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

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Speaker 1: You Did. My name is Millie to.

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Speaker 2: Jericho, I'm Daniel Henderson, and we're.

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Speaker 1: Back with you once again to talk about films and

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Speaker 1: the wonderful world of the cinema. Every time I say

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Speaker 1: the cinema, I feel like I have to say it

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Speaker 1: like in an obnoxious like the cinema.

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Speaker 2: It's funny to me every time. I know, that's all

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Speaker 2: that matters. I know, how are you this week?

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Speaker 1: I'm fine. I'm a little concerned again because pretty much

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Speaker 1: everybody I know has COVID right now. So I'm, you know,

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Speaker 1: feeling a little weird about that.

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Speaker 2: Are you like retreating from things?

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Speaker 1: Yeah, And I gotta tell you, I don't know about you.

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Speaker 1: You know, I think everybody has begun to really relax

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Speaker 1: about COVID obviously. Yeah. And I mean I caught myself

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Speaker 1: in some what I call high risk behaviors. I've been

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Speaker 1: going to the gym and not wearing a mask. I've

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Speaker 1: been I went to a movie theater, very small movie theater,

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Speaker 1: and found out pretty much the next day that two

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Speaker 1: people in the movie theater had tested positive. So I

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Speaker 1: was like, oh.

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Speaker 2: Great, wait, did the movie theater like email you or something.

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Speaker 1: Or like no. Actually it was a birthday screening for

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Speaker 1: a friend of mine here in Atlanta, and he organized

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Speaker 1: this the screenings that everybody could watch the new David

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Speaker 1: Cronenberg movie Nice. And so it was a very small theater.

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Speaker 1: It's probably fit, I don't know, maybe like twenty five

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Speaker 1: thirty seats or something. And it was like it was

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Speaker 1: like somebody somebody's living room. It could have been like

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Speaker 1: a rich person's living room it was, but not like

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Speaker 1: a huge movie.

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Speaker 2: Theater, right right, like the kind of movie theater you

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Speaker 2: see like on a campus or something.

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Speaker 1: Yes. Absolutely, And he texted everybody and said, hey, two

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Speaker 1: people says positive. I was like, oh great, and then,

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Speaker 1: oh my god, probably the worst thing. This is the

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Speaker 1: worst thing. I'm gonna admit it, because why not. Right,

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Speaker 1: So after the film, we all like walk next door.

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Speaker 1: We're all having drinks were we were outside, right, Okay,

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Speaker 1: I'm art. Now here's the thing. Sometimes when I'm drinking,

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Speaker 1: I'll want to have a little cigarette break of course, right,

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Speaker 1: and it doesn't happen all the time, but I actually

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Speaker 1: inhaled a cigarette off of somebody else who was smoking.

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Speaker 2: I'm laughing, not because I think it's funny that we

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Speaker 2: were in a high risk situation, but because of what

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Speaker 2: we now consider high risk. Like in the past, I

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Speaker 2: would have been like, oh, Millie said she's been in

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Speaker 2: some high risk situations. That means she visited a glory

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Speaker 2: hole or something like that. And now you're like, I

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Speaker 2: took a sip after somebody's water glass.

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Speaker 1: Yes, and like in the moment, it felt very high school,

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Speaker 1: do you know what I'm saying? Like I was like,

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Speaker 1: and and the person who is smoking the cigarette was

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Speaker 1: like a young attractive man, So I was like, Oh,

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Speaker 1: I am smoking this man's serret. Taken a couple drags,

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Speaker 1: and then I was like, what the fuck did I

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Speaker 1: just do it? Like that is that is like express

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Speaker 1: train to COVID. I don't really know this guy, I

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Speaker 1: don't even know half the people here. And I'm like, well,

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Speaker 1: I'm just gonna like literally put my saliva on another

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Speaker 1: person's saliva.

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Speaker 2: So and inhale like directly into my lungs where COVID lives,

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Speaker 2: al that saliva into my body.

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Speaker 1: And to say nothing of the fact that smoking is

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Speaker 1: terrible and will kill you. But it's the thing where

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Speaker 1: I'm like, God, Damn, Why did I fucking do that shit?

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Speaker 1: So then of course I spiral out. This entire week

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Speaker 1: has been me spiraling out from that because I was like,

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Speaker 1: I did a bad thing. I did a bad thing.

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Speaker 1: Holy shit. I mean, listen, I'm like Catholic, you know

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Speaker 1: how this goes. So I was like, I have to

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Speaker 1: test every day every single day since because I was

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Speaker 1: in the theater. But then I also had the cigarette situation,

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Speaker 1: and you know, so anyway, I've been spiraling out. I'm negative,

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Speaker 1: but that's just I'm.

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Speaker 2: Glad you're negative for sure, and and I understand the spiral,

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Speaker 2: but I also feel like you've been doing some soft

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Speaker 2: launches back into society for the last couple of months,

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Speaker 2: and nothing that you've done in the last week is different.

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Speaker 2: Like you went to a movie, You've done that before,

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Speaker 2: you went to the gym, You've done that before. Like

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Speaker 2: this should not be high risk situation, but COVID is

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Speaker 2: out there and I got it. I had COVID.

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Speaker 1: Yes, I was hoping that you would talk about this

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Speaker 1: because you, out of a lot of people that I know,

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Speaker 1: were very vigilant about yeah getting it.

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Speaker 2: So what happened, well, even beyond like I realized the

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Speaker 2: other day that being one of the only people in

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Speaker 2: my town who still wears a mask everywhere makes me

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Speaker 2: feel like the angel of Death because I'm just kind

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Speaker 2: of always like everyone's carrying on with their day, and

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Speaker 2: then here I am like, don't forget COVID, because I

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Speaker 2: have my mask on. You can see that I'm worried

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Speaker 2: about it. Don't forget COVID. So I already felt like

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Speaker 2: out of place because I was still vigilant months after

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Speaker 2: most people had relaxed a little bit. And if you

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Speaker 2: think you were engaging in high risk situations, I think

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Speaker 2: the only possible way I've could have gotten it because

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Speaker 2: I don't see anybody, I don't go anywhere, and if

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Speaker 2: I do go someplace I got my mask on. I

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Speaker 2: think the only way I could have gotten it is

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Speaker 2: in the Dunkin Donuts drive through. There was one one

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Speaker 2: fucking day I usually put my mask on in the

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Speaker 2: drive through. One fucking day, I didn't grab it soon enough,

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Speaker 2: and I think I just drove into someone's fucking COVID

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Speaker 2: cloud or one of the employees had it. And that's

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Speaker 2: the only thing I can think of. And it started

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Speaker 2: out feeling like I had allergies, like my throat was.

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Speaker 2: My throat hurt and I was kind of stuffy, and

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Speaker 2: I'm like, this is like allergies, Like I get this

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Speaker 2: every year, It's no big deal. And then my throat

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Speaker 2: hurt more the next day and I'm like, what the fuck?

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Speaker 2: And then then I went to what was it? I

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Speaker 2: went to Home Depot with a friend of mine and

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Speaker 2: my friend Sarah and again maskot. I drove, I had

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Speaker 2: my mask on in the car, I had my mask

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Speaker 2: on in the store. I did not take my mask

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Speaker 2: off the entire time. And then Sarah texted me the

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Speaker 2: next day and she was like, just to let you know,

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Speaker 2: I've been feeling a little shitty, and I'm like, oh,

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Speaker 2: me too, but I think it's allergies. And she's like,

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Speaker 2: maybe we should COVID test, and we did, and we

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Speaker 2: both fucking had it. So not only did I have it,

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Speaker 2: I could have given it to my friend, the one

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Speaker 2: person I saw in months. I could have given it

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Speaker 2: to them because she wasn't wearing a mask when we

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Speaker 2: were in the car. Oh no, or in home Depot.

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Speaker 2: So we kind of joked about like did you give

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Speaker 2: it to me? Did I give it to you? Who knows,

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Speaker 2: and we both had like work being done on our

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Speaker 2: house and all kinds of shit. So I talked to

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Speaker 2: my contractors and I'm like, get your guys tested because

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Speaker 2: I have COVID. And again, nobody fucking listens to me

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Speaker 2: in my own house. So even though I have a

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Speaker 2: mask requirement nine times out of ten, I went downstairs

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Speaker 2: and they were not wearing one, right, but they tested

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Speaker 2: negative and I don't know if they were still testing

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Speaker 2: negative because here's the real fuck shit part. So it

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Speaker 2: started out just feeling like a sore throat and a

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Speaker 2: little bit of a cold allergy situation. But I didn't

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Speaker 2: test positive until four days after I started feeling sick.

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Speaker 1: Right, Oh, it was I fete this like weird testing

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Speaker 1: window where because there are so many people that have

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Speaker 1: like the full on legit symptoms but are still testing negative.

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Speaker 1: That's what happened to my weightlifting coach too, yep.

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Speaker 2: And it's like you could have symptoms and test negative

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Speaker 2: and then you're like, well, what is it? Then I

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Speaker 2: don't know what what fuck do I have? And then

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Speaker 2: like there was someone I know who tested positive like

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Speaker 2: seven days after they started feeling shitty. What so you

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Speaker 2: feel shitty? At all in any capacity, stay the fuck

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Speaker 2: home because even if you're not testing positive, you could

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Speaker 2: have it. Yeah, and if you have to go out

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Speaker 2: and you're feeling shitty, please wear your mask. And yeah,

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Speaker 2: I just I don't know, It's just it was. I

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Speaker 2: was so when I saw that fucking second line pop up,

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Speaker 2: because I would take COVID test like nonsop for the

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Speaker 2: past fucking years. When I saw that line pop up,

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Speaker 2: I my stomach dropped.

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Speaker 1: God, I gotta tell you, like that that feeling. I

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Speaker 1: swear to God, I take COVID test codslitch what every

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Speaker 1: day this week, and I'm always so nervous.

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Speaker 2: Yeah, it is an anxiety producing fucking situation. And so

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Speaker 2: when that line popped up, I was like fuck. And

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Speaker 2: then there was so it was first fear and then

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Speaker 2: a lot of shame because I'm like and guilt because

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Speaker 2: I'm like, fuck, did I get my friends sick? Like?

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Speaker 2: Did we try to do one normal thing? And I

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Speaker 2: got her sick? So there was that component, and then

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Speaker 2: there was the pure panic of did I get my

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Speaker 2: grandmother sick? Because I wasn't testing positive. On Sunday before

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Speaker 2: I went to home depot, I went to her house

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Speaker 2: that morning and did my regular thing where I got

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Speaker 2: this before she moved in with me, where I got

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Speaker 2: her ready and set for the morning, and I was

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Speaker 2: hanging out with her for like three hours. We fucking

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Speaker 2: watched Golden Girls and had breakfast and coffee, and I

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Speaker 2: was like, well, I just have allergies, It's fine. And

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Speaker 2: then on Tuesday, the day that I tested, and I

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Speaker 2: was starting to finally test positive on Tuesday, I was

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Speaker 2: over there that morning doing the same thing, and then

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Speaker 2: I went home tested and was like, oh my god,

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Speaker 2: I have fucking COVID.

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Speaker 1: Wow.

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Speaker 2: So I panicked called my mom and was like, you

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Speaker 2: have to go over and take care of grandma this

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Speaker 2: week because I'm just tested positive for COVID. Also, she's

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Speaker 2: moving this week, so you have to pack her entire

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Speaker 2: fucking apartment. And it was just total panic. And thank

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Speaker 2: fucking god, she did not get sick. She tested every day, yeah,

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Speaker 2: and I tested or even after she got here, I

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Speaker 2: wore my mask until I tested negative for I waited

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Speaker 2: until I tested negative for two days to take my

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Speaker 2: mask off in my own house. But I was panicked

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Speaker 2: the whole time. So like for another additional week, I'm like,

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Speaker 2: if I spent the last two fucking years of my

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Speaker 2: life trying to keep my grandmother safe, and then I

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Speaker 2: was the one that gave her COVID. I will never

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Speaker 2: forgive myself. Yeah, Like it was the most awful feeling.

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Speaker 2: But thankfully she was fine and she didn't get it.

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Speaker 2: And she didn't but again, this is how fucking random

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Speaker 2: this thing is and how arbitrary it is. We hung

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Speaker 2: out for hours. I fully had COVID and was like

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Speaker 2: sneezing in her apartment and she didn't get it.

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Speaker 1: Yeah, I've been hearing that, Like I've been hearing stuff

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Speaker 1: like that all the time of like people's like husbands

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Speaker 1: or wives or kids have it, but they don't get it.

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Speaker 1: They're sleeping in the same bed, they don't get it.

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Speaker 1: I mean, it's so this is what it's so beguiling,

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Speaker 1: this entire virus, this entire pandemic, because it's just sort

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Speaker 1: of like you can't really set your w any of it.

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Speaker 1: And it sucks because you're just like there's just so

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Speaker 1: many exceptions to the rule, and I just it makes

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Speaker 1: it really hard to live a life when all this

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Speaker 1: stuff is happening like this, you know.

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Speaker 2: Absolutely, And oh my god, I was so angry about

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Speaker 2: that as well, because I felt like my anger in

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Speaker 2: the beginning and it didn't last very long, but I

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Speaker 2: was like and it wasn't even a why me, It

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Speaker 2: was just kind of like why this, Like I did

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Speaker 2: not only did I do everything quote unquote right, I

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Speaker 2: did it harder and longer than most people, and I

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Speaker 2: still got sick. I still got sick. So the anger,

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Speaker 2: the only way the anger for me dissipated is realizing

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Speaker 2: that that is just the nature of COVID, is that

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Speaker 2: we don't fucking get it, and we will never and are.

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Speaker 2: This is not purely an individual problem. This is a

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Speaker 2: problem of our nation, a problem of our states. It's

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Speaker 2: a problem of nobody is acting in good conscious to

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Speaker 2: keep everybody well. Like if everybody still, if we still

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Speaker 2: had mask mandates, maybe I wouldn't have gotten sick. If

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Speaker 2: I wasn't the only fucking person wearing a mask, maybe

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Speaker 2: I wouldn't have gotten sick.

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Speaker 1: Yeah, And it's it's I've been thinking a lot about

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Speaker 1: this too, because I feel like, you know, I, it's

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Speaker 1: so funny, we've we've come from this crazy place because

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Speaker 1: remember when we first do you remember when COVID first

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Speaker 1: popped off? And we were both living in LA and

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Speaker 1: we were each other's cluster. What do we call them?

