: to work with, and he was writing his own stories

942
00:54:57,040 --> 00:55:01,440
Speaker 2: and they got to be as complex or as understated

943
00:55:01,520 --> 00:55:04,560
Speaker 2: or ambiguous as he wanted him to be. And I

944
00:55:04,600 --> 00:55:07,239
Speaker 2: don't know, I mean, I just think it's it's like

945
00:55:07,280 --> 00:55:09,600
Speaker 2: when you find the work of like a really great

946
00:55:09,640 --> 00:55:12,400
Speaker 2: author and you're just like, I want to know everything.

947
00:55:12,400 --> 00:55:14,960
Speaker 2: I want to come up with my own stories and

948
00:55:15,040 --> 00:55:18,000
Speaker 2: theories and interpretations. I don't know, it's just fun.

949
00:55:18,880 --> 00:55:24,080
Speaker 1: Yeah, so absolutely, well fabulous, are you okay? If we

950
00:55:24,120 --> 00:55:26,480
Speaker 1: move on from No, I want.

951
00:55:26,320 --> 00:55:29,719
Speaker 2: To live here forever. I think the whole podcast there

952
00:55:29,800 --> 00:55:32,600
Speaker 2: was a podcast run should be about this film. No.

953
00:55:32,840 --> 00:55:36,319
Speaker 2: I had you watched this film before? Have you seen it?

954
00:55:36,400 --> 00:55:38,439
Speaker 1: No, I'd never seen this before and I'd only seen

955
00:55:38,560 --> 00:55:42,279
Speaker 1: Choose Me prior to watching this. So I mean I

956
00:55:42,320 --> 00:55:44,200
Speaker 1: said this to you before we started recording. I thought,

957
00:55:44,200 --> 00:55:48,040
Speaker 1: this is like a perfect movie. It just felt so

958
00:55:49,560 --> 00:55:52,840
Speaker 1: just felt like a master work, you know, and you

959
00:55:53,000 --> 00:55:55,920
Speaker 1: just feel like a filmmaker is like operating at the

960
00:55:55,960 --> 00:55:59,080
Speaker 1: top of his powers. It just felt great. Yeah, I

961
00:55:59,160 --> 00:55:59,400
Speaker 1: love it.

962
00:55:59,680 --> 00:56:03,480
Speaker 2: Well, I'm glad. I to me, I don't like saying this,

963
00:56:03,640 --> 00:56:05,799
Speaker 2: but it feels like a handshake movie for me, Like

964
00:56:05,840 --> 00:56:07,879
Speaker 2: it feels like a movie that if you love it

965
00:56:08,320 --> 00:56:12,120
Speaker 2: like I love it, then we are bonded for life.

966
00:56:12,320 --> 00:56:14,799
Speaker 2: And it's sad because I mean, I won't go off

967
00:56:14,800 --> 00:56:18,560
Speaker 2: on this too much, but you know, this movie is unavailable.

968
00:56:19,280 --> 00:56:21,360
Speaker 2: There's a lot of issues with it in terms of

969
00:56:21,400 --> 00:56:23,719
Speaker 2: the music because ALBERTA Hunter and now I know a

970
00:56:23,760 --> 00:56:25,719
Speaker 2: little bit more than I did. I don't know back

971
00:56:25,719 --> 00:56:28,680
Speaker 2: when I was writing the TCM book, just having talked

972
00:56:28,719 --> 00:56:32,759
Speaker 2: to Alan and Joy some certain people where you know

973
00:56:32,840 --> 00:56:36,120
Speaker 2: her music is. It's always a music thing, obviously, and

974
00:56:36,320 --> 00:56:38,560
Speaker 2: I think for her in particular, it's just a matter

975
00:56:38,600 --> 00:56:44,359
Speaker 2: of somebody literally, somebody Sony, finding the time or the

976
00:56:44,480 --> 00:56:48,279
Speaker 2: desire to just do the paperwork, do the accountant to

977
00:56:48,640 --> 00:56:52,920
Speaker 2: paperwork that you love so much. And I hope that happens.

978
00:56:52,920 --> 00:56:55,320
Speaker 2: And I know that there are people who are actually trying,

979
00:56:55,600 --> 00:56:59,920
Speaker 2: like I know that there's people in my nerdy core

980
00:57:00,120 --> 00:57:04,840
Speaker 2: or of the the re release and arkivist universe that

981
00:57:04,880 --> 00:57:07,600
Speaker 2: are trying really hard to kind of figure something out.

982
00:57:08,160 --> 00:57:10,000
Speaker 2: And I hope so because I know that Alan wants

983
00:57:10,040 --> 00:57:12,279
Speaker 2: it really bad and he loves this movie. It would

984
00:57:12,320 --> 00:57:14,680
Speaker 2: be great, but it's not in his power. That's the

985
00:57:14,760 --> 00:57:17,000
Speaker 2: unfortunate thing. It's not in his power to figure it out,

986
00:57:17,520 --> 00:57:22,200
Speaker 2: which is sometimes the case, and a director cannot control

987
00:57:22,240 --> 00:57:24,400
Speaker 2: where his movie ends up. And it's sad, but it

988
00:57:24,560 --> 00:57:27,440
Speaker 2: is a reality, especially with like studio people, and like

989
00:57:27,800 --> 00:57:30,640
Speaker 2: you know, if you work at a major studio and

990
00:57:30,680 --> 00:57:33,800
Speaker 2: you have a huge back catalog of films and everybody

991
00:57:33,880 --> 00:57:36,720
Speaker 2: wants it to you know, be re released and restored

992
00:57:36,760 --> 00:57:39,760
Speaker 2: and on Blu Ray. It's like, you know, there's there's

993
00:57:39,760 --> 00:57:44,640
Speaker 2: people who are like thinking, they're they're prioritizing other things

994
00:57:44,680 --> 00:57:46,760
Speaker 2: before other things, and it's stupid, but it is what

995
00:57:46,800 --> 00:57:50,240
Speaker 2: it is, and I hope that it happens. I will

996
00:57:50,240 --> 00:57:53,480
Speaker 2: do everything I can to help. If anybody knows how

997
00:57:53,520 --> 00:57:57,800
Speaker 2: to help, I'm putting the call out there, you can

998
00:57:57,800 --> 00:58:01,160
Speaker 2: email us, we can talk about it. But yeah, I

999
00:58:01,200 --> 00:58:03,080
Speaker 2: just hope that one day it gets I mean, I

1000
00:58:03,120 --> 00:58:05,400
Speaker 2: hope it comes on a Criterion and obviously should come

1001
00:58:05,440 --> 00:58:08,040
Speaker 2: on the disc collection, not the channel.

1002
00:58:08,120 --> 00:58:11,040
Speaker 1: If you're interested in watching this, go to the Criterion channel,

1003
00:58:11,040 --> 00:58:13,480
Speaker 1: subscribe to the Criterion channel and watch it now. It's

1004
00:58:13,520 --> 00:58:14,120
Speaker 1: on there now.

1005
00:58:14,480 --> 00:58:16,560
Speaker 2: Yeah, it is on there now. And then, like I said,

1006
00:58:16,600 --> 00:58:19,680
Speaker 2: probably the best quality it could be. And I don't know,

1007
00:58:19,720 --> 00:58:21,760
Speaker 2: tell me what you think. I mean, honestly, email us

1008
00:58:22,600 --> 00:58:25,320
Speaker 2: Deer Movies at exactly rightmedia dot com. I'd love to

1009
00:58:26,160 --> 00:58:28,200
Speaker 2: shitty chat about it with you.

1010
00:58:28,480 --> 00:58:30,720
Speaker 1: So very good.

1011
00:58:39,560 --> 00:58:41,520
Speaker 2: Okay, So we do have a bit of a treat

1012
00:58:41,560 --> 00:58:46,400
Speaker 2: for everybody. This is actually a bit of the audio

1013
00:58:47,080 --> 00:58:50,800
Speaker 2: from the night that I did with Alan Rudolph in Atlanta.

