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

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Speaker 1: You Did. My name is Willian Jericho. I'm Daniel Henderson,

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Speaker 1: and we're here to talk about film with you once again.

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Speaker 1: Hello Danielle, Hey new how's your weekend?

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Speaker 2: Uh?

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Speaker 1: Chaotic? But you know that's for another time. What's up

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Speaker 1: with the name? Oh cool?

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Speaker 3: Well?

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Speaker 2: I don't think I told the podcast listeners about this,

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Speaker 2: but you know this that my computer had a logic

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Speaker 2: board failure right as I was finishing my first novel.

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Speaker 2: So I lost my first novel entirely and had to

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Speaker 2: recreate it from my longhand notes. I lost some other

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Speaker 2: stuff too, but that was the big one, and it sucked.

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Speaker 2: My computer is less than two years old, so I

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Speaker 2: wasn't expecting that to happen. But since I got it back,

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Speaker 2: it just sain't It just ain't right, Like there's just

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Speaker 2: something wrong with it. I'm getting weird messages. I can't

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Speaker 2: enroll myself and like stay logged into shit. Like my

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Speaker 2: computer just was fixed technically, but it's not the same.

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Speaker 2: So every time I use it it's a fucking nightmare.

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Speaker 2: And I have to log into everything every time I

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Speaker 2: use it. So I know somebody's gonna probably write in

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Speaker 2: and say do this, do this, I've done it all,

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Speaker 2: don't write in. I'm taking it back to the place

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Speaker 2: where I got it fixed and making them deal with it.

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Speaker 2: But yeah, it's kind of a pain in the ass.

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Speaker 2: That makes my week longer in a lot of ways.

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Speaker 1: So I'm assuming it's not under a warranty where you

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Speaker 1: could just get the whole thing replaced or something.

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Speaker 3: Oh, it's under warranty, but they will not replace it.

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Speaker 3: What Yeah, because they fixed the problem.

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Speaker 2: The problem was that my computer was not turning on

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Speaker 2: because the logic board was fried. So they fixed the

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Speaker 2: problem as far as they're concerned, which means they do

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Speaker 2: not have to give me a new computer even though

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Speaker 2: it doesn't actually work.

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Speaker 1: That is fucking saying.

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Speaker 3: That's where we are in our lives.

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Speaker 2: But that's okay. I will talk about the depths of

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Speaker 2: it another time. Of rewriting a novel from scratch and

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Speaker 2: not saving things because you're an idiot who doesn't think

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Speaker 2: their work is good enough to save that is a

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Speaker 2: story for another time. But Okay, something really funny happened

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Speaker 2: to me recently, and I thought that you would get

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Speaker 2: a big kick out of it. Okay, so I'm dating.

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Speaker 2: I'm officially dating for the first time in my life

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Speaker 2: at forty six, for the first time in my fucking life,

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Speaker 2: which is weird.

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Speaker 1: Wait, so let me let me back up and just

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Speaker 1: ask you a few other questions. Is that okay?

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Speaker 3: Yeah?

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Speaker 1: Okay? So what do you say the first time in

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Speaker 1: your life? I mean, you were did you date it all? Like,

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Speaker 1: I guess I'm asking is it a different type of

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Speaker 1: thing from like your youth, because you were obviously married

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Speaker 1: for a while and this is like another like, what

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Speaker 1: is the difference between sort of like dating as a

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Speaker 1: young person and dating now at forty six?

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Speaker 3: What makes it different for you? Yeah?

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Speaker 2: Well, dating as a young person for me was I like, you,

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Speaker 2: let's fuck, let's date.

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Speaker 3: We're together?

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Speaker 2: I see, yes, Like it was just no there was

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Speaker 2: no conscious thought about should we be together?

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Speaker 3: Is this the right person for me? What do they

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Speaker 3: actually like?

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Speaker 2: It was just that immediate spark and then we're an item,

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Speaker 2: and then it's like, if it's miserable, I have to

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Speaker 2: figure it out. If it's great, I have to figure

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Speaker 2: it out. It just there was no forethought. It was

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Speaker 2: just kind of the spontaneity of it.

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Speaker 3: I guess was more.

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Speaker 1: When I was younger, it was less browsing and more

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Speaker 1: just like buying the first thing you see on the

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Speaker 1: shelf and then having it forever type of.

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Speaker 3: Feeling exact exactly.

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Speaker 1: Okay, good and pardon.

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Speaker 2: What I've discovered about myself in therapy this year is

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Speaker 2: that the reason I did that is because I didn't

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Speaker 2: think I was worthy of being chosen by somebody. So

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Speaker 2: if somebody was interested in me, I was like, well,

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Speaker 2: I'm going to give it a shot, because good lord,

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Speaker 2: this might not ever happen again.

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Speaker 1: Yep. That's exactly what I've been in therapy for for

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Speaker 1: over decades. So it's but that it also extends to

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Speaker 1: other areas of my life, like not just dating, but

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Speaker 1: also like I just have a general belief that I'm

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Speaker 1: not good enough for a lot of things.

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Speaker 3: So right, yeah, which I here is what I'm saying. Yeah,

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Speaker 3: it breaks my heart, but I know that so many of.

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Speaker 2: Us go through it, and I hate it, but it

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Speaker 2: really affects so much of my life and so that's

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Speaker 2: kind of what I've been working through in therapy, and

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Speaker 2: that's why I've been feeling better about myself and like

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Speaker 2: I've gotten through, like I've clearly made a life despite

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Speaker 2: this being a cornerstone of my personality.

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Speaker 3: But it just hasn't worked for me. It doesn't work

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Speaker 3: for me anymore.

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Speaker 2: So I so the difference now is that I'll meet

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Speaker 2: someone I'll be interested, and instead of kind of jumping in,

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Speaker 2: I just hold back and say, like, all right, there

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Speaker 2: are steps, there are questions to ask, there are things

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Speaker 2: to discover. There's some work that I have to do

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Speaker 2: before I figure out if this person is worthy of

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Speaker 2: my time, which is a question I have never asked myself. Yeah,

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Speaker 2: I have never asked are they worthy of me? Which

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Speaker 2: is so fucked Like, if you are younger than me,

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Speaker 2: please start asking yourself that question before wait, years before

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Speaker 2: I did.

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Speaker 3: Because as a turns out, it kind of changes who

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Speaker 3: you even choose. Yes, like from the get go.

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Speaker 2: One thing that I never expected and actually said flat

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Speaker 2: out several times to you and other people, I'm never

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Speaker 2: going to meet anybody in my hometown. When I left Warwick,

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Speaker 2: I had never seen a dick, and I expected that

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Speaker 2: I will never see a dick while I live here

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Speaker 2: as an adult. It's just not the place for me

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Speaker 2: to meet somebody. Well, so I did meet somebody here

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Speaker 2: and He's real cool and it's early days just figuring

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Speaker 2: it out, but I like spending time with him well as.

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Speaker 1: Your sensible friend who has been through therapy as well.

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Speaker 1: I am excited for you, but I'm not too excited,

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Speaker 1: if you know what I mean, Like, I don't want

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Speaker 1: I mean, we're going to talk about this probably with

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Speaker 1: your movie today. I don't want to over invest in

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Speaker 1: the idea of these very cute details being play. Do

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Speaker 1: you know what I'm saying?

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Speaker 3: Oh?

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Speaker 2: Completely, Yeah, I absolutely know what you're saying, because I

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Speaker 2: have to.

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Speaker 3: I have to try to not do that myself.

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Speaker 2: That's also part of my not choosing someone is that

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Speaker 2: it's very easy to get wrapped into a fantasy life, yes,

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Speaker 2: because you haven't asked any questions of them to face

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Speaker 2: the reality of them.

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Speaker 3: So I'm actively not doing that.

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Speaker 1: Yeah, me too, I mean, and I think that you know,

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Speaker 1: that's a pretty common thing for people to It's very

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Speaker 1: hard to be honest to not overinvest in those types

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Speaker 1: of things. I mean, especially when it comes to movies,

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Speaker 1: like I mean, we've got one hundred plus episodes of

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Speaker 1: of me like using movies as real life, you know,

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Speaker 1: a lot of times. So I'm gonna I'm not gonna

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Speaker 1: say that for you because I want to be your friend.

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Speaker 1: That's encouraging but sensible, and but I will say generally

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Speaker 1: that I am. I'm very happy for you that you're

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Speaker 1: dating things. You know.

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Speaker 2: Yeah, it feels good, like it feels like it's the

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Speaker 2: right time. Like I didn't rush it, I didn't push

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Speaker 2: it too hard. I'm not being unrealistic. And I'm also

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Speaker 2: not actively like on apps or like making it my

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Speaker 2: part time job. I'm still very much the way I've

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Speaker 2: always been, which is happen. Happens, It happens, except I'm

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Speaker 2: just open to it now in a way that i

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Speaker 2: haven't been for years.

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Speaker 3: So it's been happening.

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Speaker 2: As it turns out, meeting guys is not hard, but

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Speaker 2: liking guys is very hard for me.

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Speaker 1: Yes, as it I don't know, it feels like it

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Speaker 1: kind of should be hard, because you don't want to

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Speaker 1: just like like everybody. You can't like everybody or anybody.

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Speaker 1: You know, you have to be selective because you're amazing

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Speaker 1: and important in your time and your energy and your

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Speaker 1: love is valuable. So you know, I guess that's maybe

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Speaker 1: really what I was asking before in terms of like

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Speaker 1: what is dating? How you know, because you dating is

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Speaker 1: such a broad term and people do it so differently,

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Speaker 1: Like I think that dating and maybe in the way

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Speaker 1: that you're saying it is actually dating, like just keeping

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Speaker 1: an open mind talking to a bunch of different folks,

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Speaker 1: like not committing to necessarily everything or the first thing

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Speaker 1: or whatever. Because yeah, I have had to realize over

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Speaker 1: the course of my lifetime that dating is not obsession.

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Speaker 1: Is an obsession, right? That is, that is that is

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Speaker 1: the opposite of dating in fact. So yeah, and that's

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Speaker 1: I think too. That line, that like going exclusive line

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Speaker 1: is fuzzy, right because listen, I'm doing again, I'm doing

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Speaker 1: a vander Pump rules rewatch where that is that line

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Speaker 1: is always in question with all of those motherfuckers like oh,

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Speaker 1: were we dating or together when you had sex with

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Speaker 1: that girl in Vegas or you know what I mean.

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Speaker 1: And everyone is always calling to question the timeline of

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Speaker 1: like when somebody started dating somebody and whether or not

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Speaker 1: that's they're allowed to date or have sex with other people, right, right,

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Speaker 1: Because I think maybe for folks and I certainly for

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Speaker 1: me when I was younger, if I talked to somebody

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Speaker 1: on the phone once or something and we were together

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Speaker 1: forever and you're not allowed to look at other people,

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Speaker 1: which is so not realistic. Now I'm like, why did

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Speaker 1: I think that I was young? I was stupid, you know.

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Speaker 1: I just thought, if you want to talk to me,

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Speaker 1: you have to be the I have to be the

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Speaker 1: only girl you're talking to. And I don't care if

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Speaker 1: you don't know me at all. No, Like that is

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Speaker 1: so dumb. But that conversation, when it happens, I think,

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Speaker 1: is feels natural. It'll it'll come at a natural place,

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Speaker 1: you know, for you, and you'll be like, Okay, well,

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Speaker 1: I've been out with this person enough. I know that

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Speaker 1: their quality, I know that we like each other, and

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Speaker 1: so why not take it to the next level.

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Speaker 2: It's just a very adult approach, I think, to be like,

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Speaker 2: this is what's up with me, and this is how

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Speaker 2: I'm feeling.

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Speaker 3: How are you feeling?

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Speaker 1: Yeah, do you feel like I feel this? And you

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Speaker 1: may feel similarly or not. But like, I'm kind of excited.

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Speaker 1: I mean not that I'm dating. I'm not dating. I'm

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Speaker 1: actually looking for a job, which is worse than dating,

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Speaker 1: so I don't have time to data. It's very similar,

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Speaker 1: by the way, dating and looking for a job. They're

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Speaker 1: very similar, but looking for a job is much worse.

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Speaker 1: I was actually like looking forward to being an older

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Speaker 1: person who's dating, because it just feels so much more

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Speaker 1: I don't know, like less high stakes, less dramatic. You're

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Speaker 1: just like, god, damn it, we've all everyone's divorced now,

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Speaker 1: everybody has fucking alienated their children. Like we're just like now,

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Speaker 1: we're just like old people. We don't have to move

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Speaker 1: in together, we don't have to like fucking be joined

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Speaker 1: at the hip. Like it's relaxed, you know what.

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Speaker 2: I Yeah, it's actually very relaxed. Yeah, it's very relaxed.

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Speaker 2: And you're right, they're hardly any stakes. It's really you're

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Speaker 2: able to I'm finding that I'm able to focus more

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Speaker 2: on like is this a person that I want to see.

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Speaker 3: More and have in my life?

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Speaker 2: And what kind of fun can we have and what

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Speaker 2: kind of like how can we enhance each other's lives?

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Speaker 3: Essentially? Yeah, and it's not are you.

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Speaker 2: Gonna help me pay bills? Are we gonna move in together?

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Speaker 2: Are we gonna get married? There's like no pressure for

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Speaker 2: any of that because I've never wanted any of that shit.