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Speaker 1: I can'n out what we call COVID cluster.

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Speaker 2: We were a pod.

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Speaker 1: We were a pod, and I remember there was this

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Speaker 1: moment where like I hadn't seen anybody but you in person,

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Speaker 1: and then we were in your car and we were like,

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Speaker 1: should we can we take off our masks around it?

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Speaker 2: Yeah?

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Speaker 1: Like would that be okay? And I remember we both

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Speaker 1: like slow, I took the mesks off and we were like,

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Speaker 1: we opened all the windows and your fucking moon roof

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Speaker 1: and shit in your car and we were like, oh

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Speaker 1: my god, I feel like we're walking around naked. You

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Speaker 1: know it. It was so crazy. But fast forward to

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Speaker 1: now where yeah, no mask mandates, and I honestly feel

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Speaker 1: and maybe part of it is me too, unfortunately, but

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Speaker 1: there is I think there's there's obviously an exhaustion that's

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Speaker 1: kicked in with staying hyper vigilant about catching this thing.

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Speaker 1: Yes right, And don't get me wrong, I do not

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Speaker 1: want this shit. I do not fucking want this ship.

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Speaker 1: And I'm gonna try my hardest, but apparently not because

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Speaker 1: I'm not doing the things that I'm supposed.

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Speaker 2: To be doing because you're still going to glory holes.

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Speaker 2: I can't tell I am it.

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Speaker 1: Was my full mouth on a glory hole.

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Speaker 2: But no, it's true. It's like I didn't want it.

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Speaker 2: But I also feel like, you know, you're absolutely right,

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Speaker 2: like there's an exhaustion to it and there's all and

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Speaker 2: I cannot be I have to be completely honest about

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Speaker 2: the fact that being so hyper vigilant has directly impacted

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Speaker 2: my mental health. Yes, like I have not been in

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Speaker 2: a good place because I've been alone. I've been isolated, yes,

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Speaker 2: for years at this point, because nobody else will fucking

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Speaker 2: take care of themselves, so I have to take care

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Speaker 2: of myself by not being in the world anymore. Yeah,

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Speaker 2: and that shit hurts, and it really fucking sucks that

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Speaker 2: I did all of that, and I kept thinking like,

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Speaker 2: oh my god, all the things I missed, all the

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Speaker 2: parties and birthday parties and visiting kids and visiting friends

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Speaker 2: and visiting doing anything. I missed all of that, and

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Speaker 2: I still fucking got it.

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Speaker 1: Yeah, it's it's just so because listen, I'm gonna tell

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Speaker 1: you right now that it's fucking the tragedy of life

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Speaker 1: when you get right down to it. Is that you

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Speaker 1: can do so much good and still get the short

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Speaker 1: end of the stick. I mean, I talk about this

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Speaker 1: just in the dealing with the you know, illness that

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Speaker 1: I had four years ago, which you know, I always say, oh,

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Speaker 1: I was at my I was I was probably doing

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Speaker 1: the healthiest stuff that I've ever done my life. Like

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Speaker 1: I was working out five times a week, and I

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Speaker 1: was doing all this stuff and I still got sick,

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Speaker 1: and that sheer notion of it fucked with me in

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Speaker 1: this like really weird way for years. Like I still

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Speaker 1: process that. I'm still processing, like what is the why

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Speaker 1: do like bad things happen to good people or why

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Speaker 1: do people who are taking all the precautions still get sick?

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Speaker 1: Or like you know, and it's a big fucking question mark,

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Speaker 1: I mean, it's a fucking existential crisis. I mean you

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Speaker 1: were just like what so I totally understand where you're

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Speaker 1: coming from. And to your credit, I mean, you were

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Speaker 1: truly careful well, Like like I said, one of the

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Speaker 1: only friends that I had that was still very much

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Speaker 1: like towing that line. And you know, yeah, I hate

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Speaker 1: to think that dunkin Donuts fucking ditchit dirty, like live

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Speaker 1: by the Sword, Die by the sword. I guess, I

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Speaker 1: don't know what the fuck.

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Speaker 2: We're canceling our promo with them.

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Speaker 1: Stop the sweatpants, stop printing them, stop printing the collaborative sweatpants.

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Speaker 2: I know. And this is the other thing too, is that,

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Speaker 2: like I had to really stop and think because I

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Speaker 2: haven't been judging people for getting back out in the world,

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Speaker 2: because I get it, like it is fucking lonely and

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Speaker 2: miserable to be isolated. So I wasn't judging anyone for

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Speaker 2: being like, yeah, I'm going to the movies, or yeah,

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Speaker 2: I'm not wearing a mask here. I just feel like

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Speaker 2: there was a veneer of safety that was just ripped

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Speaker 2: away from me, because they're really safety is an illusion

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Speaker 2: in every possible sense in this country. Like I could

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Speaker 2: go to the grocery store and get shot, or I

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Speaker 2: can wear a mask and still get COVID. You know,

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Speaker 2: you could be a person who never smokes a cigarette

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Speaker 2: a day in your life and you still get lung cancer.

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Speaker 2: Like you said, it's just an existential fucking issue when

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Speaker 2: it comes down to it. So I just tried to

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Speaker 2: let that part of it go and just kind of

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Speaker 2: hope that I didn't get too sick and thankfully, I mean,

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Speaker 2: you definitely do not want this, but I am. I

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Speaker 2: just couldn't also stop myself from thinking like, wow, two

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Speaker 2: years ago, this was killing people, and all I had

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Speaker 2: was like I lost my voice for a couple of

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Speaker 2: days and I was kind of stuffed up for a

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Speaker 2: couple of days. But you know, I wasn't really super achy,

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Speaker 2: but I was tired and just stressed and just panicked

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Speaker 2: over it. But I really I'm grateful to science. I

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Speaker 2: was vaccinated and boosted and still got it, which doesn't

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Speaker 2: mean you shouldn't get fucking vaccinated. It just means like,

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Speaker 2: if you do get it and you're vaccinated and boosted,

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Speaker 2: it will not kill you. And my grandmother again vaccinated

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Speaker 2: and double boosted and thankfully didn't get it. But you know,

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Speaker 2: there's just it was just wild. It was wild. It

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Speaker 2: was truly. I went through so many fucking emotions having

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Speaker 2: gotten COVID because it was truly. I truly thought that

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Speaker 2: I was doing everything I could to prepare myself and

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Speaker 2: you know, kind of not get it. But that's not

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Speaker 2: how it works and how it works. So I don't

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Speaker 2: think like at this point, I've been testing negative for

347
00:19:34,040 --> 00:19:39,199
Speaker 2: you know, I'm fine, nothing lingering, no lingering effects. But

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Speaker 2: I'm still wearing my fucking mask. Like that's the other thing.

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Speaker 2: Like I'm still wearing my mask. I still haven't rejoined society,

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Speaker 2: so to speak. And I think it's kind of going

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Speaker 2: to always be this dance of hyper vigilance and you know,

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Speaker 2: living your life and I'm trying to figure it out.

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Speaker 2: I'm just trying to figure it out. And I feel

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Speaker 2: comfortable wearing my mask. I feel like it's the only

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Speaker 2: thing I can do. Our government doesn't help us. I

356
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Speaker 2: got did you ever do that USPS thing where they

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Speaker 2: like would send you COVID tests in the mail? Oh?

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Speaker 1: Hell yeah, yeah.

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00:20:12,160 --> 00:20:13,919
Speaker 2: So I got my COVID test and this time they

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Speaker 2: were like, this time, we'll give you eight tests. And

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Speaker 2: I was like, okay. While I had COVID and I

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Speaker 2: had to test every day, I was using the contraband

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Speaker 2: COVID tests that I got when I was in London

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Speaker 2: in January. That's the other thing. I went to another

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Speaker 2: country and didn't fucking get it.

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Speaker 1: That's the craziest.

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Speaker 2: I was on a long international flight twice and in

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Speaker 2: another country for a week. It didn't get it. And

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Speaker 2: I got it at fucking Dunkin Donuts, livid.

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Speaker 1: My thing to Lavin. But the that is fucking crazy, right.

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Speaker 2: It's like I genuinely went out into the world paranoid

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Speaker 2: the whole time, wore my mask the whole time I

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Speaker 2: was in London.

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Speaker 1: But shitn't you glory holes in London. You known this,

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Speaker 1: If you knew that, you were just gonna get it

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Speaker 1: at Dunkin Donuts and be like, Yo, I'm in London.

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Speaker 1: Everyone breathe on me. Let's call my story, holes, come.

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Speaker 2: On, come through. I'll be standing on the corner like

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Speaker 2: spit in my mouth directly like.

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Speaker 1: I didn't get it.

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Speaker 2: So that was the other like what the fuck part

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Speaker 2: of it? But yeah, I think that it's it's just

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Speaker 2: everyone should just do what they can to feel comfortable

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Speaker 2: in the world, no matter what that looks like now

385
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Speaker 2: because everyone has given up on you. But I was

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Speaker 2: definitely using Like when I was in London. I was

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Speaker 2: it was at the time in January when we were

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Speaker 2: having shortages of at home tests here in the US.

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Speaker 2: So I went to a pharmacy and I was like,

390
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Speaker 2: can I buy some at home tests? And they're like, yeah, sure,

391
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Speaker 2: and they gave me a box and it was a

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Speaker 2: box of seven tests, and I was like, fuck yeah.

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Speaker 2: And then I tried to pay for it and they're like,

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Speaker 2: we can't charge you for that. Are you a citizen?

395
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Speaker 2: And I'm like no, and they're like, just take it,

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Speaker 2: because every fucking citizen gets seven free tests a week.

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Speaker 1: Yes, And that's why I was.

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Speaker 2: Talking to like the people who worked at the hotel

399
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Speaker 2: that I was staying at, and they were like, oh, yeah,

400
00:22:12,440 --> 00:22:15,040
Speaker 2: like we still wear a mask and stay safe at

401
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Speaker 2: work and stuff. But part of the reason why we're

402
00:22:18,320 --> 00:22:20,840
Speaker 2: not as paranoid about it is because we test all

403
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Speaker 2: the time. Yeah, so if we get it, we know

404
00:22:24,440 --> 00:22:26,960
Speaker 2: sooner than like most people who are not testing or

405
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Speaker 2: don't care. So I was the whole time, I was like,

406
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Speaker 2: I'm using my London tests now that I finally got COVID.

407
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Speaker 2: London came through for me and helped me test every day.

408
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Speaker 2: And then like insult to injury, I got the fucking

409
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Speaker 2: four US tests that took two months to get here

410
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Speaker 2: and are the only tests we're going to get. And

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Speaker 2: I was like, are you fucking kidding me?

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Speaker 1: God, well, listen, I I'm glad that you're okay. It's

413
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Speaker 1: never nice to hear that people that you love get COVID.

414
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Speaker 1: I'm glad that, you know, if you want to get

415
00:23:08,480 --> 00:23:10,919
Speaker 1: down to brast X, I'm glad you got it now

416
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Speaker 1: versus before when it was actually fucking killing people.

417
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Speaker 2: But I'm I'm.

418
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Speaker 1: I know the I know the feeling of shame and

419
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Speaker 1: worry and processing that comes with being sick, right and so,

420
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Speaker 1: and it's not it's not nice to sit in that,

421
00:23:34,680 --> 00:23:36,199
Speaker 1: you know. It's not nice to be like what did

422
00:23:36,480 --> 00:23:40,120
Speaker 1: I do this to myself? Like how did I affect others?

423
00:23:40,480 --> 00:23:44,120
Speaker 1: You know, like how did this happen? It's a lot

424
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Speaker 1: to think about it, and it's stressful and it's sad

425
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Speaker 1: and it's just a lot. So I hate that you

426
00:23:49,119 --> 00:23:53,520
Speaker 1: had to go through that part, obviously, But I'm just

427
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Speaker 1: glad that you're okay and you don't seem to have

428
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Speaker 1: any like lingering effects and you're testing negative. You've not

429
00:24:01,800 --> 00:24:04,399
Speaker 1: gone back to Duncan Donuts? Are you back with a mask?

430
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Speaker 3: Like?

431
00:24:04,920 --> 00:24:09,240
Speaker 2: I have not gone back. I figured out how to

432
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Speaker 2: make coffee in my house. The only faucet that works

433
00:24:13,359 --> 00:24:16,480
Speaker 2: in my house is the pipe of the pot feller

434
00:24:16,560 --> 00:24:19,720
Speaker 2: over my stove. And I was like, all right, I'm

435
00:24:19,760 --> 00:24:23,159
Speaker 2: gonna put this. I can boil water in here now. Great.

436
00:24:23,760 --> 00:24:26,600
Speaker 1: So basically you're telling me that, like now every coffee

437
00:24:26,600 --> 00:24:30,399
Speaker 1: shop in one hundred miles of your house is like

438
00:24:31,280 --> 00:24:33,720
Speaker 1: a bad place. So you've got like the insurrection one.

439
00:24:33,800 --> 00:24:37,480
Speaker 1: You can't go to that one COVID duncan yep, the

440
00:24:37,680 --> 00:24:41,600
Speaker 1: one where there's too many people because of the apple festival. Like,

441
00:24:41,760 --> 00:24:44,240
Speaker 1: are you just gonna have to open your own coffee shop?

442
00:24:44,520 --> 00:24:48,080
Speaker 2: Like I am not even kidding. I genuinely had that

443
00:24:48,080 --> 00:24:51,440
Speaker 2: conversation with a local friend this week. I'm like, should

444
00:24:51,440 --> 00:24:53,840
Speaker 2: we just open a fucking coffee like a drive through

445
00:24:53,920 --> 00:24:55,680
Speaker 2: coffee shack, like the kind that I used to go

446
00:24:55,760 --> 00:24:58,160
Speaker 2: to when I lived in Alaska? Like, yeah, drive through

447
00:24:58,200 --> 00:25:00,800
Speaker 2: coffee shack, just so I I can drive through my

448
00:25:00,880 --> 00:25:02,920
Speaker 2: own coffee shack and get coffee and leave.

