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Speaker 1: Hey, hi, and hello, it's Sam here. And you know,

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Speaker 1: we just finished our tour and I just want to

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Speaker 1: say thank you to everyone who came. We had so

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Speaker 1: much fun meeting so many beautiful faces across this great nation.

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Speaker 1: And you know, now the tour, well, it's in the

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Speaker 1: past and it's time to live in the present. And

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Speaker 1: by that, I mean to tell you that I'm doing

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Speaker 1: my solo show, Club Comic this week September twenty first,

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Speaker 1: Thursday at the Bellhouse. Club Comic is my solo show

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Speaker 1: that's club tracks, videos, stand up. It's it's going to

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Speaker 1: freak your ass out and be so much fun. Julio

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Speaker 1: Torres is opening the show, and I don't need to

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Speaker 1: tell you that that's a pretty good get Sweethearts, So

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Speaker 1: it's going to be so much fun. I urge you

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Speaker 1: to get tickets. In my bio and you know tour,

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Speaker 1: let's just say I lost myself and now that I'm

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Speaker 1: back doing the show in New York City at the

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Speaker 1: Bellhouse on Thursday, let's just say I'm going to comedy

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Speaker 1: my way back to the woman my mother raised me

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Speaker 1: to be, show strange shots wild, So get tickets Thursday,

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Speaker 1: September twenty first, club comic Okay, love you enjoy the

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Speaker 1: episode Bye Okay. Podcast starts now what's up? Every single

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Speaker 1: person on this globe, I don't care if you are L, G, B, T, QI,

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Speaker 1: A or plus. You are hearing my words right now,

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Speaker 1: and that is what is important. George, how are you?

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Speaker 2: What's up? I actually had an experience last night that

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Speaker 2: I thought maybe would be fun to talk about, which

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Speaker 2: is I did a comedy show. I won't say where,

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Speaker 2: but it was for a short of wealthy audience. I'll

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Speaker 2: say it. Oh, we are talking. I would say, not

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Speaker 2: exactly a gala space, but I would say people that

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Speaker 2: have attendant gallas in the past.

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Speaker 1: How could you tell they were wealthy? What were their signifiers?

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Speaker 2: There was post office uh, there were post office looks.

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Speaker 2: There were quite literally briefcases.

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Speaker 1: Oh wow, people.

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Speaker 2: Were although you know what, though I actually was thinking

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Speaker 2: about this, I feel like in this day and age,

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Speaker 2: holding a briefcase is almost like a trying It's like

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Speaker 2: having the l V. Louis Vuitton bag rather than the

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Speaker 2: one that you can tell like it's new Vaus it's vintage,

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Speaker 2: whereas the real rich people are wearing like ripped T

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Speaker 2: shirts and are at Burning Man currently. Yeah, yeah, yeah,

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Speaker 2: so I don't know. I think it was a sort

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Speaker 2: of It was an upwardly mobile, upper middle class crowd

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Speaker 2: that desperately wanted to be invited to Gallas, if that

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Speaker 2: makes sense. Nevertheless, nevertheless, there was a wealth emanating from

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Speaker 2: the crowd. You know, something you often don't get in

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Speaker 2: the comedy shows that we do. I don't know about you,

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Speaker 2: but personally, I think I think it's a miracle if

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Speaker 2: anyone has a four oh one K and the audiences

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Speaker 2: that I perform in front of.

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Speaker 1: Yeah, well, I actually do. I host that weekly show

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Speaker 1: I told you about that it's only for oil barons,

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Speaker 1: and oh it's of course, so I'm kind of used

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Speaker 1: to lots of cash being thrown around, that's true.

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Speaker 2: And of course I have my partnership with the Department

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Speaker 2: of Defense. Yeah, you know, they haven't paid me in months,

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Speaker 2: so we need.

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Speaker 1: I mean, I still get wrong, I still do the

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Speaker 1: show for free. I just like to know that the

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Speaker 1: audience is wealthy.

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Speaker 2: Well, yeah, I mean that way I can at least

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Speaker 2: not pity them. I hate when I feel like I'm

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Speaker 2: better than an audience.

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Speaker 1: Yeah, if I make more even close to the same

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Speaker 1: amount as the audience. I feel bad for them.

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Speaker 2: When I'm at a Commis show, I want to know

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Speaker 2: that whatever the audience is doing indirectly, it is making

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Speaker 2: me less rich, like just numbers wise, and like after

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Speaker 2: a day of their work, my bank account is lower.

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Speaker 1: Well, I've always considered myself a court jester, and you

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Speaker 1: can really only feel court jester if there's a king presence.

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Speaker 2: You are exactly right, No, it is true. The comedians

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Speaker 2: are court gesterres. And it's like, okay, well, if we're

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Speaker 2: performing in front of middle class people, then what is

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Speaker 2: the point. What am I supposed to make fun of

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Speaker 2: the middle class?

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Speaker 1: I'm speak truth to power? How am I gonna do that?

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Speaker 1: If power's not in the room? Power in the room.

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Speaker 2: So I was at this show and uh, you know,

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Speaker 2: past guest Brian Bahi went on before me, and he

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Speaker 2: had a joke that I'm not remembering right now that

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Speaker 2: was about the Kennedys. And as soon as you said

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Speaker 2: the name Kennedy, people fell silent. And he addressed it.

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Speaker 2: He was like, oh do you guys like love the Kennedys,

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Speaker 2: And people again like would not laugh, would not laugh,

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Speaker 2: And he moved on and he his set went really well,

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Speaker 2: and you know, he did other jokes that were not

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Speaker 2: about the Kennies. And then I got up and you

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Speaker 2: know how I am. I have to address if there

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Speaker 2: is awkwardness, I have to address it because of my

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Speaker 2: all comedy training. If I'm not doing that, then who

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Speaker 2: is there jesting the court?

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Speaker 1: Not I?

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Speaker 2: And so I got up and I said, you know,

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Speaker 2: I think I know why people got silent when Brian

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Speaker 2: Bahi mentioned the Kennedys. You know, we're in a sort

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Speaker 2: of gala like space. I bet you in New York.

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Speaker 2: When you're in a gala like space, in any sort

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Speaker 2: of blue state, there is a Kennedy in the room.

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Speaker 2: And I said that, thinking I understand it's not the

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Speaker 2: most perfect joke I've ever crafted, but I said thank you.

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Speaker 2: I said, you know, oh, people, will you know it's

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Speaker 2: sort of again, it's doing court jesting and that I'm

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Speaker 2: making fun of a rich crowd the way they were

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Speaker 2: immediately silent once again. And then I tried, I dug

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Speaker 2: myself further. I was like, is there a Kennedy here? Caroline?

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Speaker 2: Where's Caroline? I was try I was trying so hard

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Speaker 2: to like get people's lap, and they would not and

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Speaker 2: I was like, I got off stage, and I was like,

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Speaker 2: by the way I brought it around and I crushed.

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Speaker 2: But of course when I got back, when I got

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Speaker 2: off stage, I said, there was a Kennedy in there.

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Speaker 2: There quite literally was. There was no other explanation.

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Speaker 1: I think there was a Kennedy there. That's crazy. Are

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Speaker 1: you gonna put that as your new credit? Performed for

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Speaker 1: a Kennedy for.

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Speaker 2: A Kennedy But I'm not sure which one or maybe,

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Speaker 2: Like I mean, you also just never know where funding

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Speaker 2: comes from, like maybe, to be honest, I don't know

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Speaker 2: who was funding this comedy show. All I know is

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Speaker 2: that there were people there holding briefcases. It could have

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Speaker 2: very easily been funded by the Kennedy Comedy Foundation, Kennedy

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Speaker 2: Center honors.

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Speaker 1: Even well, I was gonna say, were you performing potentially

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Speaker 1: at the Kennedy Center, But it was I.

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Speaker 2: Being honored at the Kennedy Center.

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Speaker 1: That could have been your issues that you're being honored

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Speaker 1: at and by the Kennedy Center.

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Speaker 2: You know now that you mentioned I was actually being

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Speaker 2: honored by by and at the Kennedy Center. And then

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Speaker 2: I got up and immediately started doing jokes about the Kennedys.

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Speaker 1: Yeah, that's tough. That is tough.

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Speaker 2: That is absolutely my bad. And if any Kennedy's are

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Speaker 2: out there listening, I really appreciate the award and I

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Speaker 2: will go out there and I will do my best

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Speaker 2: and I will make people laugh without disparaging the Kennedys

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Speaker 2: from here on out.

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Speaker 1: Well, I just want to say, I think it's powerful

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Speaker 1: for you to tell a story, and I think what's

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Speaker 1: funny about talking about stand up is that you do

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Speaker 1: actually have to say every single time you talk about it, like,

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Speaker 1: don't get me wrong, I did well, like one. If

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Speaker 1: you don't say, if one does not say that, good luck,

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Speaker 1: people are gonna assume you're telling a story in which

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Speaker 1: you did bad, and they're gonna run with that and

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Speaker 1: they're gonna tell all their friends, yeah he actually bombed

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Speaker 1: as if they were there.

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Speaker 2: Yeah. You know, you know when you I'm a sort

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Speaker 2: of I think maybe you're less like this, but I

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Speaker 2: feel like I am almost in a narcissistic way, self

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Speaker 2: deprecating after a show where it's like no one actually cares,

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Speaker 2: well you did. Just be like if someone says good job,

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Speaker 2: be like thank you. But it's sick if someone says

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Speaker 2: good job to me I'm always like, no, I can't

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Speaker 2: believe that joke didn't go well. No, I forgot my

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Speaker 2: line and I forgot what I was saying. And then

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Speaker 2: usually people are like, no, you did fine, blah blah.

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Speaker 2: But then sometimes someone will ask you like how was

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Speaker 2: the show someone who was not there, and you'll say like, ugh,

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Speaker 2: I bombed or whatever, and then they'll be like, oh,

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Speaker 2: well that's okay, and you want to be like, no,

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Speaker 2: I did fine. I was being self deprecating.

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Speaker 1: One time, after like the worst bomb of my entire life,

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Speaker 1: in which I famously bombed in front of a cast

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Speaker 1: member of HBO's Girls while HBOS Girls was on the air, Sweetheart,

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Speaker 1: I ran into a friend on the street who does comedy,

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Speaker 1: and I was like, wow, I fucking suck. I bombed

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Speaker 1: so hard. I've never been more embarrassed in my entire life.

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Speaker 1: And he was just sort of like, yeah, well, you know,

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Speaker 1: maybe you need to work on it. And I was like, no, no, no,

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Speaker 1: that's not what I'm telling you this for. I'm telling

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Speaker 1: you this for you to pat me on the back

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Speaker 1: like appear and like a brother and tell me it's

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Speaker 1: gonna be okay, and tell me the audience is stupid

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Speaker 1: and HBO's girls they don't have taste, and that I'm

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Speaker 1: perfect beautiful.

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Speaker 2: You can't say you can't. That's taking it too far.

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Speaker 2: I think if that person was like, well, actually HBO

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Speaker 2: girl socks and Lena Dunham has no talent, you'd be like, well, no,

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Speaker 2: if Lena Dunham, we need Lena Dunham to have talent

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Speaker 2: so that anything we do matters.

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Speaker 1: You know what I mean, true, true, true, true, true.

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Speaker 2: It's a it trickles right down.

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Speaker 1: Well, you know what I wanted to maybe talk about

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Speaker 1: in the intro, but maybe we actually might not have

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Speaker 1: time and also is maybe completely irrelevant. But something that

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Speaker 1: was making me angry that second before we started recording

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Speaker 1: perfect intro.

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Speaker 2: What is it?

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Speaker 1: Is that I think I am sick and tired of

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Speaker 1: everyone doing man on the street stuff. I think there

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Speaker 1: should be a license to be able to hold a

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Speaker 1: microphone on the street in someone's face. The even just

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Speaker 1: the amount of let's make it okay. I was gonna

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Speaker 1: say gay man and I'm like, no, no, no, small

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Speaker 1: gay men. The amount of twinkie gay men, twinkie white

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Speaker 1: gay men doing man on the street content is already

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Speaker 1: there's about twenty five of them, and they're identical, except

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Speaker 1: they have different accents.

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Speaker 2: You know, it's a slippery slope when you make when

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Speaker 2: not you sam when one makes critiques like this, because

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Speaker 2: I so often find myself wanting to say something similar

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Speaker 2: and then you know, actually, I was thinking about this

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Speaker 2: when we were on tour. I was looking at some

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Speaker 2: posters and I'm like, wow, they'll let anyone in here.

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Speaker 2: And I was like, wait, we're a gay podcast.

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Speaker 1: I know you can't.

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Speaker 2: You can't. It's like we always are like they've democratized

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Speaker 2: media too much. They've democratized content too much that I'm like, right,

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Speaker 2: that's sort of why we are able to travel into Washington,

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Speaker 2: d C.

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Speaker 1: Don't get me wrong, I'm extremely self aware. I'm literally

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Speaker 1: just saying, like, I think there's quality no matter what

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Speaker 1: I don't say. I'm not saying there shouldn't be zero

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Speaker 1: gay guys holding microphones some people's faces on a boardwalk

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Speaker 1: in Cineamonica. That would be just saying there shouldn't be

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Speaker 1: four hundred of them.

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Speaker 2: Do you think the Kennedy Centers should have a task

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Speaker 2: force that decides which of the various twinkie white gay

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Speaker 2: men that want to be a man on the street.

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Speaker 2: Influencers should be able to do it. Maybe a grant.

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Speaker 2: I mean, this is what I'm when I say bring

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Speaker 2: back gate keepers. I'm literally not talking about like old

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Speaker 2: white men. I'm saying a diverse in always set of gatekeepers, a.

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Speaker 1: Diverse group of white gay twinks.

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Speaker 2: The white gaewinks are the talent. I'm talking about the

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Speaker 2: people that do that, are doing the gatekeeping. I want,

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Speaker 2: you know, women LGBT, I want a panel that is

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Speaker 2: giving these grants. Okay, hmm, right, So just do you

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Speaker 2: just have to replace the gatekeepers we heard of them altogether.

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Speaker 2: That's all I'm saying.

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Speaker 1: I think that's genius. And I think, you know, the

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Speaker 1: Kennedy Center should honor more people and we should really

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Speaker 1: and in fact it should be they should be honored

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Speaker 1: with a license and once they pass the test and

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Speaker 1: get approved, then they can go do their man on

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Speaker 1: the street bits.

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Speaker 2: Yeah. It's crazy to try. I mean, imagine trying to

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Speaker 2: explain to someone. Now, let's say someone who's twenty two

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Speaker 2: years old that bill on the street like made an impact.

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Speaker 2: Were like, well, so the thing is he was gay

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Speaker 2: and he was a man on the street. People are like, oh, yeah,

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Speaker 2: my cousin does that.

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Speaker 1: Like no, no.

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Speaker 2: No, one was doing that then, and it was it.

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Speaker 1: Felt new and it was funny. This is funny.

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Speaker 2: No, you can't just ask.

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Speaker 1: You can't just ask if people are top or bottom

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Speaker 1: for the rest of your life. You have to have

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Speaker 1: more substance. You have to have a point of view.

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Speaker 1: It can't be he's at seven, but he is tall.

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Speaker 1: I hate it.

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Speaker 2: I'm slaving already. I love when you say that things

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Speaker 2: must have substance. Have I told you? You know, substance

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Speaker 2: was like a really recurring word in my childhood because

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Speaker 2: my dad would always be like, he has substance about

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Speaker 2: someone that he thought was smart or that he thought

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Speaker 2: was like sort of intellectually stimulating. And I always got

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Speaker 2: to my like it was very I really internalized it.