1014
00:58:51,000 --> 00:58:54,400
Speaker 2: This was recorded on April tenth, twenty twenty five, at

1015
00:58:54,400 --> 00:58:59,400
Speaker 2: the Plaza Theater. So, yeah, enjoy. So I wanted to

1016
00:58:59,520 --> 00:59:02,360
Speaker 2: kind of ask a little bit about the beginning of

1017
00:59:02,400 --> 00:59:04,960
Speaker 2: your film career because you started to.

1018
00:59:04,920 --> 00:59:05,480
Speaker 4: Have a career.

1019
00:59:05,520 --> 00:59:12,880
Speaker 2: I have a korem, but you started with Robert Altman, right.

1020
00:59:13,120 --> 00:59:16,000
Speaker 4: No, oh, not true.

1021
00:59:16,440 --> 00:59:17,640
Speaker 1: I knew this was going to happen.

1022
00:59:18,360 --> 00:59:22,000
Speaker 2: We talked about how this was well, Almon was the start.

1023
00:59:21,720 --> 00:59:27,400
Speaker 4: Of of understanding with film what I was doing.

1024
00:59:27,600 --> 00:59:28,920
Speaker 2: Yeah, but I was.

1025
00:59:30,640 --> 00:59:34,240
Speaker 4: I was an assistant director, which is a really good job,

1026
00:59:35,000 --> 00:59:39,160
Speaker 4: and I mean first assistant director is in charge of

1027
00:59:39,200 --> 00:59:46,280
Speaker 4: the whole production for the director. And I was I

1028
00:59:46,280 --> 00:59:53,200
Speaker 4: think about three four years and television mostly, and I said,

1029
00:59:53,240 --> 00:59:56,520
Speaker 4: wait a second, I want to make my own films.

1030
00:59:56,520 --> 00:59:58,680
Speaker 4: But there was absolutely no way to get that done.

1031
00:59:58,760 --> 01:00:00,840
Speaker 4: You didn't pick up your phone then and start shooting.

1032
01:00:02,040 --> 01:00:08,440
Speaker 4: Phones were all dial and I didn't work. I just

1033
01:00:08,600 --> 01:00:11,960
Speaker 4: turned down work. And then I got a call to

1034
01:00:12,000 --> 01:00:14,840
Speaker 4: work with Altman as a second assistant director, which I

1035
01:00:14,880 --> 01:00:18,960
Speaker 4: hadn't been for years and years and wouldn't go back to.

1036
01:00:20,360 --> 01:00:24,760
Speaker 4: And then I met him and I just said, anything you.

1037
01:00:24,720 --> 01:00:29,520
Speaker 2: Want, I want to talk a little bit about well,

1038
01:00:29,560 --> 01:00:32,480
Speaker 2: there's obviously the big question hanging in the air about

1039
01:00:32,680 --> 01:00:37,680
Speaker 2: the movie, about why it's not on home video. But

1040
01:00:37,880 --> 01:00:41,920
Speaker 2: I wanted to talk about Anthony Perkins and Barry Bearnson.

1041
01:00:43,280 --> 01:00:45,960
Speaker 2: They were a couple when they made this f.

1042
01:00:46,080 --> 01:00:49,600
Speaker 4: They were married, right, they had two children. Oz Perkins

1043
01:00:49,680 --> 01:00:52,760
Speaker 4: is a big hint. Now, Yeah, he's a director.

1044
01:00:53,600 --> 01:00:59,760
Speaker 2: I had read. I had read that that Anthony Perkins

1045
01:00:59,840 --> 01:01:01,640
Speaker 2: was a little hesitant.

1046
01:01:01,200 --> 01:01:05,360
Speaker 4: To great reminded me of that. I would no, no,

1047
01:01:05,560 --> 01:01:10,919
Speaker 4: I wouldn't have All these answers are nothing simple. Yeah.

1048
01:01:12,640 --> 01:01:18,400
Speaker 4: Altman had a way of making things happen because he

1049
01:01:18,600 --> 01:01:22,720
Speaker 4: was just a force and no one could could handle

1050
01:01:22,840 --> 01:01:30,760
Speaker 4: him except on his terms. And he had a deal.

1051
01:01:30,880 --> 01:01:33,560
Speaker 4: I don't I didn't know about the back room stuff,

1052
01:01:33,560 --> 01:01:38,920
Speaker 4: but now I know. He was making I think, a

1053
01:01:39,000 --> 01:01:44,840
Speaker 4: wedding for Fox. He called me up one day and

1054
01:01:44,920 --> 01:01:49,960
Speaker 4: he said, I want to see you right now. And

1055
01:01:49,960 --> 01:01:52,200
Speaker 4: this is the truth. I mean, this is how movies

1056
01:01:52,240 --> 01:01:55,760
Speaker 4: get made. This no, this is how movies never get made,

1057
01:01:56,000 --> 01:01:59,320
Speaker 4: but this one did. And he said, I want want

1058
01:01:59,320 --> 01:02:01,560
Speaker 4: to see you. Can you come over? I said sure,

1059
01:02:02,080 --> 01:02:05,840
Speaker 4: So I drove over. And when I was driving in

1060
01:02:05,880 --> 01:02:09,920
Speaker 4: the daytime and there was an art Revival House, and

1061
01:02:09,960 --> 01:02:15,320
Speaker 4: it had a marquee and it said a Femme Fatale

1062
01:02:15,360 --> 01:02:19,600
Speaker 4: double feature. I can't tell you what the movies were,

1063
01:02:19,640 --> 01:02:23,000
Speaker 4: but i'd seen both of them. I'd seen all of them,

1064
01:02:23,280 --> 01:02:27,080
Speaker 4: most of all of them. And I got to his office.

1065
01:02:27,120 --> 01:02:29,479
Speaker 4: He said, oh, let's go and have a launch or something.

1066
01:02:29,520 --> 01:02:32,800
Speaker 4: And we sat down across the street. His office was

1067
01:02:33,040 --> 01:02:36,280
Speaker 4: not in the studio. It was a little compound in

1068
01:02:36,360 --> 01:02:40,680
Speaker 4: Westwood that you thought was a fake tutor building that

1069
01:02:41,160 --> 01:02:45,360
Speaker 4: you know, handicrafters occupied or something, but it was all

1070
01:02:46,440 --> 01:02:48,880
Speaker 4: And we went across the street and he says, I

1071
01:02:48,880 --> 01:02:51,640
Speaker 4: think I got a deal here. I can get a

1072
01:02:51,680 --> 01:02:55,160
Speaker 4: movie made for you. I had turned down several things

1073
01:02:55,200 --> 01:02:58,600
Speaker 4: because I really want after Welcome, Alman produced Welcome to

1074
01:02:58,720 --> 01:03:01,160
Speaker 4: La and I wanted to stay with him. I actually

1075
01:03:01,200 --> 01:03:04,880
Speaker 4: turned down a movie after Welcome, a big one. I

1076
01:03:04,960 --> 01:03:08,760
Speaker 4: wasn't a movie yet, but it would have been, and

1077
01:03:09,160 --> 01:03:13,840
Speaker 4: I just wanted to stay in that atmosphere. And he says,

1078
01:03:13,880 --> 01:03:15,400
Speaker 4: I think I can get a movie made for you.