449
00:25:03,560 --> 00:25:05,320
Speaker 1: Listen, I can see it for you. You'd be like

450
00:25:05,359 --> 00:25:08,720
Speaker 1: the little Juliet Bonoche character that's like, you know, making

451
00:25:08,760 --> 00:25:12,560
Speaker 1: this like beautiful artisanal coffee or whatever, and like being like, hey,

452
00:25:13,280 --> 00:25:16,400
Speaker 1: like look at my shack, my coffee shack where everything

453
00:25:17,640 --> 00:25:23,119
Speaker 1: the coffee is delicious. We we do not attend insurrections,

454
00:25:23,160 --> 00:25:25,160
Speaker 1: nor do we have COVID like.

455
00:25:25,880 --> 00:25:28,560
Speaker 2: You can protect our employees. We make everyone wear masks.

456
00:25:28,600 --> 00:25:30,600
Speaker 2: If you're gonna come through, you have to wear a mask.

457
00:25:31,320 --> 00:25:35,359
Speaker 2: And I will not be storming the capitol. And I

458
00:25:35,359 --> 00:25:38,399
Speaker 2: will also not be entertaining any questions about why I

459
00:25:38,440 --> 00:25:39,760
Speaker 2: called this the fuck spot.

460
00:25:41,240 --> 00:25:41,800
Speaker 1: I get the.

461
00:25:41,760 --> 00:25:46,000
Speaker 2: Coffee shop, Come get, come, get it, and leave. There's

462
00:25:46,040 --> 00:25:48,520
Speaker 2: an express lane for Brood. If you just want a

463
00:25:48,560 --> 00:25:51,840
Speaker 2: Brood cup of coffee with some fucking milk, get in

464
00:25:51,920 --> 00:25:54,359
Speaker 2: this lady. Do you want a ten minute espresso drink,

465
00:25:54,440 --> 00:25:55,680
Speaker 2: then get the fuck over there.

466
00:25:57,280 --> 00:26:00,600
Speaker 1: I can see your little espresso art being just a hole.

467
00:26:02,880 --> 00:26:06,040
Speaker 2: All of our espresso war is just dicks and vaginas.

468
00:26:06,440 --> 00:26:09,560
Speaker 1: Like, dude, we gotta go to the fuck spot. The

469
00:26:09,680 --> 00:26:14,000
Speaker 1: espresso is a dick. That's amazing.

470
00:26:16,680 --> 00:26:19,280
Speaker 2: We want some cappuccino foam. Okay, well, here's a little

471
00:26:19,280 --> 00:26:24,320
Speaker 2: fucking chocolate stencil dick stamp on top of that. Ah,

472
00:26:27,119 --> 00:26:29,680
Speaker 2: oh my god, but it is. It is wild. I've

473
00:26:29,720 --> 00:26:31,640
Speaker 2: just had a wild couple of weeks, and the fact

474
00:26:31,680 --> 00:26:35,240
Speaker 2: that it coincided so closely with my grandmother moving in

475
00:26:35,400 --> 00:26:38,320
Speaker 2: made me insane, made me insane. I'm like, I can't

476
00:26:38,359 --> 00:26:41,240
Speaker 2: even I plan on packing her apartment myself. I've packed

477
00:26:41,240 --> 00:26:44,520
Speaker 2: and moved so many times in my life that I'm

478
00:26:44,520 --> 00:26:47,320
Speaker 2: truly a professional at it at this point. Yeah, I

479
00:26:47,320 --> 00:26:48,960
Speaker 2: had to leave it up to my mom and my sister.

480
00:26:50,160 --> 00:26:54,359
Speaker 2: And when I tell you that this is this is

481
00:26:54,400 --> 00:26:57,840
Speaker 2: the kind of packing they did. Okay, as the boxes

482
00:26:57,880 --> 00:27:00,160
Speaker 2: started to write, because I did hire movers, So as

483
00:27:00,160 --> 00:27:06,879
Speaker 2: the boxes started arriving, they labeled every single box miscellaneous.

484
00:27:08,200 --> 00:27:13,879
Speaker 2: Every single fucking box was misscellaneous. Not a bedroom, living room, like,

485
00:27:13,920 --> 00:27:18,440
Speaker 2: no indication of anything, just miscellaneous, Like here's grandma's shit,

486
00:27:18,600 --> 00:27:22,399
Speaker 2: we don't know what any of it is. Here's a

487
00:27:22,440 --> 00:27:32,920
Speaker 2: fucking a fucking sunny Sonny Robinson record and a fucking washcloth.

488
00:27:33,000 --> 00:27:35,560
Speaker 2: Like it was insane the way they packed. They labeled

489
00:27:35,600 --> 00:27:38,520
Speaker 2: everything miss llaneous. And then all of the fucking delicate

490
00:27:38,560 --> 00:27:41,960
Speaker 2: shit like she had this this clock that she got

491
00:27:41,960 --> 00:27:43,720
Speaker 2: from her job when she retired. It was like this

492
00:27:43,720 --> 00:27:46,240
Speaker 2: little gold clock with a glass dome, and like all

493
00:27:46,280 --> 00:27:48,840
Speaker 2: the family photos, and I'm like, well, they know how

494
00:27:48,840 --> 00:27:52,920
Speaker 2: to wrap sensitive stuff. Should never assume they wrapped all

495
00:27:52,920 --> 00:27:55,520
Speaker 2: of that shit and like a single layer of newspaper.

496
00:27:56,720 --> 00:28:01,280
Speaker 2: But don't worry, because they bubble wrapped her. Fuckucking funko

497
00:28:01,440 --> 00:28:03,760
Speaker 2: doll walking dead figures.

498
00:28:04,080 --> 00:28:06,720
Speaker 1: I was just about to ask and then left.

499
00:28:06,440 --> 00:28:10,760
Speaker 2: Her fucking leg retirement clock to shatter in the box.

500
00:28:12,240 --> 00:28:15,120
Speaker 2: It was fucking as every box I opened, I felt

501
00:28:15,119 --> 00:28:19,600
Speaker 2: like I was losing my mind. And I'm like, this

502
00:28:19,720 --> 00:28:24,040
Speaker 2: experience says everything you need to know about my family. Yeah,

503
00:28:24,080 --> 00:28:28,000
Speaker 2: and my life right now, they are chaos. I truly

504
00:28:28,080 --> 00:28:29,680
Speaker 2: when my mom came over, because she came over that

505
00:28:29,760 --> 00:28:32,359
Speaker 2: day to kind of help. Yeah, because I'm like, you

506
00:28:32,480 --> 00:28:34,120
Speaker 2: have to help because I don't know what's in anything,

507
00:28:34,240 --> 00:28:37,200
Speaker 2: Like you have to go through these boxes, like, for example,

508
00:28:37,760 --> 00:28:40,160
Speaker 2: where are my granddad's ashes. Oh, they're in a box

509
00:28:40,240 --> 00:28:44,080
Speaker 2: marked miscellaneous. Okay, why don't you find that fucking box?

510
00:28:44,200 --> 00:28:48,120
Speaker 2: So I could put my granddad's ashes with my grandmother

511
00:28:48,280 --> 00:28:50,680
Speaker 2: in her room, because that was the other thing, Like

512
00:28:50,720 --> 00:28:52,520
Speaker 2: I was trying to set up everything in her room

513
00:28:52,720 --> 00:28:56,000
Speaker 2: exactly the way it was so that she wouldn't be freaked.

514
00:28:56,320 --> 00:28:58,040
Speaker 1: Yeah, we know that the ashes go next to the

515
00:28:58,120 --> 00:28:58,920
Speaker 1: Saw DVDs.

516
00:28:59,000 --> 00:29:01,800
Speaker 2: We make you, thank you, and we've added to the

517
00:29:01,840 --> 00:29:06,800
Speaker 2: Saw DVDs. There's a devilwares Prada DVDs. She's got the

518
00:29:06,880 --> 00:29:11,960
Speaker 2: Ken Burns Jazz documentary for some fucking reason and then

519
00:29:12,040 --> 00:29:15,520
Speaker 2: like eight hundred horror DVDs and granddad battered me in

520
00:29:15,560 --> 00:29:17,240
Speaker 2: the middle of them, or else she's gonna be like,

521
00:29:17,280 --> 00:29:19,600
Speaker 2: where the fuck is my husband? He's in a box

522
00:29:19,640 --> 00:29:23,840
Speaker 2: mark mscelaneyus good luck. So she came over to help,

523
00:29:24,240 --> 00:29:27,880
Speaker 2: and I was like mom, and I had to hold

524
00:29:28,120 --> 00:29:31,000
Speaker 2: her hands in my hands, and I'm almost like, Mom,

525
00:29:31,960 --> 00:29:34,640
Speaker 2: I just have to say, and I hope you know

526
00:29:34,720 --> 00:29:36,560
Speaker 2: this is not a judgment. A lot of people I

527
00:29:36,600 --> 00:29:40,000
Speaker 2: know have done this, and especially middle aged women have

528
00:29:40,040 --> 00:29:42,920
Speaker 2: done this. You have got to go get tested for ADHD,

529
00:29:45,280 --> 00:29:47,920
Speaker 2: Like this could be the crux of all of our problems.

530
00:29:47,960 --> 00:29:52,200
Speaker 1: God, my mom needs to get tested too. Can we

531
00:29:52,240 --> 00:29:59,920
Speaker 1: all just shove our moms into like a behavioral cognitive center,

532
00:30:00,280 --> 00:30:04,200
Speaker 1: testing center or whatever and just get them looked at.

533
00:30:04,360 --> 00:30:06,600
Speaker 2: Look, here's what we're gonna do. You and your mom

534
00:30:06,600 --> 00:30:08,800
Speaker 2: are gonna come visit and stay with me. My mom

535
00:30:08,840 --> 00:30:11,120
Speaker 2: will come over to say hi. We'll be like, hey,

536
00:30:11,200 --> 00:30:13,400
Speaker 2: let's all go plant shopping, and then we'll be like,

537
00:30:14,280 --> 00:30:19,000
Speaker 2: let's pull into I'll be like, guess what, Happy Mother's Day.

538
00:30:19,120 --> 00:30:21,800
Speaker 2: You're both getting tested for the eighty HD. We know

539
00:30:21,920 --> 00:30:26,720
Speaker 2: you have. I just need confirmed it was like a

540
00:30:26,800 --> 00:30:30,000
Speaker 2: doctor in a long white coat that hands them a

541
00:30:30,080 --> 00:30:33,200
Speaker 2: single Saw DVD and says which box should this go in?

542
00:30:33,280 --> 00:30:40,480
Speaker 1: Miscellaneous or Saw DVDs? And they're like, uh, I don't know,

543
00:30:40,560 --> 00:30:41,040
Speaker 1: I don't know.

544
00:30:43,440 --> 00:30:45,920
Speaker 2: You know that part of the movie Gross point blank

545
00:30:46,200 --> 00:30:48,680
Speaker 2: where John Choost goes to visit his mom and she's

546
00:30:48,760 --> 00:30:53,280
Speaker 2: like curdelo, greedy and bitty, and she's just like my mom,

547
00:30:53,480 --> 00:30:56,160
Speaker 2: nots like that's my thing is going through my mom's

548
00:30:56,160 --> 00:31:00,800
Speaker 2: head as she makes every decision in her life. Here

549
00:31:00,840 --> 00:31:05,720
Speaker 2: in a little graty and nice lady lives down the lane.

550
00:31:06,200 --> 00:31:08,840
Speaker 2: Let me put this fucking delicate, one of a kind

551
00:31:08,920 --> 00:31:13,240
Speaker 2: clock in a piece of newspaper and then bubble wrap

552
00:31:13,320 --> 00:31:16,560
Speaker 2: all of the fucking spoons that we got from Target. Like,

553
00:31:16,600 --> 00:31:17,400
Speaker 2: what the fuck?

554
00:31:20,600 --> 00:31:21,480
Speaker 1: What the fuck?

555
00:31:22,720 --> 00:31:26,600
Speaker 2: Oh God cried laughing when I un When I unwrapped

556
00:31:27,160 --> 00:31:30,360
Speaker 2: the bubble wrapped Funko doll, I'm like, this is insanity.

557
00:31:31,880 --> 00:31:36,160
Speaker 2: It's true insanity. So the fact that it coincided with

558
00:31:36,200 --> 00:31:38,480
Speaker 2: that shit, I'm like, I'm truly too tired and sick

559
00:31:38,480 --> 00:31:41,719
Speaker 2: to deal with it. Yes, she's here, that's all that

560
00:31:41,760 --> 00:31:44,560
Speaker 2: matters is she got here. Most of her stuff did

561
00:31:44,560 --> 00:31:49,800
Speaker 2: not survive the move two miles down the road, even

562
00:31:49,800 --> 00:31:52,600
Speaker 2: though I have moved across country four times and been

563
00:31:52,720 --> 00:31:57,640
Speaker 2: fine con survive. And my little sister, I mean, I

564
00:31:57,680 --> 00:32:01,000
Speaker 2: say little, but she's like thirty sister too, Like she's

565
00:32:01,120 --> 00:32:03,880
Speaker 2: just like, yeah, she's just so happy, go lucky. I'm like,

566
00:32:03,920 --> 00:32:06,560
Speaker 2: it's fine, it'll be cool, and I'm like, it's not cool,

567
00:32:07,360 --> 00:32:09,920
Speaker 2: Like you put a full I pulled out my grandma's

568
00:32:09,920 --> 00:32:12,000
Speaker 2: got a wig and she has one of those styrofoam

569
00:32:12,000 --> 00:32:13,959
Speaker 2: heads that she puts her wig on. Yes, of course

570
00:32:14,160 --> 00:32:18,120
Speaker 2: her wig stand. The styrofoam head was full of knives

571
00:32:19,560 --> 00:32:21,360
Speaker 2: because they were like, we didn't know how to wrap

572
00:32:21,400 --> 00:32:23,680
Speaker 2: the knives and we didn't want them to cut anything,

573
00:32:23,720 --> 00:32:26,480
Speaker 2: so we suck them in the syrofoam wighead.

574
00:32:27,520 --> 00:32:33,000
Speaker 1: Okay, Now that says the most about your fucking family

575
00:32:33,000 --> 00:32:34,400
Speaker 1: I've ever heard in my life.

576
00:32:34,920 --> 00:32:39,560
Speaker 2: Ah, what the hell? Yeah, I pulled out this fucking

577
00:32:39,640 --> 00:32:43,800
Speaker 2: pinhead doll from the fucking I was like, what the

578
00:32:43,920 --> 00:32:47,240
Speaker 2: actual shit is going on here? PS can't find my

579
00:32:47,280 --> 00:32:50,280
Speaker 2: granddad's ashes. Here's a pinhead that we made for you

580
00:32:50,320 --> 00:32:51,480
Speaker 2: with grandma's knives.