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Speaker 2: And when I was like, especially when I was in

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Speaker 2: college or a playing good jobs, it would be like,

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Speaker 2: does this does what I'm doing have substance? And then

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Speaker 2: of course the answer is always no.

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Speaker 1: No, this is a This gay podcast has a lot

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Speaker 1: of substance. Actually, we've actually talked very realistically about two things.

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Speaker 1: I agree and you know, no, one can never take

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Speaker 1: that away, not a.

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Speaker 2: Single soul and I actually think what would really help

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Speaker 2: is bring in.

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Speaker 3: A third.

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Speaker 2: A third man to talk about various other substantial things

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Speaker 2: with us. What do you think I think that could

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Speaker 2: be huge. Perhaps the co host, Oh my god, I'm

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Speaker 2: already minimizing him, the solo host of the No, please go.

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Speaker 1: Ahead, Sam, Yeah, No, I think he's one of three hosts.

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Speaker 1: I don't know why I said co host. Your co

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Speaker 1: host philed You're just used to It's crazy.

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Speaker 2: I'm like, well, a podcast is hosted by two gay guys.

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Speaker 2: That's how it works.

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Speaker 1: Well, how could one carry it all on his own?

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Speaker 2: Right? Like when I started talking? And if you don't start,

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Speaker 2: then what is there something? Who talks anyway? You guys

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Speaker 2: welcome If I said no gift Bridge or Wineger.

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Speaker 3: Oh you two. I feel I feel like you've been

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Speaker 3: chipping away at me for the last five minutes as

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Speaker 3: a small white gay man, and then this co host bullshit.

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Speaker 2: I mean, I didn't want to say anything, but it's like,

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Speaker 2: you know, you really are sort of describing our guest.

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Speaker 1: I don't know his size.

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Speaker 3: I see, it's clear.

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Speaker 2: I think my energy. Honestly though, I was actually thinking

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Speaker 2: about this because we've never met in person. I genuinely

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Speaker 2: have no idea what your height is, and I honestly

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Speaker 2: am like it legitimately could go if you were like

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Speaker 2: I am six four, I would absolutely believe.

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Speaker 1: Have tall energy.

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Speaker 3: No one believes I.

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Speaker 2: Do think you have tall energy. And in fact, when

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Speaker 2: Sam was like little white gay man, I was like,

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Speaker 2: I'm glad he said little so that it's not so

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Speaker 2: that you're not implicated.

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Speaker 3: No, I'm small through the I can't imagine someone thinking

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Speaker 3: I'm tall. Maybe that's just a lie. Yeah, five to six.

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Speaker 2: Wow, I'm telling you like whatever you are, first of all,

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Speaker 2: not that not that everyone should be aiming to be

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Speaker 2: six ' four, But I'm just saying, as a viewer,

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Speaker 2: I was I was getting six to four.

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Speaker 1: I was getting I was gonna say I was getting

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Speaker 1: six to one on five.

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Speaker 3: Eleven, five eleven, Oh, I should have guessed house.

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Speaker 1: Why I should?

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Speaker 3: It would have been a good game. It would have

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Speaker 3: been a nice good game. I would have you know,

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Speaker 3: seen what I assume about you too from the very beginning.

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Speaker 2: But Sam is one inch taller than me, and it

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Speaker 2: colors everything we do.

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Speaker 3: Do you consider yourself your average five ten, five eleven,

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Speaker 3: that's like an average height, that's not.

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Speaker 2: I would say I'm average and Sam.

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Speaker 1: Is tall tall the one inch difference, I think they

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Speaker 1: both count as average.

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Speaker 3: I feel like, if you're in the five's your average,

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Speaker 3: no matter what.

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Speaker 1: Yeah, I think that's true.

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Speaker 2: Yeah, yeah, I mean if you're sure.

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Speaker 3: I well, until your my size, then you're small.

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Speaker 2: But no, no, no, I was gonna I was gonna be like, well, yeah,

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Speaker 2: that's like yeah, if you're four nine. But then I

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Speaker 2: was like, well, let's not make fun of anyone. That's

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Speaker 2: not sort of mock anyone's height.

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Speaker 1: Well, it's not mocking to describe what someone's height is,

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Speaker 1: you know.

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Speaker 2: And honey, in this climate, wow.

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Speaker 1: I would love if George got canceled for making fun

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Speaker 1: of people that are just a little short.

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Speaker 2: No, height is one of those things that I'm saying

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Speaker 2: this in full earnestness, like I've never in my life

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Speaker 2: had any preferences when it comes to height. But even

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Speaker 2: talking about height is somehow such a like hot potato topic,

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Speaker 2: don't you think it can be?

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Speaker 3: I feel like it is a much more sensitive topic

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Speaker 3: with straight men, that's true, way more sensitive, that's true.

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Speaker 3: I feel like gay men there's there's a little, uh

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Speaker 3: little leniency as far as like who cares.

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Speaker 1: Yeah, we talked about this a little bit in our

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Speaker 1: DC show recently, where I was saying that the status

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Speaker 1: of being six feet is like a very heterosexual thing,

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Speaker 1: And I do think it's true that game in if

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Speaker 1: you're too tall, that's kind of hot, if you're too short,

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Speaker 1: that's kind of hot. If you're in the middle, that's

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Speaker 1: kind of hot. Like, I think you can kind of

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Speaker 1: find anyone. Like, it's not like everyone wants the tall

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Speaker 1: it's like, yeah, that's hot, and like the short it's like,

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Speaker 1: oh that's hot. It's and not. No, you're wrong. Gay

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Speaker 1: men have many issues. They're not accepting people in this

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Speaker 1: particular thing. In this thing, they are very open minds.

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Speaker 2: I do think height is the only thing that gay

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Speaker 2: men and potentially specifically way gay men are inclusive of.

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Speaker 1: Well that's kind of beautiful in a way.

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Speaker 2: Yeah, I agree. So, Bridger, what's up?

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Speaker 3: I picketed this morning? Oh my picketing has fallen off

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Speaker 3: in a big way ever since I started. I did

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Speaker 3: jury duty and that kind of was like the speed

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Speaker 3: bump in like unpaid obligations for me, and then yeah,

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Speaker 3: the picketing slowed down. So I'm trying to go once

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Speaker 3: a week.

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Speaker 1: That's respectful.

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Speaker 2: First of all, this is I can't believe i'bout to

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Speaker 2: say this. When you were when you said I might picket,

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Speaker 2: had stopped when I started juror you cut off a

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Speaker 2: very tiny bit in my computer, and I was like

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Speaker 2: jerking off.

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Speaker 3: I found jerking off, and I've just been at home

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Speaker 3: ever since.

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Speaker 2: I haven't been taking ever since I started jerking off.

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Speaker 2: And then the other thing is I would love is

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Speaker 2: you know this episode is coming out in a few weeks.

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Speaker 2: I would love it if by that time the strike

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Speaker 2: was over, but we didn't address it. And you sort

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Speaker 2: of wore this like figure, this cartoonish figure that was

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Speaker 2: still picketing, like a wally, a strike wally, and had

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Speaker 2: no idea that everyone else was back to work, and

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Speaker 2: you were just like scabscabs caab.

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Speaker 3: Just kind of in a like a set rhythm. Yeah, yeah,

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Speaker 3: I can that right exactly.

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Speaker 1: Were there any celebs on the line today?

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Speaker 3: There there was somebody that I was I don't know

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Speaker 3: who she is. My boyfriend's like, that's this lady from Glee,

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Speaker 3: and I don't know who she was, but she kept

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Speaker 3: saying hello to everyone she passed, so I think like

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Speaker 3: in a way of like, here I am, but she

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Speaker 3: said hello to us and I we had made no

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Speaker 3: contact with her.

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Speaker 2: What color was her hair?

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Speaker 3: I didn't see her like, oh I heard hello, and

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Speaker 3: he's like, that's the lady from like we walked past them.

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Speaker 3: I did not recognize at all. And with a celebrity,

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Speaker 3: you usually.

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Speaker 2: You know what I'm thinking, who Deanna Agron? That's what

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Speaker 2: I'm thinking could have been. Do you think Sam she was? Well,

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Speaker 2: she was in Shiva Baby, So I'm like, okay, comedy connection.

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Speaker 2: I think she knows people through Rachel. She is walking

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Speaker 2: around and she's saying hey, y'all to all the all comics.

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Speaker 1: Yeah, no, she's great. Actually I stay on her.

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Speaker 3: Yeah, no, she's But I feel like this person was

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Speaker 3: saying hello to literally everyone as though everyone knew.

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Speaker 2: Who she was.

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Speaker 1: Okay, Leah Michelle, Yeah, Jane Lynch potentially, oh.

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Speaker 2: Org Actually Lia Michelle or Jane Lynch just have like

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Speaker 2: a condition where they go round saying hello to everyone

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Speaker 2: and autographs even if they're not asked.

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Speaker 1: Yeah. This celebs on the picket line is very confusing

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Speaker 1: to me because like part of me is like, well, one,

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Speaker 1: they're people, and this is their job and their union,

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Speaker 1: so of course they should be out there. And the

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Speaker 1: same time, I'm sort of like, oh, I hope when

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Speaker 1: I go that somebody cool is there. It's like, that

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Speaker 1: is so stupid.

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Speaker 2: It's always funny when they point a mic at them

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Speaker 2: and they have to explain why they're striking. I don't

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Speaker 2: want to disparage them too much, but often they don't know.

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Speaker 3: Of course they don't. Why would they have any idea?

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Speaker 3: None of this touches.

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Speaker 1: Yeah, yeah, it's impressive that their assistant got them out there.

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Speaker 3: Even I saw just Alfred Molina walking alone, quietly walking

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Speaker 3: alone last week, and that felt like somebody who knew

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Speaker 3: the issues he was there for.

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Speaker 2: I absolutely I would say Alfred Molina has a gravitas

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Speaker 2: of someone who if he ran for office, I would

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Speaker 2: vote for him. The Harp I have no doubt what

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00:20:01,520 --> 00:20:05,040
Speaker 2: are same with Honestly, Like I'm thinking of there's a

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Speaker 2: movie where he and John Lithgow played a gay couple

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Speaker 2: love a strange. I would vote for John Lithgow too. Honestly,

436
00:20:10,160 --> 00:20:12,160
Speaker 2: if either of either of them was a politician, even

437
00:20:12,240 --> 00:20:14,080
Speaker 2: either of them was a first husband, I'd be all in.

438
00:20:14,720 --> 00:20:16,879
Speaker 1: I have absolutely no proof of this, But John LetGo

439
00:20:17,040 --> 00:20:20,360
Speaker 1: is absolutely someone that could turn right wing any second.

440
00:20:20,760 --> 00:20:25,080
Speaker 1: He has that energy. I mean that's a positive. I

441
00:20:25,160 --> 00:20:27,320
Speaker 1: just think he has his energy where I'm like, like,

442
00:20:27,560 --> 00:20:29,720
Speaker 1: he reminds me of like, who's that crazy, like a

443
00:20:29,840 --> 00:20:31,600
Speaker 1: John Voight or something where I'm like, I bet you

444
00:20:31,600 --> 00:20:32,520
Speaker 1: could make a weird turn.

445
00:20:33,520 --> 00:20:36,720
Speaker 2: But I think that will always though, be progressive. I

446
00:20:36,760 --> 00:20:41,399
Speaker 2: think for Malina, yeah, yeah. And Lithgow because he has

447
00:20:41,400 --> 00:20:45,120
Speaker 2: a professor's look exactly, yes, a little sche where John

448
00:20:45,160 --> 00:20:47,800
Speaker 2: Lithgow has a more of a business school professor's look,

449
00:20:47,840 --> 00:20:48,960
Speaker 2: which could go either way.

450
00:20:49,560 --> 00:20:52,960
Speaker 3: Right, and a posture, Yeah, more of a posture. The

451
00:20:53,000 --> 00:20:53,800
Speaker 3: posture's there.

452
00:20:53,960 --> 00:20:57,080
Speaker 1: It's all hitting me all of a sudden. I'm realizing

453
00:20:57,119 --> 00:21:00,520
Speaker 1: that the perfect way to age is to age in

454
00:21:00,560 --> 00:21:06,000
Speaker 1: a professor direction, Like the perfect way to get older

455
00:21:06,160 --> 00:21:08,359
Speaker 1: is to look more and more like a professor over time.

456
00:21:09,080 --> 00:21:12,239
Speaker 2: No, that's actually and actually that's true for both, not

457
00:21:12,280 --> 00:21:14,840
Speaker 2: to say both genders, for all genders. I would say

458
00:21:14,840 --> 00:21:17,920
Speaker 2: that's true. First of all, there's a gender binary, and

459
00:21:17,960 --> 00:21:20,320
Speaker 2: second of all, everyone should look like a professor. No,

460
00:21:20,480 --> 00:21:23,600
Speaker 2: I but I genuinely do. I'm like, because the because

461
00:21:23,600 --> 00:21:26,800
Speaker 2: the sort of woman equivalent of that is like flowy,

462
00:21:26,880 --> 00:21:29,160
Speaker 2: expensive Japanese robes.

463
00:21:29,800 --> 00:21:31,840
Speaker 1: Yeah, funky glasses.

464
00:21:31,920 --> 00:21:35,440
Speaker 2: Funky glasses only like a thick eyeliner and nothing else.

465
00:21:36,400 --> 00:21:41,399
Speaker 1: Yeah, because you know there's a there's a sexuality still there.

466
00:21:41,920 --> 00:21:44,840
Speaker 1: You're like, you're like, I'm cheating on my spouse. When

467
00:21:44,880 --> 00:21:47,880
Speaker 1: you're a professor, there's like always an element of an affair.

468
00:21:48,920 --> 00:21:52,000
Speaker 2: If you're a professor and you're not sucking your research assistant,

469
00:21:52,000 --> 00:21:54,360
Speaker 2: you are not being intellectually rigorous enough, and you can

470
00:21:54,760 --> 00:21:55,600
Speaker 2: take that to the grave.

471
00:21:56,359 --> 00:21:59,520
Speaker 1: Yeah, if you're not, Yeah, you're just not curious. And

472
00:21:59,520 --> 00:22:03,000
Speaker 1: that's such a bad sign for someone that's in academia.

473
00:22:03,119 --> 00:22:06,320
Speaker 3: Yeah, you have to stay curious even into late into

474
00:22:06,560 --> 00:22:08,720
Speaker 3: tenure all of this. You've got to.

475
00:22:09,040 --> 00:22:11,520
Speaker 2: Oh my god, some people get complacent with tenure. They're

476
00:22:11,560 --> 00:22:14,320
Speaker 2: not fucking the research asysm Oh, you have to have

477
00:22:14,400 --> 00:22:16,760
Speaker 2: that hunger. Like before, tenure.

478
00:22:18,280 --> 00:22:21,720
Speaker 1: By the English department at my school was like famous

479
00:22:21,720 --> 00:22:24,760
Speaker 1: for like like two peep. Two of the professors used

480
00:22:24,800 --> 00:22:26,600
Speaker 1: to be married and then one of them fucked another

481
00:22:26,640 --> 00:22:28,600
Speaker 1: professor and all of them still worked there, but two

482
00:22:28,640 --> 00:22:30,640
Speaker 1: of them had the same last name but were divorced,

483
00:22:30,920 --> 00:22:32,760
Speaker 1: and it was this whole like there was so much

484
00:22:32,840 --> 00:22:35,159
Speaker 1: drama going on, and I was like, Wow, what an

485
00:22:35,200 --> 00:22:38,439
Speaker 1: amazing English department, Like they really understand the lust for

486
00:22:38,520 --> 00:22:41,960
Speaker 1: life and like the power of the impassion of words.