1079
01:03:16,400 --> 01:03:22,200
Speaker 4: What do you got? And I said, oh, I want

1080
01:03:22,240 --> 01:03:24,480
Speaker 4: to make a movie about Paris in the twenties. Is

1081
01:03:24,480 --> 01:03:26,760
Speaker 4: a script I wrote, the first thing I ever wrote,

1082
01:03:26,760 --> 01:03:34,200
Speaker 4: and I really know. Oh, I said, I have another

1083
01:03:34,280 --> 01:03:37,680
Speaker 4: idea where the vice president of the United States is

1084
01:03:37,720 --> 01:03:41,000
Speaker 4: having an affair with the first lady. I like that. No,

1085
01:03:41,800 --> 01:03:43,800
Speaker 4: we couldn't afford that this is going to be as

1086
01:03:43,840 --> 01:03:46,439
Speaker 4: low budget as Welcome, which are both of them under

1087
01:03:46,440 --> 01:03:52,560
Speaker 4: a million. And I said, well, I got an idea

1088
01:03:52,560 --> 01:03:57,800
Speaker 4: about a femme fatale only updated. He said, great, who

1089
01:03:57,800 --> 01:03:59,160
Speaker 4: do you want to be in it? I mean that's

1090
01:03:59,200 --> 01:04:01,960
Speaker 4: what Bob's always His first question was casting me, whether

1091
01:04:02,000 --> 01:04:07,120
Speaker 4: he had a script anything, and I said, geraldy. He said,

1092
01:04:07,280 --> 01:04:10,480
Speaker 4: this is good. He said, I'm going to this is

1093
01:04:10,520 --> 01:04:12,800
Speaker 4: like Monday. He said, I'm going to New York Friday.

1094
01:04:14,360 --> 01:04:16,160
Speaker 4: Have you written the script out? I said, well, I'm

1095
01:04:16,200 --> 01:04:18,600
Speaker 4: pretty much through with it. I need about a week

1096
01:04:19,760 --> 01:04:21,880
Speaker 4: and he said, get it to me before I get

1097
01:04:21,880 --> 01:04:26,680
Speaker 4: on a plane. I said, okay. I didn't sleep for

1098
01:04:26,720 --> 01:04:30,160
Speaker 4: a week, but the thing wrote itself one side. It

1099
01:04:30,320 --> 01:04:36,840
Speaker 4: just came. And I didn't want to write a I

1100
01:04:36,880 --> 01:04:39,640
Speaker 4: didn't want to make a movie. I just wanted to

1101
01:04:39,680 --> 01:04:44,960
Speaker 4: make an American art films, which wasn't a category, and

1102
01:04:45,080 --> 01:04:47,919
Speaker 4: Altman was doing them, but I couldn't do what he did,

1103
01:04:48,240 --> 01:04:51,960
Speaker 4: and I just wanted to make these little things that

1104
01:04:52,080 --> 01:04:55,760
Speaker 4: nobody pays attention to, but they don't bother you. And

1105
01:04:57,600 --> 01:05:03,240
Speaker 4: so I just wrote one hundred and ninety two hours

1106
01:05:03,320 --> 01:05:06,760
Speaker 4: or whatever it was. And I came in and handed

1107
01:05:06,840 --> 01:05:10,360
Speaker 4: him a script which I probably hadn't even read or

1108
01:05:10,400 --> 01:05:12,920
Speaker 4: re read, and he took it on the plane. He

1109
01:05:13,160 --> 01:05:19,600
Speaker 4: called me. He says perfect. Wow, And he said, I said, well,

1110
01:05:19,600 --> 01:05:22,480
Speaker 4: what do you want me to do? He said, I'll

1111
01:05:22,520 --> 01:05:24,520
Speaker 4: call you in a few days and he went in

1112
01:05:24,720 --> 01:05:28,320
Speaker 4: I didn't know this. He went into Fox and he

1113
01:05:28,920 --> 01:05:30,640
Speaker 4: made a deal with them that he was going to

1114
01:05:30,680 --> 01:05:35,160
Speaker 4: do another film for them and this film with me,

1115
01:05:35,800 --> 01:05:38,560
Speaker 4: and they sort of had to take it to get

1116
01:05:38,600 --> 01:05:43,040
Speaker 4: his other film, and he said, you know, I keep

1117
01:05:43,080 --> 01:05:46,280
Speaker 4: it under a million and get some actors. And they

1118
01:05:46,280 --> 01:05:50,760
Speaker 4: bought it. So we went to New York. Joyce went

1119
01:05:50,800 --> 01:05:55,080
Speaker 4: to see Equis the play and Tony Perkins was staring

1120
01:05:55,120 --> 01:06:00,680
Speaker 4: in it. And Tony Perkins was a big start of

1121
01:06:00,720 --> 01:06:04,800
Speaker 4: me from growing up. I'm a friendly persuasion. I mean,

1122
01:06:05,240 --> 01:06:08,800
Speaker 4: it was really something. And I knew nothing about his

1123
01:06:08,880 --> 01:06:12,560
Speaker 4: life or anything about him, and I thought, well, he's

1124
01:06:12,600 --> 01:06:15,400
Speaker 4: not going to do this, and we sent him a

1125
01:06:15,400 --> 01:06:20,280
Speaker 4: script and he said, yeah, which is really something. So

1126
01:06:22,680 --> 01:06:26,280
Speaker 4: Bob had a as he always did, had some kind

1127
01:06:26,280 --> 01:06:30,600
Speaker 4: of big session at his house for various reasons, in

1128
01:06:30,680 --> 01:06:33,440
Speaker 4: his apartment in New York. And we were there and

1129
01:06:33,440 --> 01:06:37,040
Speaker 4: everybody's having a good time and about a variety of things.

1130
01:06:37,480 --> 01:06:41,240
Speaker 4: But I knew we had a movie, and I thought Tony.

1131
01:06:41,320 --> 01:06:45,080
Speaker 4: I called Geraldine before I said Tony Percy's oh perfect,

1132
01:06:45,280 --> 01:06:53,240
Speaker 4: what a great idea. So during this affair, somebody taps

1133
01:06:53,240 --> 01:06:55,080
Speaker 4: Bob on the shoulder and he goes in the other

1134
01:06:55,160 --> 01:07:03,360
Speaker 4: room and he comes out just the angriest looking and

1135
01:07:04,680 --> 01:07:09,439
Speaker 4: party continues and he's charming and all that, and I said,

1136
01:07:09,440 --> 01:07:15,680
Speaker 4: what is something happened? He said, are you sure? And

1137
01:07:15,720 --> 01:07:18,720
Speaker 4: he said, yeah, that was Fox. They don't want to

1138
01:07:18,720 --> 01:07:23,240
Speaker 4: do the movie. And we had just cast and I

1139
01:07:23,280 --> 01:07:27,320
Speaker 4: had a crew setting in LA and I'd scouted all

1140
01:07:27,320 --> 01:07:31,840
Speaker 4: the locations myself because we didn't have anybody working. And

1141
01:07:31,880 --> 01:07:36,520
Speaker 4: I said, what do we do? He said, I'm coming

1142
01:07:36,560 --> 01:07:39,880
Speaker 4: back to La. You go back there. Well, we're going

1143
01:07:39,960 --> 01:07:40,400
Speaker 4: to make it.

1144
01:07:41,400 --> 01:07:42,200
Speaker 1: So I go back.

1145
01:07:43,080 --> 01:07:45,480
Speaker 4: He arrives, I go to his office and we were

1146
01:07:45,480 --> 01:07:48,720
Speaker 4: supposed to start shooting in like two weeks. And I

1147
01:07:48,760 --> 01:07:52,439
Speaker 4: said wow, and he said, just keep prepping, just keep

1148
01:07:52,480 --> 01:07:56,400
Speaker 4: doing what you doing? And I said, well, we don't

1149
01:07:56,400 --> 01:07:59,400
Speaker 4: have any money, and he said, yeah, people work with

1150
01:07:59,440 --> 01:08:02,560
Speaker 4: you for nothing for now. I mean I had a

1151
01:08:02,960 --> 01:08:06,720
Speaker 4: lot of people who work with Bob, but not all

1152
01:08:06,760 --> 01:08:10,520
Speaker 4: of them on the cameraman I've never even met. And

1153
01:08:11,720 --> 01:08:15,960
Speaker 4: the day we start shooting, on a Monday, the day

1154
01:08:16,320 --> 01:08:20,360
Speaker 4: before Saturday or some I went in with Bob and

1155
01:08:20,840 --> 01:08:27,920
Speaker 4: his associate producer. I said, what do we do? He said,

1156
01:08:28,000 --> 01:08:31,439
Speaker 4: we start shooting Monday. I said, how can we do that?