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Speaker 2: Like the times that I've even done. It were not

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Speaker 2: really to plan for me. So now it kind of

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Speaker 2: feels like the world's caught up with how relaxed I

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Speaker 2: am about dating. Yeah, I just want to hang out

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Speaker 2: and have fun and like share a life with someone.

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Speaker 2: That's that's what's exciting to me, is like sharing something

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Speaker 2: intimate with somebody.

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Speaker 1: Yeah. Well, you know, it's funny because I used to

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Speaker 1: have this old coworker who was in I think she

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Speaker 1: was in her sixties and was single and would tell

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Speaker 1: me about dating, and she was just like, at that point,

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Speaker 1: you're just like hoping that they don't have a heart

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Speaker 1: attack and die. You just like, really, you're stuck in

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Speaker 1: your ways. You know, you don't necessarily need to move

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Speaker 1: in together. We see each other when we see each other,

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Speaker 1: and just you know, you just keep each other informed

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Speaker 1: of your ailments because the ailments are Talking about ailments

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Speaker 1: is actually like functionally an important part of a relationship.

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Speaker 2: Yes, yea, if I'm still dating in my sixties, I'm

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Speaker 2: just gonna show up and be like, I emailed you

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Speaker 2: my fucking chart.

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Speaker 3: Do our charts match?

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Speaker 2: Because we need to have the same kind of lung

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Speaker 2: issues if we're going to get together.

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Speaker 1: Yeah, we can't go to the Botanical Gardens this weekend

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Speaker 1: for a cheholy exhibit because I fucking have knee surgery

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Speaker 1: the next day. And you know, it's fuck. This is

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Speaker 1: functional information for a relationship, So I appreciate that.

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Speaker 2: Actually absolutely, it's it's kind of it's interesting and fun

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Speaker 2: and I'm having fun right now.

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Speaker 3: I never expected any of this. I did.

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Speaker 2: I did roll the boulder out in front from in

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Speaker 2: front of the cave this summer. I did make that

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Speaker 2: pronouncement that like, I'm making out this year, and it

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Speaker 2: has worked.

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Speaker 3: That has worked.

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Speaker 2: But I did not expect any of this to continue

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Speaker 2: after that initial rolling of the boulder.

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Speaker 1: I for some reason did. I thought the boulder is

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Speaker 1: so heavy that when you roll it away, it's open

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Speaker 1: season forever, Like it's at least twenty years.

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Speaker 3: The boulder is replaceable.

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Speaker 2: But for now it's cool and so yeah, I definitely,

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Speaker 2: I don't know.

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Speaker 3: I'm kind of proud of myself for some growth. I

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Speaker 3: took a lot of.

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Speaker 2: Growth for me to get to this point where I

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Speaker 2: could date again. Yeah, and wanted to, But yeah, I'm

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Speaker 2: having fun and an interesting time.

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Speaker 1: Well, I'm completely stoked for you. I'm living my Caresey

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Speaker 1: through you, and I can't wait to see what happens.

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Speaker 2: So and there will come a day where I just

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Speaker 2: date people and don't tell you guys about it. I'll

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Speaker 2: always tell you Millie, but like, there will come a

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Speaker 2: day when I am dating and not telling anybody about it.

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Speaker 1: But I'm not telling anybody about it. Like you don't

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Speaker 1: even know. Y'all don't even know who the fuck I

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Speaker 1: am when it comes to dating. I could be married.

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Speaker 1: You don't know that. Amazing if at the.

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Speaker 2: End of the series, like the end of recording the show,

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Speaker 2: your very last episode, you're like, ps, I've been married

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Speaker 2: this whole time.

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Speaker 1: Oh yeah, I've been married for thirty five years and

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Speaker 1: and I'm only forty three. I knew the math, and

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Speaker 1: all you thought is that I was a horny nun.

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Speaker 2: To be fair, you did say you were a horny nun.

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Speaker 2: Like the people can only go on the information you're

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Speaker 2: giving them.

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Speaker 1: Yeah, and that's all I'm giving them. That's what I'm

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Speaker 1: that's all I'm saying. Yeah, y'all don't know me. Well, Danielle,

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Speaker 1: we have a hell of an episode. We really do,

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Speaker 1: probably gonna bring up some things we just talked about.

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Speaker 1: To be honest, but I this was something that I

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Speaker 1: wanted to do right. This was a me thing. So

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Speaker 1: I'll just tell you the theme for this week, titled

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Speaker 1: by Daniel Henderson, turn On, tune in, drop out Movies

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Speaker 1: that remove us from the hell of living, And that

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Speaker 1: very long title is to just suggest that the movies

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Speaker 1: that we picked for this week are ones that are

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Speaker 1: They're not just even simple comfort films for me. They

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Speaker 1: are like I'm having the worst day or the worst week,

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Speaker 1: or the worst whatever, and I want to escape to

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Speaker 1: a new reality. Yes, I want to be in this fantastical,

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Speaker 1: fabulous world that it's not the world that I'm currently in.

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Speaker 1: And that was maybe a thing that I felt very

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Speaker 1: strongly about in terms of what I picked, because I

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Speaker 1: wasn't sure, like what ankle you were gonna pick, because

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Speaker 1: I know they're not always the same, but that was

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Speaker 1: the most important crucial fact for me, was like I

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Speaker 1: want to move. I want to talk about a movie

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Speaker 1: that I'm just like, nothing bad ever happens in this world.

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Speaker 1: It's so beautiful and it's just like an escapist.

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Speaker 2: Fantasy completely, and even if bad things happen, it's like

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Speaker 2: wrapped up in some kind of bow or solved, like

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Speaker 2: there's no open endedness to the misery in the movie,

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Speaker 2: like it has to be solved and have some kind

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Speaker 2: of a happy ending.

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Speaker 3: Because I can't.

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Speaker 2: I can't leave a hellish world watch a movie and

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Speaker 2: feel worse about the world. I'm returning to. Absolutely what

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Speaker 2: I'm looking for movies that fit this kind of theme.

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Speaker 1: Absolutely. It's like even the bad stuff that happens, if

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Speaker 1: there are bad stuff that happens, is like a fake

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Speaker 1: bad thing where it's like a charming bad thing that

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Speaker 1: gets resolved maybe, but it has like zero real life stakes.

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Speaker 1: I think, yeah, you know, And to be honest with you,

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Speaker 1: I like this pairing because it's like an old, much

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Speaker 1: older movie with like a movie that was made in

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Speaker 1: the past, you know, twenty or something years And I

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Speaker 1: rewatched your movie again, hadn't seen it, and I don't know,

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Speaker 1: maybe about five years, and I fucking cried the almost

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Speaker 1: the entire time. I cried almost the entire time. And

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Speaker 1: I cried because there's definitely we'll talk about this, there's

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Speaker 1: definitely a part of your movie where I actually cry.

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Speaker 1: But then I also cried at some other stuff that

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Speaker 1: I didn't expect to cry in.

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Speaker 2: I kind of did to this time, but it still

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Speaker 2: it wasn't a bad cry like it didn't. It made

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Speaker 2: me feel like in those scenes that I was newly

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Speaker 2: crying at in this rewatch, I felt like I was

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Speaker 2: really seeing something that was being revealed about our connection

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Speaker 2: to the universe, and that made me cry and maybe

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Speaker 2: like happy and sad. It was very emotional Rewatch for me,

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Speaker 2: but still fits the theme.

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Speaker 1: Yeah, totally totally agree. I'm sure we'll dissect that a

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Speaker 1: lot more when it's your turn.

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Speaker 3: And your movie.

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Speaker 2: I gotta say, there's one scene, there's several one scene

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Speaker 2: in particular that makes me so happy and it's so dreamlike,

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Speaker 2: and I would pay all of the money I have

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Speaker 2: in my life to have someone recreate a specific dress

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Speaker 2: that Ginger Rogers is wearing in this movie.

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Speaker 1: If it's the dress that I'm thinking of.

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Speaker 3: It has to be.

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Speaker 1: We got to talk about that dress. Oh okay, So yeah,

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Speaker 1: I think I'm going first this week. My film for

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Speaker 1: the theme turn on Tune in drop out Movies that

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Speaker 1: Remove Us from the Hell of Living is from nineteen

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Speaker 1: thirty five. It was written by Alan Scott and Dwight Taylor.

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Speaker 1: It was directed by Mark Sandrich and it's called top Hat.

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Speaker 3: You see every once in a while, I seventy find

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Speaker 3: myself dancing.

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Speaker 1: Oh, I suppose it's some kind of an affection. So, Danielle,

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Speaker 1: I think this might be the oldest movie we've ever

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Speaker 1: done on the podcast. I think so.

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Speaker 3: Yeah, very impressive.

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Speaker 1: I know, I'm not actually sure if we've ever done

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Speaker 1: a night teen thirties movie, and now that I'm thinking

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Speaker 1: about it, but hey, we're doing one now. Better late

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Speaker 1: than never, So I'm sure I do not have to

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Speaker 1: tell you about fred Astaire and Ginger Rogers in a

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Speaker 1: general sense, because they're probably the most famous partner dancers

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Speaker 1: of all time, right two, maybe of the most famous

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Speaker 1: people from the classic Hollywood era. I mean fred Astaire,

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Speaker 1: Ginger Rogers dance on air. They had style, they had grace,

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Speaker 1: Rita Haywick, give it. You know what I'm saying. They're famous.

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Speaker 1: They're famous. They were in a total of ten films together.

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Speaker 1: Nine of them were released between the years of nineteen

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Speaker 1: thirty three and nineteen thirty nine, and then they released

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Speaker 1: the last one in nineteen forty nine, which was the

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Speaker 1: only film that they did in color. And then this movie,

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Speaker 1: Top Hat, was I think their fourth movie together, and

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Speaker 1: they it was the first one that was written specifically

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Speaker 1: for them, right because prior to this, like their very

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Speaker 1: very first movie, Flying Down to Rio was set, they

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Speaker 1: were both like fifth build or something. They were kind

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Speaker 1: of like really low down the cast list. But then

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Speaker 1: their performance together was so memorable that they're like put

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Speaker 1: them in everything. And then by the time Top Hat

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Speaker 1: came out, there like, let's write a movie for them,

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Speaker 1: let's center it around them, and it was their most

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Speaker 1: successful I think out of all their movies. And I'll

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Speaker 1: give you one sentenced synopsis, even though really the setup

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Speaker 1: for this film is very classic Hollywood narrative. We'll get

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Speaker 1: to that in a second. But Top Hat is about

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00:21:41,200 --> 00:21:44,600
Speaker 1: an American dancer who was about to open a show

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Speaker 1: in London meets a woman who's on vacation who confuses

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Speaker 1: him for the husband of her best friend.

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Speaker 3: Oh she's just never met.

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Speaker 1: There's a lot of like screwball antics in this film,

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Speaker 1: as you can imagine, a lot of it is wrapped

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Speaker 1: up on this confusion, which we'll get.

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Speaker 3: To in just a second.

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Speaker 1: But Barra bins the story goes like this. Fred Astaire

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Speaker 1: plays this guy named Jerry Travers. He's an American performer

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Speaker 1: who is in London. He's about to open a show

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Speaker 1: for this producer named Horace Hardwick, who is played by

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Speaker 1: the great character actor Edward Everett Horton. If you're into

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Speaker 1: old movies, you have seen him in everything. He was

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Speaker 1: a staple of comedies in this era. You know, he

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Speaker 1: was in actual multiple Fred Astaire and Ginger Rodgers films,

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Speaker 1: and he was known to play this stock character. It

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Speaker 1: was like he's always the guy that's like kind of

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Speaker 1: like a stuffy ish type of dude, but he always

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Speaker 1: is doing a double take. So he's kind of the

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00:22:52,040 --> 00:22:57,240
Speaker 1: guy that's like, oh yes, yes, oh what like he's

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Speaker 1: got that like double reaction thing going and he doesn't

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Speaker 1: so well it's perfect, but so he plays kind of

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Speaker 1: the producer of the show. And then also he has

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Speaker 1: this butler who shows up in these very early scenes especially,

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Speaker 1: and it's this actor named Eric Bloor and he he

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Speaker 1: plays this he's another one of these like stock character

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Speaker 1: actors in early Hollywood. He's always a weird butler, like

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Speaker 1: a weird, funny, quirky butler. And it was always either

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Speaker 1: a nutty butler or a nutty waiter. And British right

437
00:23:32,359 --> 00:23:36,600
Speaker 1: very British. But so at some point, Horace gets this

438
00:23:36,680 --> 00:23:40,520
Speaker 1: message that his wife and her friend are headed down

439
00:23:40,600 --> 00:23:44,800
Speaker 1: to Venice, Italy for a vacation, and his wife is like, listen,

440
00:23:44,840 --> 00:23:47,199
Speaker 1: I brought this friend who is single, and you should,

441
00:23:47,320 --> 00:23:49,360
Speaker 1: you know, bring Jerry if you come to meet us,

442
00:23:49,440 --> 00:23:52,080
Speaker 1: because maybe they'll hit it off. Okay, so you've got

443
00:23:52,119 --> 00:23:57,119
Speaker 1: that information up front. That pretty much sets up the

444
00:23:57,160 --> 00:24:01,640
Speaker 1: first tap dance sequence for Fred Astaire. Because this man

445
00:24:01,720 --> 00:24:04,879
Speaker 1: is a tap dance and machine and he is a

446
00:24:04,880 --> 00:24:07,840
Speaker 1: fucking menace. It's a mess.