487
00:22:42,480 --> 00:22:43,960
Speaker 2: By the way, you know, for anyone listening, I want

488
00:22:44,000 --> 00:22:47,120
Speaker 2: to say, in terms of the power dynamic in this scenario,

489
00:22:47,160 --> 00:22:49,120
Speaker 2: the researcher system is a star of the movie. You're

490
00:22:49,160 --> 00:22:52,239
Speaker 2: a side character, and the research system is empowered and

491
00:22:52,320 --> 00:22:54,480
Speaker 2: they are attracted to power and they're in charge. They

492
00:22:54,480 --> 00:22:56,520
Speaker 2: know anything other than that I don't approve of.

493
00:22:57,200 --> 00:22:59,360
Speaker 1: And the research assistant is a man, and the professor

494
00:22:59,440 --> 00:23:06,480
Speaker 1: is also a man. And the reason, yes exactly.

495
00:23:06,880 --> 00:23:10,480
Speaker 2: It's Timothy Shalamy as a research assistant and he's constantly

496
00:23:10,520 --> 00:23:18,159
Speaker 2: bending over and showing his tiny little butt to John Lithgow.

497
00:23:18,200 --> 00:23:22,400
Speaker 1: Well, that was really a beautiful we painted a beautiful picture. Seriously,

498
00:23:22,440 --> 00:23:25,919
Speaker 1: you guys. Congrats, congrats, congrats everybody. I hear the Kennedy

499
00:23:25,920 --> 00:23:28,359
Speaker 1: Center is emailing us to give us honors. Yeah, they're like,

500
00:23:28,400 --> 00:23:33,200
Speaker 1: we forget George, say anything you want about any.

501
00:23:33,080 --> 00:23:39,640
Speaker 2: Kennedy Sam Should we do our first segment?

502
00:23:39,680 --> 00:23:41,560
Speaker 1: Do you think I actually think that could be a

503
00:23:41,560 --> 00:23:44,760
Speaker 1: genius idea Bridger are our first segment is called Street Shooters,

504
00:23:44,760 --> 00:23:46,560
Speaker 1: and in this segment, we will ask you a series

505
00:23:46,600 --> 00:23:50,000
Speaker 1: of rapid fire questions to gauge your familiarity with incomplicity

506
00:23:50,000 --> 00:23:52,679
Speaker 1: in straight culture. The questions are basically this thing or

507
00:23:52,680 --> 00:23:55,960
Speaker 1: this other thing, and the only follow up rule is

508
00:23:56,000 --> 00:23:58,600
Speaker 1: you can't ask. The only rule is you can't ask

509
00:23:58,600 --> 00:24:02,320
Speaker 1: any follow up questions or we'll scream at you as

510
00:24:02,359 --> 00:24:04,520
Speaker 1: loud as we can and break our microphones.

511
00:24:04,600 --> 00:24:06,320
Speaker 2: Yeah you think we're you think we're being abrace of

512
00:24:06,400 --> 00:24:07,639
Speaker 2: Now just your wait, mister.

513
00:24:08,359 --> 00:24:12,760
Speaker 1: Yeah, iHeartMedia will be billed for two new microphones because

514
00:24:12,800 --> 00:24:15,000
Speaker 1: we will have broken ours through screaming at you.

515
00:24:15,200 --> 00:24:19,640
Speaker 2: Yeah, good luck getting invited back to the Kennedy Center, Mama.

516
00:24:21,040 --> 00:24:23,080
Speaker 1: That being said, are you ready to play?

517
00:24:23,680 --> 00:24:28,240
Speaker 3: Uh? Yes, I'm gonna let me just focus, bring myself

518
00:24:28,240 --> 00:24:30,800
Speaker 3: into the game. I won't be asking any questions, all.

519
00:24:30,760 --> 00:24:37,440
Speaker 1: Right, Okay? Bridger getting docsed by swifties or finding God

520
00:24:37,640 --> 00:24:38,639
Speaker 1: at fifty.

521
00:24:41,320 --> 00:24:47,280
Speaker 3: Oh finding no, getting docs by Swifties?

522
00:24:47,640 --> 00:24:48,080
Speaker 1: Wow?

523
00:24:48,640 --> 00:24:54,639
Speaker 2: Okay Bridger giving a naturalistic performance or having a fatalistic

524
00:24:54,760 --> 00:24:55,640
Speaker 2: queer romance.

525
00:24:58,000 --> 00:25:00,280
Speaker 3: Fatalistic queer romance, you.

526
00:25:00,240 --> 00:25:05,159
Speaker 1: Gotta okay, plenty of fish in the sea or a

527
00:25:05,280 --> 00:25:08,879
Speaker 1: lacking of efficiency, h.

528
00:25:10,680 --> 00:25:11,920
Speaker 3: Plenty of fish in the sea.

529
00:25:12,080 --> 00:25:18,280
Speaker 2: Optimistic Okay, producing sponsored content for a brand or producing

530
00:25:18,320 --> 00:25:20,080
Speaker 2: an offensive accent on command.

531
00:25:20,800 --> 00:25:25,119
Speaker 3: Oh oh my god, that's a really that one is

532
00:25:25,200 --> 00:25:26,320
Speaker 3: extremely hard for me.

533
00:25:27,240 --> 00:25:28,000
Speaker 2: I agree.

534
00:25:29,119 --> 00:25:31,720
Speaker 3: I'm going to say sponsored content for a brand.

535
00:25:32,080 --> 00:25:37,440
Speaker 1: Wow. Okay, TikTok on the clock, but the party don't stop.

536
00:25:37,960 --> 00:25:40,800
Speaker 1: Or Rick Ross is a boss and he's goaded with

537
00:25:40,920 --> 00:25:41,560
Speaker 1: the sauce.

538
00:25:42,800 --> 00:25:47,120
Speaker 2: Rick Ross, you know, after all these years, he still

539
00:25:47,119 --> 00:25:53,040
Speaker 2: makes me laugh. Okay, Ridgard, having an age gap with

540
00:25:53,119 --> 00:25:57,240
Speaker 2: your wife or fixing the wage gap by murdering your

541
00:25:57,280 --> 00:26:02,120
Speaker 2: male boss with a knife.

542
00:26:01,680 --> 00:26:02,040
Speaker 3: Wife.

543
00:26:02,720 --> 00:26:06,160
Speaker 1: Okay, We're gonna need a bigger boat, or we're gonna

544
00:26:06,160 --> 00:26:08,359
Speaker 1: need a smaller carbon footprint.

545
00:26:12,840 --> 00:26:13,159
Speaker 3: Boat.

546
00:26:13,680 --> 00:26:17,399
Speaker 2: Yeah wow. Okay. Asking permission from the old ball and

547
00:26:17,520 --> 00:26:25,960
Speaker 2: Chain or being denied admission from Penn, Harvard and Yale.

548
00:26:27,720 --> 00:26:28,359
Speaker 3: Ball and Chain.

549
00:26:29,200 --> 00:26:30,320
Speaker 2: Yeah wow.

550
00:26:30,960 --> 00:26:33,440
Speaker 1: I'm gonna be honest. I think we raid all of

551
00:26:33,480 --> 00:26:35,719
Speaker 1: our guests on a scale of one to one thousand doves,

552
00:26:36,359 --> 00:26:40,359
Speaker 1: and I think that was like nine hundred and ninety

553
00:26:40,359 --> 00:26:41,000
Speaker 1: two doves.

554
00:26:41,119 --> 00:26:43,360
Speaker 2: I agree. It's actually one of the best performances we've

555
00:26:43,359 --> 00:26:43,920
Speaker 2: had in a while.

556
00:26:44,400 --> 00:26:47,040
Speaker 1: Well, what was amazing about it was we could tell

557
00:26:47,080 --> 00:26:50,840
Speaker 1: that there was discomfort there. There was full discomfort on

558
00:26:50,880 --> 00:26:54,159
Speaker 1: your end. You were asking yourself a lot of questions,

559
00:26:54,440 --> 00:26:56,480
Speaker 1: but you never vocalize any of those questions.

560
00:26:57,200 --> 00:27:00,480
Speaker 3: Well, yeah, we very it wasn't a toil very last

561
00:27:00,520 --> 00:27:02,320
Speaker 3: question that I thought. This is supposed to be rapid fire,

562
00:27:02,359 --> 00:27:04,320
Speaker 3: and I'm taking a lot of time for each question.

563
00:27:04,680 --> 00:27:06,400
Speaker 2: No, no, no, no, no no.

564
00:27:06,440 --> 00:27:09,120
Speaker 1: You are so hard on yourself it is crazy.

565
00:27:09,240 --> 00:27:09,720
Speaker 2: It's great.

566
00:27:09,840 --> 00:27:13,080
Speaker 3: Thank you for saying that, Frider.

567
00:27:13,160 --> 00:27:17,200
Speaker 1: You strike plenty first of all, and you answer those

568
00:27:17,280 --> 00:27:20,120
Speaker 1: questions with in the right amount of time. I would

569
00:27:20,119 --> 00:27:20,679
Speaker 1: have to argue you.

570
00:27:20,720 --> 00:27:23,560
Speaker 3: Hope everyone hears this. We've got to get this episode

571
00:27:23,560 --> 00:27:24,160
Speaker 3: out there.

572
00:27:24,200 --> 00:27:29,159
Speaker 2: And everyone will. Yeah, we're making us a popular podcast

573
00:27:29,240 --> 00:27:31,520
Speaker 2: and we do Instagram rails weekly.

574
00:27:34,400 --> 00:27:37,640
Speaker 1: So get ready. Because this has come into Times Square

575
00:27:37,840 --> 00:27:42,800
Speaker 1: on those little videos.

576
00:27:43,040 --> 00:27:45,639
Speaker 2: I'm sort of like, should we just get into the topic.

577
00:27:46,600 --> 00:27:47,840
Speaker 1: I think maybe we should.

578
00:27:48,280 --> 00:27:52,520
Speaker 2: Okay, all right, Bridger, I'm torn between just like going

579
00:27:52,520 --> 00:27:55,320
Speaker 2: into the topic or even like doing a little what

580
00:27:55,400 --> 00:27:56,960
Speaker 2: the two ones that we were debating.

581
00:27:57,080 --> 00:27:59,160
Speaker 3: I think that that's a good idea because I'm still

582
00:27:59,240 --> 00:28:03,199
Speaker 3: like the yeah, let's do usn't chosen feels like for

583
00:28:03,240 --> 00:28:06,040
Speaker 3: some reason within me that feels like the real topic,

584
00:28:06,480 --> 00:28:08,560
Speaker 3: other thing that more people should be talking about.

585
00:28:08,760 --> 00:28:09,960
Speaker 1: It's always the one that got away.

586
00:28:10,080 --> 00:28:12,720
Speaker 2: It's the one that got away, and I agree, all right, well,

587
00:28:13,040 --> 00:28:16,320
Speaker 2: how about you give us both topics and it'll be

588
00:28:16,359 --> 00:28:18,159
Speaker 2: a surprise which one makes it to the title of.

589
00:28:18,160 --> 00:28:22,120
Speaker 3: Epp Okay, I will say the one that we kind

590
00:28:22,119 --> 00:28:25,440
Speaker 3: of agreed on was post credit scenes, but we all

591
00:28:26,080 --> 00:28:28,960
Speaker 3: I think literally everyone on the planet is kind of

592
00:28:29,000 --> 00:28:32,119
Speaker 3: aware and maybe slightly bothered by those at this point.

593
00:28:32,960 --> 00:28:35,120
Speaker 3: The other thing is a little bit more. I think

594
00:28:35,160 --> 00:28:37,480
Speaker 3: we need it needs more to be We've got to

595
00:28:37,520 --> 00:28:40,480
Speaker 3: get it out. There is one shot takes in movies, movie,

596
00:28:40,600 --> 00:28:46,320
Speaker 3: the the uninterrupted shot that takes five minutes, and everyone

597
00:28:46,400 --> 00:28:48,320
Speaker 3: is always so dazzled.

598
00:28:47,800 --> 00:28:55,280
Speaker 1: By yeah, yeah and yeah. So what about that feels

599
00:28:55,280 --> 00:28:55,840
Speaker 1: straight to you?

600
00:28:56,640 --> 00:29:01,920
Speaker 3: To me? First of all, it's the absolute lack of

601
00:29:03,000 --> 00:29:08,400
Speaker 3: thinking about other people's jobs in order to serve your vision.

602
00:29:08,920 --> 00:29:11,239
Speaker 3: It's I had this idea and now I don't care

603
00:29:11,360 --> 00:29:13,560
Speaker 3: what it takes to get there, So I don't care

604
00:29:13,640 --> 00:29:16,200
Speaker 3: if everybody has to count down in their head to

605
00:29:16,280 --> 00:29:19,920
Speaker 3: make to start there, walk into the scene, or do whatever.

606
00:29:21,080 --> 00:29:24,680
Speaker 3: It's a it's a very straight. It's also on the

607
00:29:24,720 --> 00:29:27,880
Speaker 3: other side the viewer. The only people I ever find

608
00:29:28,080 --> 00:29:31,120
Speaker 3: really impressed by this are straight men.

609
00:29:31,920 --> 00:29:33,840
Speaker 2: You are hitting the nail on the head, because from

610
00:29:33,880 --> 00:29:36,520
Speaker 2: the side of the filmmaker, it's like it's the definition

611
00:29:36,600 --> 00:29:39,000
Speaker 2: of like a tour ish, Like it's an a tour

612
00:29:39,040 --> 00:29:41,680
Speaker 2: that wants to do something technically impressive. And then from

613
00:29:41,680 --> 00:29:43,400
Speaker 2: the people watching it, it's like you're in the know

614
00:29:43,560 --> 00:29:46,200
Speaker 2: because you're like, did you see that was one take exactly?

615
00:29:46,400 --> 00:29:48,840
Speaker 3: And no one ever cares like, oh, I didn't notice.

616
00:29:49,560 --> 00:29:52,480
Speaker 2: Right exactly. The average person's like that wasn't that was

617
00:29:52,520 --> 00:29:53,560
Speaker 2: actually Kate Blanchett.

618
00:29:54,480 --> 00:30:01,000
Speaker 1: It's yeah, it's like the way that people rule for

619
00:30:01,080 --> 00:30:03,280
Speaker 1: a one take. I mean, I don't get me wrong,

620
00:30:03,480 --> 00:30:06,040
Speaker 1: I like them, but I like lots of things in movies.

621
00:30:06,160 --> 00:30:10,600
Speaker 1: Like it's like, like, do you remember when True Detective

622
00:30:10,680 --> 00:30:13,880
Speaker 1: Season one had like the big one take shot that

623
00:30:14,440 --> 00:30:17,920
Speaker 1: this was like peak sort of BuzzFeed culture, and there

624
00:30:17,920 --> 00:30:20,720
Speaker 1: were like all these headlines that were like, must see

625
00:30:20,760 --> 00:30:25,320
Speaker 1: this one shot, like this one clip from episode four

626
00:30:25,400 --> 00:30:29,200
Speaker 1: of True Detective is going viral and I was like,

627
00:30:29,320 --> 00:30:33,000
Speaker 1: hold on, but is the show good like and it

628
00:30:33,040 --> 00:30:36,000
Speaker 1: was like, that's not that was never the point at all.

629
00:30:36,040 --> 00:30:37,880
Speaker 2: You know what I felt that way about Birdman? Remember

630
00:30:37,920 --> 00:30:40,239
Speaker 2: how Birdman? The whole thing was that it was like,

631
00:30:40,680 --> 00:30:43,360
Speaker 2: all it was almost all one take, like they had.

632
00:30:43,440 --> 00:30:45,200
Speaker 2: Obviously there were some transitions, but it was like a

633
00:30:45,240 --> 00:30:47,800
Speaker 2: series of very long single takes. And everyone's like, did

634
00:30:47,840 --> 00:30:49,680
Speaker 2: you know it was all one take? And I was like, well,

635
00:30:49,680 --> 00:30:52,120
Speaker 2: did you know it was Emma Stone's worst performance today?