1157
01:08:31,520 --> 01:08:34,920
Speaker 4: He said, because you get two weeks before you have

1158
01:08:34,960 --> 01:08:41,479
Speaker 4: to pay anybody. When you start, you start anything. I

1159
01:08:41,520 --> 01:08:44,920
Speaker 4: said yeah. I said, so we'll work for two weeks.

1160
01:08:44,920 --> 01:08:47,320
Speaker 4: If we get the money, we'll keep going. If not,

1161
01:08:47,439 --> 01:08:52,880
Speaker 4: you shut down. And then he lit a joint or

1162
01:08:52,880 --> 01:08:56,920
Speaker 4: something and I said, well, I guess if he says

1163
01:08:56,960 --> 01:09:01,840
Speaker 4: that's okay, I'll do it. So we started shooting. And

1164
01:09:01,920 --> 01:09:07,400
Speaker 4: the first first day shooting I think, well, the first

1165
01:09:07,439 --> 01:09:10,400
Speaker 4: day was Jerline in the car up, but the first

1166
01:09:10,479 --> 01:09:14,760
Speaker 4: day with actors was in the thrift store, you know,

1167
01:09:14,960 --> 01:09:18,400
Speaker 4: the Mark or whatever it was called, with Alfree and

1168
01:09:18,520 --> 01:09:23,400
Speaker 4: Jerolene coming in and Hull and Altman had something that

1169
01:09:23,439 --> 01:09:29,799
Speaker 4: I absolutely picked up on and did religiously, which is daily's,

1170
01:09:29,840 --> 01:09:34,160
Speaker 4: which today dailies don't exist. Nobody sees. Daily's are the

1171
01:09:34,280 --> 01:09:38,719
Speaker 4: day's work from the day before, and they're on thirty

1172
01:09:38,720 --> 01:09:42,000
Speaker 4: five millimeters film, which is a means you can't watch

1173
01:09:42,080 --> 01:09:45,519
Speaker 4: them on your shower head or whatever people watch now

1174
01:09:45,600 --> 01:09:49,240
Speaker 4: these days, and you have to either go to the

1175
01:09:49,360 --> 01:09:55,640
Speaker 4: lab and watch your day's work or you're altman. And

1176
01:09:55,720 --> 01:10:00,960
Speaker 4: he told somebody on the on Longer Bye, we did

1177
01:10:00,960 --> 01:10:04,520
Speaker 4: the drill a hole in the wall, put the projector

1178
01:10:04,560 --> 01:10:08,280
Speaker 4: behind here, and in his office he said, we'll just

1179
01:10:08,320 --> 01:10:13,400
Speaker 4: watch Daily's on that wall on a screen. So Daily's

1180
01:10:13,400 --> 01:10:17,320
Speaker 4: every night for the Longer Bye in California, split were

1181
01:10:20,200 --> 01:10:24,759
Speaker 4: in his office and then he illegally built a screening

1182
01:10:24,840 --> 01:10:28,080
Speaker 4: room in the alley. This is all in a residential

1183
01:10:28,160 --> 01:10:33,120
Speaker 4: neighborhood in the alley out back where he had a

1184
01:10:33,160 --> 01:10:38,439
Speaker 4: screening room that we did Nashville on and so that's

1185
01:10:38,479 --> 01:10:42,639
Speaker 4: where we watched Daily's. And I invited Tony to come

1186
01:10:42,840 --> 01:10:46,320
Speaker 4: to see his wife and because she was in the

1187
01:10:46,360 --> 01:10:50,920
Speaker 4: first day shooting and he wasn't, and Geraldine and I

1188
01:10:50,920 --> 01:10:54,920
Speaker 4: think Jeff was in. That's Jeff's first speaking role, I

1189
01:10:54,960 --> 01:10:59,680
Speaker 4: believe Goldblin and Alfrey Woodard's first movie. She was in

1190
01:10:59,840 --> 01:11:06,440
Speaker 4: the And so we're watching dailies and then after Daily's,

1191
01:11:06,520 --> 01:11:10,360
Speaker 4: you know, you get up dawn, you go shoot a

1192
01:11:10,520 --> 01:11:15,160
Speaker 4: day's work, you come home, and then we're in Altman's office,

1193
01:11:15,200 --> 01:11:19,360
Speaker 4: which was home, and you watch dailies for two hours

1194
01:11:20,400 --> 01:11:24,600
Speaker 4: and you're drunk and it's midnight and you have to

1195
01:11:24,600 --> 01:11:28,640
Speaker 4: get up at four, but you don't care until you

1196
01:11:28,680 --> 01:11:34,800
Speaker 4: get up at four. But so, so Tony's there and

1197
01:11:34,880 --> 01:11:42,120
Speaker 4: he's watching this and he told me beforehand. I said, listen, Bob,

1198
01:11:42,200 --> 01:11:43,679
Speaker 4: has everybody come to dailies?

1199
01:11:44,200 --> 01:11:44,560
Speaker 1: I did it.

1200
01:11:44,680 --> 01:11:48,240
Speaker 4: I want you to come to daily He said, never

1201
01:11:48,320 --> 01:11:51,360
Speaker 4: come to dailyes, not for Hitchcock, not for Urson. Well,

1202
01:11:51,400 --> 01:11:54,439
Speaker 4: I never come to Daily's. I won't watch Daily's. I said, well,

1203
01:11:54,479 --> 01:11:57,639
Speaker 4: come tomorrow, because you're not on camera and you can

1204
01:11:57,680 --> 01:12:01,920
Speaker 4: watch at least the movie you're in, sort of. So

1205
01:12:02,000 --> 01:12:06,719
Speaker 4: he comes and he watches Barry, who I don't believe

1206
01:12:06,720 --> 01:12:09,600
Speaker 4: i'd ever been in a film. She may have, but

1207
01:12:09,720 --> 01:12:13,680
Speaker 4: I don't think so Tony cast her. I said, who

1208
01:12:13,680 --> 01:12:15,559
Speaker 4: do you want to be and who would you like

1209
01:12:15,600 --> 01:12:20,160
Speaker 4: to play? Your wife he said, my wife said okay,

1210
01:12:22,120 --> 01:12:28,880
Speaker 4: And he looks at Daily, which were kind of good.

1211
01:12:29,040 --> 01:12:32,840
Speaker 4: All that stuff the first day with the butt can

1212
01:12:32,880 --> 01:12:40,800
Speaker 4: and the cigarettes and sigarettes. My god, and he's like

1213
01:12:40,920 --> 01:12:45,919
Speaker 4: this Tony, and I said, everybody's pretty good. He said,

1214
01:12:47,439 --> 01:12:52,759
Speaker 4: I can't do this movie. I said, what you gotta

1215
01:12:52,840 --> 01:12:55,560
Speaker 4: do this? You got to call tomorrow. He says, no,

1216
01:12:56,400 --> 01:13:00,000
Speaker 4: I'll pay for the You got to shut down a little.

1217
01:13:00,120 --> 01:13:06,080
Speaker 4: Did he know we had no money anyway? But I said,

1218
01:13:06,080 --> 01:13:09,519
Speaker 4: what are you talking about? And he said, I can't

1219
01:13:09,560 --> 01:13:17,519
Speaker 4: do that. I'm like a traditionally trained actor. These people

1220
01:13:17,600 --> 01:13:21,240
Speaker 4: are like real people. I don't know how to do that.

1221
01:13:22,960 --> 01:13:27,080
Speaker 4: I said, you're a real person. You just I said,

1222
01:13:27,600 --> 01:13:28,240
Speaker 4: what are you talking?

1223
01:13:28,280 --> 01:13:28,439
Speaker 1: Man?