581
00:32:53,040 --> 00:32:53,200
Speaker 1: Dud.

582
00:32:53,360 --> 00:32:55,080
Speaker 2: It was insane. It was the most insane day of

583
00:32:55,080 --> 00:32:57,280
Speaker 2: my fucking life.

584
00:32:57,480 --> 00:33:02,560
Speaker 1: You've been through so much, Okay, Like it's like it's

585
00:33:02,720 --> 00:33:06,120
Speaker 1: really it's really clear to me now how much you've

586
00:33:06,160 --> 00:33:13,920
Speaker 1: been through. And I'm just like, I'm just now my

587
00:33:14,000 --> 00:33:14,880
Speaker 1: mouth is just open.

588
00:33:15,560 --> 00:33:17,600
Speaker 2: Yeah. And these are the people who are supposed to

589
00:33:17,640 --> 00:33:19,520
Speaker 2: help me with the woman who has dementia.

590
00:33:20,200 --> 00:33:20,840
Speaker 1: Oh my god.

591
00:33:21,040 --> 00:33:23,880
Speaker 2: Yeah, it's nuts. It is nuts. So here I am like,

592
00:33:24,480 --> 00:33:27,200
Speaker 2: all right, like we were just talking about before we recorded,

593
00:33:27,280 --> 00:33:29,760
Speaker 2: I need to find actual help and I just need

594
00:33:29,840 --> 00:33:32,320
Speaker 2: to find the time to do it because these people

595
00:33:32,360 --> 00:33:37,360
Speaker 2: are bonkers. Yeah, they are bonkers. Well, this is also

596
00:33:37,400 --> 00:33:39,680
Speaker 2: how I grew up. So it's like, is there any

597
00:33:39,720 --> 00:33:41,760
Speaker 2: wonder why I'm the way I am where I'm like

598
00:33:42,000 --> 00:33:47,520
Speaker 2: hyper productive and super organized because I live with fucking knife.

599
00:33:47,600 --> 00:33:54,200
Speaker 2: Lady gave birth to me. I ran the other way.

600
00:33:54,680 --> 00:33:58,320
Speaker 1: I am happy that you're okay. I'm happy that those

601
00:33:58,400 --> 00:34:01,560
Speaker 1: saw DVDs are okay, little TVD on the ashes, we

602
00:34:01,600 --> 00:34:06,040
Speaker 1: don't really know, but like, you know, as much drama

603
00:34:06,040 --> 00:34:08,279
Speaker 1: as that you've been through, I'm just glad that you're here.

604
00:34:08,400 --> 00:34:11,480
Speaker 1: I'm glad that you're here, and you're thank you you know,

605
00:34:12,640 --> 00:34:14,560
Speaker 1: not face down in a ditch somewhere.

606
00:34:15,400 --> 00:34:16,960
Speaker 2: It could have happened. If it was any week that

607
00:34:17,040 --> 00:34:18,440
Speaker 2: it was gonna happen. It was the week that I

608
00:34:18,480 --> 00:34:21,000
Speaker 2: had COVID they had to pack my grandma and my

609
00:34:21,040 --> 00:34:24,520
Speaker 2: grandma moving in. Yeah, that was the week that, like,

610
00:34:24,600 --> 00:34:26,080
Speaker 2: if it was gonna happen, it would have happened. But

611
00:34:26,120 --> 00:34:28,160
Speaker 2: I got through it. So I was just like, all right,

612
00:34:28,200 --> 00:34:32,480
Speaker 2: I'll find a home care aid and yes, hopefully you know,

613
00:34:32,560 --> 00:34:35,520
Speaker 2: my family will just And they also just keep coming over.

614
00:34:35,760 --> 00:34:38,080
Speaker 2: This is the worst thing about having a house. Like

615
00:34:38,120 --> 00:34:40,400
Speaker 2: they come over and think they come over under the

616
00:34:40,440 --> 00:34:43,120
Speaker 2: auspices that like we're gonna help you with grandma, and

617
00:34:43,120 --> 00:34:46,680
Speaker 2: then they just sit here and like watch my TV

618
00:34:46,920 --> 00:34:48,680
Speaker 2: and eat my food and leave, And I'm like, what

619
00:34:48,719 --> 00:34:51,080
Speaker 2: the fuck, dude, We've never been that kind of family.

620
00:34:52,200 --> 00:34:56,399
Speaker 1: Look, my family's like I gotta be honest, they're just hoverers.

621
00:34:57,160 --> 00:35:01,160
Speaker 1: They just hover, they overstay, They're just like and they're

622
00:35:01,160 --> 00:35:03,960
Speaker 1: not doing anything. It's literally just like a household of

623
00:35:03,960 --> 00:35:07,080
Speaker 1: people like looking at their phones for hours sometimes days,

624
00:35:07,120 --> 00:35:07,640
Speaker 1: and You're like.

625
00:35:07,600 --> 00:35:10,720
Speaker 2: What the fuck, why are you here the house?

626
00:35:12,000 --> 00:35:15,680
Speaker 1: And listen, I'm I'm the only one. Cause if you

627
00:35:15,719 --> 00:35:18,040
Speaker 1: want to get down to brass tacks like I'm I'm

628
00:35:18,080 --> 00:35:20,640
Speaker 1: the fire sign in a house full of water signs,

629
00:35:20,640 --> 00:35:22,719
Speaker 1: and all these people just want to sit around and

630
00:35:22,760 --> 00:35:25,480
Speaker 1: do nothing, and I'm like, get up, mobilize. What the

631
00:35:25,480 --> 00:35:30,120
Speaker 1: fuck are we doing? Like, don't you have tasks? Do tasks?

632
00:35:30,520 --> 00:35:33,839
Speaker 2: Why are we here? Have you ever heard of busy word?

633
00:35:33,960 --> 00:35:35,880
Speaker 2: Just look busy?

634
00:35:36,080 --> 00:35:38,240
Speaker 1: I mean, just at least fucking go clean my toilet.

635
00:35:38,840 --> 00:35:41,360
Speaker 1: If you're gonna do nothing, Oh my gosh, I maybe

636
00:35:41,440 --> 00:35:43,400
Speaker 1: cut that. I'm like, clean my toilet.

637
00:35:43,200 --> 00:35:46,239
Speaker 2: No, keep that shit in, because that I genuinely asked

638
00:35:46,280 --> 00:35:48,560
Speaker 2: my mom. I'm like, can you go clean grandma's toilet

639
00:35:49,600 --> 00:35:52,800
Speaker 2: or do her laundry or something like? What the hell?

640
00:35:53,880 --> 00:35:56,720
Speaker 2: It was bonkers? And then she this is again we're

641
00:35:56,719 --> 00:35:59,440
Speaker 2: getting this is a whole other episode where we have

642
00:35:59,480 --> 00:36:03,000
Speaker 2: to talk about my urgeoning relationship with my mom after

643
00:36:03,200 --> 00:36:06,560
Speaker 2: years of having no relationship at all. But she comes

644
00:36:06,600 --> 00:36:08,920
Speaker 2: over and my sister's there, and because my little sister's

645
00:36:08,960 --> 00:36:10,680
Speaker 2: like her best friend, it's so weird. I don't know.

646
00:36:10,719 --> 00:36:12,720
Speaker 2: I didn't want to get into them. They're so strange.

647
00:36:13,239 --> 00:36:16,000
Speaker 2: But my mom comes over with my little sister and

648
00:36:16,040 --> 00:36:18,839
Speaker 2: then she goes, oh, and like, we're gonna see you know,

649
00:36:18,920 --> 00:36:21,640
Speaker 2: so and so later and she's coming over with your

650
00:36:21,719 --> 00:36:27,520
Speaker 2: niece and I was like, wait today, She's like yeah,

651
00:36:28,120 --> 00:36:30,799
Speaker 2: and I'm like at my house, She's like yeah, and

652
00:36:30,800 --> 00:36:32,520
Speaker 2: I'm like wait, So let me get this straight. You

653
00:36:32,640 --> 00:36:36,000
Speaker 2: invited a whole other family to my fucking house on

654
00:36:36,080 --> 00:36:38,160
Speaker 2: a day when you're supposed to be here helping me.

655
00:36:39,160 --> 00:36:42,640
Speaker 2: And it was like, I it was fine, and I

656
00:36:42,680 --> 00:36:44,719
Speaker 2: love my niece. She's great. I taught her how to

657
00:36:44,760 --> 00:36:47,000
Speaker 2: look at my high school picture and say, that's my

658
00:36:47,040 --> 00:36:50,320
Speaker 2: gorgeous aunt, Danny, and look at my brother's my brother's

659
00:36:50,400 --> 00:36:52,520
Speaker 2: high school picture and say, and that's my ugly uncle.

660
00:36:52,719 --> 00:36:55,319
Speaker 2: So it was worth the trip. I taught her a lot.

661
00:36:55,360 --> 00:36:58,239
Speaker 2: We read Curious George. It was fine, but I'm like,

662
00:36:58,760 --> 00:37:01,319
Speaker 2: I had to tell my mother, can you please not

663
00:37:01,360 --> 00:37:02,640
Speaker 2: invite people to my house?

664
00:37:03,160 --> 00:37:09,719
Speaker 1: I mean, like, listen, I I in a way am

665
00:37:09,920 --> 00:37:14,839
Speaker 1: amused by now the influx of problems that you have

666
00:37:15,239 --> 00:37:17,919
Speaker 1: because of the simple inclusion of your family, like having

667
00:37:18,000 --> 00:37:20,759
Speaker 1: them in your life in your town now presents this

668
00:37:20,920 --> 00:37:25,920
Speaker 1: like whole spectrum of issues that, to me from an

669
00:37:25,960 --> 00:37:30,160
Speaker 1: outsider's perspective, I'm like, that is funny, but I understand

670
00:37:30,200 --> 00:37:31,120
Speaker 1: what you're going through.

671
00:37:31,719 --> 00:37:33,960
Speaker 2: Yes, It is funny, for sure.

672
00:37:34,160 --> 00:37:37,320
Speaker 1: Yes, because you can tell the tales of your family

673
00:37:38,000 --> 00:37:40,400
Speaker 1: and it's hilarious to other people. But then you're like,

674
00:37:40,440 --> 00:37:42,640
Speaker 1: but I'm in it, and I know what actually happens.

675
00:37:43,200 --> 00:37:43,960
Speaker 2: But I'm in it.

676
00:37:44,360 --> 00:37:47,640
Speaker 1: Listen, this is gonna pass. This is gonna pass. There's

677
00:37:47,680 --> 00:37:51,359
Speaker 1: a lot going on. Your family at some point might

678
00:37:51,400 --> 00:37:54,440
Speaker 1: figure out how to be useful in your life.

679
00:37:55,120 --> 00:37:57,359
Speaker 2: You know, you know what's actually gonna happen. I don't

680
00:37:57,360 --> 00:37:59,200
Speaker 2: think it's gonna be okay. And that's not just me

681
00:37:59,239 --> 00:38:01,520
Speaker 2: being a pessimist. I think what's going to happen is

682
00:38:01,560 --> 00:38:04,560
Speaker 2: one day I'm going to wheel my grandmother into the

683
00:38:04,640 --> 00:38:07,800
Speaker 2: vestibule at my mom's apartment. I'm going to come back home,

684
00:38:08,560 --> 00:38:12,560
Speaker 2: change the locks, and install blackout Shanes on every window

685
00:38:12,640 --> 00:38:15,399
Speaker 2: and just live here like JD. Salinger, like I'm never

686
00:38:15,480 --> 00:38:19,799
Speaker 2: leaving again. I don't exist anymore here, she is, I

687
00:38:19,840 --> 00:38:22,520
Speaker 2: don't exist. Goodbye. That's the only way I see it

688
00:38:22,520 --> 00:38:27,200
Speaker 2: being okay. I mean, and I'm fine with it.

689
00:38:27,280 --> 00:38:30,879
Speaker 1: I love a blackout curtain, so i'm i'm i'm, I'm

690
00:38:30,920 --> 00:38:33,840
Speaker 1: with you in any any decision.

691
00:38:33,360 --> 00:38:40,920
Speaker 2: That you make. The good thing about this week is

692
00:38:40,960 --> 00:38:43,960
Speaker 2: that I love our theme, and we've had I've had

693
00:38:44,080 --> 00:38:45,360
Speaker 2: beautiful things to watch.

694
00:38:45,760 --> 00:38:49,239
Speaker 1: Yes, I was gonna say, speaking of clocks. Am I right?

695
00:38:49,800 --> 00:38:50,799
Speaker 2: You are so right?

696
00:38:51,320 --> 00:38:54,959
Speaker 1: Yes, we have. We're doing I don't think we've.

697
00:38:54,880 --> 00:38:55,720
Speaker 2: Ever done this before.

698
00:38:56,000 --> 00:39:01,239
Speaker 1: No, but we're celebrating a birthday this month, the glorious

699
00:39:01,280 --> 00:39:05,120
Speaker 1: month of July. Why don't you tell the folks what

700
00:39:05,200 --> 00:39:06,200
Speaker 1: the theme is this week?

701
00:39:06,719 --> 00:39:10,200
Speaker 2: Our theme this week is happy birthday, Wangkar?

702
00:39:10,320 --> 00:39:13,880
Speaker 1: Why happy birthday?

703
00:39:14,960 --> 00:39:17,520
Speaker 2: Now, we've we've done a theme before where we featured

704
00:39:17,800 --> 00:39:21,799
Speaker 2: two films by the same director, Steve McQueen. Yes, but

705
00:39:21,840 --> 00:39:23,600
Speaker 2: it was not in celebration of his birthday. It was

706
00:39:23,640 --> 00:39:26,719
Speaker 2: just in celebration of his life and spirit and art.

707
00:39:27,880 --> 00:39:32,240
Speaker 1: Right, And this time we were like, hey, we figured

708
00:39:32,280 --> 00:39:34,040
Speaker 1: out that Wang Kar Wai.

709
00:39:33,880 --> 00:39:36,400
Speaker 2: Was born in July. He's a cancer.