636
00:30:52,760 --> 00:30:54,600
Speaker 2: Because no, who be guess who's talking about that?

637
00:30:54,600 --> 00:30:55,560
Speaker 3: That's what we need to focus.

638
00:30:55,720 --> 00:30:59,480
Speaker 2: Who's talking about that? Certainly not IndieWire dot com.

639
00:30:59,480 --> 00:31:01,280
Speaker 3: They're using it's a distraction.

640
00:31:03,760 --> 00:31:05,520
Speaker 1: Well, it's almost like a shield to be like, you

641
00:31:05,520 --> 00:31:07,280
Speaker 1: can't judge me as a normal movie because I did

642
00:31:07,280 --> 00:31:11,600
Speaker 1: this in one take. Right, there's a defensiveness to it.

643
00:31:12,760 --> 00:31:16,840
Speaker 1: I will say. The gay equivalent, I actually think is

644
00:31:16,920 --> 00:31:22,240
Speaker 1: doing like kind of adding on a musical element where

645
00:31:22,240 --> 00:31:24,320
Speaker 1: you're like and now like if you're like and now

646
00:31:24,320 --> 00:31:26,959
Speaker 1: it's a music hall too, and it's sort of like

647
00:31:27,480 --> 00:31:28,040
Speaker 1: but you're.

648
00:31:27,840 --> 00:31:30,440
Speaker 3: This is what I'll say, Yeah, yeah, I mean it's choreography.

649
00:31:30,480 --> 00:31:33,360
Speaker 3: I mean, these straight directors do not want to do choreography,

650
00:31:34,080 --> 00:31:38,440
Speaker 3: so they're having everybody do choreography in disguise.

651
00:31:39,360 --> 00:31:42,000
Speaker 2: They're having the crew members do choreography and they are

652
00:31:42,120 --> 00:31:45,960
Speaker 2: underpaid and non union. Yes, that's the difference between straight

653
00:31:45,960 --> 00:31:48,800
Speaker 2: and gay filmmaking. Gay filmmaking, you gotta the actors doing choreography.

654
00:31:48,840 --> 00:31:51,560
Speaker 2: They're getting paid extra for it. Straight filmmaking, the crew

655
00:31:51,600 --> 00:31:54,560
Speaker 2: members are doing backflips and then getting injured and they

656
00:31:54,560 --> 00:31:56,960
Speaker 2: don't have workers comp So I think about that next

657
00:31:57,000 --> 00:31:57,760
Speaker 2: time you see.

658
00:31:57,840 --> 00:31:59,800
Speaker 3: There's not a bed of music, there's nothing.

659
00:32:00,120 --> 00:32:00,920
Speaker 2: Yeah, exactly.

660
00:32:01,000 --> 00:32:01,800
Speaker 1: Yeah.

661
00:32:01,880 --> 00:32:04,240
Speaker 2: I actually sort of think, and we are on record

662
00:32:04,320 --> 00:32:07,480
Speaker 2: as standing Oppenheimer, but I think that the Barbie Oppenheimer

663
00:32:07,800 --> 00:32:09,960
Speaker 2: divide perfectly encapsulate this where it's like, on the one

664
00:32:09,960 --> 00:32:12,760
Speaker 2: hand you have Chris Nolan such as showy ad tourish director,

665
00:32:12,760 --> 00:32:14,680
Speaker 2: and then the other hand, Freda Gerwig is like, well

666
00:32:14,680 --> 00:32:15,120
Speaker 2: make them.

667
00:32:15,080 --> 00:32:20,160
Speaker 3: Dance exactly, and I'd rather watch people dance. They're both

668
00:32:20,160 --> 00:32:23,280
Speaker 3: distracting things in a movie, Like I think the one

669
00:32:23,280 --> 00:32:25,000
Speaker 3: take is supposed to be this immersive thing, and I'm

670
00:32:25,000 --> 00:32:27,080
Speaker 3: always like, oh this, now I'm looking at this thing,

671
00:32:27,120 --> 00:32:29,400
Speaker 3: and I exactly longer I'm not in the movie anymore.

672
00:32:30,120 --> 00:32:32,040
Speaker 2: It's well, it's GIMMI I mean, this is the thing

673
00:32:32,080 --> 00:32:35,840
Speaker 2: with gimmicks. They you think they it's like you think

674
00:32:35,840 --> 00:32:37,760
Speaker 2: they can stand on their own, and it's like, well,

675
00:32:37,880 --> 00:32:40,040
Speaker 2: the fact that I accomplished this gimmick means I am

676
00:32:40,080 --> 00:32:42,120
Speaker 2: talented or I am good, but in fact they end

677
00:32:42,160 --> 00:32:44,240
Speaker 2: up being a distraction because you're focusing on like the

678
00:32:44,240 --> 00:32:46,680
Speaker 2: sort of meta sort of element of what you're seeing

679
00:32:46,760 --> 00:32:47,920
Speaker 2: rather than what's actually happening.

680
00:32:48,400 --> 00:32:51,920
Speaker 3: And meanwhile, I'm also worried about everybody hitting their mark exactly.

681
00:32:52,280 --> 00:32:54,720
Speaker 3: The anxiety of going through that entire thing, it's like

682
00:32:55,960 --> 00:33:00,160
Speaker 3: horrifying for me. Yeah, absolutely terrifying. And this is this

683
00:33:00,240 --> 00:33:02,640
Speaker 3: is also bringing up the memory of another thing that

684
00:33:02,680 --> 00:33:05,040
Speaker 3: I think quickly died, but was also I think within

685
00:33:05,200 --> 00:33:08,280
Speaker 3: straight filmmaking, which was those where it was like a

686
00:33:08,360 --> 00:33:11,280
Speaker 3: still shot or no, everybody would freeze and then we

687
00:33:11,320 --> 00:33:14,240
Speaker 3: would move through the scene while the characters were frozen.

688
00:33:14,280 --> 00:33:17,280
Speaker 3: The action was frozen. Do you remember this? Yes, yes,

689
00:33:17,840 --> 00:33:22,560
Speaker 3: absolutely terrible idea and serve no purpose. Ever, I feel

690
00:33:22,600 --> 00:33:25,680
Speaker 3: like it like it was something comedy and maybe the

691
00:33:25,720 --> 00:33:28,040
Speaker 3: early tens or something. It's like, why are we now

692
00:33:28,080 --> 00:33:33,760
Speaker 3: doing this computer freeze of the everyone's frozen in time.

693
00:33:33,840 --> 00:33:36,680
Speaker 3: It has nothing to do with the story. It's simply

694
00:33:37,160 --> 00:33:38,080
Speaker 3: you know the technology.

695
00:33:38,120 --> 00:33:40,400
Speaker 2: Yeah, do you know who did that recently actually, and

696
00:33:40,560 --> 00:33:42,520
Speaker 2: it drove me insane. Did you ever watch The Worst

697
00:33:42,520 --> 00:33:43,240
Speaker 2: Person in the World?

698
00:33:43,800 --> 00:33:44,440
Speaker 3: No?

699
00:33:44,440 --> 00:33:45,320
Speaker 1: No, I never saw it.

700
00:33:45,560 --> 00:33:47,520
Speaker 2: Everyone loved it and it was quirky and they were

701
00:33:47,520 --> 00:33:49,200
Speaker 2: young and they were in love and they were straight

702
00:33:49,360 --> 00:33:53,880
Speaker 2: congradually and there was this famous scene where I can't

703
00:33:53,880 --> 00:33:56,880
Speaker 2: remember the specifics, but it's like everyone freezes and she

704
00:33:57,040 --> 00:33:59,720
Speaker 2: like runs to him and then back to where she

705
00:33:59,840 --> 00:34:02,400
Speaker 2: was and then things start again or something on those lines.

706
00:34:02,440 --> 00:34:06,480
Speaker 2: Don't don't email me, but it And I was like, Okay,

707
00:34:06,680 --> 00:34:09,560
Speaker 2: if you think this is good, you need to, like,

708
00:34:10,120 --> 00:34:11,840
Speaker 2: you need to watch Five Hundred Days of Summer.

709
00:34:11,920 --> 00:34:14,359
Speaker 3: I'm just going to say, I having I've never seen

710
00:34:14,360 --> 00:34:16,320
Speaker 3: that movie, but that's what this. That movie must have

711
00:34:16,360 --> 00:34:18,239
Speaker 3: been the exact same thing, exactly.

712
00:34:18,560 --> 00:34:20,440
Speaker 2: No, five hundred Days of Summer is sort of like

713
00:34:20,520 --> 00:34:24,000
Speaker 2: the not to be gender Essentialists, but the sort of

714
00:34:24,200 --> 00:34:28,360
Speaker 2: more feminine, gimmicky uh thing to the to the one shot.

715
00:34:28,719 --> 00:34:31,480
Speaker 3: That movie is full of gimmicks, right, Yes.

716
00:34:32,719 --> 00:34:33,680
Speaker 1: In a way, that's good?

717
00:34:33,800 --> 00:34:34,719
Speaker 2: Or no?

718
00:34:39,239 --> 00:34:41,080
Speaker 3: Is that? Who are the two leads of that?

719
00:34:41,280 --> 00:34:43,960
Speaker 2: It's uh, it's Joseph Gordon Levit and Zo Dei Chanel.

720
00:34:44,120 --> 00:34:50,880
Speaker 2: It's peak Zoya Chanel like quirky bangs, sun dresses. Joseph

721
00:34:50,880 --> 00:34:53,880
Speaker 2: Gordon Levitt meanwhile, is the perfect male foil. It's like

722
00:34:54,000 --> 00:34:56,600
Speaker 2: skinny tie, skinny jeens, skinny body.

723
00:34:58,120 --> 00:35:01,440
Speaker 1: I have like a thought that I think would be

724
00:35:01,480 --> 00:35:03,120
Speaker 1: fun to share because I think it's one of those

725
00:35:03,160 --> 00:35:06,000
Speaker 1: thoughts that will be instantly regrettable in like a year

726
00:35:06,120 --> 00:35:06,399
Speaker 1: or two.

727
00:35:06,520 --> 00:35:07,279
Speaker 2: Please go on.

728
00:35:08,560 --> 00:35:13,160
Speaker 1: Okay, So people making movies, they get so obsessed with,

729
00:35:13,160 --> 00:35:16,480
Speaker 1: like the technical stuff in general, like the one shot

730
00:35:16,520 --> 00:35:18,680
Speaker 1: is just one element of this. When people are like, oh,

731
00:35:18,719 --> 00:35:21,160
Speaker 1: they got the blah blah blah lens like or it's

732
00:35:21,200 --> 00:35:23,440
Speaker 1: like oh wow, that's called this shot and they do

733
00:35:23,480 --> 00:35:26,320
Speaker 1: it like this, and I'm sort of like, Okay, unless

734
00:35:26,360 --> 00:35:29,000
Speaker 1: I'm making the film, I don't want to know what

735
00:35:29,040 --> 00:35:33,919
Speaker 1: the lens is like, I don't I don't ever want

736
00:35:33,920 --> 00:35:36,720
Speaker 1: to know what the shot is called. I just want

737
00:35:36,760 --> 00:35:39,839
Speaker 1: to watch something. And people like really are like damn,

738
00:35:39,960 --> 00:35:42,880
Speaker 1: he's such a lens nerd, and I'm like, okay, like

739
00:35:43,160 --> 00:35:45,839
Speaker 1: is he Steven Spielberg. That's the only person I want

740
00:35:45,840 --> 00:35:49,160
Speaker 1: to be a lens nerd. It's like, if you are

741
00:35:49,160 --> 00:35:50,760
Speaker 1: a lens nerd, keep it to yourself.

742
00:35:51,840 --> 00:35:53,520
Speaker 3: Yeah, you don't go to a concert and hope your

743
00:35:53,560 --> 00:35:55,520
Speaker 3: friend is like, this is the type of guitar strings

744
00:35:55,520 --> 00:35:58,000
Speaker 3: they're using. It's like I don't, Yeah, this is.

745
00:35:58,000 --> 00:36:02,000
Speaker 2: A g chord by the way, hopefully completely No. I

746
00:36:02,040 --> 00:36:04,920
Speaker 2: actually think this sort of points to like the context

747
00:36:04,920 --> 00:36:08,239
Speaker 2: collapse of all media, where Like it used to be

748
00:36:08,280 --> 00:36:10,160
Speaker 2: that if you wanted to read about lenses, you would

749
00:36:10,200 --> 00:36:13,600
Speaker 2: read like film comment, you would read a film magazine.

750
00:36:14,160 --> 00:36:17,520
Speaker 2: And now suddenly every last loser out there has some

751
00:36:17,640 --> 00:36:21,239
Speaker 2: opinion about lenses and I have to read about it

752
00:36:21,280 --> 00:36:21,920
Speaker 2: on a blog.

753
00:36:24,920 --> 00:36:26,440
Speaker 1: Why do I have to read about it?

754
00:36:26,480 --> 00:36:29,520
Speaker 2: I'm like, no, truly, Like, if I'm interested, I'll buy

755
00:36:29,960 --> 00:36:32,960
Speaker 2: a glossy magazine. It's gonna have you know, ISABELLU pair

756
00:36:33,040 --> 00:36:35,040
Speaker 2: on the cover, and I will read about the lenses

757
00:36:35,040 --> 00:36:36,880
Speaker 2: if that is my interest. But I should not be

758
00:36:36,880 --> 00:36:40,080
Speaker 2: scrolling through Instagram where I want to see vintage chairs

759
00:36:40,600 --> 00:36:42,640
Speaker 2: and have someone talking at me about lenses.

760
00:36:44,040 --> 00:36:47,480
Speaker 1: I was like, I, unless I'm making a film, I

761
00:36:47,560 --> 00:36:49,880
Speaker 1: don't really, I'm not gonna look up lenses are not

762
00:36:49,920 --> 00:36:50,600
Speaker 1: exciting to me?

763
00:36:51,400 --> 00:36:53,919
Speaker 3: No, absolutely not.

764
00:36:54,080 --> 00:36:56,520
Speaker 2: No, You're sorry. I mean I think maybe it's just

765
00:36:56,920 --> 00:37:01,400
Speaker 2: all it all is part of like the askul encoded

766
00:37:01,880 --> 00:37:05,200
Speaker 2: like film nerd slash cinephile archetype.

767
00:37:06,120 --> 00:37:11,600
Speaker 1: Yeah, yeah, you know this is something you know. I

768
00:37:11,640 --> 00:37:13,920
Speaker 1: know we believe women, but do we believe men when

769
00:37:13,960 --> 00:37:16,160
Speaker 1: they say that the cinematography in a film is good?

770
00:37:16,640 --> 00:37:19,439
Speaker 1: I don't. I think they're making it up when men's say.

771
00:37:19,640 --> 00:37:22,719
Speaker 1: When men's say, like, the cinematography was stunning, I'm always like,

772
00:37:23,040 --> 00:37:25,240
Speaker 1: you just liked it, I think, I think.

773
00:37:26,920 --> 00:37:30,480
Speaker 3: Because it was never that impressive. It's almost like, how

774
00:37:30,520 --> 00:37:32,279
Speaker 3: often are you like, oh my god, that, like I

775
00:37:32,280 --> 00:37:35,960
Speaker 3: would buy that as a picture on my wall. Nobody

776
00:37:35,960 --> 00:37:39,960
Speaker 3: ever thinks that totally like a big budget movie, you

777
00:37:40,000 --> 00:37:41,520
Speaker 3: don't care about the cinematography.

778
00:37:42,440 --> 00:37:45,640
Speaker 2: Do you know what I think it is right now?