1224
01:13:28,520 --> 01:13:32,200
Speaker 4: Altman? Who could hear in a noisy room? He could

1225
01:13:32,240 --> 01:13:35,320
Speaker 4: hear you talking in the next block. So he comes

1226
01:13:35,840 --> 01:13:38,280
Speaker 4: right in our faces. What are you guys talking about?

1227
01:13:40,400 --> 01:13:45,880
Speaker 4: I said, Tony just quit, would you say? And Tony's

1228
01:13:45,880 --> 01:13:51,000
Speaker 4: standing right there. I said, if he quits, I quit, well,

1229
01:13:51,040 --> 01:13:54,880
Speaker 4: I guess we don't have a movie then. And Tony said, well, no,

1230
01:13:54,920 --> 01:13:57,479
Speaker 4: wait a second. I mean, and he says, you're going

1231
01:13:57,520 --> 01:13:59,920
Speaker 4: to quit? Or aren't you going to quit? He said, well,

1232
01:14:00,120 --> 01:14:02,599
Speaker 4: I said, okay, well show up tomorrow and you won't quit.

1233
01:14:02,720 --> 01:14:03,720
Speaker 1: And that was it.

1234
01:14:04,840 --> 01:14:08,080
Speaker 4: I think if I had just said, oh, how much

1235
01:14:08,120 --> 01:14:11,559
Speaker 4: money you're going to pay? But if I had said, okay,

1236
01:14:11,600 --> 01:14:16,959
Speaker 4: I'm sorry, we'll get Sam Elliott or somebody maybe.

1237
01:14:16,720 --> 01:14:17,599
Speaker 2: Would have walked away.

1238
01:14:17,800 --> 01:14:19,160
Speaker 1: But he came.

1239
01:14:19,720 --> 01:14:23,479
Speaker 4: He came every night in dailies. He was one of

1240
01:14:23,520 --> 01:14:27,479
Speaker 4: the most gracious, wonderful persons I've ever worked with in

1241
01:14:27,520 --> 01:14:31,439
Speaker 4: my life. And you know, you do these movies, you

1242
01:14:31,520 --> 01:14:33,760
Speaker 4: get so close to people and then you don't see

1243
01:14:33,800 --> 01:14:38,479
Speaker 4: them ever again. But he called me up. Oh many

1244
01:14:38,560 --> 01:14:42,640
Speaker 4: years later, I think he directed one of the Psychos,

1245
01:14:42,720 --> 01:14:48,280
Speaker 4: I'm not sure, five or six, which whatever, And he said,

1246
01:14:49,200 --> 01:14:53,360
Speaker 4: I want you to know something I've invited everyone to daily.

1247
01:14:57,080 --> 01:15:01,479
Speaker 2: I wanted to get to the you know, the question

1248
01:15:01,600 --> 01:15:03,960
Speaker 2: I think you and I had obviously talked about before.

1249
01:15:04,280 --> 01:15:07,719
Speaker 2: And part of you know, obviously my history with your movie,

1250
01:15:07,960 --> 01:15:12,719
Speaker 2: which is that you know it's unavailable has been for

1251
01:15:12,840 --> 01:15:16,400
Speaker 2: a long time, and I know that there are certain

1252
01:15:16,520 --> 01:15:19,080
Speaker 2: movies of yours that are now on Criterion and so

1253
01:15:19,320 --> 01:15:23,519
Speaker 2: one one well, but you know, like Trouble in Mind

1254
01:15:23,560 --> 01:15:26,599
Speaker 2: is available. There's a lot of other of your films

1255
01:15:26,640 --> 01:15:28,439
Speaker 2: that are kind of out there to see, but this one,

1256
01:15:28,479 --> 01:15:32,720
Speaker 2: I think has a special distinction, I think, and I

1257
01:15:32,760 --> 01:15:34,840
Speaker 2: was wondering if maybe you wanted to talk about that,

1258
01:15:35,080 --> 01:15:37,559
Speaker 2: or how about you know or are involved with that.

1259
01:15:39,840 --> 01:15:46,120
Speaker 4: I live at every second. This was a pivotal thing

1260
01:15:46,200 --> 01:15:49,800
Speaker 4: for me. This film, Welcome to La came out. It

1261
01:15:49,880 --> 01:15:54,599
Speaker 4: made a noise. The West Coast loved it, the East

1262
01:15:54,640 --> 01:15:58,400
Speaker 4: Coast hated it, which changed later in my life when

1263
01:15:58,439 --> 01:16:01,760
Speaker 4: I moved to New York permanently and then they loved it.

1264
01:16:01,760 --> 01:16:05,519
Speaker 4: In the West Coast hated my movies. But when we

1265
01:16:05,560 --> 01:16:08,280
Speaker 4: did remember, I thought, Okay, everything's going to be different

1266
01:16:08,320 --> 01:16:12,439
Speaker 4: on this movie me, especially because I actually have some

1267
01:16:12,600 --> 01:16:16,639
Speaker 4: ideas of how to do this and how to what

1268
01:16:16,680 --> 01:16:20,320
Speaker 4: I was after. And I have to say, it's exactly

1269
01:16:20,320 --> 01:16:23,000
Speaker 4: what I was hoping to do. And I really thought

1270
01:16:23,040 --> 01:16:26,920
Speaker 4: it was for me a real breakthrough. It was broken,

1271
01:16:26,960 --> 01:16:31,320
Speaker 4: all right, and we made it.

1272
01:16:33,000 --> 01:16:33,679
Speaker 1: In LA.

1273
01:16:34,200 --> 01:16:38,320
Speaker 4: It got really good review I think was the best

1274
01:16:38,360 --> 01:16:41,720
Speaker 4: picture of the year from the LA Weekly, which is

1275
01:16:42,520 --> 01:16:44,240
Speaker 4: I don't know if it still exists, but it's a

1276
01:16:44,280 --> 01:16:49,720
Speaker 4: free paper, which is fitting for this movie. And then

1277
01:16:49,800 --> 01:16:53,880
Speaker 4: the New York Times called me a racist basically and

1278
01:16:55,200 --> 01:16:58,439
Speaker 4: Columbia before the release of the movie. I should get

1279
01:16:58,479 --> 01:17:02,200
Speaker 4: that in Columbia Pictures had called up in right before

1280
01:17:02,360 --> 01:17:06,280
Speaker 4: the second week and said to allman, hey, we hear

1281
01:17:06,360 --> 01:17:08,320
Speaker 4: you're we're doing a movie. We can't do those kind

1282
01:17:08,360 --> 01:17:12,800
Speaker 4: of movies, but we'll finance it. So like on the

1283
01:17:12,920 --> 01:17:16,719
Speaker 4: eve of shutting down, we got money to finish the movie.

1284
01:17:17,280 --> 01:17:21,040
Speaker 4: Then we finished it, took it to Columbia where the

1285
01:17:21,080 --> 01:17:27,760
Speaker 4: head of the studio, Bob Me, Bob's associate producer, and

1286
01:17:27,800 --> 01:17:32,160
Speaker 4: the editor sat in one of those big studio screening

1287
01:17:32,240 --> 01:17:37,760
Speaker 4: rooms and watched this movie and lights come up. The

1288
01:17:37,800 --> 01:17:39,400
Speaker 4: guy comes over to me. He says, yeah, you did

1289
01:17:39,439 --> 01:17:43,519
Speaker 4: a good job, and says to Almon and they talked

1290
01:17:43,560 --> 01:17:45,320
Speaker 4: and Bob comes back. I said they don't want it,

1291
01:17:47,240 --> 01:17:49,120
Speaker 4: and I said, well, what are we gonna do? He said,

1292
01:17:49,680 --> 01:17:54,439
Speaker 4: we'll figure it out. So we kind of didn't figure

1293
01:17:54,479 --> 01:18:01,280
Speaker 4: it out. And the to get it released the there

1294
01:18:01,400 --> 01:18:06,599
Speaker 4: was a guy who worked around Bob who was a

1295
01:18:06,640 --> 01:18:10,360
Speaker 4: publicist and a marketing and Mike Kaplan, and he had

1296
01:18:10,360 --> 01:18:14,000
Speaker 4: worked with Kubrick and he was quite brilliant. I don't

1297
01:18:14,000 --> 01:18:16,400
Speaker 4: know if anybody saw choose me, but those posters on

1298
01:18:16,439 --> 01:18:18,880
Speaker 4: the walls are all his. He's got a world classical

1299
01:18:18,880 --> 01:18:22,400
Speaker 4: election anyway. He said, Bob said, Mikey will release it.