447
00:24:08,440 --> 00:24:11,120
Speaker 2: He uses his skill of tap dancing to be a

448
00:24:11,160 --> 00:24:12,000
Speaker 2: fucking menace.

449
00:24:12,480 --> 00:24:16,080
Speaker 1: Yes, and he he loves to fuck with people via

450
00:24:16,119 --> 00:24:18,080
Speaker 1: tap dance. Like it's a very early scene at the

451
00:24:18,119 --> 00:24:20,800
Speaker 1: beginning where he shows up to this like all silent,

452
00:24:21,359 --> 00:24:25,119
Speaker 1: kind of like stuffy London gentleman's club where everybody is

453
00:24:25,119 --> 00:24:27,040
Speaker 1: like reading the newspaper and silence, and then he's just

454
00:24:27,080 --> 00:24:32,600
Speaker 1: like fuck y'all. He starts clank clank klagen those feet,

455
00:24:33,800 --> 00:24:37,080
Speaker 1: which I appreciate this this to me, I mean, I'm

456
00:24:37,080 --> 00:24:42,960
Speaker 1: not sure how you feel about Fred Astaire as kind

457
00:24:43,000 --> 00:24:45,879
Speaker 1: of like I don't know, just like considering him in

458
00:24:45,920 --> 00:24:50,360
Speaker 1: a romantic lead kind of way. When I when I've

459
00:24:50,400 --> 00:24:55,160
Speaker 1: considered him just generally, I'm like, yeah, he's he's there.

460
00:24:55,320 --> 00:25:00,960
Speaker 1: I mean he doesn't like necessarily stir the loins as

461
00:25:01,000 --> 00:25:03,800
Speaker 1: a I don't know, like a Brando or something like that.

462
00:25:03,880 --> 00:25:07,520
Speaker 1: But like I gotta say, fred Astare, especially in this movie,

463
00:25:07,560 --> 00:25:09,360
Speaker 1: but in a lot of these movies that he did

464
00:25:09,400 --> 00:25:12,800
Speaker 1: with Ginger Rogers, he's so fucking charming. He's so charming.

465
00:25:13,560 --> 00:25:17,080
Speaker 2: I will give you that he is very charming, but

466
00:25:17,320 --> 00:25:20,719
Speaker 2: I'm just gonna come out with it and say that

467
00:25:20,760 --> 00:25:22,080
Speaker 2: I think he looks like a fucking creep.

468
00:25:22,640 --> 00:25:23,760
Speaker 1: Oh how dare you?

469
00:25:23,920 --> 00:25:27,320
Speaker 2: He's got the pointy face of like an old skill

470
00:25:27,320 --> 00:25:31,680
Speaker 2: you remember the devil character in the Powerpuff Girls. Yes,

471
00:25:33,320 --> 00:25:36,920
Speaker 2: he's got this like angular, pointed cartoon face that does

472
00:25:37,000 --> 00:25:40,080
Speaker 2: not stir any of the loins but also just makes

473
00:25:40,080 --> 00:25:40,720
Speaker 2: me feel like.

474
00:25:41,320 --> 00:25:44,680
Speaker 3: He's very boyish at the and old at the same time.

475
00:25:45,160 --> 00:25:48,119
Speaker 2: Yes, it's like a it's like a competing Benjamin Button

476
00:25:48,160 --> 00:25:49,399
Speaker 2: happening on his face.

477
00:25:50,160 --> 00:25:53,440
Speaker 1: Look, I mean, say what you will about like.

478
00:25:54,800 --> 00:25:55,880
Speaker 3: You want me to say more.

479
00:25:57,480 --> 00:26:03,760
Speaker 1: Dominative ass fucking creep dude, But.

480
00:26:03,680 --> 00:26:04,280
Speaker 3: He is charming.

481
00:26:04,880 --> 00:26:09,119
Speaker 1: Yes, I actually I think he's very cute, and I

482
00:26:09,119 --> 00:26:11,680
Speaker 1: think it's perfect for this film, which I'll get into

483
00:26:11,720 --> 00:26:15,760
Speaker 1: in just a second. But so he is tap dancing

484
00:26:15,840 --> 00:26:19,080
Speaker 1: so much at the beginning of this film that he

485
00:26:19,160 --> 00:26:23,360
Speaker 1: disturbs the guests in the room that's directly below him

486
00:26:23,359 --> 00:26:28,160
Speaker 1: in Horace's room, right, it's this woman named Dale Tremont

487
00:26:28,160 --> 00:26:31,359
Speaker 1: and she is played by Ginger Rogers. And by the way,

488
00:26:31,960 --> 00:26:34,600
Speaker 1: I would be remiss if I didn't say, this hotel

489
00:26:34,920 --> 00:26:40,920
Speaker 1: that everyone is in is this fucking incredible maximalist art

490
00:26:41,000 --> 00:26:47,640
Speaker 1: deco set piece dream. It is really wild. I mean,

491
00:26:48,240 --> 00:26:50,800
Speaker 1: it is so opulent that it puts the Madonna in

492
00:26:51,080 --> 00:26:53,920
Speaker 1: the fucking shame. It is so awesome.

493
00:26:54,640 --> 00:26:57,280
Speaker 3: The beds alone, the beds.

494
00:26:57,040 --> 00:27:00,320
Speaker 1: Alone, and like just the weird doorways and this on

495
00:27:00,359 --> 00:27:03,280
Speaker 1: the walls, and I don't know what's going on there,

496
00:27:03,280 --> 00:27:06,479
Speaker 1: but it's like it really is that sort of like

497
00:27:06,760 --> 00:27:14,680
Speaker 1: overdone classic Hollywood set piece. It's just it's a fantasy.

498
00:27:14,720 --> 00:27:17,480
Speaker 1: And this is what I love about this film, and

499
00:27:17,520 --> 00:27:19,959
Speaker 1: I love about these films. It's these like fantasy sets.

500
00:27:20,040 --> 00:27:24,400
Speaker 1: But so you've got these giant set pieces. Again, You're

501
00:27:24,400 --> 00:27:29,359
Speaker 1: in this world where two men are having a conversation

502
00:27:29,400 --> 00:27:32,080
Speaker 1: about going on a vacation together, and then it turns

503
00:27:32,119 --> 00:27:35,959
Speaker 1: into a song and a tap dance routine. So this

504
00:27:36,040 --> 00:27:39,720
Speaker 1: is the world that you're in. It's Hollywood magic, old

505
00:27:39,760 --> 00:27:43,719
Speaker 1: Hollywood magic. So of course Dale comes up. It is like,

506
00:27:43,960 --> 00:27:47,000
Speaker 1: who is dancing at this time of night? Jerry Caesar.

507
00:27:47,000 --> 00:27:50,919
Speaker 1: It is immediately smitten. He doesn't know anything about her, duh.

508
00:27:51,040 --> 00:27:53,720
Speaker 1: As it turns out, Dale has been traveling with this

509
00:27:53,840 --> 00:27:59,000
Speaker 1: Italian fashion designer named Alberto Bedini, who is played by

510
00:27:59,040 --> 00:28:02,720
Speaker 1: this actor named Eric Roads. You may assume he is

511
00:28:02,760 --> 00:28:06,639
Speaker 1: a gay man, as a lot of these side characters,

512
00:28:06,720 --> 00:28:09,280
Speaker 1: to be honest, but he's actually in love with Dale

513
00:28:09,320 --> 00:28:11,600
Speaker 1: and wants to marry her, and more importantly, he wants

514
00:28:11,680 --> 00:28:14,040
Speaker 1: to like defend her honor all the time, which is

515
00:28:14,240 --> 00:28:19,480
Speaker 1: a running gag in the film. Right. So yeah, this

516
00:28:19,520 --> 00:28:21,960
Speaker 1: is the setup for what happens throughout the entire film,

517
00:28:22,000 --> 00:28:26,639
Speaker 1: which is this hilariously messy romantic conflict. Okay, so Jerry

518
00:28:26,680 --> 00:28:30,080
Speaker 1: eventually is like Dale, hang out with me. One of

519
00:28:30,080 --> 00:28:32,840
Speaker 1: my favorite sequences in the film is when they're dancing

520
00:28:32,960 --> 00:28:36,560
Speaker 1: under this pavilion when it's raining and Fred Astaire is

521
00:28:36,560 --> 00:28:40,040
Speaker 1: singing Isn't This a Lovely Day? Which was written by

522
00:28:40,080 --> 00:28:42,600
Speaker 1: Irving Berlin, who did all the music for top Hat,

523
00:28:43,040 --> 00:28:47,240
Speaker 1: and it's like that moment where she's finally like charmed

524
00:28:47,280 --> 00:28:49,200
Speaker 1: by him. And then the best part to me is

525
00:28:49,200 --> 00:28:52,080
Speaker 1: that she's in this like full equestrian outfit because she's

526
00:28:52,120 --> 00:28:56,880
Speaker 1: like riding her horse and she's wearing pants, which you

527
00:28:57,040 --> 00:29:01,120
Speaker 1: rarely saw in this era period. So I love that

528
00:29:01,800 --> 00:29:04,840
Speaker 1: they're kind of first partner dance together as her in pants.

529
00:29:05,200 --> 00:29:07,120
Speaker 2: And it's also it's kind of fun that she's like

530
00:29:08,480 --> 00:29:11,080
Speaker 2: giving herself over to this moment, but she thinks that

531
00:29:11,240 --> 00:29:16,280
Speaker 2: Jerry is her friend's She thinks Jerry is Horace because

532
00:29:16,280 --> 00:29:18,920
Speaker 2: Horace is not in the room when she comes upstairs. Yes,

533
00:29:19,640 --> 00:29:21,560
Speaker 2: so she's kind of like, fuck, I'm falling in love

534
00:29:21,600 --> 00:29:23,000
Speaker 2: with my friend's husband.

535
00:29:23,760 --> 00:29:24,240
Speaker 1: That's right.

536
00:29:24,880 --> 00:29:25,560
Speaker 3: This balls.

537
00:29:25,760 --> 00:29:28,160
Speaker 2: But in that moment where they're dancing together, you start

538
00:29:28,200 --> 00:29:31,040
Speaker 2: to see the chemistry and it's kind of like, oh,

539
00:29:31,080 --> 00:29:33,520
Speaker 2: this is what Horace and Madge wanted all along anyway,

540
00:29:33,640 --> 00:29:35,680
Speaker 2: So it's kind of a fun switcheroo.

541
00:29:36,480 --> 00:29:41,480
Speaker 1: Yeah. I watched the clip, this clip from this Pavilion

542
00:29:41,600 --> 00:29:44,840
Speaker 1: dance sequence a lot, like I will look it up

543
00:29:44,880 --> 00:29:46,720
Speaker 1: on YouTube. I love at the end of it, they're

544
00:29:46,720 --> 00:29:50,880
Speaker 1: like they just kind of sit down crossleg it and

545
00:29:50,880 --> 00:29:52,680
Speaker 1: then they just kind of shake each other's hand. That

546
00:29:52,720 --> 00:29:55,640
Speaker 1: to me is so sweet. I just love it. But,

547
00:29:55,840 --> 00:29:59,040
Speaker 1: like dan Alle just said, here's the conflict. They're falling

548
00:29:59,080 --> 00:30:02,000
Speaker 1: for each other, but then they realize that they don't

549
00:30:02,040 --> 00:30:04,600
Speaker 1: know who each other is. And Dale actually thinks that

550
00:30:05,080 --> 00:30:08,560
Speaker 1: Jerry is Horace. And I guess you find out that

551
00:30:08,680 --> 00:30:11,960
Speaker 1: Dale is the friend of his wife, and I guess

552
00:30:12,000 --> 00:30:14,560
Speaker 1: they were in London before they go to Venice. Yeah,

553
00:30:14,760 --> 00:30:20,200
Speaker 1: very confusing. But Dale's friend is Madge Hardwick, who is

554
00:30:20,240 --> 00:30:24,440
Speaker 1: played by the wonderful Helen Broderick. She's another great character

555
00:30:24,520 --> 00:30:27,520
Speaker 1: actor of this era. And the funny thing is is

556
00:30:27,560 --> 00:30:32,880
Speaker 1: that so Dale thinks Jerry is Horace, but then now

557
00:30:33,000 --> 00:30:35,200
Speaker 1: Madge thinks that her husband is cheating on her with

558
00:30:35,240 --> 00:30:35,880
Speaker 1: another woman.

559
00:30:37,560 --> 00:30:40,720
Speaker 2: That old scene is so great where she's like, yeah,

560
00:30:40,840 --> 00:30:43,520
Speaker 2: let me deal with it.

561
00:30:43,520 --> 00:30:48,040
Speaker 1: It's such a kerfuffle. And Madge is secretly my favorite

562
00:30:48,120 --> 00:30:52,040
Speaker 1: character because she hates men, or at least she she is.

563
00:30:52,920 --> 00:30:57,240
Speaker 1: She's not enchanted by men. She's like, oh men, you know,

564
00:30:57,400 --> 00:30:58,520
Speaker 1: I love that character.