779
00:37:46,040 --> 00:37:48,760
Speaker 2: Right now because of the rise of really low budget,

780
00:37:48,840 --> 00:37:53,640
Speaker 2: low quality streaming content. It's almost like the way people

781
00:37:53,680 --> 00:37:57,600
Speaker 2: return to vinyl when MP three's were popular. Now people

782
00:37:57,600 --> 00:38:00,839
Speaker 2: are like, wow, all of you sheep are watching, you know,

783
00:38:00,960 --> 00:38:04,400
Speaker 2: to all the boys I've loved before, But I know

784
00:38:04,440 --> 00:38:06,080
Speaker 2: what real cinematography looks like.

785
00:38:07,280 --> 00:38:10,720
Speaker 1: Sure, sure, it's almost it's like the bar of entry

786
00:38:10,760 --> 00:38:14,320
Speaker 1: of enjoint of like being a like being art minded

787
00:38:14,400 --> 00:38:15,120
Speaker 1: is really low.

788
00:38:15,000 --> 00:38:18,879
Speaker 2: Now totally, And so it's difficult because you're also like, well, yeah,

789
00:38:18,920 --> 00:38:20,520
Speaker 2: I agree with you. I actually do want things to

790
00:38:20,560 --> 00:38:21,040
Speaker 2: look better.

791
00:38:22,280 --> 00:38:24,200
Speaker 3: Yeah, I do want things to look better. But in

792
00:38:24,200 --> 00:38:26,239
Speaker 3: twenty years, everybody's gonna be like, how do we get

793
00:38:26,360 --> 00:38:28,440
Speaker 3: recapture the what's the boys?

794
00:38:28,640 --> 00:38:30,280
Speaker 2: The magic of all the boys I've loved before?

795
00:38:30,360 --> 00:38:34,000
Speaker 3: Yes, yes, these same men were talking about right now

796
00:38:34,080 --> 00:38:36,239
Speaker 3: will be trying to duplicate that twenty years from now.

797
00:38:36,800 --> 00:38:39,000
Speaker 2: Totally. No, it's like I want things to look better,

798
00:38:39,040 --> 00:38:42,439
Speaker 2: but honey, I don't want to hear about it. Yeah, yes,

799
00:38:42,560 --> 00:38:45,719
Speaker 2: make better movies. I will show up and I'll watch

800
00:38:45,760 --> 00:38:47,680
Speaker 2: your movie. That's I don't need to know anything on

801
00:38:47,719 --> 00:38:49,080
Speaker 2: the other side of the camera.

802
00:38:49,560 --> 00:38:53,440
Speaker 1: No, totally, I even want to know. Like what I

803
00:38:53,440 --> 00:38:55,640
Speaker 1: want people to talk about is like the ideas and

804
00:38:55,680 --> 00:39:00,040
Speaker 1: the feelings and the like the bigger picture. And it's like,

805
00:39:00,440 --> 00:39:04,120
Speaker 1: why are we so addicted to the lens? It's like,

806
00:39:04,160 --> 00:39:06,200
Speaker 1: give me you are are you?

807
00:39:06,200 --> 00:39:09,600
Speaker 2: You are specifically talking about the fact the Oppenheimer thing

808
00:39:09,600 --> 00:39:11,759
Speaker 2: where he used an Imax lens four faces.

809
00:39:14,040 --> 00:39:15,880
Speaker 1: That's not what I thought I was talking about.

810
00:39:15,640 --> 00:39:17,560
Speaker 2: But really, what are you thinking about? Oh?

811
00:39:17,680 --> 00:39:18,680
Speaker 1: I was talking about something else?

812
00:39:18,719 --> 00:39:22,440
Speaker 2: But okay, also makes sense that literally every time I

813
00:39:22,520 --> 00:39:25,560
Speaker 2: go online. It's literally like it's like, did you know,

814
00:39:26,160 --> 00:39:29,680
Speaker 2: Chris Nolan, here's that Imax lens.

815
00:39:32,360 --> 00:39:35,000
Speaker 3: No, I mean what, it's just a way to avoid

816
00:39:35,040 --> 00:39:39,480
Speaker 3: talking about any sort of emotion, totally feeling about the movie.

817
00:39:39,560 --> 00:39:41,560
Speaker 1: Right, Yeah, you know.

818
00:39:41,520 --> 00:39:43,520
Speaker 2: What, here's what I'll say. You know what, I love

819
00:39:44,200 --> 00:39:47,120
Speaker 2: when people talk when when a music video is one

820
00:39:47,239 --> 00:39:47,760
Speaker 2: long shot.

821
00:39:48,080 --> 00:39:54,400
Speaker 1: Now now, because this music video is exactly what Bridge

822
00:39:54,440 --> 00:39:56,960
Speaker 1: is saying. It is both the choreo of the camera

823
00:39:57,560 --> 00:40:01,040
Speaker 1: and the choreo of the literal dancing. That is, that

824
00:40:01,160 --> 00:40:07,760
Speaker 1: is a beautiful sexual relationship that it's fluid as God

825
00:40:07,760 --> 00:40:08,560
Speaker 1: and tender river.

826
00:40:09,000 --> 00:40:13,000
Speaker 3: Yeah. I mean, it's not interrupting a movie. It's not like, oh,

827
00:40:13,040 --> 00:40:14,799
Speaker 3: there were all these cuts and now I'm looking at

828
00:40:15,080 --> 00:40:15,680
Speaker 3: who cares?

829
00:40:16,120 --> 00:40:16,400
Speaker 2: Yes?

830
00:40:16,560 --> 00:40:18,840
Speaker 3: Wow, we start and we end three minutes later. We

831
00:40:18,880 --> 00:40:22,160
Speaker 3: got the one take and this director isn't bothering anybody

832
00:40:22,160 --> 00:40:22,719
Speaker 3: about it.

833
00:40:23,080 --> 00:40:23,319
Speaker 1: Yeah.

834
00:40:23,320 --> 00:40:25,759
Speaker 2: Here's my message to odd tours. Want to show off

835
00:40:25,880 --> 00:40:28,520
Speaker 2: direct a music video, and then when you're done with

836
00:40:28,560 --> 00:40:30,520
Speaker 2: that and you collect the check, go make an adult

837
00:40:30,560 --> 00:40:32,240
Speaker 2: movie for adults that are not children.

838
00:40:33,560 --> 00:40:34,800
Speaker 3: No post credit scenes.

839
00:40:35,520 --> 00:40:42,160
Speaker 1: Yeah yeah, wow, I mean yeah, heck, I don't even

840
00:40:42,200 --> 00:40:45,200
Speaker 1: mind if my Apple commercials are one shots. I think.

841
00:40:45,680 --> 00:40:48,520
Speaker 1: Sure have some fun out there. Show me your technical

842
00:40:48,560 --> 00:40:52,560
Speaker 1: prowess as you are promoting a technical product.

843
00:40:53,080 --> 00:40:55,960
Speaker 2: Have you seen that perfume ad with Margaret Qually?

844
00:40:57,080 --> 00:40:57,200
Speaker 3: No?

845
00:40:57,520 --> 00:40:58,080
Speaker 1: Is it the one?

846
00:40:58,200 --> 00:40:59,640
Speaker 2: The dancing one or dancing one?

847
00:41:00,040 --> 00:41:00,960
Speaker 1: Yeah? Yeah, yeah, I love it.

848
00:41:00,960 --> 00:41:05,200
Speaker 2: It's like love that, yeah Bridger if you haven't seen it. Basically,

849
00:41:05,200 --> 00:41:08,120
Speaker 2: she starts dancing. She just starts, so she's like in

850
00:41:08,200 --> 00:41:10,200
Speaker 2: a ball gown. She's at a sort of big event,

851
00:41:10,480 --> 00:41:13,600
Speaker 2: and then she starts dancing kind of crazily. She's literally

852
00:41:13,640 --> 00:41:15,680
Speaker 2: like doing crazy moves and like going like that and

853
00:41:15,719 --> 00:41:18,160
Speaker 2: like bouncing off the walls and it's I can't remember

854
00:41:18,200 --> 00:41:21,400
Speaker 2: if it's one take, but it is. It's fun or like,

855
00:41:22,440 --> 00:41:24,439
Speaker 2: oh my god, what is that? Like fat Boy Slim

856
00:41:24,520 --> 00:41:28,319
Speaker 2: music video with Christopher Walking? It's like that there you

857
00:41:28,400 --> 00:41:31,000
Speaker 2: go like that? Sorry?

858
00:41:31,520 --> 00:41:34,520
Speaker 3: Yes, oh no, with that Christopher Walking? Is that?

859
00:41:34,719 --> 00:41:34,759
Speaker 1: No?

860
00:41:35,040 --> 00:41:37,000
Speaker 3: Christy the one replies through the air.

861
00:41:37,080 --> 00:41:41,080
Speaker 1: Everyone, please cut sorry, please keep me saying, and also,

862
00:41:41,360 --> 00:41:43,160
Speaker 1: don't be mad at us for taking a second to

863
00:41:43,200 --> 00:41:46,680
Speaker 1: think of someone's name, because guess what, we're just thoughtful people.

864
00:41:46,760 --> 00:41:50,719
Speaker 3: Okay, No, I have an effect on everybody because I'm

865
00:41:50,760 --> 00:41:53,840
Speaker 3: still trying to commit margaret quality to memory. I like

866
00:41:54,080 --> 00:41:56,720
Speaker 3: just recently like connected her name with the person. I'm like, okay,

867
00:41:56,920 --> 00:41:58,879
Speaker 3: we're just gonna go through some cycles. Every day, think

868
00:41:58,880 --> 00:42:01,000
Speaker 3: about her, think about who she is and her name.

869
00:42:01,239 --> 00:42:04,680
Speaker 3: And now she's having her stars rising quickly. So I

870
00:42:04,719 --> 00:42:05,360
Speaker 3: need to be aware.

871
00:42:05,400 --> 00:42:07,719
Speaker 2: Well, you and the rest of America. Everyone wakes up

872
00:42:07,760 --> 00:42:09,279
Speaker 2: every day and they're like, god, damn it, who is

873
00:42:09,280 --> 00:42:12,160
Speaker 2: she again? But at least you're doing the work.

874
00:42:12,719 --> 00:42:15,239
Speaker 1: I'd be fair. I knew I knew the video, but

875
00:42:15,280 --> 00:42:17,440
Speaker 1: I didn't know it was Margaret Qualley.

876
00:42:17,680 --> 00:42:25,000
Speaker 3: So she's I mean, she's been what she was in

877
00:42:25,040 --> 00:42:26,520
Speaker 3: a Leftovers? Is that right?

878
00:42:27,440 --> 00:42:30,960
Speaker 2: She wasn't leftover? She just married Jack Antonov.

879
00:42:31,400 --> 00:42:35,160
Speaker 1: Oh oh yeah, hm weird.

880
00:42:36,000 --> 00:42:36,520
Speaker 3: Interesting.

881
00:42:37,200 --> 00:42:39,160
Speaker 2: And she's Andy McDowell's daughter, I believe.

882
00:42:39,640 --> 00:42:44,120
Speaker 1: Oh yeah, well good for herty. Hard to forget now.

883
00:42:44,280 --> 00:42:46,719
Speaker 3: She brings very different energy than her mom.

884
00:42:47,280 --> 00:42:51,640
Speaker 2: Yes, she's way more young.

885
00:42:56,160 --> 00:42:57,160
Speaker 1: That is so true.

886
00:42:57,920 --> 00:43:00,400
Speaker 3: But I mean, to your point, I think it's like

887
00:43:01,000 --> 00:43:02,840
Speaker 3: the one shot take of a commercial. You're saying, did

888
00:43:02,880 --> 00:43:04,560
Speaker 3: you see that great commercial? Did you see that great

889
00:43:04,640 --> 00:43:06,319
Speaker 3: music video or not? Did you see the great one

890
00:43:06,320 --> 00:43:09,760
Speaker 3: shot take in the commercial? It's just is the commercial exactly.

891
00:43:10,000 --> 00:43:10,680
Speaker 1: Yeah.

892
00:43:10,719 --> 00:43:12,839
Speaker 2: And also, by the way, you know, if you're advertising

893
00:43:12,840 --> 00:43:17,040
Speaker 2: a perfume or product or even heck, a Kylie Minogue song,

894
00:43:18,000 --> 00:43:20,160
Speaker 2: you know that's you can I think that is your

895
00:43:20,239 --> 00:43:23,560
Speaker 2: chance to show off your technical prowess because that's sort

896
00:43:23,600 --> 00:43:26,000
Speaker 2: of what you're there to offer. You didn't, you know,

897
00:43:26,120 --> 00:43:29,920
Speaker 2: like the the product exists, and then you're there to

898
00:43:29,960 --> 00:43:31,080
Speaker 2: sort of like hush.

899
00:43:30,880 --> 00:43:32,280
Speaker 3: It up pure style.

900
00:43:32,400 --> 00:43:35,560
Speaker 2: You're not even you're not like beholden to some kind

901
00:43:35,600 --> 00:43:37,799
Speaker 2: of narrative. You're just there showing off your technical prowess.

902
00:43:37,880 --> 00:43:39,960
Speaker 2: When you're making a movie, how about focus on what

903
00:43:40,600 --> 00:43:41,240
Speaker 2: she's saying.

904
00:43:42,960 --> 00:43:47,719
Speaker 1: Listen to her. Yeah, she's speaking, Yeah.

905
00:43:46,560 --> 00:43:48,560
Speaker 3: No, I don't want the camera in front of a

906
00:43:48,600 --> 00:43:49,920
Speaker 3: performance exactly.

907
00:43:49,960 --> 00:43:52,200
Speaker 2: And at what point is a male director doing a

908
00:43:52,440 --> 00:43:56,880
Speaker 2: single shot just trying to basically distract from a female performance.

909
00:43:57,160 --> 00:44:00,160
Speaker 3: Absolutely, he didn't want her in the movie in the

910
00:44:00,200 --> 00:44:00,760
Speaker 3: first place.

911
00:44:01,520 --> 00:44:05,279
Speaker 1: Yeah, And he's saying, don't forget I'm here too, I'm

912
00:44:05,320 --> 00:44:07,000
Speaker 1: watching this up close and personal.

913
00:44:07,080 --> 00:44:08,879
Speaker 2: But it's like, if you want an attention, why didn't

914
00:44:08,880 --> 00:44:11,480
Speaker 2: you become an actor? Oh, that's right, because you're unattractive.

915
00:44:11,920 --> 00:44:12,040
Speaker 1: Ye.

916
00:44:14,680 --> 00:44:16,839
Speaker 3: And you've read about lenses on Twitter and you had

917
00:44:16,880 --> 00:44:18,239
Speaker 3: to do something with that knowledge.

918
00:44:18,880 --> 00:44:21,600
Speaker 2: All male filmmakers just got radicalized because they read about

919
00:44:21,640 --> 00:44:22,440
Speaker 2: lenses on Reddit.

920
00:44:24,560 --> 00:44:28,840
Speaker 3: Lenses are very up voted reddit topic. Yeah, I feel like,

921
00:44:29,000 --> 00:44:31,239
Speaker 3: look at this scene in this movie and it's like

922
00:44:31,280 --> 00:44:33,920
Speaker 3: the top reddit thread or what do they call a

923
00:44:34,000 --> 00:44:34,920
Speaker 3: reddit topic.

924
00:44:36,360 --> 00:44:37,799
Speaker 1: Honey, we're not all right, we don't know.

925
00:44:37,920 --> 00:44:39,800
Speaker 2: Sorry.

926
00:44:40,160 --> 00:44:42,080
Speaker 3: I wish I could have brought more Reddit knowledge to this,

927
00:44:42,120 --> 00:44:44,200
Speaker 3: but that is a there's a wall around that. Now

928
00:44:44,520 --> 00:44:45,560
Speaker 3: I cannot We're.