1300
01:18:22,640 --> 01:18:28,599
Speaker 4: Mikey had a little arthouse release program company which released

1301
01:18:28,840 --> 01:18:33,519
Speaker 4: film every ten years or something. So Mikey took hold

1302
01:18:33,560 --> 01:18:37,599
Speaker 4: of it and we had a little money, and he said, okay,

1303
01:18:37,640 --> 01:18:40,559
Speaker 4: here's what we can't We can't afford to open it

1304
01:18:40,680 --> 01:18:43,680
Speaker 4: up at any you know, more than one theater at

1305
01:18:43,720 --> 01:18:46,400
Speaker 4: a time. So we're gonna open in LA and open

1306
01:18:46,479 --> 01:18:50,240
Speaker 4: in New York and then it'll be a city a year.

1307
01:18:52,400 --> 01:18:54,719
Speaker 4: So three four years into the movie, he'd say, okay,

1308
01:18:54,760 --> 01:19:00,000
Speaker 4: Philadelphia this year, and I think we got Chicago, Philadelphia,

1309
01:19:00,080 --> 01:19:07,280
Speaker 4: San Francisco, Seattle. And that was about it. And there's

1310
01:19:07,320 --> 01:19:10,439
Speaker 4: a hang up with the music rights that is so

1311
01:19:10,520 --> 01:19:16,920
Speaker 4: obscure that it's laughable. But it's not really an issue.

1312
01:19:16,920 --> 01:19:19,800
Speaker 4: It's just one of those mazes that they send you

1313
01:19:19,840 --> 01:19:23,880
Speaker 4: through because nobody wants to deal with this movie. But

1314
01:19:23,960 --> 01:19:28,200
Speaker 4: Columbia still owns or is there a Columbia Sony, whatever

1315
01:19:28,240 --> 01:19:31,479
Speaker 4: it is, they own it. And there was some little

1316
01:19:32,760 --> 01:19:34,800
Speaker 4: because when the movie was made there was no such

1317
01:19:34,840 --> 01:19:39,240
Speaker 4: thing as home video and whatnot, but there was some

1318
01:19:39,360 --> 01:19:44,639
Speaker 4: little paragraphers on I suppose that said about ancillary rights

1319
01:19:44,720 --> 01:19:47,040
Speaker 4: or whatever, and I guess that's the hang up. I

1320
01:19:47,120 --> 01:19:50,760
Speaker 4: learned that today by reading something about the movie, So

1321
01:19:51,160 --> 01:19:56,240
Speaker 4: that was it total gone. So it's never been on video,

1322
01:19:56,400 --> 01:20:02,080
Speaker 4: never been on DVD. You streamed it, saved it from

1323
01:20:03,080 --> 01:20:07,880
Speaker 4: That means to me there's some technical preservation of the film,

1324
01:20:07,920 --> 01:20:10,080
Speaker 4: which is all I'm looking for anymore for any of

1325
01:20:10,080 --> 01:20:13,160
Speaker 4: my films, because they were all made for little companies

1326
01:20:13,160 --> 01:20:15,400
Speaker 4: that lasted a couple of years and then just threw

1327
01:20:15,400 --> 01:20:17,559
Speaker 4: them away or gave them away or sold them in

1328
01:20:17,560 --> 01:20:22,840
Speaker 4: as part of whatever they had. And you know, now

1329
01:20:23,520 --> 01:20:27,320
Speaker 4: people watch movies on their wristwatches and they just want

1330
01:20:27,439 --> 01:20:29,080
Speaker 4: them anything. I don't care what it is. Just show

1331
01:20:29,160 --> 01:20:33,400
Speaker 4: me something so I can walk out and every movie

1332
01:20:33,439 --> 01:20:37,640
Speaker 4: but this has just been shown, so I have to

1333
01:20:37,680 --> 01:20:42,840
Speaker 4: come to Atlanta, which I'm thrilled. I kind of find

1334
01:20:42,880 --> 01:20:45,519
Speaker 4: it ironic that a movie called Remember my Name.

1335
01:20:45,439 --> 01:20:56,640
Speaker 7: Is lost that nobody knows about it.

1336
01:20:59,160 --> 01:21:03,120
Speaker 1: Fabulous I have this conversation. Thank you Milly for providing

1337
01:21:03,160 --> 01:21:06,800
Speaker 1: that and for introducing me to more of the work

1338
01:21:06,840 --> 01:21:10,879
Speaker 1: of Alan Rudolph. I'm excited to explore more of his films. AnyWho.

1339
01:21:11,880 --> 01:21:15,800
Speaker 1: Moving on to our next segment, employees picks. These are

1340
01:21:15,800 --> 01:21:20,240
Speaker 1: our film recommendations based on the theme of the episode today, Milly,

1341
01:21:20,360 --> 01:21:21,320
Speaker 1: What do you Got?

1342
01:21:21,560 --> 01:21:23,720
Speaker 2: I was going down the list of Allan's filmography, and

1343
01:21:23,760 --> 01:21:25,680
Speaker 2: I was kind of like, Okay, what is something that

1344
01:21:25,760 --> 01:21:29,880
Speaker 2: maybe because I could talk about. There's a lot of

1345
01:21:29,880 --> 01:21:31,760
Speaker 2: his films that I've seen. I've seen Trouble in Mind,

1346
01:21:31,760 --> 01:21:34,920
Speaker 2: I've seen The Songwriter, I've seen Roadie Welcome to La.

1347
01:21:35,640 --> 01:21:38,240
Speaker 2: But I think I want to go with because I

1348
01:21:38,240 --> 01:21:41,040
Speaker 2: actually remember this movie coming out because I was in

1349
01:21:41,120 --> 01:21:45,599
Speaker 2: high school and actually didn't know that Alan Rudolf had

1350
01:21:45,600 --> 01:21:48,160
Speaker 2: directed it until much later. But it's a movie from

1351
01:21:48,240 --> 01:21:50,479
Speaker 2: nineteen ninety four and it's called Missus Parker in the

1352
01:21:50,560 --> 01:21:56,679
Speaker 2: Vicious Circle. And this is a biography of the writer

1353
01:21:56,840 --> 01:22:01,320
Speaker 2: Dorothy Parker, whom everybody probably knows. She was part of

1354
01:22:01,360 --> 01:22:07,080
Speaker 2: this group of funny, witty intellectuals that were called the

1355
01:22:07,080 --> 01:22:11,759
Speaker 2: Algonquin round Table, and they were basically like a bunch

1356
01:22:11,760 --> 01:22:13,320
Speaker 2: of cool people that used to hang out at the

1357
01:22:13,320 --> 01:22:17,200
Speaker 2: Algonquin Hotel in New York in like the late teens,

1358
01:22:17,280 --> 01:22:21,920
Speaker 2: early twenties. And I remember this movie. I saw it

1359
01:22:21,960 --> 01:22:24,800
Speaker 2: in the nineties, not in ninety four, but like much later,

1360
01:22:24,920 --> 01:22:28,720
Speaker 2: and it's like Jennifer Jason Lee plays Dorothy Parker and

1361
01:22:29,760 --> 01:22:32,720
Speaker 2: Campbell Scott's in it. He plays Robert Benchley, who if

1362
01:22:32,760 --> 01:22:34,400
Speaker 2: you don't know Robert Benchley, he was kind of this