565
00:30:59,040 --> 00:31:02,320
Speaker 2: She's a real she's a very realistic approach to like, yeah,

566
00:31:02,320 --> 00:31:05,800
Speaker 2: I'm here because my husband's producing this fucking show and

567
00:31:06,440 --> 00:31:09,240
Speaker 2: he's dragging me all over the goddamn universe and I'm

568
00:31:09,320 --> 00:31:10,280
Speaker 2: just I've had it.

569
00:31:11,400 --> 00:31:14,719
Speaker 1: And she's so not pressed to be married to him,

570
00:31:14,760 --> 00:31:17,640
Speaker 1: by the way, She's just like, okay, yeah, like men

571
00:31:17,680 --> 00:31:19,400
Speaker 1: are gonna be men, They're gonna cheat on me. I

572
00:31:19,400 --> 00:31:21,080
Speaker 1: guess there's.

573
00:31:21,080 --> 00:31:23,720
Speaker 2: Point where she says, like, well, if you're gonna keep

574
00:31:23,720 --> 00:31:25,440
Speaker 2: being a spinster, this is keep gonna keep.

575
00:31:25,320 --> 00:31:28,240
Speaker 3: Happening to you, because men are philanderers. Men are the worst.

576
00:31:28,800 --> 00:31:31,840
Speaker 1: Yeah. Also, it's so funny because at one point this

577
00:31:32,000 --> 00:31:33,720
Speaker 1: I had to actually look up this term because I

578
00:31:33,760 --> 00:31:36,480
Speaker 1: didn't actually know it. At one point, one of the

579
00:31:36,480 --> 00:31:42,440
Speaker 1: male characters calls Dale a designing woman. Oh yeah, and

580
00:31:42,480 --> 00:31:46,040
Speaker 1: I was like, huh a designing woman, and uh, as

581
00:31:46,080 --> 00:31:50,640
Speaker 1: you know, it's pretty much like a heartbreaker, a loose woman,

582
00:31:50,760 --> 00:31:52,080
Speaker 1: a heartbreaker type.

583
00:31:52,600 --> 00:31:54,840
Speaker 2: And a great TV show from the eighties, of course,

584
00:31:55,920 --> 00:31:57,000
Speaker 2: and a great movie.

585
00:31:57,520 --> 00:32:01,160
Speaker 1: Is Hey, high ass Gregory, he might be in designing

586
00:32:01,480 --> 00:32:06,240
Speaker 1: Designing Woman. Let me look this up. Designing Woman nineteen

587
00:32:06,320 --> 00:32:13,360
Speaker 1: fifty seven, starring Gregory Peck and Lauren McCall. Your high

588
00:32:13,400 --> 00:32:16,200
Speaker 1: ass king is in Designing Woman.

589
00:32:16,440 --> 00:32:17,240
Speaker 3: Added to the list.

590
00:32:17,520 --> 00:32:23,920
Speaker 1: Added to the list, But okay, so Jerry can't stop

591
00:32:23,920 --> 00:32:27,680
Speaker 1: tap dancing. His show opens, and it's this entire, you know,

592
00:32:27,880 --> 00:32:32,680
Speaker 1: dreamlike Broadway sequence where every there's a bunch of guys

593
00:32:32,680 --> 00:32:34,400
Speaker 1: in top hats behind him, and then he gets they

594
00:32:34,400 --> 00:32:39,120
Speaker 1: get fake shot with Jerry's Kane. It's very, very old

595
00:32:39,440 --> 00:32:42,680
Speaker 1: timey Hollywood. Jerry and Horse eventually make it down to

596
00:32:42,760 --> 00:32:45,840
Speaker 1: Venice after that, because Jerry obviously wants to find Dale

597
00:32:47,040 --> 00:32:51,360
Speaker 1: and Vettice. Okay, so they're theoretically in a foreign country,

598
00:32:52,040 --> 00:32:55,479
Speaker 1: perhaps on the streets of a foreign country, and Vettice

599
00:32:55,560 --> 00:32:59,520
Speaker 1: basically looks like the It's a small world ride from Disneyland.

600
00:33:01,640 --> 00:33:05,000
Speaker 1: It's so funny and it's so fake, we love it.

601
00:33:05,440 --> 00:33:07,600
Speaker 1: There's also a joke that gets tucked in there at

602
00:33:07,600 --> 00:33:11,840
Speaker 1: some point that involves the butler putting a cooked steak

603
00:33:11,880 --> 00:33:17,280
Speaker 1: on someone's eye, So that is humor nineteen thirty five style.

604
00:33:21,800 --> 00:33:26,760
Speaker 1: But also there are feathery gowns and tuxedos with tails,

605
00:33:26,840 --> 00:33:31,520
Speaker 1: and there's the dancing cheek to cheek and uh gown

606
00:33:31,920 --> 00:33:35,800
Speaker 1: So I read that. So there's this entire story apparently

607
00:33:35,840 --> 00:33:38,720
Speaker 1: about that gown that. So at one point Ginger Rogers

608
00:33:38,800 --> 00:33:43,720
Speaker 1: comes out and she's wearing a dress that's all feathers,

609
00:33:45,480 --> 00:33:50,760
Speaker 1: and from what I understand, she designed that dress and

610
00:33:50,840 --> 00:33:53,320
Speaker 1: she insisted that it be in the movie. Like she

611
00:33:53,480 --> 00:33:56,080
Speaker 1: was like, you know, talking to the costume designer of

612
00:33:56,080 --> 00:33:58,400
Speaker 1: the film and said, I want to put this feather

613
00:33:58,520 --> 00:34:04,360
Speaker 1: dress in the film. Created it so cool and according

614
00:34:04,400 --> 00:34:09,319
Speaker 1: to what I read, apparently they were ostrich feathers from

615
00:34:09,320 --> 00:34:13,000
Speaker 1: what I read, but that because it was kind of

616
00:34:13,040 --> 00:34:16,080
Speaker 1: like a handmade dress. There were feathers fucking everywhere. Like

617
00:34:18,440 --> 00:34:21,640
Speaker 1: to really look for it when I watched it this time,

618
00:34:21,680 --> 00:34:23,759
Speaker 1: because I'm like, certainly there are fucking feathers all over

619
00:34:23,760 --> 00:34:26,719
Speaker 1: this floor of this movie, and there were you could

620
00:34:26,760 --> 00:34:28,120
Speaker 1: see feathers everywhere.

621
00:34:29,400 --> 00:34:32,879
Speaker 2: But I think that adds to the cuteness of it, yes,

622
00:34:32,920 --> 00:34:35,759
Speaker 2: because she's like she's letting loose and really letting go,

623
00:34:35,880 --> 00:34:38,120
Speaker 2: and her dress is coming apart and she's just like

624
00:34:38,239 --> 00:34:38,600
Speaker 2: fuck it.

625
00:34:39,520 --> 00:34:42,040
Speaker 1: Yeah. I mean, the only way it would be an

626
00:34:42,080 --> 00:34:45,520
Speaker 1: actual problem is if fred Astaire fucking doing a soft shoe,

627
00:34:45,560 --> 00:34:47,680
Speaker 1: slips on one of those feathers and dies.

628
00:34:49,800 --> 00:34:51,600
Speaker 3: Just face plants and do a fucking beam.

629
00:34:51,960 --> 00:34:54,400
Speaker 1: Yeah. It's like that bit of show Girls when the

630
00:34:54,440 --> 00:34:56,680
Speaker 1: girl like throws the beads on stage and then the

631
00:34:56,680 --> 00:35:00,640
Speaker 1: other girl like slips on a bead and and that's

632
00:35:00,880 --> 00:35:05,000
Speaker 1: showbiz baby. But uh, I love that dress. It's an

633
00:35:05,160 --> 00:35:09,040
Speaker 1: iconic dress and the idea that she thought of it

634
00:35:09,040 --> 00:35:12,480
Speaker 1: herself is really cute to me. So you've got like,

635
00:35:13,080 --> 00:35:20,040
Speaker 1: you know, these wonderful, beautiful dance numbers. We're in Italy. Reminder,

636
00:35:20,080 --> 00:35:23,600
Speaker 1: we're in Italy. So there's this one, very big, probably

637
00:35:23,680 --> 00:35:27,120
Speaker 1: the biggest number in the whole movie, where it's like

638
00:35:27,800 --> 00:35:31,040
Speaker 1: talking about gondolas, and then the song is just literally

639
00:35:31,480 --> 00:35:34,680
Speaker 1: people rhyming as many Italian sounding words with the phrase

640
00:35:34,760 --> 00:35:35,480
Speaker 1: the piccolino.

641
00:35:38,280 --> 00:35:38,879
Speaker 3: Oh good.

642
00:35:38,920 --> 00:35:43,400
Speaker 2: They're like, whatever, Yeah, it's close enough.

643
00:35:43,440 --> 00:35:46,759
Speaker 1: We're American. We don't care. Yeah, it's like, you know,

644
00:35:48,080 --> 00:35:55,200
Speaker 1: such a hilarious American Hollywood number about an Italian thing

645
00:35:55,480 --> 00:35:59,160
Speaker 1: from that era, which is so funny. But you know,

646
00:35:59,360 --> 00:36:02,640
Speaker 1: match is cracking about how men suck as we love,

647
00:36:02,800 --> 00:36:05,560
Speaker 1: as I've told you, And you know, I think at

648
00:36:05,600 --> 00:36:06,640
Speaker 1: the end of the day, I don't think I have

649
00:36:06,680 --> 00:36:09,560
Speaker 1: to tell you that eventually all the confusion is resolved

650
00:36:09,600 --> 00:36:13,480
Speaker 1: and everything works out, because this is Hollywood, baby, and

651
00:36:13,520 --> 00:36:16,000
Speaker 1: that's why we love it. But you know, I think

652
00:36:16,040 --> 00:36:18,960
Speaker 1: for me personally, it's not probably not too much of

653
00:36:18,960 --> 00:36:22,160
Speaker 1: a surprise that I would have picked this nineteen thirties

654
00:36:22,239 --> 00:36:27,160
Speaker 1: tap dancing musical as an escapist pleasure film. I guess

655
00:36:27,200 --> 00:36:32,200
Speaker 1: I mean to me, I mean, I love dancing. I'm

656
00:36:32,239 --> 00:36:34,719
Speaker 1: not I've never been a professional dancer, but I love

657
00:36:34,800 --> 00:36:37,759
Speaker 1: watching people dance. And I think that Fred Astaire and

658
00:36:37,880 --> 00:36:43,560
Speaker 1: Ginger Rogers particularly were really special because they're very effervescent

659
00:36:43,800 --> 00:36:46,560
Speaker 1: when they dance together, and it looks like they're having

660
00:36:46,600 --> 00:36:48,839
Speaker 1: a lot of fun with each other, you know. And

661
00:36:49,520 --> 00:36:52,280
Speaker 1: the one thing that I actually do appreciate to talk about,

662
00:36:52,480 --> 00:36:55,640
Speaker 1: you know, our feelings on whether or not we consider

663
00:36:55,680 --> 00:36:58,480
Speaker 1: Fred Astaire a sex symbol or not, is that there

664
00:36:58,520 --> 00:37:01,160
Speaker 1: almost feels like there is the kind of gender role

665
00:37:01,200 --> 00:37:04,719
Speaker 1: swap when they're together, which is that Fred is very

666
00:37:04,719 --> 00:37:09,480
Speaker 1: boyish and gentle and Ginger's the sassy one, which, yeah,

667
00:37:09,640 --> 00:37:14,440
Speaker 1: you know, for the nineteen thirties, pretty good, pretty great, actually.

668
00:37:14,080 --> 00:37:15,759
Speaker 3: Yeah, And I just I love that.

669
00:37:15,800 --> 00:37:17,760
Speaker 2: I don't know who said it, but there's that quote

670
00:37:17,760 --> 00:37:22,400
Speaker 2: about Ginger Rogers doing everything that Fred Astaire did, but

671
00:37:22,440 --> 00:37:25,480
Speaker 2: she did it backwards and in heels. That's right, And

672
00:37:25,520 --> 00:37:28,560
Speaker 2: when you watch them together, you're like, they're just so effortless.

673
00:37:29,520 --> 00:37:34,040
Speaker 2: They really are great partners because they're so effortless and

674
00:37:34,120 --> 00:37:38,120
Speaker 2: like their size is comparable, and it just looks dreamy

675
00:37:38,160 --> 00:37:40,040
Speaker 2: to watch them move because you're like, oh, I didn't

676
00:37:40,040 --> 00:37:43,200
Speaker 2: know human beings could do that. Yeah, And so that

677
00:37:43,280 --> 00:37:45,960
Speaker 2: also kind of takes you out of the reality realm

678
00:37:45,960 --> 00:37:48,120
Speaker 2: because you're watching these two people who are just like

679
00:37:49,400 --> 00:37:54,239
Speaker 2: cosmically unreal. Yeah, like so good at dancing that, like

680
00:37:54,440 --> 00:37:57,239
Speaker 2: they take you out of reality.

681
00:37:57,160 --> 00:37:59,640
Speaker 1: Yeah, and like, And the funny thing is is that

682
00:38:00,400 --> 00:38:03,280
Speaker 1: when I see them together, and even in the drama bits,

683
00:38:03,320 --> 00:38:07,239
Speaker 1: even when they're acting and not dancing, I don't even

684
00:38:07,280 --> 00:38:10,560
Speaker 1: really consider them to be this like hot, passionate romantic

685
00:38:10,680 --> 00:38:13,480
Speaker 1: pairing necessarily. Like I just think that there are two

686
00:38:13,560 --> 00:38:16,960
Speaker 1: people who are connected and they're at total ease with

687
00:38:17,000 --> 00:38:19,759
Speaker 1: each other, and that makes me happy. Like I don't

688
00:38:19,800 --> 00:38:21,799
Speaker 1: need them to be like hot and horny for each other.