929
00:44:45,520 --> 00:44:47,480
Speaker 2: Vote blue no matter who on this podcast.

930
00:44:47,880 --> 00:44:56,040
Speaker 1: Yeah, yeah, yeah, Wow, I'm trying to like, I didn't

931
00:44:56,080 --> 00:44:58,640
Speaker 1: mean to tap so hard into it. My lenses hate.

932
00:44:58,840 --> 00:45:01,160
Speaker 1: I don't know where that came from.

933
00:45:01,320 --> 00:45:02,279
Speaker 2: I love it.

934
00:45:02,280 --> 00:45:03,960
Speaker 3: It's the one piece of a camera we know the

935
00:45:04,080 --> 00:45:04,400
Speaker 3: name of.

936
00:45:04,680 --> 00:45:05,800
Speaker 2: That's a very good point.

937
00:45:06,200 --> 00:45:08,360
Speaker 1: Yeah, yeah, the lens. The on button.

938
00:45:08,680 --> 00:45:10,960
Speaker 3: Yeah, the buttons you should.

939
00:45:10,760 --> 00:45:12,120
Speaker 2: Start talking about. You should be like, you know, this

940
00:45:12,160 --> 00:45:15,359
Speaker 2: camera has an incredible on button. It goes from left

941
00:45:15,400 --> 00:45:16,720
Speaker 2: to right rather than right to left.

942
00:45:18,680 --> 00:45:19,520
Speaker 1: Yeah.

943
00:45:19,680 --> 00:45:22,160
Speaker 3: You can really feel Tarantino's use of the button throughout

944
00:45:22,200 --> 00:45:22,640
Speaker 3: the film.

945
00:45:23,120 --> 00:45:27,600
Speaker 1: Yeah, you know this is Yeah, when he turned it on,

946
00:45:27,680 --> 00:45:28,520
Speaker 1: that was so amazing.

947
00:45:29,560 --> 00:45:33,680
Speaker 3: This movie wouldn't exist without that button. Yeah, do cameras

948
00:45:33,719 --> 00:45:36,520
Speaker 3: have a Yeah, they have buttons. They've got buttons, some

949
00:45:36,560 --> 00:45:40,080
Speaker 3: of them. Yeah, they all have at least some button.

950
00:45:40,880 --> 00:45:43,839
Speaker 3: Some of the might have switches switches. Interesting, I feel

951
00:45:43,840 --> 00:45:46,120
Speaker 3: like that's dangerous on a cant. You don't want it

952
00:45:46,160 --> 00:45:47,360
Speaker 3: to accidentally switch off.

953
00:45:47,719 --> 00:45:51,120
Speaker 1: Yeah, yeah, I mean it's definitely dangerous. But you know, filmmaking,

954
00:45:51,360 --> 00:45:53,320
Speaker 1: as far as I know, is dangerous.

955
00:45:54,120 --> 00:45:55,520
Speaker 2: Oh in this climate.

956
00:45:56,400 --> 00:45:59,919
Speaker 1: Yeah, I think all art is dangerous. And so it's

957
00:46:00,040 --> 00:46:02,600
Speaker 1: figure is very A switch is very accurate.

958
00:46:02,680 --> 00:46:04,400
Speaker 2: Absolutely, you know what, Hey, guess what? You know? It

959
00:46:04,440 --> 00:46:06,760
Speaker 2: doesn't have a switch. Truth telling via stand up comedy.

960
00:46:06,800 --> 00:46:10,080
Speaker 2: And that's why comedians need to band together, because we

961
00:46:10,120 --> 00:46:11,920
Speaker 2: are being driven out of.

962
00:46:11,960 --> 00:46:15,920
Speaker 1: Being to band together, learn about lenses and make a film.

963
00:46:15,920 --> 00:46:20,440
Speaker 3: Endangered species, absolutely an endangered species, and.

964
00:46:20,719 --> 00:46:23,720
Speaker 1: Our jobs are being replaced by man on the street.

965
00:46:24,600 --> 00:46:26,359
Speaker 1: TikTokers brought it back.

966
00:46:26,480 --> 00:46:29,480
Speaker 3: Who I have not come across a single one of

967
00:46:29,520 --> 00:46:33,759
Speaker 3: these men on the street people. I maybe it's just

968
00:46:33,800 --> 00:46:37,200
Speaker 3: the way I use any Internet, but I have.

969
00:46:37,160 --> 00:46:39,400
Speaker 2: To say, Bridger, I do agree with you. I fully

970
00:46:39,440 --> 00:46:43,239
Speaker 2: trust Sam and that's why I immediately yes handed his observation.

971
00:46:44,000 --> 00:46:46,400
Speaker 2: But I'm you know, I've said this before I have

972
00:46:46,440 --> 00:46:48,799
Speaker 2: an addictive personality. And that's why I drew the line

973
00:46:48,800 --> 00:46:51,879
Speaker 2: of TikTok. I said, I already, you know I've I've

974
00:46:51,880 --> 00:46:55,320
Speaker 2: taken on all these other platforms. I can't do TikTok.

975
00:46:55,600 --> 00:46:58,320
Speaker 2: So I simply have never seen a single person like that,

976
00:46:58,440 --> 00:46:59,840
Speaker 2: like the people are describing Sam.

977
00:47:00,080 --> 00:47:02,200
Speaker 3: But you can you can immediately picture it. I mean,

978
00:47:02,200 --> 00:47:03,520
Speaker 3: it's such I can immediately picture it.

979
00:47:03,560 --> 00:47:05,080
Speaker 2: And it's terrifying.

980
00:47:05,120 --> 00:47:08,279
Speaker 3: By the way, it'll probably happen to one of us

981
00:47:08,280 --> 00:47:10,560
Speaker 3: in our lifetime. Somebody is going to approach I.

982
00:47:10,480 --> 00:47:13,880
Speaker 1: Mean, that's quite literally my greatest fear. It's I actually,

983
00:47:13,880 --> 00:47:15,360
Speaker 1: when I first moved to New York, I was afraid

984
00:47:15,400 --> 00:47:16,919
Speaker 1: that I would be on some sort of prank show

985
00:47:16,960 --> 00:47:21,800
Speaker 1: against my will. And and now my fear is that

986
00:47:21,840 --> 00:47:23,560
Speaker 1: I'll be interviewed for a man on the street and

987
00:47:23,560 --> 00:47:26,600
Speaker 1: it'll be like yeah, it'll be like, what's your type

988
00:47:26,640 --> 00:47:27,320
Speaker 1: in two words?

989
00:47:27,680 --> 00:47:30,040
Speaker 2: Yeah, and then you have to be like, I'm sorry,

990
00:47:30,080 --> 00:47:31,880
Speaker 2: I'm not going to be photographed with that lens.

991
00:47:33,760 --> 00:47:36,920
Speaker 1: Okay, And now look who's bringing it back, and now

992
00:47:37,239 --> 00:47:39,360
Speaker 1: look who's making the little full circle.

993
00:47:39,400 --> 00:47:40,920
Speaker 2: And I'm trying to keep up. I'm trying to keep

994
00:47:41,000 --> 00:47:41,440
Speaker 2: up over.

995
00:47:41,320 --> 00:47:45,080
Speaker 1: Here, so Bridger. You know, as someone that hosts a

996
00:47:45,120 --> 00:47:48,680
Speaker 1: podcast alone, how do you call out a co host

997
00:47:49,160 --> 00:47:52,440
Speaker 1: or how do you do it? Do you get scared?

998
00:47:52,560 --> 00:47:55,200
Speaker 3: It's such a lonely place to be. I am so

999
00:47:55,440 --> 00:47:55,960
Speaker 3: jealous of.

1000
00:47:56,400 --> 00:47:58,960
Speaker 2: How do you develop chemistry when there's no one else there?

1001
00:47:59,080 --> 00:48:02,239
Speaker 3: There is nothing there? Every week it's a reset, and

1002
00:48:02,440 --> 00:48:05,760
Speaker 3: there's just this dire need to have one other person

1003
00:48:05,920 --> 00:48:08,640
Speaker 3: just there. Obviously there's a producer, but you need one

1004
00:48:08,680 --> 00:48:11,480
Speaker 3: other person on a microphone to just to build the

1005
00:48:11,560 --> 00:48:14,120
Speaker 3: lore of the podcast. At the very least, none of

1006
00:48:14,160 --> 00:48:16,239
Speaker 3: that's happening for me. Every week. I have to pick

1007
00:48:16,280 --> 00:48:17,120
Speaker 3: it up by myself.

1008
00:48:17,200 --> 00:48:19,480
Speaker 1: A podcast with no lore. That's like a camera with

1009
00:48:19,520 --> 00:48:20,320
Speaker 1: no on button.

1010
00:48:22,840 --> 00:48:29,680
Speaker 2: Woo yeah. To be with a guest and not be

1011
00:48:29,719 --> 00:48:31,600
Speaker 2: able to say like, oh, yeah, I remember when we

1012
00:48:31,680 --> 00:48:32,359
Speaker 2: said this thing.

1013
00:48:33,160 --> 00:48:36,799
Speaker 3: This doesn't happen. Yeah, simply doesn't happen. And I mean,

1014
00:48:36,840 --> 00:48:38,880
Speaker 3: if you run into a guest that's just not willing

1015
00:48:38,920 --> 00:48:42,319
Speaker 3: to participate, you're now trapped. You're trapped for an hour.

1016
00:48:43,080 --> 00:48:46,479
Speaker 2: Absolutely, you're trapped in a one single shot take.

1017
00:48:48,640 --> 00:48:52,120
Speaker 1: What do you do? Actually, you just this is my

1018
00:48:52,200 --> 00:48:53,200
Speaker 1: actual question.

1019
00:48:53,120 --> 00:48:55,920
Speaker 3: Begin to resent the person totally and there's an emotional

1020
00:48:55,960 --> 00:49:00,440
Speaker 3: thing you go through afterward, where there's anger, there's a

1021
00:49:00,680 --> 00:49:03,120
Speaker 3: question and can I do this? Do I even have

1022
00:49:03,160 --> 00:49:04,080
Speaker 3: this skill anymore?

1023
00:49:04,680 --> 00:49:05,239
Speaker 1: Uh?

1024
00:49:05,480 --> 00:49:09,759
Speaker 3: And then the the you start brainstorming what podcasts could

1025
00:49:09,760 --> 00:49:11,640
Speaker 3: I do with a co host? What would what would

1026
00:49:11,680 --> 00:49:14,640
Speaker 3: that look like? And then I realize that there are

1027
00:49:14,680 --> 00:49:17,040
Speaker 3: simply too many podcasts and there's no way to launch

1028
00:49:17,080 --> 00:49:20,560
Speaker 3: another podcast. At this point, we.

1029
00:49:20,520 --> 00:49:23,400
Speaker 1: Got in just under the wire.

1030
00:49:26,360 --> 00:49:28,400
Speaker 2: Isn't it crazy that you know, no matter how long

1031
00:49:28,480 --> 00:49:32,239
Speaker 2: you do all of this, you can still fully eat ship.

1032
00:49:32,840 --> 00:49:35,560
Speaker 3: Oh you can really do it. And you blame yourself,

1033
00:49:35,719 --> 00:49:38,440
Speaker 3: blame yourself every time. I think, well, actually I do

1034
00:49:38,480 --> 00:49:41,840
Speaker 3: blame the guest frequently, but it's a few hours after

1035
00:49:42,000 --> 00:49:45,160
Speaker 3: the episode is recorded. Then I can start blame the person.

1036
00:49:45,520 --> 00:49:46,200
Speaker 1: Yeah.

1037
00:49:46,400 --> 00:49:47,719
Speaker 2: Yeah, but you know, but then you're like, you know,

1038
00:49:47,760 --> 00:49:49,520
Speaker 2: you think of these like sort of not to say

1039
00:49:49,520 --> 00:49:51,360
Speaker 2: that we are I wouldn't call us interviewers, but you know,

1040
00:49:51,360 --> 00:49:54,640
Speaker 2: you think of these iconic broadcasters and you're like this person,

1041
00:49:54,760 --> 00:49:56,319
Speaker 2: you know, there could be a rock on the on

1042
00:49:56,360 --> 00:49:58,960
Speaker 2: the chair and they would get something out of the rock,

1043
00:49:59,000 --> 00:50:00,279
Speaker 2: and people be like wow, and never I thought of

1044
00:50:00,360 --> 00:50:01,160
Speaker 2: rocks that way.

1045
00:50:01,800 --> 00:50:04,360
Speaker 3: Right, right, And that's just not that's not in my

1046
00:50:04,400 --> 00:50:04,959
Speaker 3: skill set.

1047
00:50:05,640 --> 00:50:09,840
Speaker 1: Yeah, I'm not the thing. The thing is my alternative

1048
00:50:09,880 --> 00:50:13,040
Speaker 1: sensibilities often get in my way of being an incredible interviewer,

1049
00:50:13,080 --> 00:50:18,160
Speaker 1: I would argue because I am always like whenever someone's on,

1050
00:50:18,440 --> 00:50:21,800
Speaker 1: especially someone with like like when someone has a specialty,

1051
00:50:22,480 --> 00:50:24,960
Speaker 1: I will be like, well, I don't really care, like

1052
00:50:25,000 --> 00:50:29,719
Speaker 1: I'm going to talk to them able to say me

1053
00:50:29,760 --> 00:50:32,400
Speaker 1: to talk to them as me, and we're going to

1054
00:50:32,440 --> 00:50:33,160
Speaker 1: connect somehow.

1055
00:50:33,320 --> 00:50:35,800
Speaker 3: I don't want it. It makes them specifically interesting.

1056
00:50:36,160 --> 00:50:39,600
Speaker 1: Yeah, Like if I had Britney Spears on here, I'd

1057
00:50:39,600 --> 00:50:41,360
Speaker 1: be like, well, is she going to jump in on

1058
00:50:41,400 --> 00:50:43,040
Speaker 1: the bit? Like I'm gonna start doing a bit and

1059
00:50:43,040 --> 00:50:43,920
Speaker 1: see if she jumps in.

1060
00:50:44,800 --> 00:50:46,680
Speaker 2: And that's why people that's what people pay for, by

1061
00:50:46,719 --> 00:50:48,200
Speaker 2: the way, because if someone wants to see a hard

1062
00:50:48,239 --> 00:50:50,160
Speaker 2: hitting interview with Britney Spears, I don't think they're gonna

1063
00:50:50,680 --> 00:50:52,480
Speaker 2: tune into this podcast.

1064
00:50:53,480 --> 00:50:53,719
Speaker 3: Yet.

1065
00:50:54,120 --> 00:50:56,280
Speaker 2: Yeah, we'll see there's.

1066
00:50:56,160 --> 00:50:58,840
Speaker 3: Like a I do wonder you're saying you pivot. People

1067
00:50:58,920 --> 00:51:01,840
Speaker 3: want a new As we grow older, they'll be like,

1068
00:51:01,880 --> 00:51:04,880
Speaker 3: oh they've matured into the interview now they can really

1069
00:51:04,960 --> 00:51:05,399
Speaker 3: get deep.

1070
00:51:05,840 --> 00:51:08,399
Speaker 1: Yeah, I would love that. Bridger, have you ever had

1071
00:51:08,400 --> 00:51:12,840
Speaker 1: someone on who's really serious? Um, have you gone in

1072
00:51:12,920 --> 00:51:13,759
Speaker 1: your interview era?