1363
01:22:34,520 --> 01:22:37,920
Speaker 2: like humorist and he did these like short films that

1364
01:22:38,600 --> 01:22:40,160
Speaker 2: we used to rute him on TCM all the time,

1365
01:22:40,160 --> 01:22:43,880
Speaker 2: and he's really really funny. But then it's like a

1366
01:22:43,960 --> 01:22:46,640
Speaker 2: kind of ensemble cast of people playing real people. So

1367
01:22:46,760 --> 01:22:50,639
Speaker 2: like Matthew Brodericks in it, Andrew McCarthy and Jennifer Beals

1368
01:22:50,720 --> 01:22:54,640
Speaker 2: and Wallace Sean and I mean everybody this movie is

1369
01:22:54,840 --> 01:22:58,960
Speaker 2: fucking fantastic. I mean, like Gwyneth Paltrow's in this movie,

1370
01:22:59,280 --> 01:23:04,640
Speaker 2: like Martha Plimpton. It's kind of stacked, and uh, I

1371
01:23:04,680 --> 01:23:06,920
Speaker 2: don't know, Like to me, I feel like if you're

1372
01:23:06,920 --> 01:23:09,080
Speaker 2: going to watch something of Allen's that's like a little

1373
01:23:09,120 --> 01:23:12,200
Speaker 2: bit more on the commercial end, because it was a

1374
01:23:12,200 --> 01:23:16,000
Speaker 2: Merrimax movie or a Fine Line movie, this might be

1375
01:23:16,080 --> 01:23:18,960
Speaker 2: something to watch. And I think Jennifer Jason Lee is

1376
01:23:19,000 --> 01:23:25,040
Speaker 2: amazing in it, and I love like the like the

1377
01:23:25,120 --> 01:23:29,000
Speaker 2: kind of relationship between Dorothy Parker and Robert Benchley is

1378
01:23:29,000 --> 01:23:32,400
Speaker 2: sort of told in the movie. I don't know, I

1379
01:23:32,439 --> 01:23:35,040
Speaker 2: just think it's really great and I love Kembl Scott.

1380
01:23:35,520 --> 01:23:38,519
Speaker 2: I think he's fantastic, So I don't know. Check it

1381
01:23:38,520 --> 01:23:41,559
Speaker 2: out if you want to. It's it's a great film

1382
01:23:42,000 --> 01:23:47,280
Speaker 2: by Allen Cool amazing. Well, I'm going to recommend a

1383
01:23:47,320 --> 01:23:50,240
Speaker 2: non Alan Rudolph movie, even though this whole episode is

1384
01:23:50,920 --> 01:23:54,080
Speaker 2: an Alan Rudolph movie. But I haven't seen as many

1385
01:23:54,120 --> 01:23:55,720
Speaker 2: as you, and so I feel like it would be

1386
01:23:55,760 --> 01:23:58,679
Speaker 2: wrong to recommend a movie I haven't seen fair enough,

1387
01:23:58,760 --> 01:24:02,439
Speaker 2: so I am going a slightly different direction. There's a

1388
01:24:02,479 --> 01:24:07,160
Speaker 2: young Jeff Goldbloom in the movie Remember my Name, and

1389
01:24:07,320 --> 01:24:10,320
Speaker 2: I was thinking about young Jeff Goldbloom, and he is

1390
01:24:10,320 --> 01:24:13,120
Speaker 2: in a movie that I love, and it came out

1391
01:24:13,160 --> 01:24:17,160
Speaker 2: the year before Remember my Name, and it's by a

1392
01:24:17,200 --> 01:24:19,719
Speaker 2: director who I also feel like is sort of similar

1393
01:24:19,760 --> 01:24:24,080
Speaker 2: to Alan Rudolph in that they weren't like they really

1394
01:24:24,080 --> 01:24:27,040
Speaker 2: focused on movies that were human and much more about

1395
01:24:27,080 --> 01:24:32,080
Speaker 2: interpersonal relationships. And the movie I'm recommending is nineteen seventy

1396
01:24:32,120 --> 01:24:38,160
Speaker 2: seven's Between the Lines by director Joan Micklan Silver. Between

1397
01:24:38,200 --> 01:24:42,880
Speaker 2: the Lines is about an alternative newspaper in Boston, like

1398
01:24:42,960 --> 01:24:49,040
Speaker 2: this fake alternative newspaper and it's got John Hurd, Lindsey Krause,

1399
01:24:49,400 --> 01:24:55,840
Speaker 2: Jeff Goldbloom, Bruno Kirby, Mary Lourenner, Joe Morton. It's kind

1400
01:24:55,840 --> 01:25:00,519
Speaker 2: of this ensemble cast and it's really a fun movie

1401
01:25:00,600 --> 01:25:03,360
Speaker 2: about a group of young creative people working on something

1402
01:25:03,439 --> 01:25:06,559
Speaker 2: and their kind of personal lives. And I don't know,

1403
01:25:06,600 --> 01:25:10,520
Speaker 2: it's a really delightful film and I feel.

1404
01:25:10,240 --> 01:25:12,760
Speaker 1: Like more people should see it. So I am recommending

1405
01:25:13,120 --> 01:25:15,960
Speaker 1: Between the Lines from nineteen seventy seven. Yeah, you can

1406
01:25:15,960 --> 01:25:22,880
Speaker 1: rent it on Prime or other streaming services. Uh, it's

1407
01:25:23,640 --> 01:25:25,800
Speaker 1: put out by the Coen Media Channel. It's on a

1408
01:25:25,840 --> 01:25:28,120
Speaker 1: Coen Media Channel whatever that is. But anyways, it's a

1409
01:25:28,120 --> 01:25:30,920
Speaker 1: fun I like movies about like groups of people who

1410
01:25:30,960 --> 01:25:34,519
Speaker 1: are like young and working towards sort of a shared goal.

1411
01:25:34,720 --> 01:25:36,840
Speaker 1: And uh, yeah, it's fun. It's great time.

1412
01:25:36,880 --> 01:25:39,200
Speaker 2: That's awesome. I love Jodan Micklin Silver. I should watch

1413
01:25:39,200 --> 01:25:41,639
Speaker 2: this movie because Crossing Delancey is one of my favorite movies.

1414
01:25:41,680 --> 01:25:45,719
Speaker 1: So yeah, Crossing Delancey, she's amazing.

1415
01:25:45,800 --> 01:25:47,519
Speaker 2: Hester Street, Yeah, I Hester.

1416
01:25:47,320 --> 01:25:48,559
Speaker 1: Street, that's the other one. I'm trying to think.

1417
01:25:48,640 --> 01:25:51,519
Speaker 2: Yeah, I gotta watch it immediately. So good, good, pick,

1418
01:25:51,720 --> 01:25:54,960
Speaker 2: it's good. What's up? Are we done?

1419
01:25:55,280 --> 01:25:57,840
Speaker 1: The same? We're done? Hey, Le's get out of here.

1420
01:25:57,960 --> 01:26:02,519
Speaker 2: All right, Well, well I said, if you want to

1421
01:26:03,120 --> 01:26:07,120
Speaker 2: email us for any reason, if you want to, you know,

1422
01:26:07,160 --> 01:26:09,320
Speaker 2: get some film advice from us. We love to give

1423
01:26:09,360 --> 01:26:09,880
Speaker 2: film advice.

1424
01:26:09,920 --> 01:26:11,160
Speaker 1: I don't know why I do we do.