689
00:38:21,840 --> 00:38:23,400
Speaker 3: I need them to just totally.

690
00:38:23,120 --> 00:38:27,400
Speaker 1: Feel like they have this very natural, beautiful relationship. And

691
00:38:27,719 --> 00:38:30,120
Speaker 1: I was reading a lot about them separately obviously when

692
00:38:30,120 --> 00:38:34,080
Speaker 1: I was doing research about this movie for this week,

693
00:38:34,400 --> 00:38:38,160
Speaker 1: And it's funny because they they actually did have a

694
00:38:38,200 --> 00:38:44,160
Speaker 1: great relationship. They were like lifelong friends and he is

695
00:38:44,239 --> 00:38:46,400
Speaker 1: quoted a lot of saying that, you know, she was

696
00:38:46,440 --> 00:38:50,360
Speaker 1: his favorite person to dance with, because you know, he

697
00:38:50,560 --> 00:38:53,240
Speaker 1: had been a dancer since he was a child, essentially,

698
00:38:53,280 --> 00:38:57,280
Speaker 1: and he was doing partner dancing with many different people

699
00:38:57,360 --> 00:38:59,120
Speaker 1: across his career and then did a lot of his

700
00:38:59,160 --> 00:39:01,840
Speaker 1: own dancing too, But he was like, she was my favorite.

701
00:39:02,160 --> 00:39:04,239
Speaker 1: And also I have to say that because there was

702
00:39:04,400 --> 00:39:06,560
Speaker 1: a lot about fred Astaire that I actually didn't know,

703
00:39:06,600 --> 00:39:09,880
Speaker 1: which is super interesting to me. So apparently fred Astaire

704
00:39:10,760 --> 00:39:16,120
Speaker 1: really influenced men's fashion in the twentieth century. Like apparently

705
00:39:16,200 --> 00:39:20,000
Speaker 1: he was the kind of bridge between this sort of

706
00:39:20,080 --> 00:39:24,040
Speaker 1: like more formal men's style from Europe and like what

707
00:39:24,080 --> 00:39:27,120
Speaker 1: we consider to be like modern men's style, because he

708
00:39:27,239 --> 00:39:29,759
Speaker 1: was basically sor I mean, I know, he wears tuxedos

709
00:39:29,800 --> 00:39:32,319
Speaker 1: and top hats in this film, but then in his

710
00:39:32,360 --> 00:39:35,440
Speaker 1: real life he was wearing a lot of like sport

711
00:39:35,520 --> 00:39:40,080
Speaker 1: coats and button down shirts, which is obviously standard men's

712
00:39:40,120 --> 00:39:43,799
Speaker 1: clothing at this point. And I swear to god I

713
00:39:43,840 --> 00:39:48,680
Speaker 1: read this somewhere. Am I quoting it directly, I'm paraphrasing it,

714
00:39:48,719 --> 00:39:52,239
Speaker 1: But apparently he was the guy that got men out

715
00:39:52,239 --> 00:39:58,640
Speaker 1: of wearing spats. What, Yes, like guys were wearing spats.

716
00:39:58,880 --> 00:40:01,480
Speaker 1: Remember we talked about spats, like who the fuck would

717
00:40:01,480 --> 00:40:03,680
Speaker 1: wear those things? But he's the guy that's like, I

718
00:40:03,719 --> 00:40:06,160
Speaker 1: don't fuck with spats. We're doing a new thing in

719
00:40:06,200 --> 00:40:10,560
Speaker 1: a new area way. Yeah, I didn't know that. I know.

720
00:40:11,040 --> 00:40:12,520
Speaker 3: Good, you've read a stare.

721
00:40:12,800 --> 00:40:16,319
Speaker 1: I know he's pushing shit forward. And the other thing,

722
00:40:16,400 --> 00:40:21,400
Speaker 1: I will say two other things. A he became a

723
00:40:21,440 --> 00:40:26,120
Speaker 1: skateboarder in his what sevent inties, So he was in

724
00:40:26,160 --> 00:40:33,239
Speaker 1: the seventies and decided to take up skateboarding. I'm so what, yes,

725
00:40:33,840 --> 00:40:37,000
Speaker 1: because apparently he was really physically fit his entire life

726
00:40:37,160 --> 00:40:40,640
Speaker 1: right at tracks, like a lot of those dancers were

727
00:40:40,920 --> 00:40:44,520
Speaker 1: very athletic and stayed athletic throughout throughout their entire career.

728
00:40:44,560 --> 00:40:46,680
Speaker 1: But yeah, apparently he took up skateboarding in his seventies

729
00:40:46,680 --> 00:40:49,560
Speaker 1: and then like broke his wrist when he was skateboarding

730
00:40:49,600 --> 00:40:52,080
Speaker 1: in his driveway. He broke his wrist in his seventies.

731
00:40:52,360 --> 00:40:54,800
Speaker 3: I mean, yay, but also so weird.

732
00:40:55,160 --> 00:40:57,440
Speaker 1: Yeah, I mean I kind of think that's remarkable that

733
00:40:57,440 --> 00:40:58,600
Speaker 1: an old guy would be like, I want to be

734
00:40:58,640 --> 00:41:03,920
Speaker 1: a skateboarder in myself. The other thing most relevant to

735
00:41:04,200 --> 00:41:08,440
Speaker 1: the exactly right fam Freda Stair was a true crime

736
00:41:08,480 --> 00:41:15,440
Speaker 1: efficient auto. He was a murderingo folks. What Yeah, Freda

737
00:41:15,480 --> 00:41:20,000
Speaker 1: Stair loved true crime and skateboarding. So there you go.

738
00:41:20,640 --> 00:41:22,920
Speaker 3: Oh good. I love these facts so much. I did

739
00:41:23,000 --> 00:41:24,920
Speaker 3: not know any of that about him.

740
00:41:25,000 --> 00:41:29,040
Speaker 1: Yes, but at any rate, I love this film so

741
00:41:29,040 --> 00:41:33,319
Speaker 1: so much. It truly puts me on another plane, in

742
00:41:33,360 --> 00:41:36,840
Speaker 1: another dimension. It's like a dimension where nothing bad happens

743
00:41:36,840 --> 00:41:38,560
Speaker 1: and I can like step out of my shit for

744
00:41:38,680 --> 00:41:41,480
Speaker 1: just a moment and just be in this beautiful art

745
00:41:41,520 --> 00:41:46,719
Speaker 1: deco nineteen thirties dream world of tap dancing and you know,

746
00:41:46,920 --> 00:41:50,640
Speaker 1: fancy clothes and funny character directors. So that is my

747
00:41:50,719 --> 00:41:51,600
Speaker 1: pick for this week.

748
00:41:52,000 --> 00:41:54,160
Speaker 3: It such a good pick. I'm so glad you did.

749
00:41:55,560 --> 00:41:55,759
Speaker 1: Well.

750
00:41:55,840 --> 00:41:58,080
Speaker 2: Mine is taking us in a little bit of a

751
00:41:58,120 --> 00:42:02,160
Speaker 2: different direction. My movie was released in two thousand and one.

752
00:42:02,840 --> 00:42:06,120
Speaker 2: It was written by Guillem Laurent and Jean Pierre Jeanet

753
00:42:06,280 --> 00:42:09,880
Speaker 2: and directed by Jean Pierre Janet. My movie is Amie.

754
00:42:09,880 --> 00:42:13,840
Speaker 3: With the discovery of a simple childhood treasure, she begins

755
00:42:13,880 --> 00:42:18,640
Speaker 3: a quest to fix other people's lives and perhaps her

756
00:42:18,719 --> 00:42:19,640
Speaker 3: own as well.

757
00:42:20,160 --> 00:42:28,040
Speaker 1: Do you remember there was this episode of Saturday Night

758
00:42:28,120 --> 00:42:31,360
Speaker 1: Live when this movie came out, where Chris Catan played

759
00:42:31,400 --> 00:42:35,080
Speaker 1: Omily No, I gotta find it and said it to you.

760
00:42:36,000 --> 00:42:39,839
Speaker 1: I remember it being so fucking funny. I gotta look

761
00:42:39,840 --> 00:42:42,239
Speaker 1: that up. Maybe Casey can look it up and send

762
00:42:42,280 --> 00:42:44,480
Speaker 1: it to us. But there was like Chris Catan and

763
00:42:44,520 --> 00:42:47,520
Speaker 1: an Omile Wig and he was just like giggling. God,

764
00:42:48,400 --> 00:42:50,839
Speaker 1: I do not remember that at all.

765
00:42:53,239 --> 00:42:57,799
Speaker 3: Oh good, all right? Oh by film, I don't know.

766
00:42:57,800 --> 00:43:00,279
Speaker 2: I think I picked it because it definitely takes me

767
00:43:00,480 --> 00:43:03,399
Speaker 2: out of takes me out of reality, because there's such

768
00:43:03,400 --> 00:43:07,160
Speaker 2: a strong representation of fantasy in this film, and there's

769
00:43:07,200 --> 00:43:09,080
Speaker 2: so much to pay attention to. There's so much to

770
00:43:09,160 --> 00:43:13,600
Speaker 2: look at, and it's relaxing though it's not like you're

771
00:43:13,880 --> 00:43:16,400
Speaker 2: concentrating so hard that you will miss something like you can.

772
00:43:16,440 --> 00:43:19,719
Speaker 2: Really from the beginning of the film, you become encompassed

773
00:43:19,760 --> 00:43:22,719
Speaker 2: in the story of an entire character's life, which I

774
00:43:22,760 --> 00:43:25,480
Speaker 2: find very comforting. So my one sense and synopsis of

775
00:43:25,480 --> 00:43:28,640
Speaker 2: Amily is a shy and lonely young woman brings her

776
00:43:28,680 --> 00:43:33,560
Speaker 2: fantasy life into reality as she searches for meaning perfect

777
00:43:33,920 --> 00:43:36,680
Speaker 2: And one thing I love about this film is so

778
00:43:36,800 --> 00:43:40,360
Speaker 2: Jean Pierre Jeanet is a very well known.

779
00:43:40,239 --> 00:43:43,040
Speaker 3: Director who you haven't heard about a lot.

780
00:43:42,960 --> 00:43:45,719
Speaker 2: Recently, even though he you know, he directed The City

781
00:43:45,719 --> 00:43:49,640
Speaker 2: of Lost Children, a very long engagement. Delicatessen is from

782
00:43:49,719 --> 00:43:51,839
Speaker 2: nineteen ninety one is a great film if you haven't

783
00:43:51,880 --> 00:43:52,239
Speaker 2: seen it.

784
00:43:52,680 --> 00:43:54,480
Speaker 3: And this movie and he just.

785
00:43:56,440 --> 00:43:59,200
Speaker 2: He kind of he didn't disappear, but I kind of

786
00:43:59,239 --> 00:44:01,399
Speaker 2: looked up to see, like, well, why isn't even as

787
00:44:01,440 --> 00:44:04,319
Speaker 2: prolific as he had been in the late nineties early

788
00:44:04,360 --> 00:44:08,720
Speaker 2: two thousands, And the short answer is that he's too weird,

789
00:44:09,000 --> 00:44:11,840
Speaker 2: Like people didn't want to invest in his quirky fucking movies,

790
00:44:12,560 --> 00:44:15,799
Speaker 2: so as we This is again one of the side

791
00:44:15,800 --> 00:44:21,040
Speaker 2: effects of moving towards a Marvel franchise overtaking the film

792
00:44:21,080 --> 00:44:25,640
Speaker 2: world is people didn't want to take a risk on

793
00:44:26,400 --> 00:44:27,920
Speaker 2: his weird movies anymore.

794
00:44:28,640 --> 00:44:30,239
Speaker 1: That is depressing as shit.

795
00:44:30,800 --> 00:44:32,800
Speaker 2: Yeah, he was having a lot of problems getting funding

796
00:44:32,920 --> 00:44:35,600
Speaker 2: even though this movie in particular, like he had several

797
00:44:35,600 --> 00:44:36,280
Speaker 2: movies that put.

798
00:44:36,200 --> 00:44:38,520
Speaker 3: Him on the map, but amily was huge.

799
00:44:39,239 --> 00:44:43,440
Speaker 1: Oh my god, it is absolutely huge. And also like

800
00:44:44,920 --> 00:44:46,840
Speaker 1: gets still gets referenced all the time.

801
00:44:47,239 --> 00:44:53,799
Speaker 2: Yeah, yeah, so it's it's again, this is disappointing and surprising.

802
00:44:53,920 --> 00:44:57,680
Speaker 2: But that's why there's been a lull in his career

803
00:44:57,719 --> 00:44:59,520
Speaker 2: so to speak, is he's had a hard time getting

804
00:44:59,520 --> 00:45:02,200
Speaker 2: funding because a lot of his films deal with you know,

805
00:45:02,280 --> 00:45:06,200
Speaker 2: fantasy realism, you know, and science fiction and kind of

806
00:45:06,280 --> 00:45:10,520
Speaker 2: these fantasy elements. And he's self taught, like he started

807
00:45:10,520 --> 00:45:14,759
Speaker 2: an animation, but he's a self taught director. So I

808
00:45:14,800 --> 00:45:19,959
Speaker 2: hope that somebody decides to give him money again one day, yep,

809
00:45:20,760 --> 00:45:21,959
Speaker 2: because his films.