1073
00:51:14,239 --> 00:51:17,359
Speaker 3: There's no I've never had anyone really serious. There was

1074
00:51:17,480 --> 00:51:19,520
Speaker 3: one person that was surprisingly earnest in a way that

1075
00:51:19,560 --> 00:51:22,400
Speaker 3: I just could not wrap myself around. And it was

1076
00:51:22,560 --> 00:51:27,400
Speaker 3: just like, yeah, five minutes in it felt like two hours,

1077
00:51:27,440 --> 00:51:29,680
Speaker 3: and there was just I had no idea how to

1078
00:51:29,680 --> 00:51:30,239
Speaker 3: handle it.

1079
00:51:31,600 --> 00:51:34,200
Speaker 2: When someone starts talking about how comedy is based in truth,

1080
00:51:34,440 --> 00:51:37,560
Speaker 2: you gotta say, let's hit that off button on the camera.

1081
00:51:37,640 --> 00:51:42,239
Speaker 3: Mama, why did you bring that to our podcast?

1082
00:51:43,120 --> 00:51:45,680
Speaker 2: This lens cap is about to be put over the lens.

1083
00:51:47,880 --> 00:51:52,560
Speaker 1: Okay, okay, As we all know, I don't believe anything

1084
00:51:52,600 --> 00:51:56,120
Speaker 1: I say, and we're all lying. Unless you agree with us,

1085
00:51:56,160 --> 00:52:00,720
Speaker 1: then it's all true, of course. But I will say

1086
00:52:01,600 --> 00:52:05,400
Speaker 1: something I I think what bothers me the lens. I'm

1087
00:52:05,440 --> 00:52:09,200
Speaker 1: trying to examine my feeling towards lenses because clearly there's

1088
00:52:09,239 --> 00:52:13,000
Speaker 1: something deeper going on here, and I think I wish

1089
00:52:13,520 --> 00:52:16,239
Speaker 1: not to democratize media even more than it already is.

1090
00:52:16,840 --> 00:52:20,359
Speaker 1: But I wish that we could all like I wish

1091
00:52:20,400 --> 00:52:22,120
Speaker 1: I could be like, well, I know how I want

1092
00:52:22,120 --> 00:52:23,560
Speaker 1: it to look. I want it to look like they

1093
00:52:23,560 --> 00:52:26,600
Speaker 1: made it look like that looks good. I want to

1094
00:52:26,840 --> 00:52:28,960
Speaker 1: like that, And then whenever I try to like make

1095
00:52:29,000 --> 00:52:32,200
Speaker 1: something look nice, it looks like shit still, And I'm like, okay, so,

1096
00:52:32,440 --> 00:52:34,120
Speaker 1: but I don't want to have to learn science and

1097
00:52:34,200 --> 00:52:36,080
Speaker 1: math in order to make something look up because I

1098
00:52:36,080 --> 00:52:39,239
Speaker 1: have all these feelings that I'm feeling and trying to express.

1099
00:52:39,760 --> 00:52:41,320
Speaker 1: So how come I have to learn science math in

1100
00:52:41,400 --> 00:52:44,720
Speaker 1: order to express feelings. I think whoever's making these lenses

1101
00:52:44,760 --> 00:52:45,160
Speaker 1: needs to.

1102
00:52:46,680 --> 00:52:49,480
Speaker 3: But it's not even that's not your job. There's somebody

1103
00:52:49,480 --> 00:52:51,440
Speaker 3: else that can do that for you. You should never even

1104
00:52:51,520 --> 00:52:53,600
Speaker 3: have to think about the lens. The moment we start

1105
00:52:53,640 --> 00:52:55,760
Speaker 3: thinking about the lens, we have an a Oppenheimer Bridger.

1106
00:52:55,800 --> 00:53:02,480
Speaker 2: You're right, absolutely, as in a great film. By the way,

1107
00:53:03,719 --> 00:53:05,440
Speaker 2: that's when we draw the line. We're making fun of

1108
00:53:05,520 --> 00:53:08,319
Speaker 2: all of all it tourist filmmakers. But when someone brings

1109
00:53:08,360 --> 00:53:09,680
Speaker 2: a bop and I were like, well, actually that was

1110
00:53:09,680 --> 00:53:10,120
Speaker 2: really good.

1111
00:53:11,160 --> 00:53:13,640
Speaker 1: We did. The most off brand thing was that we

1112
00:53:13,680 --> 00:53:16,320
Speaker 1: both got out of Oppenheimer were like, damn, that was

1113
00:53:16,400 --> 00:53:16,839
Speaker 1: really fuck.

1114
00:53:17,160 --> 00:53:19,480
Speaker 2: I was like, I believe in the movies again. We

1115
00:53:19,640 --> 00:53:22,319
Speaker 2: have to stop. We have to do nuclear disarmament right now,

1116
00:53:22,360 --> 00:53:23,480
Speaker 2: I'm going to the un.

1117
00:53:24,040 --> 00:53:26,680
Speaker 1: I was like, no, this is so beautiful. I was like,

1118
00:53:26,719 --> 00:53:28,160
Speaker 1: men should direct all movies.

1119
00:53:31,719 --> 00:53:33,400
Speaker 3: Would either of you watch that movie again?

1120
00:53:33,960 --> 00:53:37,040
Speaker 2: That's actually a great question, that's a great question. Probably

1121
00:53:37,080 --> 00:53:40,160
Speaker 2: not not any I guess you know what, I bet

1122
00:53:40,160 --> 00:53:42,200
Speaker 2: you all watch it again when it's like back in

1123
00:53:42,280 --> 00:53:45,479
Speaker 2: theaters for its tenth anniversary. I think that's yeah, I guess.

1124
00:53:45,600 --> 00:53:49,200
Speaker 3: Yeah, you got to see in a theater, you yeah, well,

1125
00:53:49,239 --> 00:53:50,000
Speaker 3: you know the lens.

1126
00:53:50,040 --> 00:53:52,320
Speaker 2: It's not meant to be viewed on your phone, that lens.

1127
00:53:52,440 --> 00:53:54,359
Speaker 3: Yeah, you can't just see it in a theater. You've

1128
00:53:54,360 --> 00:53:56,120
Speaker 3: got to see it in an imax theater.

1129
00:53:56,000 --> 00:53:57,960
Speaker 2: In an imax theater about you know, I did see

1130
00:53:57,960 --> 00:53:58,719
Speaker 2: it in a normal theater.

1131
00:53:58,800 --> 00:54:01,120
Speaker 1: Sorry, yeah, actually saw it a normally Sorry, I.

1132
00:54:01,080 --> 00:54:02,880
Speaker 2: Don't have three hundred and fifty dollars.

1133
00:54:03,200 --> 00:54:07,800
Speaker 1: Yeah, and four weeks to wait and four weeks.

1134
00:54:08,560 --> 00:54:08,960
Speaker 2: Fridrid.

1135
00:54:08,960 --> 00:54:09,880
Speaker 1: Did you see.

1136
00:54:10,200 --> 00:54:12,320
Speaker 3: Oppenheimer in a regular theater?

1137
00:54:12,640 --> 00:54:12,839
Speaker 1: Yeah?

1138
00:54:12,840 --> 00:54:16,240
Speaker 2: And so it was just black an American. It was loud,

1139
00:54:16,520 --> 00:54:18,520
Speaker 2: It was really loud, actually it was.

1140
00:54:18,600 --> 00:54:19,240
Speaker 1: It was loud.

1141
00:54:19,360 --> 00:54:22,680
Speaker 3: Yeah, And you know, it was just an experience. And

1142
00:54:22,719 --> 00:54:24,959
Speaker 3: then I left and I thought about it for maybe

1143
00:54:24,960 --> 00:54:26,959
Speaker 3: ten minutes. And now I'll never think about it again.

1144
00:54:28,040 --> 00:54:29,600
Speaker 2: You know, here's what I'll say. Maybe let's talk abou

1145
00:54:29,640 --> 00:54:31,879
Speaker 2: lenses more, talk about mikes, because someone needed to turn

1146
00:54:31,920 --> 00:54:35,200
Speaker 2: down the levels on that movie.

1147
00:54:35,600 --> 00:54:39,560
Speaker 1: And literally the sound quality in all films and TV

1148
00:54:39,800 --> 00:54:43,799
Speaker 1: is insane and we need to figure it out.

1149
00:54:44,120 --> 00:54:46,960
Speaker 3: It's gotten so, I mean, it really is a problem

1150
00:54:47,120 --> 00:54:49,239
Speaker 3: in earnesty an issue for me.

1151
00:54:49,480 --> 00:54:51,640
Speaker 1: Yeah, it's too much.

1152
00:54:52,120 --> 00:54:54,359
Speaker 2: Well, you guys, as soon as the strikes are over,

1153
00:54:54,400 --> 00:54:56,880
Speaker 2: we have to fix all this together. We have to

1154
00:54:56,920 --> 00:54:58,920
Speaker 2: band all the unions together, and we have to say

1155
00:54:59,120 --> 00:55:06,720
Speaker 2: how can we lower the volume on these films? Bridge

1156
00:55:06,800 --> 00:55:10,000
Speaker 2: or any final thoughts? Oh wait, Sam, were you gonna

1157
00:55:10,040 --> 00:55:10,439
Speaker 2: say something?

1158
00:55:12,360 --> 00:55:14,960
Speaker 1: No, Basically, I was just saying that I want there

1159
00:55:15,000 --> 00:55:16,680
Speaker 1: to be one lens that we can all use, and

1160
00:55:16,680 --> 00:55:19,319
Speaker 1: maybe it has different settings like on a phone. But

1161
00:55:19,360 --> 00:55:21,279
Speaker 1: maybe I'm just describing phones and that's actually what I

1162
00:55:21,280 --> 00:55:21,640
Speaker 1: don't want.

1163
00:55:22,040 --> 00:55:25,080
Speaker 2: I don't want black and white and CPIA period.

1164
00:55:27,640 --> 00:55:29,960
Speaker 1: Yeah, it should have Netflix filter and it should have

1165
00:55:30,040 --> 00:55:32,320
Speaker 1: like art filter.

1166
00:55:32,480 --> 00:55:39,560
Speaker 2: Yeah, yeah, absolutely, Well, well, Bridge or any final thoughts

1167
00:55:39,600 --> 00:55:42,040
Speaker 2: on one shot takes? One take?

1168
00:55:42,080 --> 00:55:45,560
Speaker 3: Wait, that's just actually a problem, because no, wonder, I

1169
00:55:45,600 --> 00:55:48,200
Speaker 3: don't think anyone even knows what to officially call it right.

1170
00:55:48,400 --> 00:55:50,879
Speaker 3: I feel like everybody knows what it is. But it's

1171
00:55:50,920 --> 00:55:56,600
Speaker 3: like a one shot take of one take shot of Yeah.

1172
00:55:57,560 --> 00:55:59,680
Speaker 2: Wait no, it is one shot take because one take

1173
00:55:59,719 --> 00:56:02,120
Speaker 2: shot would be like they got it in one take?

1174
00:56:02,360 --> 00:56:02,879
Speaker 2: Am I wrong?

1175
00:56:03,239 --> 00:56:03,560
Speaker 3: Right?

1176
00:56:04,520 --> 00:56:04,719
Speaker 1: Right?

1177
00:56:04,800 --> 00:56:05,520
Speaker 3: Yeah, that's true.

1178
00:56:05,800 --> 00:56:06,839
Speaker 1: That sounds right now.

1179
00:56:07,480 --> 00:56:11,960
Speaker 2: Look who's Yeah, if you are Paul Thomas Anderson, don't

1180
00:56:11,960 --> 00:56:12,359
Speaker 2: write in.

1181
00:56:13,760 --> 00:56:15,840
Speaker 1: Unless you want to be on the pod and unless

1182
00:56:15,840 --> 00:56:16,920
Speaker 1: you want to jump in on the bit and.

1183
00:56:17,160 --> 00:56:19,879
Speaker 2: Or unless you want to cast us a lah Alana him,

1184
00:56:19,920 --> 00:56:22,600
Speaker 2: because we are available and we can pivot to procedure

1185
00:56:22,600 --> 00:56:23,320
Speaker 2: actor anytime.

1186
00:56:23,760 --> 00:56:25,680
Speaker 1: Oh yeah, of course we can pivot.

1187
00:56:25,719 --> 00:56:28,600
Speaker 3: I would love to see Paul Thomas Anderson, have him

1188
00:56:28,640 --> 00:56:31,359
Speaker 3: do a movie where every shot is like three second take,

1189
00:56:31,360 --> 00:56:35,719
Speaker 3: where it's just so disorienting. Maybe that's the direction I.

1190
00:56:35,640 --> 00:56:38,880
Speaker 1: Want Paul Thomas Anderson to. Yeah, I think he should

1191
00:56:38,920 --> 00:56:44,600
Speaker 1: definitely do a really heavily edited Jarring film that's a

1192
00:56:44,640 --> 00:56:47,600
Speaker 1: coming of age of two thirty something gay guys.

1193
00:56:47,840 --> 00:56:50,960
Speaker 2: Yeah, it's two thirty something gay guys and they decide

1194
00:56:51,000 --> 00:56:53,399
Speaker 2: that they're gonna come of age. Finally, they're like, enough

1195
00:56:53,440 --> 00:56:56,040
Speaker 2: is enough, I'm gonna come of age this time.

1196
00:56:57,520 --> 00:56:59,160
Speaker 3: You have not seen this sort of coming of age

1197
00:56:59,160 --> 00:57:00,799
Speaker 3: tale before this is a new take.

1198
00:57:05,360 --> 00:57:08,520
Speaker 1: I'm fully an adult and I'm gonna be comfortable with

1199
00:57:08,600 --> 00:57:20,720
Speaker 1: my body now. Well, good luck? Wow? I mean, should

1200
00:57:20,720 --> 00:57:21,760
Speaker 1: we do our final segment?

1201
00:57:22,320 --> 00:57:25,000
Speaker 2: I think that's truly the only thing left I think

1202
00:57:25,080 --> 00:57:27,040
Speaker 2: I have. Let me say I've learned a lot, and

1203
00:57:27,120 --> 00:57:28,920
Speaker 2: let me also say, you know, as the one who

1204
00:57:29,000 --> 00:57:33,680
Speaker 2: had suggested post credit sequences, the way I was wrong

1205
00:57:33,800 --> 00:57:35,840
Speaker 2: and the way that this episode could not have gone

1206
00:57:35,840 --> 00:57:40,040
Speaker 2: any differently, we were always meant to talk one shot takes.

1207
00:57:40,040 --> 00:57:40,840
Speaker 3: Feels that way.

1208
00:57:40,920 --> 00:57:42,040
Speaker 1: I think we were as well.

1209
00:57:42,200 --> 00:57:44,919
Speaker 2: I was afraid of how sophisticated. I was like, oh,

1210
00:57:44,960 --> 00:57:48,600
Speaker 2: go for the mass appeal topic, go for pop, go pop.

1211
00:57:49,120 --> 00:57:52,560
Speaker 2: But no, because we are in art film of a podcast.

1212
00:57:52,560 --> 00:57:54,560
Speaker 2: We are not to all the boys I've loved before,

1213
00:57:54,720 --> 00:57:56,800
Speaker 2: and the fact that we lean into that shows that

1214
00:57:56,840 --> 00:57:59,600
Speaker 2: we know are worth just like Greta Gerwig.

1215
00:58:00,480 --> 00:58:05,160
Speaker 1: Just like Greta. Yeah, and I guess I do want

1216
00:58:05,200 --> 00:58:08,440
Speaker 1: to add a disclaimer that if this annoyed you, if

1217
00:58:08,480 --> 00:58:13,160
Speaker 1: we seemed ignorant, it was a bit and we are

1218
00:58:13,200 --> 00:58:16,040
Speaker 1: actually really smart and when it comes to lenses, we

1219
00:58:16,080 --> 00:58:20,960
Speaker 1: can talk your ears off. I get if that's the

1220
00:58:21,000 --> 00:58:21,640
Speaker 1: only Bro.