710
00:39:36,640 --> 00:39:39,759
Speaker 1: I think that tracks for his entire career. If you

711
00:39:39,800 --> 00:39:42,880
Speaker 1: know anything about astrology, you'll be like, oh, yes, of course.

712
00:39:43,640 --> 00:39:47,120
Speaker 1: But also this is a good a good way for

713
00:39:47,200 --> 00:39:49,399
Speaker 1: us to sort of talk about, like, you know, one

714
00:39:49,400 --> 00:39:51,200
Speaker 1: of my favorite directors. I'm sure he's probably one of

715
00:39:51,280 --> 00:39:54,920
Speaker 1: your favorites. Yes, but to me, he's so tied to

716
00:39:55,160 --> 00:39:58,960
Speaker 1: my youth, to my coming of age, right.

717
00:40:00,120 --> 00:40:05,240
Speaker 2: Absolutely, And just really one of those kinds of directors

718
00:40:05,520 --> 00:40:09,560
Speaker 2: who introduced me to a type of filmmaking that I

719
00:40:09,600 --> 00:40:11,920
Speaker 2: didn't know was possible before I saw him, Like he

720
00:40:11,960 --> 00:40:16,680
Speaker 2: truly opened my eyes to film in a different way

721
00:40:16,680 --> 00:40:18,440
Speaker 2: from the stuff I've been used to seeing.

722
00:40:18,880 --> 00:40:21,959
Speaker 1: One hundred percent, And I was gonna do a little

723
00:40:21,960 --> 00:40:25,480
Speaker 1: introduction to him, but I also want to say that

724
00:40:26,280 --> 00:40:29,920
Speaker 1: to me, he is like one of the like quintessential

725
00:40:30,760 --> 00:40:36,239
Speaker 1: handshake directors, right, Like a director whose movies is like

726
00:40:36,280 --> 00:40:41,879
Speaker 1: if you mentioned that you like his films, somebody who

727
00:40:41,920 --> 00:40:45,240
Speaker 1: also likes his films like likes you more now knowing

728
00:40:45,480 --> 00:40:49,600
Speaker 1: that you have this director in common. Right, That's the

729
00:40:49,640 --> 00:40:53,400
Speaker 1: way it felt completely, especially in the nineties when I

730
00:40:53,520 --> 00:40:56,000
Speaker 1: discovered his films. And I gotta tell you, I mean

731
00:40:57,400 --> 00:41:00,920
Speaker 1: I at the time when I was introduced to his

732
00:41:01,040 --> 00:41:03,200
Speaker 1: movies in the nineties, I swear to god, I was like,

733
00:41:03,280 --> 00:41:05,399
Speaker 1: I dating a guy unless he likes one car.

734
00:41:05,480 --> 00:41:09,439
Speaker 2: Why, Okay, this is See the similarities that we have

735
00:41:09,520 --> 00:41:16,880
Speaker 2: are just organic because I can it is a romantic

736
00:41:16,960 --> 00:41:21,040
Speaker 2: staple for me that even if you haven't seen him,

737
00:41:21,480 --> 00:41:24,000
Speaker 2: if I'm showing you a Wan car Wi film, you

738
00:41:24,040 --> 00:41:24,719
Speaker 2: will love it.

739
00:41:25,760 --> 00:41:28,120
Speaker 1: One hundred percent. It was like it was like basically

740
00:41:28,239 --> 00:41:32,680
Speaker 1: like his movies were like the movies that you would

741
00:41:32,680 --> 00:41:36,040
Speaker 1: watch with like boyfriends and girlfriends and whatever, and you

742
00:41:36,080 --> 00:41:39,080
Speaker 1: were like, temp, check, what are they feeling about this?

743
00:41:39,120 --> 00:41:41,440
Speaker 1: If they like this, then we're good to go. If

744
00:41:41,440 --> 00:41:44,600
Speaker 1: they don't like this, then they can fucking leave and

745
00:41:44,640 --> 00:41:47,560
Speaker 1: I'll draw my blackout curtains and I will never talk

746
00:41:47,560 --> 00:41:48,080
Speaker 1: to them again.

747
00:41:48,719 --> 00:41:51,000
Speaker 2: It is Jad's Alleger mode. If you don't, if you

748
00:41:51,040 --> 00:41:52,680
Speaker 2: get up and go to the bathroom and don't ask

749
00:41:52,719 --> 00:41:55,200
Speaker 2: me to pause it, we are done.

750
00:41:55,640 --> 00:41:58,239
Speaker 1: I just love that. I just love that. He meant

751
00:41:58,280 --> 00:42:02,080
Speaker 1: so much to both of us, absolutely, And he's an

752
00:42:02,120 --> 00:42:05,120
Speaker 1: auteur and his films don't center whiteness, which is but

753
00:42:05,239 --> 00:42:11,120
Speaker 1: they're still like gorgeous and broaden scope and yeah, just beautiful. Yeah. Well,

754
00:42:11,800 --> 00:42:14,520
Speaker 1: to just give you guys a little background of won

755
00:42:14,640 --> 00:42:18,400
Speaker 1: Car why, in case you haven't been introduced to him,

756
00:42:18,760 --> 00:42:21,480
Speaker 1: I had this old film theory book that was called

757
00:42:22,239 --> 00:42:27,360
Speaker 1: The Sensuous Cinema of Wankar. Why film poetics and the

758
00:42:27,440 --> 00:42:29,239
Speaker 1: aesthetic of disturbance.

759
00:42:30,239 --> 00:42:33,680
Speaker 2: This is why, I mean, this is why academia, Like

760
00:42:33,800 --> 00:42:37,799
Speaker 2: I my brain atrophied after I left academia for that

761
00:42:37,960 --> 00:42:39,520
Speaker 2: because I had to come up with titles like that

762
00:42:39,800 --> 00:42:43,440
Speaker 2: for some simple shit. We all, wankar Wi makes beautiful movies.

763
00:42:43,560 --> 00:42:44,919
Speaker 2: Why can't they just accept that?

764
00:42:45,920 --> 00:42:47,799
Speaker 1: Because you know, you've got to have a title for

765
00:42:47,880 --> 00:42:50,680
Speaker 1: your dissertation and that's the book like this is. And

766
00:42:50,760 --> 00:42:54,200
Speaker 1: unfortunately I'm that type of idiot that loves shit like this.

767
00:42:54,719 --> 00:42:59,880
Speaker 1: Does this book have twenty seven words in the title?

768
00:43:00,440 --> 00:43:03,560
Speaker 2: Bring it? We discovered this during our wayns brothers the

769
00:43:04,560 --> 00:43:07,839
Speaker 2: Yes we did. And it's true. Like I usually love

770
00:43:07,880 --> 00:43:10,239
Speaker 2: the essays, but sometimes when I read those titles, I'm

771
00:43:10,280 --> 00:43:13,200
Speaker 2: just like, I'm tired. I'm tired now.

772
00:43:13,960 --> 00:43:17,360
Speaker 1: Yes, And to the credit of the author, Gary Bettenson,

773
00:43:18,080 --> 00:43:22,120
Speaker 1: it does. I mean he sets up the world really

774
00:43:22,160 --> 00:43:24,359
Speaker 1: well and then of course goes into his own sort

775
00:43:24,360 --> 00:43:27,640
Speaker 1: of like analysis of his films. Right, but first and

776
00:43:27,719 --> 00:43:32,520
Speaker 1: foremost in this book, he called wankar Wai a romantic artist,

777
00:43:33,760 --> 00:43:38,120
Speaker 1: and I have to say it, I think that he

778
00:43:38,239 --> 00:43:41,920
Speaker 1: might be the most romantic filmmaker that I've ever come across.

779
00:43:41,960 --> 00:43:44,000
Speaker 1: I don't know about you completely.

780
00:43:44,040 --> 00:43:46,800
Speaker 2: If you look at the breadth of his work, yeah,

781
00:43:46,840 --> 00:43:50,280
Speaker 2: there are elements of romance and all of it's right.

782
00:43:50,160 --> 00:43:54,160
Speaker 1: And you know, I think that you know, as he's done,

783
00:43:54,719 --> 00:43:57,360
Speaker 1: like historical films and that kind of stuff. But I

784
00:43:57,400 --> 00:44:01,359
Speaker 1: feel like there is a contentration of his career that

785
00:44:01,640 --> 00:44:04,440
Speaker 1: was mostly in like the nineties and early two thousands

786
00:44:04,480 --> 00:44:10,120
Speaker 1: that really created this world that people now know him for, right, Yeah,

787
00:44:11,200 --> 00:44:13,880
Speaker 1: And that's certainly like I think what we'll be speaking

788
00:44:13,880 --> 00:44:15,799
Speaker 1: to a lot today is just sort of like this

789
00:44:16,480 --> 00:44:18,600
Speaker 1: trajectory of films that came out in this kind of

790
00:44:18,600 --> 00:44:22,080
Speaker 1: like one period. But to give you a little background,

791
00:44:22,400 --> 00:44:25,360
Speaker 1: he was born in July seventeenth, nineteen fifty eight. A

792
00:44:25,520 --> 00:44:30,800
Speaker 1: cancer as I said, tracks very well in the romance department.

793
00:44:31,520 --> 00:44:33,759
Speaker 1: He was born in Shanghai, but he immigrated to Hong

794
00:44:33,840 --> 00:44:36,680
Speaker 1: Kong when he was about five years old, and he,

795
00:44:36,800 --> 00:44:38,239
Speaker 1: you know, like a lot of filmmakers and a lot

796
00:44:38,280 --> 00:44:40,120
Speaker 1: of us, he grew up going to the movies. He

797
00:44:40,160 --> 00:44:44,480
Speaker 1: watched a lot of international cinema, Hollywood films, French films,

798
00:44:44,520 --> 00:44:47,520
Speaker 1: the Hammer films in Britain, which is the big British

799
00:44:47,520 --> 00:44:52,960
Speaker 1: film studio. And you know, he studied graphic design. He

800
00:44:53,200 --> 00:44:55,759
Speaker 1: was writing for soap operas at one point, and then

801
00:44:56,120 --> 00:44:58,520
Speaker 1: I think finally got his start as in the business

802
00:44:58,640 --> 00:45:00,480
Speaker 1: or whatever you want to call it. He was writing

803
00:45:01,040 --> 00:45:05,200
Speaker 1: for like an independent film company in Hong Kong, and

804
00:45:05,800 --> 00:45:08,720
Speaker 1: his first feature film was a movie called s Tears

805
00:45:08,760 --> 00:45:11,000
Speaker 1: Go By and it was made in nineteen eighty eight,

806
00:45:11,520 --> 00:45:16,600
Speaker 1: and that film was basically kind of like an Asian

807
00:45:17,280 --> 00:45:23,480
Speaker 1: action slash gangster or triad is what they call it there.

808
00:45:23,840 --> 00:45:26,000
Speaker 1: It was like a gangster film. But it really wasn't

809
00:45:26,040 --> 00:45:28,560
Speaker 1: until the second film, which is the film I'm gonna

810
00:45:28,560 --> 00:45:31,799
Speaker 1: be talking about today, Days of Being Wild, that he

811
00:45:31,960 --> 00:45:36,960
Speaker 1: really began being sort of closely associated with the quote

812
00:45:37,040 --> 00:45:42,520
Speaker 1: unquote art cinema, right and in this era in the

813
00:45:42,600 --> 00:45:45,960
Speaker 1: nineties and early two thousands, he was basically making art

814
00:45:46,000 --> 00:45:48,799
Speaker 1: films for that kind of international market, right like going

815
00:45:48,840 --> 00:45:52,280
Speaker 1: to Can going to Can Film Festival, in the festival circuit.

816
00:45:53,040 --> 00:45:56,960
Speaker 1: But at the same time he was casting a lot

817
00:45:57,040 --> 00:46:02,360
Speaker 1: of these very famous young Asian superstars in his films,

818
00:46:03,239 --> 00:46:04,839
Speaker 1: and a lot of them were more or less I mean,

819
00:46:04,880 --> 00:46:07,319
Speaker 1: they were like famous before they even worked with him.

820
00:46:07,560 --> 00:46:10,600
Speaker 1: And yeah, it was this very deep bench of actors

821
00:46:10,600 --> 00:46:12,480
Speaker 1: and they appeared in pretty much all of his films

822
00:46:12,520 --> 00:46:15,680
Speaker 1: like here and there, Like you've got people like Maggie Chung,

823
00:46:15,920 --> 00:46:20,400
Speaker 1: Tony Lung, Leslie Chung, Fey Wong Andy Lamb kreen Alal

824
00:46:20,520 --> 00:46:24,200
Speaker 1: like all these people who were also actually like famous

825
00:46:24,440 --> 00:46:27,200
Speaker 1: pop stars. A lot of them were like singers and

826
00:46:27,280 --> 00:46:29,840
Speaker 1: musicians on top of actors, right, yes.

827
00:46:30,160 --> 00:46:32,320
Speaker 2: And in my film, one of the actors sings a song.

828
00:46:32,560 --> 00:46:35,040
Speaker 2: She sang a song as a pop star that was

829
00:46:35,160 --> 00:46:38,359
Speaker 2: used in the film that she's now acting in, right right.

830
00:46:38,880 --> 00:46:41,680
Speaker 1: And so it's just this interesting it's kind of this

831
00:46:41,800 --> 00:46:46,560
Speaker 1: interesting production method to be making these kind of like

832
00:46:48,280 --> 00:46:53,160
Speaker 1: romantic art films but using like think of the equivalent

833
00:46:53,160 --> 00:46:56,720
Speaker 1: of that being like Harry Styles or like, you know whomever,

834
00:46:58,480 --> 00:47:00,520
Speaker 1: what's her name? I'm like, what's her name? Taylor Swift?

835
00:47:01,000 --> 00:47:03,080
Speaker 1: You know, just like think of like people like that

836
00:47:03,280 --> 00:47:08,000
Speaker 1: appearing in these like very you know, dreamlike kind of

837
00:47:08,080 --> 00:47:09,760
Speaker 1: romantic art films.

838
00:47:09,880 --> 00:47:10,040
Speaker 2: Right.

839
00:47:10,080 --> 00:47:13,040
Speaker 1: I think it's kind of an interesting combo. And you know,

840
00:47:13,440 --> 00:47:18,080
Speaker 1: my introduction to him was probably through what I would

841
00:47:18,080 --> 00:47:20,400
Speaker 1: maybe think is his most well known film in the West,

842
00:47:20,560 --> 00:47:21,920
Speaker 1: chun King Express.