810
00:45:21,640 --> 00:45:24,759
Speaker 3: Are classic and necessary.

811
00:45:25,320 --> 00:45:27,840
Speaker 2: He did release a film called Big Bug on Netflix

812
00:45:28,200 --> 00:45:31,040
Speaker 2: on twenty twenty two, but I don't think it.

813
00:45:31,040 --> 00:45:32,240
Speaker 3: Got much fanfare.

814
00:45:33,600 --> 00:45:36,360
Speaker 2: But he's I just I like his style, Like he

815
00:45:36,480 --> 00:45:40,640
Speaker 2: uses very lush and saturated colors like greens and reds

816
00:45:40,719 --> 00:45:44,279
Speaker 2: and blues are very present in this movie. And one

817
00:45:44,280 --> 00:45:46,840
Speaker 2: device that I like about how the film was written

818
00:45:47,080 --> 00:45:50,920
Speaker 2: is that they introduce everyone by discussing their likes and dislikes,

819
00:45:51,400 --> 00:45:53,200
Speaker 2: which kind of gets you into who they are as

820
00:45:53,200 --> 00:45:57,520
Speaker 2: a person. So we first meet Amile as she's born,

821
00:45:57,600 --> 00:46:01,440
Speaker 2: like we literally see amily being born, and they go

822
00:46:01,560 --> 00:46:04,080
Speaker 2: through her life, and even under the credits, there's this

823
00:46:04,160 --> 00:46:06,400
Speaker 2: kind of image of this little girl who's like probably

824
00:46:06,400 --> 00:46:08,600
Speaker 2: four or five, and she's just doing all these cute

825
00:46:08,640 --> 00:46:11,440
Speaker 2: little kid things, and it just it's nice to look at,

826
00:46:11,480 --> 00:46:14,960
Speaker 2: but it also just gives you such a feeling of

827
00:46:15,000 --> 00:46:18,359
Speaker 2: why this kid is locked in her own mind for

828
00:46:18,400 --> 00:46:20,520
Speaker 2: the rest of the movie because she spends she's an

829
00:46:20,560 --> 00:46:23,080
Speaker 2: only child, she spends so much time alone, and her

830
00:46:23,120 --> 00:46:26,239
Speaker 2: parents don't send her to school for a kind of

831
00:46:26,280 --> 00:46:28,600
Speaker 2: sad and funny reason. Her dad's a doctor, her mom

832
00:46:28,680 --> 00:46:31,560
Speaker 2: is a school mistress, and her she's At one point

833
00:46:32,440 --> 00:46:35,080
Speaker 2: she says, you know, she wants her dad to hug her,

834
00:46:35,080 --> 00:46:38,640
Speaker 2: but he's so cold, and the only time he ever

835
00:46:38,680 --> 00:46:41,040
Speaker 2: touches her is when he's giving her an exam, and

836
00:46:41,120 --> 00:46:43,000
Speaker 2: it makes her heart beat so fast that he thinks

837
00:46:43,280 --> 00:46:45,239
Speaker 2: that she has a heart defect. So they can't send

838
00:46:45,239 --> 00:46:48,680
Speaker 2: her to school. So she's a homeschooled kid, and she's

839
00:46:48,680 --> 00:46:51,600
Speaker 2: so like, you know, kind of alone, and you know

840
00:46:51,680 --> 00:46:56,200
Speaker 2: her she's been raised by as to directly quote the film,

841
00:46:56,239 --> 00:46:58,719
Speaker 2: she's been raised by a neurotic and an iceberg, and

842
00:46:58,760 --> 00:47:01,680
Speaker 2: she retreats to her imagine this is a household where

843
00:47:01,680 --> 00:47:07,040
Speaker 2: even her fish is suicidal. So her mom dies in

844
00:47:07,080 --> 00:47:10,080
Speaker 2: this freak accident, and she's kind of left alone with

845
00:47:10,120 --> 00:47:13,440
Speaker 2: her dad who's very unsociable and kind of focuses on

846
00:47:13,680 --> 00:47:16,640
Speaker 2: building this shrine to his dead wife. And then we

847
00:47:16,719 --> 00:47:19,000
Speaker 2: kind of jump to her as a young woman. And

848
00:47:19,400 --> 00:47:21,360
Speaker 2: when we meet amily, as we will see her in

849
00:47:21,400 --> 00:47:24,480
Speaker 2: the rest of the film, played by Audrey Tautou. We

850
00:47:24,520 --> 00:47:27,080
Speaker 2: meet her when she's like twenty two years old and

851
00:47:27,120 --> 00:47:29,480
Speaker 2: she's living in Monmarch and she's like working at this

852
00:47:29,680 --> 00:47:32,320
Speaker 2: restaurant called the Two Windmills, and.

853
00:47:32,200 --> 00:47:33,360
Speaker 3: She kind of keeps for herself.

854
00:47:33,520 --> 00:47:34,840
Speaker 2: She has a kind of you know, she doesn't have

855
00:47:35,000 --> 00:47:39,160
Speaker 2: a partner, and she's kind of left to her imagination

856
00:47:39,400 --> 00:47:42,399
Speaker 2: even as an adult. And there are people that are

857
00:47:42,440 --> 00:47:45,239
Speaker 2: in her life that these characters that again we meet

858
00:47:45,360 --> 00:47:48,920
Speaker 2: by learning about their likes and dislikes. So you have

859
00:47:49,000 --> 00:47:53,560
Speaker 2: Suzanne who owns this cafe, Georgette who's a tobacconist. She's

860
00:47:53,600 --> 00:47:57,400
Speaker 2: a hypochondriac. Gina is her coworker who just broke up

861
00:47:57,440 --> 00:48:01,920
Speaker 2: with Joseph played by Dominique Pignon, who's fantastic, and this

862
00:48:01,960 --> 00:48:06,200
Speaker 2: writer called Hippolito, and this you know, this, this flight

863
00:48:06,239 --> 00:48:10,560
Speaker 2: attendant named George, and you kind of just meet her world.

864
00:48:10,560 --> 00:48:14,719
Speaker 2: And there's a grocer that she goes to every day Colignon,

865
00:48:14,880 --> 00:48:17,480
Speaker 2: and he works with this this young kid named Lucien,

866
00:48:18,120 --> 00:48:21,040
Speaker 2: who Colignon is really cruel to like, he just is

867
00:48:21,080 --> 00:48:23,200
Speaker 2: constantly telling telling people like, oh, he's like, you know,

868
00:48:23,280 --> 00:48:27,160
Speaker 2: he's mentally defective, and you know he's slow, and you know,

869
00:48:27,400 --> 00:48:30,600
Speaker 2: he's just cruel. He's a cruel, horrible person. And then

870
00:48:30,640 --> 00:48:33,560
Speaker 2: she also starts to meet her neighbors. And what we

871
00:48:33,680 --> 00:48:36,000
Speaker 2: know about Amily from her likes and dislikes is that

872
00:48:36,080 --> 00:48:38,240
Speaker 2: she loves movies. She likes to look back at people's

873
00:48:38,239 --> 00:48:41,880
Speaker 2: faces in the dark. She likes noticing details and movies

874
00:48:41,920 --> 00:48:45,400
Speaker 2: that people often miss. She likes to skip stones, she

875
00:48:45,560 --> 00:48:48,040
Speaker 2: likes to crack crumb brulet, and like dig her hand

876
00:48:48,120 --> 00:48:53,120
Speaker 2: in grains of sand. So the movie is very it's

877
00:48:53,239 --> 00:48:56,359
Speaker 2: it's not just a visual for me. Even it's not

878
00:48:56,440 --> 00:48:59,560
Speaker 2: just a visual sensation. It's like the it's a very

879
00:48:59,600 --> 00:49:02,600
Speaker 2: tactile sensation happening in the film that I think is

880
00:49:02,680 --> 00:49:06,520
Speaker 2: translated very well to the character. And so as she

881
00:49:06,600 --> 00:49:10,360
Speaker 2: starts to kind of dig into this fantasy life, on

882
00:49:10,400 --> 00:49:14,960
Speaker 2: the day that Princess Diana is reported as dead, she

883
00:49:15,120 --> 00:49:18,799
Speaker 2: drops the top of her perfume bottle. It cracks into

884
00:49:19,200 --> 00:49:22,320
Speaker 2: an old tile in her bathroom and behind the tile

885
00:49:22,440 --> 00:49:25,000
Speaker 2: is this box and it's a box just filled with

886
00:49:25,080 --> 00:49:27,759
Speaker 2: nick knacks, and she decides that she is going to

887
00:49:27,840 --> 00:49:31,719
Speaker 2: find the owner and return the box to him and become.

888
00:49:31,600 --> 00:49:32,960
Speaker 3: A regular do gooder.

889
00:49:34,040 --> 00:49:36,520
Speaker 2: And so as the film goes on, we're following her

890
00:49:36,600 --> 00:49:40,719
Speaker 2: life where she's trying to do good for people, and

891
00:49:40,760 --> 00:49:43,040
Speaker 2: the feeling that it gives her is so all encompassing,

892
00:49:43,719 --> 00:49:47,399
Speaker 2: but she quickly realizes that she's not doing anything good

893
00:49:47,440 --> 00:49:50,920
Speaker 2: for herself, and her own life is not positively. It

894
00:49:50,960 --> 00:49:54,280
Speaker 2: might be positively impacted by these these kind of little

895
00:49:54,680 --> 00:49:57,440
Speaker 2: games she's playing with people, but it's not. She's not

896
00:49:57,440 --> 00:50:01,799
Speaker 2: getting any return and investment, so to speak, until she

897
00:50:02,000 --> 00:50:07,520
Speaker 2: meets Nino Concumbois, who's played by Matthieu Kosovitz. He's so

898
00:50:07,640 --> 00:50:09,600
Speaker 2: cute and she kind of sees him like digging under

899
00:50:09,600 --> 00:50:11,440
Speaker 2: a photo booth one day and you're like, what is

900
00:50:11,480 --> 00:50:13,799
Speaker 2: he doing? And eventually it comes to pass that you

901
00:50:13,920 --> 00:50:17,000
Speaker 2: learn that he's collecting all the discarded photos and putting

902
00:50:17,000 --> 00:50:19,560
Speaker 2: them back together in a photo boo book, like he's

903
00:50:19,560 --> 00:50:22,919
Speaker 2: making his own photo book. And there's this one guy

904
00:50:22,920 --> 00:50:24,759
Speaker 2: that keeps appearing over and over again. So it's like

905
00:50:24,800 --> 00:50:28,080
Speaker 2: this really cute I don't know. He's quirky in his

906
00:50:28,120 --> 00:50:32,320
Speaker 2: own way essentially, and Amilee kind of falls for him instantly,

907
00:50:32,760 --> 00:50:35,600
Speaker 2: and as she decides to start learning who he is

908
00:50:35,800 --> 00:50:37,919
Speaker 2: and they get involved in their own game of cat

909
00:50:38,000 --> 00:50:41,040
Speaker 2: and mouse, she does start kind of coming around to

910
00:50:41,680 --> 00:50:45,560
Speaker 2: this notion of wanting love in her own life. And

911
00:50:45,800 --> 00:50:49,080
Speaker 2: her neighbor helps her with that the most, Raymond Dufayel,

912
00:50:49,160 --> 00:50:52,600
Speaker 2: who's this painter and he has like a brittle bone disease,

913
00:50:52,640 --> 00:50:54,839
Speaker 2: so he stays inside most of the time. He's been

914
00:50:54,880 --> 00:50:58,000
Speaker 2: inside for like twenty years. And she kind of starts,

915
00:50:58,040 --> 00:50:59,800
Speaker 2: which I think is an interesting technique. She kind of

916
00:50:59,800 --> 00:51:02,399
Speaker 2: star it's telling him about her life by talking about

917
00:51:02,400 --> 00:51:05,279
Speaker 2: it in the third person. So when he responds to

918
00:51:05,320 --> 00:51:08,080
Speaker 2: her and gives her advice, they both know that they're

919
00:51:08,120 --> 00:51:11,200
Speaker 2: talking about her, but it's not as fraud. It's kind

920
00:51:11,200 --> 00:51:13,000
Speaker 2: of easier for her to put it in that third

921
00:51:13,000 --> 00:51:17,480
Speaker 2: person fantasy world. So I don't know, I just I

922
00:51:17,520 --> 00:51:20,640
Speaker 2: love their relationship in the movie. And she also, you know,

923
00:51:20,840 --> 00:51:23,240
Speaker 2: in her way of trying to make people's lives better

924
00:51:23,800 --> 00:51:26,080
Speaker 2: just some really cute and funny things, like her dad,

925
00:51:26,239 --> 00:51:28,919
Speaker 2: she keeps wanting her dad to travel, and he won't

926
00:51:28,960 --> 00:51:31,520
Speaker 2: go anywhere. So she takes this gnome off the top

927
00:51:31,600 --> 00:51:34,960
Speaker 2: of her mom's shrine and sends it around the world

928
00:51:35,080 --> 00:51:40,080
Speaker 2: with her flight attendant friend, and it just sends pictures

929
00:51:40,120 --> 00:51:40,799
Speaker 2: back to the dad.