1221
00:58:21,760 --> 00:58:22,520
Speaker 2: You into lenses?

1222
00:58:24,520 --> 00:58:30,240
Speaker 1: Bro, Bro, do you lens? Serious? Lens? It's called lensing

1223
00:58:30,360 --> 00:58:32,080
Speaker 1: and the teens are loving it.

1224
00:58:32,200 --> 00:58:33,800
Speaker 2: Oh my god. You know, we don't even have time

1225
00:58:33,800 --> 00:58:35,720
Speaker 2: to talk about this, but do you ever see how

1226
00:58:36,120 --> 00:58:39,120
Speaker 2: there's a photoshoot or something for like, you know, l magazine,

1227
00:58:39,200 --> 00:58:40,840
Speaker 2: and then someone will post about on Instagram. They'll be

1228
00:58:40,880 --> 00:58:42,880
Speaker 2: like lensed by, Sam Taggart.

1229
00:58:42,600 --> 00:58:46,080
Speaker 1: Oh oh yeah, Oh.

1230
00:58:46,240 --> 00:58:49,600
Speaker 3: I'm just my back is about to break when I

1231
00:58:49,680 --> 00:58:53,040
Speaker 3: used to see lensed by. Who where did that come from?

1232
00:58:53,560 --> 00:58:58,120
Speaker 3: It's like in the last five years lens by. Oh horrible.

1233
00:58:58,240 --> 00:58:59,720
Speaker 2: You know, we might not be able to take down

1234
00:58:59,720 --> 00:59:02,280
Speaker 2: the lens culture, but we can at least take down

1235
00:59:02,440 --> 00:59:05,600
Speaker 2: lensed by culture with this. At least stop saying lensed

1236
00:59:05,600 --> 00:59:07,320
Speaker 2: by and then we can talk about the Chris Nolan

1237
00:59:07,360 --> 00:59:08,200
Speaker 2: over all next time.

1238
00:59:08,800 --> 00:59:13,600
Speaker 1: Yeah that's rough. That's really rough. Okay, Well, let's do

1239
00:59:13,640 --> 00:59:18,320
Speaker 1: our final Sego Bridger. Our final segment is called shout Outs.

1240
00:59:18,560 --> 00:59:21,439
Speaker 1: In it, we pay homage to the grand straight oral

1241
00:59:21,480 --> 00:59:24,680
Speaker 1: tradition of the radio shout out, so we basically give

1242
00:59:24,680 --> 00:59:27,240
Speaker 1: a shout out to anything that we enjoy. Imagine it's

1243
00:59:27,280 --> 00:59:29,280
Speaker 1: you know, two thousand and one and you're at TRL

1244
00:59:29,320 --> 00:59:31,520
Speaker 1: and Times Square shouting out to your squad back home,

1245
00:59:31,800 --> 00:59:36,240
Speaker 1: but about anything that you like, George, would it be

1246
00:59:36,360 --> 00:59:38,160
Speaker 1: at all possible if you had one.

1247
00:59:38,160 --> 00:59:40,680
Speaker 2: I would be. It would be my honor to go first,

1248
00:59:41,040 --> 00:59:46,520
Speaker 2: and thank you for asking. Okay, slay, okay, what's Oepp? Listeners,

1249
00:59:46,520 --> 00:59:48,640
Speaker 2: I want to give a quick shout out to that's right,

1250
00:59:48,720 --> 00:59:51,400
Speaker 2: the nest of pigeons that is living inside my window.

1251
00:59:51,720 --> 00:59:53,720
Speaker 2: It has now been there for honestly the past like

1252
00:59:53,760 --> 00:59:55,920
Speaker 2: five recordings. I've talked about it with Sam Off Mike,

1253
00:59:55,960 --> 00:59:57,760
Speaker 2: but I've made the decision not to bring it up,

1254
00:59:57,760 --> 00:59:59,680
Speaker 2: not to invade my own privacy by bringing up on

1255
00:59:59,680 --> 01:00:02,680
Speaker 2: the pod cast. But I cannot hold it in any longer.

1256
01:00:02,720 --> 01:00:05,800
Speaker 2: When I got back from vacation, one entire room of

1257
01:00:05,800 --> 01:00:08,840
Speaker 2: our apartment smelled I'm not joking, like if you took

1258
01:00:08,920 --> 01:00:12,040
Speaker 2: bird shit and did like times fifty to it. We

1259
01:00:12,200 --> 01:00:14,400
Speaker 2: have now closed the door and are unable to enter

1260
01:00:14,440 --> 01:00:16,200
Speaker 2: that room. We have called a professional and they have

1261
01:00:16,240 --> 01:00:17,800
Speaker 2: said that we have to wait for the birds to

1262
01:00:17,840 --> 01:00:20,200
Speaker 2: become full size and fly away unless we want to

1263
01:00:20,280 --> 01:00:23,040
Speaker 2: murder them with our own hands, which as a friend

1264
01:00:23,040 --> 01:00:26,000
Speaker 2: of all animals, I refuse to do. I have not

1265
01:00:26,240 --> 01:00:28,440
Speaker 2: been able to use a room of my apartment for

1266
01:00:28,480 --> 01:00:30,800
Speaker 2: four weeks. There is a nest of birds and they

1267
01:00:30,800 --> 01:00:35,640
Speaker 2: make annoid constantly, and my shout at, I guess is

1268
01:00:35,720 --> 01:00:37,600
Speaker 2: knowing that this episode is going to now come out

1269
01:00:37,600 --> 01:00:39,360
Speaker 2: in a few weeks when they won't be there any longer.

1270
01:00:39,440 --> 01:00:40,640
Speaker 2: I'm trying to look on the bright side, and I'm

1271
01:00:40,640 --> 01:00:42,240
Speaker 2: trying to think, you know, maybe there's gonna be a

1272
01:00:42,280 --> 01:00:44,360
Speaker 2: time in the future when I'm nostalgic for the birds,

1273
01:00:44,400 --> 01:00:47,440
Speaker 2: when I, as a father, as an adopted father of

1274
01:00:47,520 --> 01:00:50,040
Speaker 2: these birds, missed them and think about, oh where did

1275
01:00:50,080 --> 01:00:51,880
Speaker 2: they go? Where are they now? Where are they flying to?

1276
01:00:51,920 --> 01:00:55,439
Speaker 2: Now are they migrating? Because currently I want to kill them,

1277
01:00:55,720 --> 01:00:58,640
Speaker 2: but I know that ethically I shouldn't. So shout out

1278
01:00:58,640 --> 01:01:00,600
Speaker 2: to the birds, and shout out to the filmed the

1279
01:01:00,640 --> 01:01:04,920
Speaker 2: Birds by Alfred Hitchcock Lends by Alfred Alfred Hitchcock, and

1280
01:01:05,000 --> 01:01:07,920
Speaker 2: shout out to all film and all animal wildlife.

1281
01:01:08,240 --> 01:01:16,880
Speaker 1: Woooo Okay, now I have to do one. And oh brother,

1282
01:01:18,200 --> 01:01:19,640
Speaker 1: let me think. I'm like, what have I done in

1283
01:01:19,640 --> 01:01:26,800
Speaker 1: the last twenty four hours? Okay, okay, okay, I'm ready.

1284
01:01:28,360 --> 01:01:31,760
Speaker 1: What's up everyone around the world. I want to give

1285
01:01:31,840 --> 01:01:35,720
Speaker 1: a huge shout out to the mystery flooding in my gym.

1286
01:01:36,240 --> 01:01:39,200
Speaker 1: I have been going to a new gym, and you know,

1287
01:01:39,440 --> 01:01:42,480
Speaker 1: I we went on tour last week and we came

1288
01:01:42,520 --> 01:01:44,840
Speaker 1: back for a moment, and when I went on tour,

1289
01:01:45,000 --> 01:01:46,840
Speaker 1: there was flooding in the gym and there was not

1290
01:01:46,920 --> 01:01:49,200
Speaker 1: a storm. I don't know where the flooding came from,

1291
01:01:49,360 --> 01:01:52,680
Speaker 1: but I said, it happens. Girlfriend, sometimes there's going to

1292
01:01:52,720 --> 01:01:55,000
Speaker 1: be flooding. And I just said, I'm sure it'll be

1293
01:01:55,000 --> 01:01:56,960
Speaker 1: fixed when i'm back. Well, now I am back and

1294
01:01:57,000 --> 01:01:59,480
Speaker 1: I have been going to the gym for two days

1295
01:01:59,600 --> 01:02:03,040
Speaker 1: and it is still flooding, and actually more so, I'd

1296
01:02:03,080 --> 01:02:05,880
Speaker 1: say one third of the gym is roped off. Said caution,

1297
01:02:06,040 --> 01:02:08,840
Speaker 1: do not enter wet, wet, wet, And I said, that's

1298
01:02:08,880 --> 01:02:12,480
Speaker 1: a significant portion of a gym to one third of

1299
01:02:12,480 --> 01:02:16,000
Speaker 1: it roped off. I don't know what the hell is

1300
01:02:16,040 --> 01:02:17,760
Speaker 1: going on. I almost want to ask them, is there

1301
01:02:17,760 --> 01:02:20,720
Speaker 1: something I can do to help? Because they are lost?

1302
01:02:21,160 --> 01:02:24,960
Speaker 1: And the caution tape is not chic and it's don't

1303
01:02:24,960 --> 01:02:26,880
Speaker 1: get me wrong, it's not a nice gym. I don't

1304
01:02:26,880 --> 01:02:30,480
Speaker 1: think it should be amazing. But sweety Pies, you need

1305
01:02:30,520 --> 01:02:33,440
Speaker 1: to figure out what the hell is going on? And

1306
01:02:33,680 --> 01:02:36,720
Speaker 1: is it safe? I love New York City and I

1307
01:02:36,800 --> 01:02:42,760
Speaker 1: love the unpredictability of life and love xoxo Sam. Who wow.

1308
01:02:42,800 --> 01:02:46,160
Speaker 2: I love that both of ours were actually like passive

1309
01:02:46,200 --> 01:02:48,720
Speaker 2: aggressive shoutouts to things that are pissing us off.

1310
01:02:48,960 --> 01:02:51,080
Speaker 1: Yeah. Normally we are just saying things we like. But

1311
01:02:51,200 --> 01:02:52,760
Speaker 1: I was so inspired by yours, and I thought it

1312
01:02:52,760 --> 01:02:54,600
Speaker 1: would be funny to share a little slice of life.

1313
01:02:54,960 --> 01:02:57,840
Speaker 3: This feels like such a treasure. If you there's no

1314
01:02:57,920 --> 01:03:01,120
Speaker 3: I can't I can't take a there's no good direction

1315
01:03:01,160 --> 01:03:04,120
Speaker 3: for me at this point, Ernest is going to feel strange.

1316
01:03:04,560 --> 01:03:07,160
Speaker 1: Sure, Yeah, you could just go into if there's anything

1317
01:03:07,200 --> 01:03:10,160
Speaker 1: you want to complain about in your life, something in

1318
01:03:10,240 --> 01:03:12,120
Speaker 1: disarray that could actually fit the theme.

1319
01:03:12,400 --> 01:03:14,600
Speaker 3: No, I have something, I have something I can talk

1320
01:03:14,600 --> 01:03:19,160
Speaker 3: about in arnis perfect. H Hi, everybody, I want to

1321
01:03:19,160 --> 01:03:23,320
Speaker 3: give a shout out to Riverside video Chat. We've all

1322
01:03:23,360 --> 01:03:28,200
Speaker 3: heard of Zoom, We've all heard of Google Lens, No Google,

1323
01:03:29,040 --> 01:03:32,600
Speaker 3: their thing that meet Google Meat, which everyone hates. And

1324
01:03:32,640 --> 01:03:35,440
Speaker 3: then there's a Microsoft one that no one uses, and

1325
01:03:35,480 --> 01:03:36,640
Speaker 3: that one's really changing.

1326
01:03:37,880 --> 01:03:40,680
Speaker 2: What's it called teams? Right? Microsoft?

1327
01:03:40,960 --> 01:03:44,720
Speaker 3: Microsoft Teams that has nothing to do with video conferences,

1328
01:03:46,080 --> 01:03:48,720
Speaker 3: whereas with Riverside. This is my first time on Riverside.

1329
01:03:48,760 --> 01:03:50,640
Speaker 3: I mean, what a calm word to get in an email.

1330
01:03:50,680 --> 01:03:53,760
Speaker 3: You're going to be going to Riverside next up. You

1331
01:03:53,800 --> 01:03:56,600
Speaker 3: log into the service. You're always worried about it not

1332
01:03:56,760 --> 01:04:00,520
Speaker 3: being Zoom, which, by the way, I absolutely cannot do anymore.

1333
01:04:00,600 --> 01:04:03,959
Speaker 3: I've really it shuts me down emotionally in a way

1334
01:04:04,000 --> 01:04:08,080
Speaker 3: that I just can't operate on Zoom anymore. It's a

1335
01:04:08,080 --> 01:04:11,680
Speaker 3: bad product tied to one of the most dramatic things

1336
01:04:11,680 --> 01:04:14,720
Speaker 3: that has happened to every single one of us. We've

1337
01:04:14,760 --> 01:04:16,440
Speaker 3: got to they've got to just get a new name

1338
01:04:16,560 --> 01:04:20,840
Speaker 3: or something. Riverside. We've got these nice kind of profile windows.

1339
01:04:20,960 --> 01:04:23,200
Speaker 3: They're not the squares that we're all so used to.

1340
01:04:23,400 --> 01:04:26,240
Speaker 3: It's more of a trading card. It feels like we're

1341
01:04:26,240 --> 01:04:29,520
Speaker 3: all standing shoulder and shoulder, like looking at the waiting

1342
01:04:29,560 --> 01:04:35,000
Speaker 3: for the subway to come, just talking. It's the first

1343
01:04:35,760 --> 01:04:40,720
Speaker 3: video conferencing that I've used in now years. I felt

1344
01:04:40,800 --> 01:04:44,200
Speaker 3: where I feel mildly relaxed and I want to speak.

1345
01:04:44,280 --> 01:04:45,960
Speaker 3: I want to just give a shout out to whoever

1346
01:04:46,000 --> 01:04:49,680
Speaker 3: whatever company's running Riverside. I don't know that they're getting

1347
01:04:49,680 --> 01:04:51,960
Speaker 3: the attention they need because I've never heard of it

1348
01:04:52,040 --> 01:04:55,640
Speaker 3: until now, but I've had a perfectly pleasant experience.

1349
01:04:55,840 --> 01:05:00,440
Speaker 2: Wow, wow, wegged you. It's Halliburton that run and you

1350
01:05:00,480 --> 01:05:06,720
Speaker 2: are on record loving it. Well, Bridger, I have say

1351
01:05:07,560 --> 01:05:08,800
Speaker 2: this has been an absolute delight.

1352
01:05:10,160 --> 01:05:13,400
Speaker 1: We're doing the pod and listen to I said no.

1353
01:05:13,400 --> 01:05:17,000
Speaker 2: Gifts, had no gifts. Sure that is hosted by only

1354
01:05:17,160 --> 01:05:19,960
Speaker 2: Bridger Wineger and no other gay man.

1355
01:05:20,160 --> 01:05:22,400
Speaker 3: The listener has to kind of be there as my

1356
01:05:22,640 --> 01:05:23,240
Speaker 3: co host.

1357
01:05:23,720 --> 01:05:28,680
Speaker 1: Yeah yeah, watch Bridger squirm as he hosts the podcast

1358
01:05:28,720 --> 01:05:31,680
Speaker 1: completely alone.

1359
01:05:33,040 --> 01:05:36,600
Speaker 2: All right, bye y'all, okay, bye,