843
00:47:21,560 --> 00:47:22,840
Speaker 2: Chun King Express, yep.

844
00:47:23,280 --> 00:47:25,719
Speaker 1: And I think like this was more or less his

845
00:47:25,920 --> 00:47:29,440
Speaker 1: big breakout Western film, I mean, because it was getting

846
00:47:29,440 --> 00:47:33,400
Speaker 1: distribution from Miramax, and you know, directors like Quentin Tarantino

847
00:47:33,440 --> 00:47:37,440
Speaker 1: were really like, you know, behind it so, and this

848
00:47:37,560 --> 00:47:40,080
Speaker 1: was the sort of big indie film era in the nineties,

849
00:47:40,120 --> 00:47:43,040
Speaker 1: so it kind of got tucked into that whole wave, right,

850
00:47:43,800 --> 00:47:49,640
Speaker 1: And when I saw Chunky King Express, it fucking flatlined me.

851
00:47:49,960 --> 00:47:51,760
Speaker 1: I was like, what am I watching?

852
00:47:52,120 --> 00:47:52,279
Speaker 2: Right?

853
00:47:52,480 --> 00:47:56,000
Speaker 1: Like, I talked about this a little bit when we

854
00:47:56,080 --> 00:48:01,680
Speaker 1: did the episode with when I talked about Leo Roca, Yeah,

855
00:48:02,520 --> 00:48:06,960
Speaker 1: about how I kind of have shamefully not known a

856
00:48:07,000 --> 00:48:11,400
Speaker 1: lot about Filipino films, and a lot of Asian films

857
00:48:11,440 --> 00:48:15,800
Speaker 1: that I had seen prior to Chunking Express were basically

858
00:48:15,800 --> 00:48:19,680
Speaker 1: either like action or martial arts movies, right, So the

859
00:48:19,760 --> 00:48:23,920
Speaker 1: idea of seeing Chunking Express was just this like moody,

860
00:48:24,080 --> 00:48:27,080
Speaker 1: romantic drama and it was cool. It was like this

861
00:48:27,280 --> 00:48:30,040
Speaker 1: cool movie and it used you know, the mamas and

862
00:48:30,040 --> 00:48:32,640
Speaker 1: the Papa song, and I just thought, I have never

863
00:48:32,680 --> 00:48:34,840
Speaker 1: seen anything like this before in my life exactly.

864
00:48:34,920 --> 00:48:37,080
Speaker 2: And that's the other thing, is like the soundtracks of

865
00:48:36,960 --> 00:48:40,840
Speaker 2: these films are always transportative, and yeah, it's just a

866
00:48:41,120 --> 00:48:46,080
Speaker 2: true world creation and totally you're right, like I'd never

867
00:48:46,120 --> 00:48:47,320
Speaker 2: seen anything like it before.

868
00:48:47,760 --> 00:48:50,880
Speaker 1: And look, I mean the world creation is right, Because

869
00:48:51,560 --> 00:48:54,759
Speaker 1: after I saw this movie, I became obsessed with the

870
00:48:54,800 --> 00:48:57,840
Speaker 1: world of his films, of the one car Wi films,

871
00:48:58,520 --> 00:49:00,759
Speaker 1: and it was right on time because I was in

872
00:49:00,800 --> 00:49:05,160
Speaker 1: my late teens early twenties and I fucking loved any

873
00:49:05,239 --> 00:49:09,040
Speaker 1: film where people were like smoking cigarettes and feeling melancholy.

874
00:49:09,920 --> 00:49:12,520
Speaker 2: You know what I'm saying, Like, I'm ready for romance

875
00:49:12,560 --> 00:49:13,719
Speaker 2: and moodiness. Bring it on.

876
00:49:14,239 --> 00:49:19,520
Speaker 1: Yeah, Like if there was somebody smoking a cigarette and

877
00:49:19,600 --> 00:49:24,120
Speaker 1: feeling sad or feeling yeah, you know forlorn, I'm there,

878
00:49:24,520 --> 00:49:28,680
Speaker 1: this is this is I imprinted on that shit so quickly, right.

879
00:49:28,800 --> 00:49:31,239
Speaker 2: I'm already feeling journal pages. Yeah.

880
00:49:32,800 --> 00:49:34,960
Speaker 1: But you know, on top of that, on top of

881
00:49:35,000 --> 00:49:38,239
Speaker 1: this sort of like aesthetics, right, his films also deal

882
00:49:38,280 --> 00:49:41,200
Speaker 1: a lot with concepts of time, which is you know,

883
00:49:41,280 --> 00:49:45,160
Speaker 1: obviously like what the clock segue was about, right, because

884
00:49:45,160 --> 00:49:48,120
Speaker 1: there's a lot of clocks in his films, and there's

885
00:49:48,160 --> 00:49:50,880
Speaker 1: a lot of dates and a lot of numbers that

886
00:49:50,920 --> 00:49:53,919
Speaker 1: are just sort of like woven throughout his filmography, right.

887
00:49:54,520 --> 00:49:57,760
Speaker 1: And part of that is that he was very interested

888
00:49:57,800 --> 00:50:02,000
Speaker 1: in talking about the Hong Kong handover, which I don't

889
00:50:02,040 --> 00:50:04,560
Speaker 1: know if you know, there's tons of information about this

890
00:50:04,640 --> 00:50:05,120
Speaker 1: on the internet.

891
00:50:05,200 --> 00:50:08,360
Speaker 2: I did see an interview with him where it was

892
00:50:08,400 --> 00:50:10,920
Speaker 2: when my film when he took it to Khan and

893
00:50:11,680 --> 00:50:14,040
Speaker 2: he was talking about how why that era was so

894
00:50:14,120 --> 00:50:16,960
Speaker 2: important to him to you know, have so many films

895
00:50:17,000 --> 00:50:19,920
Speaker 2: which you know, again we'll talk about that focused on

896
00:50:19,960 --> 00:50:22,239
Speaker 2: this timeframe of like the early nineteen sixties, and it's

897
00:50:22,280 --> 00:50:26,040
Speaker 2: because when he was a boy growing up under this colonialism,

898
00:50:26,400 --> 00:50:30,040
Speaker 2: there was such divisions in society where he would say, like, oh,

899
00:50:30,080 --> 00:50:32,960
Speaker 2: you're you know, Shanghai's and you don't talk with you know,

900
00:50:32,960 --> 00:50:34,879
Speaker 2: you don't talk to the Chinese people, or you don't

901
00:50:34,880 --> 00:50:37,000
Speaker 2: talk like my mother wouldn't let me date someone who

902
00:50:37,120 --> 00:50:40,000
Speaker 2: was not from Shanghai, and like they there were real

903
00:50:40,040 --> 00:50:44,800
Speaker 2: divisions culturally because of England and the Empire and the colonialism,

904
00:50:45,120 --> 00:50:47,080
Speaker 2: but also because of culture. So I think that he

905
00:50:47,280 --> 00:50:50,360
Speaker 2: just kind of the way that you imprinted on his films,

906
00:50:50,360 --> 00:50:52,080
Speaker 2: he imprinted on that time.

907
00:50:52,160 --> 00:50:56,719
Speaker 1: Absolutely absolutely, and you know, so I just think he's

908
00:50:56,800 --> 00:51:03,080
Speaker 1: just got a real stock of like really interesting influences. Aesthetically,

909
00:51:03,840 --> 00:51:08,680
Speaker 1: I mean, just one of the most visually exciting, romantic,

910
00:51:08,800 --> 00:51:13,560
Speaker 1: wonderful filmmakers I've ever come across. And you know, I

911
00:51:13,560 --> 00:51:16,399
Speaker 1: think that his heyday, if you will, I mean, he's

912
00:51:16,400 --> 00:51:18,759
Speaker 1: still alive, He's still working, but it's that thing of

913
00:51:18,800 --> 00:51:21,200
Speaker 1: like he really captured a sort of moment I think

914
00:51:21,200 --> 00:51:23,319
Speaker 1: in our culture and in our you know, coming of

915
00:51:23,360 --> 00:51:27,279
Speaker 1: age where he just really like kicked off this new

916
00:51:28,360 --> 00:51:32,000
Speaker 1: sort of appreciation for Asian films and Asian stars, you

917
00:51:32,000 --> 00:51:34,480
Speaker 1: know in America, which I mean, I feel like after

918
00:51:34,520 --> 00:51:37,560
Speaker 1: his movie started coming out here, like you got things

919
00:51:37,600 --> 00:51:40,759
Speaker 1: like Crouching Tiger, Hidden Dragon, and you have people like

920
00:51:40,920 --> 00:51:43,440
Speaker 1: Chow Young Fat and like Jackie Chan and Jely, they

921
00:51:43,440 --> 00:51:46,960
Speaker 1: were becoming like very popular in Hollywood. So you know,

922
00:51:47,080 --> 00:51:50,040
Speaker 1: I feel like he's responsible partly for that. And on

923
00:51:50,120 --> 00:51:54,280
Speaker 1: top of that, you can literally see his influence in movies,

924
00:51:55,440 --> 00:51:58,799
Speaker 1: you know, from not just Tarantino, but like Barry Jenkins

925
00:51:58,840 --> 00:52:00,680
Speaker 1: and Sophia Coppel. I mean, he is like in the

926
00:52:00,680 --> 00:52:04,319
Speaker 1: fiber of the art cinema at this point, and you know,

927
00:52:04,440 --> 00:52:06,200
Speaker 1: we just love him. We can't say enough nice things

928
00:52:06,239 --> 00:52:08,960
Speaker 1: about him. He's an amazing director, has made some of

929
00:52:09,000 --> 00:52:11,000
Speaker 1: the best films I've ever seen, right.

930
00:52:11,080 --> 00:52:15,879
Speaker 2: Truly, truly and just inspirational and also not He's again,

931
00:52:15,920 --> 00:52:18,800
Speaker 2: he's one of those directors that if you're not familiar

932
00:52:18,880 --> 00:52:21,399
Speaker 2: with him and you hear him his name, you might think, oh,

933
00:52:21,480 --> 00:52:23,440
Speaker 2: this is pretentious or not for me or whatever, but

934
00:52:23,520 --> 00:52:28,080
Speaker 2: his movies are so accessibly about emotion that I think

935
00:52:28,160 --> 00:52:31,319
Speaker 2: it just transcends all that shit. Like he truly walks it,

936
00:52:31,400 --> 00:52:35,480
Speaker 2: like he talks it, and is just stylistically wonderful but

937
00:52:35,560 --> 00:52:40,439
Speaker 2: also emotionally so evocative, and I just, yeah, I really

938
00:52:40,520 --> 00:52:43,239
Speaker 2: have a great appreciation for him, and listening to him

939
00:52:43,280 --> 00:52:45,719
Speaker 2: talk about his films is so much fun because he's

940
00:52:45,800 --> 00:52:48,200
Speaker 2: just like again, he's like, yeah, I was just thinking

941
00:52:48,239 --> 00:52:50,080
Speaker 2: about clocks because I think about time a lot, and

942
00:52:50,080 --> 00:52:51,560
Speaker 2: it's like it doesn't have to be deeper than that

943
00:52:51,600 --> 00:52:52,120
Speaker 2: for him.

944
00:52:52,360 --> 00:52:53,960
Speaker 1: Yeah. Yeah.

945
00:52:54,000 --> 00:52:56,960
Speaker 2: So there's like there's just so many elements that he

946
00:52:57,000 --> 00:53:00,319
Speaker 2: can he can portray in such an artistic way, but

947
00:53:00,360 --> 00:53:03,359
Speaker 2: are just very simple concepts to to kind of latch

948
00:53:03,400 --> 00:53:06,840
Speaker 2: onto that make his films just so beautiful.

949
00:53:07,560 --> 00:53:11,239
Speaker 1: Yeah, So Happy Birthday, Wonkar Why. We appreciate you and

950
00:53:11,320 --> 00:53:13,120
Speaker 1: we love the work, and we're going to talk about

951
00:53:13,120 --> 00:53:16,080
Speaker 1: two of his films today. So my film for the

952
00:53:16,080 --> 00:53:20,880
Speaker 1: theme Happy Birthday. Wankar Why is a movie from nineteen ninety.

953
00:53:20,960 --> 00:53:24,960
Speaker 1: It was written by Jeffrey lu and Wonkar Why, directed

954
00:53:25,000 --> 00:53:28,800
Speaker 1: by wankar Wi obviously, and it's called Days of Being

955
00:53:28,960 --> 00:53:37,680
Speaker 1: Wild walk They go, Yeah, So I think, like we

956
00:53:37,719 --> 00:53:40,640
Speaker 1: talked about in the intro, I feel like my film

957
00:53:41,000 --> 00:53:44,080
Speaker 1: Days of Being Wild, it's basically like Wankar White kind

958
00:53:44,080 --> 00:53:49,680
Speaker 1: of first moving into his signature style right and relating

959
00:53:49,719 --> 00:53:52,520
Speaker 1: to this, This was also the first time that Wonkar

960
00:53:52,640 --> 00:53:58,240
Speaker 1: Why worked with Christopher Doyle, who is his longtime cinematographer

961
00:53:58,320 --> 00:54:02,520
Speaker 1: and is a huge influence on what the world of

962
00:54:02,560 --> 00:54:06,120
Speaker 1: the one car Y movie looks like. You know now,

963
00:54:06,280 --> 00:54:10,920
Speaker 1: Days of Being Wild didn't actually do that great at

964
00:54:10,920 --> 00:54:15,440
Speaker 1: the box office, and in fact, there was supposed to

965
00:54:15,480 --> 00:54:19,040
Speaker 1: have been a sequel. And we know this because in

966
00:54:19,080 --> 00:54:23,360
Speaker 1: the last few minutes of my movie, it basically starts

967
00:54:23,400 --> 00:54:27,279
Speaker 1: this whole other story effectively with this character who is

968
00:54:27,320 --> 00:54:30,879
Speaker 1: being played by the actor Tony Lung who's in your film,

969
00:54:31,280 --> 00:54:34,520
Speaker 1: and he actually doesn't appear in the movie at all

970
00:54:34,840 --> 00:54:37,279
Speaker 1: until this point until the very end. And I'm not

971
00:54:37,400 --> 00:54:39,719
Speaker 1: giving a spoiler by telling you this, by the way,

972
00:54:39,960 --> 00:54:42,360
Speaker 1: but I'm just saying, if you see the film, or

973
00:54:42,400 --> 00:54:44,760
Speaker 1: if you're about to see the film and you wonder

974
00:54:44,760 --> 00:54:46,960
Speaker 1: why there's kind of this like weird tone change in

975
00:54:47,000 --> 00:54:50,120
Speaker 1: the last few minutes, it's because this movie was supposed

976
00:54:50,160 --> 00:54:53,359
Speaker 1: to have had a sequel, Okay, but they didn't make

977
00:54:53,400 --> 00:54:57,680
Speaker 1: it because Days of Being Wild wasn't successful, do you

978
00:54:57,760 --> 00:55:01,680
Speaker 1: know what I mean. But in spite of all this,

979
00:55:02,280 --> 00:55:04,960
Speaker 1: now I think it's generally understood that Days of Being

980
00:55:05,000 --> 00:55:07,680
Speaker 1: Wild is actually the first in this sort of like

981
00:55:07,800 --> 00:55:12,680
Speaker 1: loose trilogy of films, which includes your movie, and the

982
00:55:12,920 --> 00:55:16,040
Speaker 1: and the movie twenty forty six, which was released a

983
00:55:16,040 --> 00:55:19,480
Speaker 1: few years after your film, right, right, So, a one

984
00:55:19,560 --> 00:55:22,520
Speaker 1: sentenced synopsis of Days of Being Wild goes a little

985
00:55:22,520 --> 00:55:28,640
Speaker 1: something like this. A young, carefree fuck boy living in

986
00:55:28,719 --> 00:55:32,320
Speaker 1: nineteen sixties Hong Kong spends his days and nights breaking

987
00:55:32,320 --> 00:55:36,000
Speaker 1: the hearts of several women while longing to locate his

988
00:55:36,080 --> 00:55:45,400
Speaker 1: real mother in the Philippines. Yes, yes, so, now quite obviously,

989
00:55:46,040 --> 00:55:49,560
Speaker 1: when you first start this movie, it'll hitch in the face.