930
00:51:40,880 --> 00:51:43,080
Speaker 3: That's like the Gnoam is traveling, why can't you?

931
00:51:43,239 --> 00:51:46,160
Speaker 2: Essentially, But yeah, she just gives so much happiness to

932
00:51:46,239 --> 00:51:48,879
Speaker 2: other people. So when she meets Nino, it turns into

933
00:51:48,920 --> 00:51:52,560
Speaker 2: this film that is just I don't know. It becomes

934
00:51:52,600 --> 00:51:56,360
Speaker 2: like a real like a very fraud love story, but

935
00:51:56,480 --> 00:51:59,080
Speaker 2: it has such a happy ending, and I just, I

936
00:51:59,120 --> 00:52:00,040
Speaker 2: don't know, I just love it.

937
00:52:00,040 --> 00:52:01,080
Speaker 3: It takes me out of reality.

938
00:52:01,120 --> 00:52:04,640
Speaker 2: Every time I think being seeing Paris through Jean Pierre

939
00:52:04,760 --> 00:52:09,239
Speaker 2: Janet's eyes always transports me. I feel like this is

940
00:52:09,280 --> 00:52:11,080
Speaker 2: one of the movies that I kind of feel like

941
00:52:11,080 --> 00:52:13,040
Speaker 2: I'm in a place, like I can feel even before

942
00:52:13,040 --> 00:52:15,000
Speaker 2: I went to Paris, and I saw this film before

943
00:52:15,040 --> 00:52:17,799
Speaker 2: I ever went to Paris, and I felt like, oh,

944
00:52:17,840 --> 00:52:19,840
Speaker 2: I know what the day to day there feels like

945
00:52:19,920 --> 00:52:22,759
Speaker 2: because of this film, you know, maybe not specifically, but

946
00:52:23,120 --> 00:52:25,440
Speaker 2: he did a really good job translating what it was

947
00:52:25,480 --> 00:52:27,480
Speaker 2: like to kind of live in a small neighborhood and

948
00:52:27,520 --> 00:52:30,399
Speaker 2: have a smaller world and want a bigger world but not.

949
00:52:30,320 --> 00:52:32,920
Speaker 3: Be able to access it yourself. I don't know, I

950
00:52:33,000 --> 00:52:33,600
Speaker 3: just I love it.

951
00:52:33,640 --> 00:52:37,360
Speaker 2: I think it's so beautiful, it's visually stunning, and it

952
00:52:37,560 --> 00:52:40,960
Speaker 2: just is a really funny, lovely story with a lot

953
00:52:40,960 --> 00:52:44,200
Speaker 2: of sad moments. It's punctuated by a lot of sad moments,

954
00:52:44,239 --> 00:52:48,760
Speaker 2: but they're almost immediately lifted by something else that happens

955
00:52:48,760 --> 00:52:50,720
Speaker 2: that can just transport you to a different place.

956
00:52:51,000 --> 00:52:51,640
Speaker 3: So I love it.

957
00:52:52,120 --> 00:52:54,359
Speaker 1: Yeah, me too, Oh my god. I mean, first of all,

958
00:52:54,440 --> 00:52:58,200
Speaker 1: like this movie was a movie that really like represents

959
00:52:58,280 --> 00:53:03,239
Speaker 1: this like early to thousands era where I mean this

960
00:53:03,400 --> 00:53:07,759
Speaker 1: to me feels like a style of film that would

961
00:53:07,760 --> 00:53:10,920
Speaker 1: be adopted by so many types of people later. Like,

962
00:53:11,000 --> 00:53:14,800
Speaker 1: even even though Wes Anderson had technically made movies before

963
00:53:15,000 --> 00:53:17,240
Speaker 1: this movie came out, I feel like his movie's almost

964
00:53:17,280 --> 00:53:20,839
Speaker 1: kind of morphed into a version of Amile in terms

965
00:53:20,880 --> 00:53:25,359
Speaker 1: of it being like whimsical with all these different quirky characters,

966
00:53:25,520 --> 00:53:30,160
Speaker 1: and but also like a kind of sadness underneath it too,

967
00:53:31,480 --> 00:53:33,840
Speaker 1: Because you're right about that, Like, even though this movie

968
00:53:34,120 --> 00:53:38,160
Speaker 1: is wonderful and life affirming and beautiful, there is this

969
00:53:38,280 --> 00:53:41,400
Speaker 1: kind of undercurrent of sadness for this Omili character because

970
00:53:41,480 --> 00:53:45,920
Speaker 1: you know, she is essentially the person who brings joy

971
00:53:46,000 --> 00:53:49,279
Speaker 1: and happiness to everybody else but herself, and because of

972
00:53:49,320 --> 00:53:53,800
Speaker 1: her upbringing, she's not she doesn't know how to to

973
00:53:54,840 --> 00:53:58,880
Speaker 1: reach out to love. Essentially, Yeah, she wants it very badly,

974
00:53:58,960 --> 00:54:01,160
Speaker 1: but she doesn't know how to get there and connect

975
00:54:01,160 --> 00:54:04,080
Speaker 1: with people. And her way of connecting to people is

976
00:54:04,120 --> 00:54:06,960
Speaker 1: by these kind of like whimsical games that she plays.

977
00:54:06,960 --> 00:54:11,000
Speaker 1: It's very childlike, right, which is ultimately what makes her

978
00:54:11,360 --> 00:54:15,359
Speaker 1: and this Anino character so connected because they're both scene

979
00:54:15,400 --> 00:54:18,640
Speaker 1: as kind of outcasts and weirdos. And you know, there's

980
00:54:18,680 --> 00:54:22,320
Speaker 1: a lot of stuff in the film where, you know,

981
00:54:22,400 --> 00:54:24,560
Speaker 1: kind of Nino's coworkers, cause Nino works at this like

982
00:54:24,680 --> 00:54:26,680
Speaker 1: porn shop, right.

983
00:54:29,040 --> 00:54:30,640
Speaker 3: Works at like a sex shop for sure.

984
00:54:30,960 --> 00:54:34,280
Speaker 1: So there's a scene where Amile comes to the shop

985
00:54:34,360 --> 00:54:36,759
Speaker 1: to kind of look for him and bring him his

986
00:54:36,800 --> 00:54:40,720
Speaker 1: book back, and you know, one of his coworkers starts

987
00:54:40,760 --> 00:54:42,799
Speaker 1: like talking about him, because of course she's like does

988
00:54:42,800 --> 00:54:44,719
Speaker 1: he have a girlfriend? Like what's the story? And she's like,

989
00:54:44,760 --> 00:54:46,839
Speaker 1: oh no, he's just like a weird dude. He works

990
00:54:46,880 --> 00:54:49,400
Speaker 1: part time at a haunted house at the fair and

991
00:54:49,480 --> 00:54:51,520
Speaker 1: then he works at a sex shop and he goes

992
00:54:51,520 --> 00:54:55,720
Speaker 1: around collecting like weird discarded old, you know, photo booth photos,

993
00:54:55,760 --> 00:54:58,520
Speaker 1: and you know, basically set it, setting it up to

994
00:54:58,560 --> 00:55:02,280
Speaker 1: be like he's just like, y'all are destined to be together.

995
00:55:02,560 --> 00:55:06,000
Speaker 1: Come on, exactly exactly. It's so sweet.

996
00:55:06,160 --> 00:55:09,400
Speaker 3: It's just sweet. Yeah, and uh.

997
00:55:09,520 --> 00:55:12,040
Speaker 1: The other thing that I think is so insane about

998
00:55:12,400 --> 00:55:15,799
Speaker 1: this is that Nino is played by the same guy

999
00:55:15,840 --> 00:55:20,319
Speaker 1: that directed Lehne. I don't know if you've ever seen Lehne, Yeah,

1000
00:55:20,320 --> 00:55:23,440
Speaker 1: but I'm like, yo, the guy that directed that movie

1001
00:55:23,480 --> 00:55:27,200
Speaker 1: is in a romantic comedy, a whimsic called romantic comedy.

1002
00:55:27,200 --> 00:55:31,520
Speaker 3: You're like, holy shit, match you koso viets do yes.

1003
00:55:32,120 --> 00:55:37,200
Speaker 1: And he's so cute and wonderful in this film, as

1004
00:55:37,280 --> 00:55:41,800
Speaker 1: is she. I mean she is. She is fucking irresistible.

1005
00:55:41,800 --> 00:55:45,839
Speaker 1: And I don't care how hardened off you motherfuckers are

1006
00:55:46,040 --> 00:55:48,400
Speaker 1: about these types of movies, because let me tell you something.

1007
00:55:50,120 --> 00:55:54,120
Speaker 1: One thing that I thought was so so interesting was

1008
00:55:54,120 --> 00:55:57,480
Speaker 1: that so I went into my letterboxed after I watched

1009
00:55:57,480 --> 00:55:58,799
Speaker 1: this movie, and I'm like, I want to see what

1010
00:55:58,840 --> 00:56:01,760
Speaker 1: people think of about Emily, Like I want to see

1011
00:56:01,840 --> 00:56:06,799
Speaker 1: what my fucking asshole cinophile friends think of Omily, and

1012
00:56:07,040 --> 00:56:09,440
Speaker 1: as you can imagine, there's a lot of people that

1013
00:56:09,480 --> 00:56:14,400
Speaker 1: I know that are like, man, this movie is too cute, Seawootsie,

1014
00:56:14,560 --> 00:56:20,640
Speaker 1: too artsy, fertsy to poopsie, woot really And I'm like, fuck, y'all,

1015
00:56:21,760 --> 00:56:24,280
Speaker 1: this movie's great.

1016
00:56:24,960 --> 00:56:27,160
Speaker 2: Well. Also, what we're dealing with now too, is if

1017
00:56:27,160 --> 00:56:29,920
Speaker 2: if you're watching Omily for the first time now in

1018
00:56:29,960 --> 00:56:36,160
Speaker 2: twenty twenty three, you've been affected by the years of

1019
00:56:36,280 --> 00:56:39,280
Speaker 2: tweenness that came after this movie.

1020
00:56:39,719 --> 00:56:41,960
Speaker 3: Yes, so after this four.

1021
00:56:41,840 --> 00:56:44,960
Speaker 2: Years after this movie is when Nathan Rabin coined the

1022
00:56:45,080 --> 00:56:48,359
Speaker 2: term manic picture dream girl. Like, we've been dealing with

1023
00:56:48,440 --> 00:56:52,600
Speaker 2: that since after this film. So when the film came out,

1024
00:56:52,640 --> 00:56:54,319
Speaker 2: that was not the intention for her to be like

1025
00:56:54,320 --> 00:56:59,400
Speaker 2: this cutesy, impossible, fucking character. Yes, And I think because

1026
00:56:59,440 --> 00:57:03,480
Speaker 2: of the effect of watching women get denigrated throughout film

1027
00:57:03,560 --> 00:57:07,680
Speaker 2: over the last two decades, a lot of people expect

1028
00:57:07,680 --> 00:57:11,640
Speaker 2: these kinds of characters to be insufferable now and it's

1029
00:57:11,719 --> 00:57:12,640
Speaker 2: not the case with her.

1030
00:57:13,000 --> 00:57:18,320
Speaker 1: The part that wrecked me, fucking wrecked me was when

1031
00:57:19,440 --> 00:57:24,800
Speaker 1: she brought that box of treasures back to the dude,

1032
00:57:24,880 --> 00:57:33,080
Speaker 1: back to when he got emotional seeing his old toys.

1033
00:57:33,360 --> 00:57:38,760
Speaker 1: I fucking lost it and that was something that did

1034
00:57:38,800 --> 00:57:42,040
Speaker 1: not happen. I think when this movie came out, now

1035
00:57:42,040 --> 00:57:46,919
Speaker 1: that I'm an old sea hag that is affected by

1036
00:57:47,080 --> 00:57:51,960
Speaker 1: memory and you know, life and age, I'm like, that

1037
00:57:52,120 --> 00:57:55,439
Speaker 1: shit fucking put me out. I was like, I can't

1038
00:57:55,520 --> 00:57:58,160
Speaker 1: watch this grown man crying over his fucking old toys,

1039
00:57:58,560 --> 00:57:58,880
Speaker 1: and she.

1040
00:58:00,640 --> 00:58:02,720
Speaker 2: Of like how what it was making him think of

1041
00:58:02,840 --> 00:58:06,200
Speaker 2: and what he lost? And oh god, that was tough.

1042
00:58:07,240 --> 00:58:09,560
Speaker 1: Yeah, but it just makes me. This movie makes me

1043
00:58:09,720 --> 00:58:14,840
Speaker 1: just generally happy. I'm like, yes, I mean, as corny

1044
00:58:15,320 --> 00:58:20,400
Speaker 1: as it seems that people would want this type of

1045
00:58:20,520 --> 00:58:23,320
Speaker 1: magic in their lives and that you know, like you know,

1046
00:58:23,400 --> 00:58:25,520
Speaker 1: you get kind of eye rolly when you think about

1047
00:58:25,560 --> 00:58:28,880
Speaker 1: like these types that kind of trapes through life on

1048
00:58:29,160 --> 00:58:31,520
Speaker 1: like a cloud and they're like I'm bringing I'm sprinkling

1049
00:58:31,600 --> 00:58:34,320
Speaker 1: magic everywhere. It's like, yes, we all know, life sucks

1050
00:58:34,360 --> 00:58:38,760
Speaker 1: a lot more than people like this can exist, I

1051
00:58:38,760 --> 00:58:41,360
Speaker 1: guess is sort of the thing. I still get caught

1052
00:58:41,440 --> 00:58:44,320
Speaker 1: up in it. I still like, I love this world.