1425
01:26:12,560 --> 01:26:15,640
Speaker 2: If you have a film grape, if you want to

1426
01:26:16,120 --> 01:26:19,320
Speaker 2: talk more about Ellen Rudolph's filmography with me, if you

1427
01:26:19,520 --> 01:26:23,120
Speaker 2: want to talk about your own film regrets, whatever you got,

1428
01:26:23,640 --> 01:26:27,960
Speaker 2: email us at Deer Movies at exactlyrightmedia dot com. And

1429
01:26:28,600 --> 01:26:32,080
Speaker 2: by the way, we love voicemails. We want to hear

1430
01:26:32,080 --> 01:26:35,000
Speaker 2: your voices. We want to hear your regional accents. Please

1431
01:26:35,640 --> 01:26:38,000
Speaker 2: send us a voicemail if you just record it on

1432
01:26:38,040 --> 01:26:41,799
Speaker 2: your phone. Just make sure a song about a minute

1433
01:26:42,320 --> 01:26:45,000
Speaker 2: or less, and you can also email it to us

1434
01:26:45,040 --> 01:26:48,360
Speaker 2: at the same email address, dear Movies at exactlyrightmedia dot com.

1435
01:26:49,400 --> 01:26:52,280
Speaker 1: Excellent. You can also follow us on our socials at

1436
01:26:52,400 --> 01:26:56,040
Speaker 1: Dear Movies, I Love You on Instagram and Facebook. Our

1437
01:26:56,240 --> 01:27:00,920
Speaker 1: letterbox handles are at cacyleo'brien and at end to Jericho.

1438
01:27:01,400 --> 01:27:03,360
Speaker 1: And you can listen to Dear Movies, I Love You

1439
01:27:03,400 --> 01:27:06,760
Speaker 1: on the iHeartRadio app, Apple Podcasts or wherever you get

1440
01:27:06,800 --> 01:27:07,560
Speaker 1: your podcasts.

1441
01:27:08,920 --> 01:27:10,879
Speaker 2: All right, well, let's talk about next week, Shall.

1442
01:27:10,720 --> 01:27:12,960
Speaker 1: We woop woop.

1443
01:27:14,280 --> 01:27:16,639
Speaker 2: Hoo do who? It's gonna be a good one because

1444
01:27:16,640 --> 01:27:18,759
Speaker 2: I feel like it's gonna be It's not like anchored

1445
01:27:18,800 --> 01:27:20,280
Speaker 2: in a film, right, We're just talking.

1446
01:27:20,720 --> 01:27:23,720
Speaker 1: We're just we're just kind of like scatting and bebopping

1447
01:27:23,800 --> 01:27:24,759
Speaker 1: all over this one.

1448
01:27:26,439 --> 01:27:32,200
Speaker 2: We are going to talk about VHS era classics, basically

1449
01:27:32,960 --> 01:27:38,639
Speaker 2: movies that we remember from our childhood's putting those big

1450
01:27:38,640 --> 01:27:41,960
Speaker 2: ass tapes in those big ass slots and uh yeah,

1451
01:27:42,080 --> 01:27:45,599
Speaker 2: I'm excited because I feel like this is a whole thing.

1452
01:27:45,760 --> 01:27:47,360
Speaker 2: This is like and it's been a thing for a

1453
01:27:47,360 --> 01:27:51,360
Speaker 2: long time. People getting back into VHS and collecting VHS.

1454
01:27:51,400 --> 01:27:53,880
Speaker 2: I know you are collecting VHS as I'm back on

1455
01:27:53,920 --> 01:27:54,240
Speaker 2: the train.

1456
01:27:54,320 --> 01:27:58,400
Speaker 1: I just bought to this last weekend. It's a cheap collection.

1457
01:27:58,560 --> 01:28:00,680
Speaker 1: It's like, I'm not I've never been a collector, but

1458
01:28:00,840 --> 01:28:02,080
Speaker 1: this is kind of a cheap one.

1459
01:28:02,320 --> 01:28:02,519
Speaker 7: You know.

1460
01:28:03,640 --> 01:28:09,280
Speaker 1: I bought Fargo and I bought Delikatessen. Yeah, both on VHS.

1461
01:28:09,640 --> 01:28:11,800
Speaker 2: It's fantastic, And I mean the best thing about the

1462
01:28:11,920 --> 01:28:14,759
Speaker 2: VHS stuff is that you can watch the trailer stuff

1463
01:28:14,800 --> 01:28:16,840
Speaker 2: before the movie, which is a lost art.

1464
01:28:17,000 --> 01:28:19,360
Speaker 1: I feel like Millie put a pin in that.

1465
01:28:19,520 --> 01:28:23,360
Speaker 2: Okay, we're gonna talk about it excited.

1466
01:28:24,840 --> 01:28:28,240
Speaker 1: Yeah, VHS Classics, that's thrilling. I'm excited to talk about

1467
01:28:28,240 --> 01:28:30,240
Speaker 1: that too. All right, that's a lot. I mean, that

1468
01:28:30,360 --> 01:28:33,879
Speaker 1: was like the birthplace of my film fandom.

1469
01:28:34,120 --> 01:28:34,760
Speaker 2: Oh mine too.

1470
01:28:35,520 --> 01:28:35,760
Speaker 1: You know.

1471
01:28:35,960 --> 01:28:39,200
Speaker 2: I'm sure you're gonna hear plenty of stories, so stay

1472
01:28:39,240 --> 01:28:42,120
Speaker 2: tuned for that next week. But I don't know that's

1473
01:28:42,120 --> 01:28:46,360
Speaker 2: our episode. Thank you so much to everybody for listening.

1474
01:28:46,360 --> 01:28:49,600
Speaker 2: I just want to also think, like Alan and Joyce, obviously,

1475
01:28:49,800 --> 01:28:56,080
Speaker 2: I want to thank AJ and CJ and Matt Booth

1476
01:28:56,520 --> 01:28:59,599
Speaker 2: and Richard everybody from the Plaza that helped to bring

1477
01:28:59,640 --> 01:29:03,120
Speaker 2: this all to us because I don't know how to

1478
01:29:03,160 --> 01:29:06,920
Speaker 2: record audio in a movie theater, so they helped. So

1479
01:29:07,000 --> 01:29:10,519
Speaker 2: thanks so much. And yeah, I don't know. Thank to

1480
01:29:10,520 --> 01:29:11,920
Speaker 2: you to Casey for being here.

1481
01:29:12,800 --> 01:29:15,080
Speaker 1: Great to be here. Thank you Milli for sharing your

1482
01:29:15,120 --> 01:29:19,400
Speaker 1: knowledge of Ellen Rudolph and for bringing me this amazing

1483
01:29:19,439 --> 01:29:21,040
Speaker 1: movie that has enriched my life.

1484
01:29:21,680 --> 01:29:24,599
Speaker 2: Clink, I'm clicking a double Manhattan with you.

1485
01:29:24,680 --> 01:29:27,599
Speaker 1: Oh she's back at it. Yeah, and she's also smoking

1486
01:29:27,600 --> 01:29:28,160
Speaker 1: a cigarette.

1487
01:29:28,280 --> 01:29:28,760
Speaker 2: Let's get out.

1488
01:29:30,000 --> 01:29:34,280
Speaker 1: Amazing, Thanks Milly, thank you, bye bye.

1489
01:29:36,360 --> 01:29:39,519
Speaker 2: This has been an exactly Right production, hosted by me

1490
01:29:39,960 --> 01:29:43,559
Speaker 2: Millie to Cherco and produced by my co host Casey O'Brien.

1491
01:29:43,800 --> 01:29:47,599
Speaker 1: This episode was mixed by Tom Bryfogel. Our associate producer

1492
01:29:47,640 --> 01:29:51,000
Speaker 1: is Christina Chamberlain, our guest booker is Patrick Cottner, and

1493
01:29:51,040 --> 01:29:52,920
Speaker 1: our artwork is by Vanessa Ilac.

1494
01:29:53,080 --> 01:29:56,000
Speaker 2: Our incredible theme music is by the best man in

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01:29:56,040 --> 01:29:57,880
Speaker 2: the entire world, The Softies.

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Speaker 1: Thank you to our executive producers Karen Kilgareff, Georgia hard Stark,

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01:30:02,240 --> 01:30:05,120
Speaker 1: Daniel Kramer and Millie to Jerico, we love you.

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Speaker 2: Goodbye Beacon.