990
00:55:49,760 --> 00:55:54,759
Speaker 1: This movie is very sexy and very dreamlike. Right. The

991
00:55:54,800 --> 00:56:00,840
Speaker 1: opening sequence is so fucking beautiful. Okay, It's just this

992
00:56:01,000 --> 00:56:05,600
Speaker 1: like beautiful slow panning over the tops of palm trees,

993
00:56:05,880 --> 00:56:10,319
Speaker 1: which I suppose means they're in the Philippines. Having been

994
00:56:10,360 --> 00:56:11,919
Speaker 1: to the Philippines, I'll tell you there are a lot

995
00:56:11,920 --> 00:56:16,920
Speaker 1: of palm trees, but there's this like really dreamy Brazilian

996
00:56:17,360 --> 00:56:20,600
Speaker 1: guitar music playing over it, and it just like sets

997
00:56:20,640 --> 00:56:26,240
Speaker 1: this perfect tone right for this film because weirdly enough,

998
00:56:26,440 --> 00:56:30,200
Speaker 1: the story of Days of Being Wild it's almost kind

999
00:56:30,239 --> 00:56:34,240
Speaker 1: of simple, really, Yeah, but the movie is just really

1000
00:56:34,320 --> 00:56:40,080
Speaker 1: trucking in atmosphere in mood, right, and it's set in

1001
00:56:40,120 --> 00:56:44,200
Speaker 1: the nineteen sixties. It's hot, I think we know it's

1002
00:56:44,200 --> 00:56:48,560
Speaker 1: hot in Asia. The world that inhabits is this kind

1003
00:56:48,560 --> 00:56:53,319
Speaker 1: of like urban it's kind of slightly grimy, and you know,

1004
00:56:53,680 --> 00:56:56,520
Speaker 1: the cinematographer, Christopher Doyle, he used a lot of like

1005
00:56:56,640 --> 00:56:59,680
Speaker 1: low lighting and a lot of green filtering, so there's

1006
00:56:59,719 --> 00:57:03,040
Speaker 1: kind of like green tint to the film. Uh, and

1007
00:57:03,080 --> 00:57:07,280
Speaker 1: it just kind of creates this like sensual, romantic universe.

1008
00:57:07,320 --> 00:57:09,600
Speaker 1: It's just amazing, right.

1009
00:57:09,840 --> 00:57:13,840
Speaker 2: And do you think that because I in researching my

1010
00:57:13,880 --> 00:57:16,200
Speaker 2: film also, you know, found that he was working with

1011
00:57:16,280 --> 00:57:18,959
Speaker 2: Christopher Doyle a lot. But what I didn't really hit upon,

1012
00:57:19,120 --> 00:57:22,360
Speaker 2: and I probably just didn't read enough. There's like a

1013
00:57:22,440 --> 00:57:25,480
Speaker 2: saturation of color and so and and that's like a

1014
00:57:25,520 --> 00:57:28,560
Speaker 2: signature of one car Why And I'm wondering is that

1015
00:57:28,720 --> 00:57:31,440
Speaker 2: more influenced by Doyle or do you think that's like

1016
00:57:31,680 --> 00:57:32,080
Speaker 2: one car?

1017
00:57:32,120 --> 00:57:32,280
Speaker 3: Why?

1018
00:57:32,400 --> 00:57:33,760
Speaker 2: Helping with that kind of direction.

1019
00:57:35,360 --> 00:57:38,080
Speaker 1: So yeah, I don't know. I mean I feel like, like,

1020
00:57:38,160 --> 00:57:40,880
Speaker 1: you know, all movies are kind of a collaboration in

1021
00:57:40,920 --> 00:57:43,840
Speaker 1: a lot of ways. So you do have Christopher Doyle

1022
00:57:43,880 --> 00:57:49,560
Speaker 1: who has a very like, very specific visual style to

1023
00:57:49,680 --> 00:57:53,320
Speaker 1: his work, but also William Chang, who was like the

1024
00:57:53,360 --> 00:57:56,640
Speaker 1: Wan car Why kind of like long time production designer

1025
00:57:56,680 --> 00:57:58,480
Speaker 1: and editor and stuff. So I feel like it might

1026
00:57:58,520 --> 00:58:02,280
Speaker 1: have been a collab in a you know, obviously I

1027
00:58:02,280 --> 00:58:05,440
Speaker 1: think directors have a lot to do with the movie,

1028
00:58:05,560 --> 00:58:10,200
Speaker 1: but I think in particular, you know, there was all

1029
00:58:10,240 --> 00:58:14,040
Speaker 1: these very like standout folks that worked with him that

1030
00:58:14,480 --> 00:58:17,040
Speaker 1: probably also had a lot to do with just this

1031
00:58:17,120 --> 00:58:22,320
Speaker 1: world building. Right. So the male lead of my film

1032
00:58:22,880 --> 00:58:26,880
Speaker 1: is Leslie Chung, and he was this very very famous

1033
00:58:26,920 --> 00:58:29,840
Speaker 1: Hong Kong actor and pop star, and like I said,

1034
00:58:29,880 --> 00:58:33,000
Speaker 1: he was part of that deep bench of these Hong

1035
00:58:33,160 --> 00:58:36,960
Speaker 1: Kong film and music stars that appeared in a lot

1036
00:58:36,960 --> 00:58:40,440
Speaker 1: of these wondkar Wi movies. He was in the movie

1037
00:58:40,440 --> 00:58:42,920
Speaker 1: Happy Together, which I don't know if you've seen that movie,

1038
00:58:44,000 --> 00:58:48,960
Speaker 1: fucking incredible, I mean just incredibly important in queer cinema,

1039
00:58:49,040 --> 00:58:52,480
Speaker 1: but just sort of like another film that sort of

1040
00:58:52,520 --> 00:58:56,880
Speaker 1: like plays into these themes that wankar Wi movies are about.

1041
00:58:56,960 --> 00:58:57,200
Speaker 2: Right.

1042
00:58:57,920 --> 00:59:00,000
Speaker 1: He was also in Ashes of Time, which is another

1043
00:59:00,520 --> 00:59:03,520
Speaker 1: sort of like it's like a Woosha film that Wonkar

1044
00:59:03,680 --> 00:59:06,120
Speaker 1: I made in the nineties. But he was in a

1045
00:59:06,200 --> 00:59:07,880
Speaker 1: lot of other Hong Kong films too. I mean, he

1046
00:59:07,960 --> 00:59:09,960
Speaker 1: was actually in A Better Tomorrow, and he was in

1047
00:59:10,040 --> 00:59:13,280
Speaker 1: Chinese Ghost Story and Farewell My Concubine. I don't know

1048
00:59:13,320 --> 00:59:17,200
Speaker 1: if you've seen that, but that's but if you get

1049
00:59:17,240 --> 00:59:20,440
Speaker 1: a chance to read about Leslie Chong, it's very fascinating

1050
00:59:20,720 --> 00:59:23,320
Speaker 1: and sad. A lot of it is very sad. He

1051
00:59:23,520 --> 00:59:29,200
Speaker 1: was bisexual, and he really challenged the notions of sexuality

1052
00:59:29,240 --> 00:59:32,280
Speaker 1: and gender I think during his career, I mean in

1053
00:59:32,320 --> 00:59:36,440
Speaker 1: the eighties and nineties still a very homophobic place in time, right.

1054
00:59:36,640 --> 00:59:40,560
Speaker 1: And he suffered from clinical depression, especially towards the end

1055
00:59:40,600 --> 00:59:43,320
Speaker 1: of his life, and he tragically died by suicide in

1056
00:59:43,320 --> 00:59:46,200
Speaker 1: two thousand and three. So you know, he's a very

1057
00:59:46,240 --> 00:59:48,640
Speaker 1: interesting person to read about it if you ever get

1058
00:59:48,680 --> 00:59:52,400
Speaker 1: the moment. But in Days of Being Wild, he plays

1059
00:59:52,480 --> 00:59:57,000
Speaker 1: this character Yutti, and he kind of embodies the type

1060
00:59:57,160 --> 00:59:59,000
Speaker 1: of male character that we see a lot in like

1061
00:59:59,040 --> 01:00:01,960
Speaker 1: American melodram of the fifties. Right, he's like a James

1062
01:00:02,000 --> 01:00:08,280
Speaker 1: Dean type. He's enigmatic and beautiful and boyish, but he's

1063
01:00:08,360 --> 01:00:13,959
Speaker 1: like also very moody, and he's troubled and sort of aimless. Right,

1064
01:00:15,200 --> 01:00:18,800
Speaker 1: perfect description, Yeah, just that type of guy we love,

1065
01:00:19,440 --> 01:00:24,720
Speaker 1: am I Right. And at the beginning of this movie,

1066
01:00:24,800 --> 01:00:29,960
Speaker 1: he meets this quiet, almost kind of like bookish shop

1067
01:00:30,000 --> 01:00:33,960
Speaker 1: girl whose name's Sue and she's played by the wonderful

1068
01:00:34,000 --> 01:00:36,120
Speaker 1: Maggie Chung. I'm sure you have a lot to say

1069
01:00:36,120 --> 01:00:39,680
Speaker 1: about her because she's also in your film. And he

1070
01:00:39,800 --> 01:00:42,880
Speaker 1: comes in with this big game with her, and at

1071
01:00:42,920 --> 01:00:45,480
Speaker 1: first she sort of resists it, but then eventually she

1072
01:00:45,680 --> 01:00:49,840
Speaker 1: succumbs to the charms, as we've been known to do,

1073
01:00:50,200 --> 01:00:56,160
Speaker 1: right people, and all is well there until of course

1074
01:00:56,160 --> 01:01:00,000
Speaker 1: she wants to move the relationship forward, and of course

1075
01:01:00,080 --> 01:01:03,120
Speaker 1: she's like, oh no, we're not doing that. You're we're

1076
01:01:03,120 --> 01:01:05,880
Speaker 1: not getting married, Like you can move in, but I

1077
01:01:05,920 --> 01:01:06,680
Speaker 1: don't want to marry you.

1078
01:01:07,120 --> 01:01:10,080
Speaker 2: And it's so wild because like her type of resistance

1079
01:01:10,120 --> 01:01:12,120
Speaker 2: to him is like like fuck you, why are you

1080
01:01:12,160 --> 01:01:15,000
Speaker 2: coming around here? At first, like she truly wants nothing

1081
01:01:15,040 --> 01:01:17,520
Speaker 2: to do with him, right, And I think she kind

1082
01:01:17,560 --> 01:01:20,880
Speaker 2: of had his number when she first met him, but

1083
01:01:20,920 --> 01:01:25,320
Speaker 2: then she kind of couldn't help herself, and it's mad

1084
01:01:25,360 --> 01:01:28,560
Speaker 2: at herself at that point for falling for his shit. Oh,

1085
01:01:28,640 --> 01:01:29,720
Speaker 2: it's the worst.

1086
01:01:30,200 --> 01:01:34,400
Speaker 1: It's the worst when you know better. Yeah, when you

1087
01:01:34,480 --> 01:01:41,600
Speaker 1: know better and you're like, ah, fuck I didn't. So

1088
01:01:41,640 --> 01:01:46,720
Speaker 1: Sue and Udier are done quite obviously, and she's heartbroken

1089
01:01:46,720 --> 01:01:48,400
Speaker 1: and sad, so that he moves on to this like

1090
01:01:48,480 --> 01:01:54,760
Speaker 1: cabaret dancer named Mimi, who's played by Karen Alau. She's

1091
01:01:54,840 --> 01:01:58,880
Speaker 1: effectively like the opposite kind of woman from Sue. She's

1092
01:01:59,400 --> 01:02:03,240
Speaker 1: very bold and playful and loud, and she's got a

1093
01:02:03,400 --> 01:02:05,920
Speaker 1: great look in this film. I have to say, she

1094
01:02:06,960 --> 01:02:08,800
Speaker 1: looks so fabulous.

1095
01:02:08,880 --> 01:02:09,400
Speaker 2: I love it.