1053
00:58:44,440 --> 00:58:48,240
Speaker 1: I love this world where like nobody is cynical and

1054
00:58:48,280 --> 00:58:52,520
Speaker 1: everybody is magical and happy and wonderful, and.

1055
00:58:52,080 --> 00:58:54,120
Speaker 2: Also the thing that makes it different for me is

1056
00:58:54,160 --> 00:58:56,440
Speaker 2: that bad shit does happen, Like she literally cries in

1057
00:58:56,480 --> 00:58:58,560
Speaker 2: this movie two or three times, Like she's not a

1058
00:58:58,600 --> 00:59:04,000
Speaker 2: happy person overall. She's looking for happiness by doing good things,

1059
00:59:04,040 --> 00:59:07,120
Speaker 2: like she's trying to kind of jumpstart that for herself.

1060
00:59:07,760 --> 00:59:11,240
Speaker 2: But she's not like oblivious to the world. She just

1061
00:59:11,320 --> 00:59:14,120
Speaker 2: kind of is saddened by the world and her place

1062
00:59:14,120 --> 00:59:16,160
Speaker 2: in it, and that's what forces her to action. So

1063
00:59:16,360 --> 00:59:18,360
Speaker 2: I think that makes it different from the like I'm

1064
00:59:18,400 --> 00:59:22,080
Speaker 2: just an oblivious, fun, quirky person who has no problems,

1065
00:59:22,120 --> 00:59:25,000
Speaker 2: Like she just really is like, no, I got problems.

1066
00:59:25,800 --> 00:59:28,280
Speaker 2: I've been alone my whole life, Like I've felt isolated

1067
00:59:28,280 --> 00:59:31,840
Speaker 2: my entire life, and I don't know how.

1068
00:59:31,360 --> 00:59:32,920
Speaker 3: To engage with people.

1069
00:59:33,040 --> 00:59:35,520
Speaker 2: And even when she starts engaging with Nino, she's just

1070
00:59:35,600 --> 00:59:38,320
Speaker 2: like she does it in the quirk like the craziest way,

1071
00:59:39,040 --> 00:59:41,160
Speaker 2: to the point where like Defayel has to step in

1072
00:59:41,200 --> 00:59:43,760
Speaker 2: and be like, girl, let me tell you how to

1073
00:59:43,840 --> 00:59:47,680
Speaker 2: do this like this, like you're gonna mess this up

1074
00:59:47,880 --> 00:59:52,520
Speaker 2: because you can't. You can't treat every relationship like this

1075
00:59:52,800 --> 00:59:54,560
Speaker 2: kind of fantasy world thing.

1076
00:59:55,640 --> 00:59:57,560
Speaker 3: So I kind of I appreciate that about the movie.

1077
00:59:57,560 --> 00:59:58,840
Speaker 3: Even more because she's real.

1078
00:59:58,960 --> 01:00:02,800
Speaker 2: She's a realist, I should say she's she's a fantasist

1079
01:00:02,920 --> 01:00:07,120
Speaker 2: who is aware of reality. So she is living in reality,

1080
01:00:07,200 --> 01:00:09,560
Speaker 2: but she's still a fantasist.

1081
01:00:09,600 --> 01:00:11,120
Speaker 3: But I just I love it. I love it.

1082
01:00:11,040 --> 01:00:13,440
Speaker 2: It takes me out of the world in it's such

1083
01:00:13,440 --> 01:00:15,360
Speaker 2: a delightful way every fucking time I watch it.

1084
01:00:15,920 --> 01:00:19,440
Speaker 1: Yeah, I guess I'm mostly thinking of, like maybe the

1085
01:00:19,520 --> 01:00:27,080
Speaker 1: perception of her whimsy and her magic creation, like because

1086
01:00:27,120 --> 01:00:29,760
Speaker 1: I kept thinking, like, Okay, so this dad character that's

1087
01:00:29,760 --> 01:00:33,840
Speaker 1: getting the postcards from his gnome, right, you know, he

1088
01:00:33,920 --> 01:00:36,600
Speaker 1: seems to be very sad and very depressed. And I

1089
01:00:36,640 --> 01:00:40,560
Speaker 1: think in the real world, if you started receiving mail

1090
01:00:40,720 --> 01:00:43,640
Speaker 1: at your home from knowing, you would be like, what

1091
01:00:43,680 --> 01:00:46,840
Speaker 1: the fuck? And you would be freaked out and you

1092
01:00:46,840 --> 01:00:49,480
Speaker 1: would be like, somebody is watching me. And because we

1093
01:00:49,520 --> 01:00:54,120
Speaker 1: all live in that like horrible paranoia and distrust of everything.

1094
01:00:54,400 --> 01:00:57,760
Speaker 1: So I love a world where people are enchanted by

1095
01:00:57,800 --> 01:01:00,360
Speaker 1: her good doing in a way, so she's like, I

1096
01:01:00,400 --> 01:01:04,720
Speaker 1: know she's doing it out of sadness, but that the

1097
01:01:04,760 --> 01:01:07,680
Speaker 1: reaction to it is positive, do you know what I'm saying.

1098
01:01:08,920 --> 01:01:11,880
Speaker 2: Yeah, she's affecting change in a very good way in

1099
01:01:11,920 --> 01:01:15,360
Speaker 2: her life, and that encouraging so many people to live

1100
01:01:15,400 --> 01:01:18,600
Speaker 2: bigger and better lives and even just simple, simple, simple,

1101
01:01:19,360 --> 01:01:21,360
Speaker 2: Like there's a scene with the writer at the end

1102
01:01:21,440 --> 01:01:25,760
Speaker 2: where it's just the simplest idea and it makes his

1103
01:01:25,800 --> 01:01:27,560
Speaker 2: whole you can see in his face that it makes

1104
01:01:27,600 --> 01:01:31,240
Speaker 2: his whole day better, it makes his career feel valid.

1105
01:01:31,320 --> 01:01:34,200
Speaker 3: So she's doing like practically good things for people.

1106
01:01:34,320 --> 01:01:37,560
Speaker 1: Yes, and that their reactions aren't coming from this like

1107
01:01:37,960 --> 01:01:42,200
Speaker 1: super guarded, super cool, like what are you doing type

1108
01:01:42,240 --> 01:01:43,880
Speaker 1: of place that's coming from like, oh my god, like

1109
01:01:43,920 --> 01:01:46,760
Speaker 1: she something amazing just happened to me, and it's there

1110
01:01:46,760 --> 01:01:48,880
Speaker 1: in the moment. I don't know that. I think that's

1111
01:01:48,920 --> 01:01:52,200
Speaker 1: obviously informed by just the world that we live in

1112
01:01:52,320 --> 01:01:54,440
Speaker 1: right now, and I'm like, nobody can do good things.

1113
01:01:54,520 --> 01:01:57,080
Speaker 1: Everybody is just you know, calling people out and like

1114
01:01:58,200 --> 01:02:02,280
Speaker 1: telling people that they're dorks. So anyway, that's that is

1115
01:02:02,320 --> 01:02:06,560
Speaker 1: what enchanted me watching it again. But I am just

1116
01:02:06,720 --> 01:02:09,920
Speaker 1: generally in love with this movie, and I am so

1117
01:02:10,080 --> 01:02:12,520
Speaker 1: glad that I still have the same reaction to it

1118
01:02:12,720 --> 01:02:13,880
Speaker 1: as I did when I first saw it.

1119
01:02:13,920 --> 01:02:18,040
Speaker 3: So me too, Oh, I love it that this is

1120
01:02:18,040 --> 01:02:19,560
Speaker 3: a good double feature this week.

1121
01:02:19,600 --> 01:02:23,400
Speaker 1: I think so too, and I kind of was like,

1122
01:02:23,640 --> 01:02:25,600
Speaker 1: I love this world. Do I want to go back

1123
01:02:25,600 --> 01:02:28,560
Speaker 1: to watching other films? I just want to stay in

1124
01:02:28,560 --> 01:02:34,440
Speaker 1: the fantasy world forever. Whatever. But if you want to

1125
01:02:34,480 --> 01:02:36,240
Speaker 1: email us, we are at a saucy did pot at

1126
01:02:36,240 --> 01:02:39,600
Speaker 1: gmail dot com. Send us questions for bonus episodes. We

1127
01:02:39,640 --> 01:02:42,840
Speaker 1: also have a PO box. You can find the address

1128
01:02:42,880 --> 01:02:45,920
Speaker 1: on our link tree on our social media. But send

1129
01:02:46,000 --> 01:02:52,280
Speaker 1: us whimsical mail, maybe clues to other you know, maybe

1130
01:02:52,320 --> 01:02:54,120
Speaker 1: do the thing where you're like, if you want to

1131
01:02:54,160 --> 01:02:56,120
Speaker 1: see the next letter, you're gonna have to meet me

1132
01:02:56,160 --> 01:02:58,120
Speaker 1: at the train station at nine pm.

1133
01:02:59,840 --> 01:03:02,680
Speaker 3: And that will be a Milli specific experiment.

1134
01:03:03,920 --> 01:03:05,680
Speaker 1: Listen, if you want to pay for me to go

1135
01:03:05,720 --> 01:03:11,439
Speaker 1: to a Presian train station to follow your crazy little game.

1136
01:03:12,200 --> 01:03:14,480
Speaker 1: As all as you pay, I'll show up.

1137
01:03:16,120 --> 01:03:18,760
Speaker 2: You can also leave us a voicemail to play on

1138
01:03:18,800 --> 01:03:20,680
Speaker 2: the show if you want to leave us some whimsical cues.

1139
01:03:20,720 --> 01:03:22,440
Speaker 3: That way, all you.

1140
01:03:22,360 --> 01:03:24,200
Speaker 2: Have to do is record a VOICEMAILO on your phone

1141
01:03:24,200 --> 01:03:25,880
Speaker 2: and email it to I Saw what you did pod

1142
01:03:25,920 --> 01:03:28,480
Speaker 2: at gmail dot com. Please make it sixty seconds or

1143
01:03:28,560 --> 01:03:31,040
Speaker 2: less and record it in a quiet space.

1144
01:03:32,560 --> 01:03:34,760
Speaker 1: Yes, and please find us on our social media We

1145
01:03:34,800 --> 01:03:37,919
Speaker 1: are at I Saw Pod on Instagram, Twitter, and Blue Sky.

1146
01:03:38,600 --> 01:03:40,440
Speaker 1: We also have merch go to the I Saw What

1147
01:03:40,480 --> 01:03:43,600
Speaker 1: You Did section of the Exactly Right shop to find it, and.

1148
01:03:43,560 --> 01:03:45,960
Speaker 2: We have bonus episodes coming out all the time. We

1149
01:03:46,000 --> 01:03:49,200
Speaker 2: have new bonus episodes dropping on the main feed now

1150
01:03:49,280 --> 01:03:53,040
Speaker 2: every third Thursday of the month, and our old bonus

1151
01:03:53,080 --> 01:03:55,439
Speaker 2: episodes are trickling out to the main feed every couple

1152
01:03:55,520 --> 01:03:56,600
Speaker 2: of weeks on Wednesdays.

1153
01:03:57,200 --> 01:03:59,160
Speaker 1: That's right, all right? So Danielle, would you like to

1154
01:03:59,200 --> 01:04:00,800
Speaker 1: announce the movies for next week?

1155
01:04:01,360 --> 01:04:01,560
Speaker 3: Oh?

1156
01:04:01,600 --> 01:04:04,320
Speaker 2: You know, I would love to because our movies next

1157
01:04:04,320 --> 01:04:07,880
Speaker 2: week are The Lion in Winter from nineteen sixty eight

1158
01:04:08,320 --> 01:04:10,959
Speaker 2: and On Golden Pond from nineteen eighty one.

1159
01:04:11,680 --> 01:04:16,960
Speaker 1: Woo woo wooh those are good ones. Well, Danielle, as

1160
01:04:17,000 --> 01:04:19,640
Speaker 1: always a fucking pleasure join us podcast.

1161
01:04:19,240 --> 01:04:30,840
Speaker 3: With you the best of all time. This has been

1162
01:04:30,880 --> 01:04:34,680
Speaker 3: an exactly Right production produced by Casey O'Brien. Episode mixing

1163
01:04:34,720 --> 01:04:38,160
Speaker 3: and theme music by Tom Bryfogel, artwork by Garrett Ross.

1164
01:04:38,480 --> 01:04:42,240
Speaker 3: Our executive producers are Georgia Hartstart, karenkle Garriff, and Daniel Kramer.

1165
01:04:42,560 --> 01:04:44,960
Speaker 2: You can follow us on Instagram and Twitter at I

1166
01:04:45,000 --> 01:04:47,760
Speaker 2: Saw Pod and you can email us at I saw

1167
01:04:47,760 --> 01:04:48,200
Speaker 2: what you did.

1168
01:04:48,240 --> 01:04:49,240
Speaker 3: POD at gmail