1096
01:02:10,440 --> 01:02:14,160
Speaker 1: And duh Yuddi is again one foot out the door

1097
01:02:14,160 --> 01:02:17,720
Speaker 1: with her as well. So you've got him juggling sort

1098
01:02:17,760 --> 01:02:22,240
Speaker 1: of multiple women, and he's meandering around town. He's smoking,

1099
01:02:22,400 --> 01:02:28,040
Speaker 1: he's sweating, he's admitting this pure sexual energy, right, but

1100
01:02:28,080 --> 01:02:31,720
Speaker 1: at the same time he's having these like deep feelings

1101
01:02:32,600 --> 01:02:36,720
Speaker 1: and this desire to find his real mother, who he

1102
01:02:36,800 --> 01:02:40,880
Speaker 1: is only told lives in the Philippines but basically nothing else, right,

1103
01:02:42,280 --> 01:02:44,920
Speaker 1: he is also deep into this, like very tense and

1104
01:02:45,000 --> 01:02:48,080
Speaker 1: like fucked up relationship with his adoptive mother, who is

1105
01:02:48,080 --> 01:02:53,600
Speaker 1: played by Rebeccapan, and she's a sex worker and has

1106
01:02:54,120 --> 01:02:57,400
Speaker 1: kind of kept yuddy sort of like tethered to her

1107
01:02:57,480 --> 01:03:03,400
Speaker 1: in this like codependent situation, but ultimately it's sort of

1108
01:03:03,520 --> 01:03:07,040
Speaker 1: loveless in a weird way too, Like she's like codependent

1109
01:03:07,600 --> 01:03:10,160
Speaker 1: and needs him around, but she actually like doesn't really

1110
01:03:11,080 --> 01:03:12,760
Speaker 1: isn't fond of him or something.

1111
01:03:13,080 --> 01:03:18,440
Speaker 2: No, it's a very transactional relationship, correct, And you know.

1112
01:03:18,520 --> 01:03:22,440
Speaker 1: You could obviously make the connection between his mom issues

1113
01:03:22,760 --> 01:03:24,520
Speaker 1: and the way that he lives his life and how

1114
01:03:24,560 --> 01:03:27,760
Speaker 1: he treats women. I think that's very obvious, right. And

1115
01:03:27,840 --> 01:03:30,160
Speaker 1: at some point, he actually does travel to the Philippines,

1116
01:03:30,320 --> 01:03:33,160
Speaker 1: you know, to try to find his mom, and while

1117
01:03:33,160 --> 01:03:38,440
Speaker 1: he's there, he's basically saved by this former police officer

1118
01:03:39,200 --> 01:03:42,160
Speaker 1: named Tide, who was played by Andy Lao, and like

1119
01:03:43,080 --> 01:03:46,720
Speaker 1: at some point Tide was living in Hong Kong and

1120
01:03:46,840 --> 01:03:49,360
Speaker 1: sort of kind of was getting involved with the Maggie

1121
01:03:49,440 --> 01:03:51,200
Speaker 1: Chung character. They were just kind of having this like

1122
01:03:51,680 --> 01:03:54,960
Speaker 1: very chaste I don't know, not a courtship necessarily, but

1123
01:03:55,160 --> 01:03:57,400
Speaker 1: you know they were just kind of like confiding in

1124
01:03:57,440 --> 01:04:01,120
Speaker 1: each other and talking to each other walking around town

1125
01:04:01,200 --> 01:04:04,760
Speaker 1: late at night type of thing. And she's obviously heartbroken

1126
01:04:04,800 --> 01:04:07,520
Speaker 1: over Yutti, so she was talking to him about a

1127
01:04:07,520 --> 01:04:10,280
Speaker 1: lot of that. So he ends up he ends up

1128
01:04:10,320 --> 01:04:13,520
Speaker 1: leaving Hong Kong moving, you know, going to become a sailor,

1129
01:04:13,840 --> 01:04:16,800
Speaker 1: and he's in the Philippines and basically he saves Yutti

1130
01:04:16,880 --> 01:04:19,760
Speaker 1: one night in this kind of bar this barroom brawl.

1131
01:04:20,400 --> 01:04:24,960
Speaker 1: And it's funny because Yunny technically knew him because he

1132
01:04:25,080 --> 01:04:27,400
Speaker 1: was like the security garden is building.

1133
01:04:27,960 --> 01:04:29,720
Speaker 2: That's what was always so weird to me is I'm like,

1134
01:04:29,800 --> 01:04:31,520
Speaker 2: you see, you saw this guy every day.

1135
01:04:31,800 --> 01:04:34,800
Speaker 1: Yeah, but he doesn't recognize him. And but the weirdest

1136
01:04:34,800 --> 01:04:37,000
Speaker 1: part is that I feel like that to me is

1137
01:04:37,040 --> 01:04:41,080
Speaker 1: sort of like a staple of what wonkhar Wise films

1138
01:04:41,080 --> 01:04:43,760
Speaker 1: are about her. Are these like characters that are sort

1139
01:04:43,760 --> 01:04:46,760
Speaker 1: of like connected in these weird ways, but they they

1140
01:04:47,080 --> 01:04:51,360
Speaker 1: don't form actual healthy bonds with each other, Like they

1141
01:04:51,400 --> 01:04:55,520
Speaker 1: don't form real friendships and real relationships. And I just

1142
01:04:55,520 --> 01:04:58,120
Speaker 1: feel like that's a part of like what his world

1143
01:04:58,240 --> 01:05:02,360
Speaker 1: is about. It's just these broken people who are who

1144
01:05:02,560 --> 01:05:06,560
Speaker 1: want the connection, but they just can't get there.

1145
01:05:07,200 --> 01:05:09,640
Speaker 2: Right, take a bunch of like boois bumping up against

1146
01:05:09,640 --> 01:05:11,640
Speaker 2: each other in the ocean or something like. They're just

1147
01:05:11,720 --> 01:05:13,680
Speaker 2: kind of like in the same world for a moment.

1148
01:05:13,720 --> 01:05:16,160
Speaker 2: They're trying and maybe it doesn't work, so they float

1149
01:05:16,160 --> 01:05:17,080
Speaker 2: away to something.

1150
01:05:16,840 --> 01:05:21,120
Speaker 1: Else, right, And it's it's it's represented in this film

1151
01:05:21,360 --> 01:05:23,720
Speaker 1: between Todd and Yuddy, but also with Yuddy and his

1152
01:05:23,800 --> 01:05:27,600
Speaker 1: parents and like Yuddy and his girlfriend. So it's just

1153
01:05:27,640 --> 01:05:30,720
Speaker 1: like to me, I feel like, because this was one

1154
01:05:30,760 --> 01:05:34,800
Speaker 1: of his first films, like he really began to sort

1155
01:05:34,840 --> 01:05:39,600
Speaker 1: of work. He really began to talk about this more

1156
01:05:39,640 --> 01:05:43,919
Speaker 1: and more as his filmography went on. Right, But here's

1157
01:05:43,920 --> 01:05:46,760
Speaker 1: the thing. Days of Being Wild, I think obviously set

1158
01:05:46,800 --> 01:05:50,280
Speaker 1: the table for a lot of his movies and what

1159
01:05:50,320 --> 01:05:54,080
Speaker 1: they would be known for later visually but thematically, Like

1160
01:05:54,120 --> 01:05:57,280
Speaker 1: I said, and there's just a lot in this film

1161
01:05:57,560 --> 01:05:58,200
Speaker 1: to chew on.

1162
01:05:58,400 --> 01:05:58,560
Speaker 2: Right.

1163
01:05:58,600 --> 01:06:02,640
Speaker 1: There's he's talking about love and loneliness and longing and

1164
01:06:02,720 --> 01:06:06,720
Speaker 1: just sensuality, you know, obviously lots of close ups of

1165
01:06:06,760 --> 01:06:10,520
Speaker 1: clocks on the wall, talking about time and memory and

1166
01:06:10,680 --> 01:06:13,120
Speaker 1: you know, like I said, it's just this. I think

1167
01:06:13,160 --> 01:06:16,640
Speaker 1: a lot of people, I want to say, they forget

1168
01:06:16,680 --> 01:06:19,680
Speaker 1: this film. But I think when it comes down to it, Like,

1169
01:06:19,840 --> 01:06:24,160
Speaker 1: especially after Chun King Express, especially after your film, I

1170
01:06:24,200 --> 01:06:27,800
Speaker 1: feel like Days of Being Wild kind of gets tucked

1171
01:06:27,960 --> 01:06:31,680
Speaker 1: into like early career. I mean, it is part of

1172
01:06:31,720 --> 01:06:35,400
Speaker 1: this trilogy, right, this twenty forty six in the Mood

1173
01:06:35,400 --> 01:06:37,400
Speaker 1: for Love trilogy. But I feel like a lot of

1174
01:06:37,440 --> 01:06:43,040
Speaker 1: people after seeing those two films in particular, kind of

1175
01:06:43,080 --> 01:06:44,760
Speaker 1: look at Days of Being Wild as being kind of

1176
01:06:44,800 --> 01:06:48,480
Speaker 1: like an early film. Maybe not as memorable, but for

1177
01:06:48,560 --> 01:06:53,240
Speaker 1: my money, I love it. I think the scene of

1178
01:06:53,360 --> 01:06:59,040
Speaker 1: Leslie Chung walking away from his mother's house with the

1179
01:06:59,080 --> 01:07:02,120
Speaker 1: Brazilian guitar music playing in the palm trees is one

1180
01:07:02,160 --> 01:07:07,920
Speaker 1: of the most evocative and beautiful shots in film for me,

1181
01:07:08,520 --> 01:07:12,160
Speaker 1: like it haunts me. It haunts me when I see

1182
01:07:12,200 --> 01:07:17,439
Speaker 1: that and not gonna lie like you have a film

1183
01:07:17,440 --> 01:07:20,200
Speaker 1: about a Filipino mother. You know, I gotta feel some

1184
01:07:20,280 --> 01:07:26,200
Speaker 1: type of way about right, but I'm contractually obligated to

1185
01:07:26,240 --> 01:07:29,760
Speaker 1: give a shit and I but I just love the

1186
01:07:29,760 --> 01:07:34,160
Speaker 1: way this movie moves, and you know, I just love

1187
01:07:34,200 --> 01:07:41,000
Speaker 1: the way that I mean, Leslie Chung is gorgeous, beautiful, gorgeous, young,

1188
01:07:41,360 --> 01:07:46,480
Speaker 1: like vibrant, and you know, Maggie Chung, like we've talked about, well,

1189
01:07:46,520 --> 01:07:50,240
Speaker 1: we will talk about in your movie is incredible, creen

1190
01:07:50,320 --> 01:07:52,800
Speaker 1: allows gorgeous, So like everybody in this movie is kind

1191
01:07:52,800 --> 01:07:55,640
Speaker 1: of like it's all kind of firing on all cylinders

1192
01:07:55,680 --> 01:07:58,400
Speaker 1: for me personally, And like I know that again there's

1193
01:07:58,480 --> 01:08:00,440
Speaker 1: it's part of his philmography and people do love it,

1194
01:08:01,000 --> 01:08:03,800
Speaker 1: but I feel like it kind of got not forgotten,

1195
01:08:03,840 --> 01:08:08,400
Speaker 1: but just it's gotten talked under his subsequent work. Yeah,

1196
01:08:08,640 --> 01:08:11,680
Speaker 1: and when it came down to such a mistake, yeah,

1197
01:08:11,720 --> 01:08:13,280
Speaker 1: I know, I know. And when it came down to it,

1198
01:08:13,280 --> 01:08:14,720
Speaker 1: it felt like, oh, it's like, well, if I had

1199
01:08:14,720 --> 01:08:16,120
Speaker 1: to choose one of his movies that I really want

1200
01:08:16,160 --> 01:08:17,519
Speaker 1: to talk about, I felt like it was this one

1201
01:08:17,520 --> 01:08:20,840
Speaker 1: because I'm like, don't forget it, don't sleep on Days

1202
01:08:20,880 --> 01:08:22,960
Speaker 1: of Being Wild. It's really really great.

1203
01:08:23,200 --> 01:08:25,760
Speaker 2: So I think that was such a smart move and

1204
01:08:25,800 --> 01:08:27,880
Speaker 2: it makes so much sense because this is again like

1205
01:08:28,160 --> 01:08:34,160
Speaker 2: if you love other films by Wankar, why then to me,

1206
01:08:34,200 --> 01:08:36,920
Speaker 2: it doesn't make any sense to be as dismissive about

1207
01:08:36,960 --> 01:08:40,639
Speaker 2: his earlier films because that's where you're watching him develop

1208
01:08:40,680 --> 01:08:43,600
Speaker 2: his style. And this film in particular, like Days of

1209
01:08:43,640 --> 01:08:48,879
Speaker 2: Being Wild, is so foundational for understanding how he approaches

1210
01:08:48,880 --> 01:08:52,120
Speaker 2: a story, how he approaches characters, how his films look,

1211
01:08:52,200 --> 01:08:54,960
Speaker 2: why they feel the way they feel, and the story

1212
01:08:55,040 --> 01:08:57,640
Speaker 2: is just so compelling because again, like you said, like

1213
01:08:57,640 --> 01:08:59,760
Speaker 2: you said earlier, it's a simple story, but he makes

1214
01:08:59,760 --> 01:09:03,799
Speaker 2: it impelling by telling by dipping into these other narratives

1215
01:09:03,800 --> 01:09:05,960
Speaker 2: and dipping into tide and dipping into like all these

1216
01:09:05,960 --> 01:09:09,200
Speaker 2: different narratives and then bringing them back together. Like he

1217
01:09:09,320 --> 01:09:11,879
Speaker 2: just he's really skillful at that, and this is the beginning.

1218
01:09:12,000 --> 01:09:14,240
Speaker 2: So if you enjoy him doing that in other films,

1219
01:09:14,960 --> 01:09:18,080
Speaker 2: then definitely revisit or watch this for the first time.

1220
01:09:18,120 --> 01:09:19,879
Speaker 2: It's it's stunningly beautiful.

1221
01:09:20,520 --> 01:09:23,040
Speaker 1: Yeah, I will say the Criterion version that's on the

1222
01:09:23,120 --> 01:09:26,479
Speaker 1: channel right now is about as beautiful as you could

1223
01:09:26,479 --> 01:09:30,599
Speaker 1: see because I watched yeah no and like it because

1224
01:09:30,600 --> 01:09:33,559
Speaker 1: for a long time before they did the box set,

1225
01:09:33,600 --> 01:09:35,400
Speaker 1: you know, there's a one car y box set that

1226
01:09:35,400 --> 01:09:39,840
Speaker 1: Criterion did. I it was not in good quality, like

1227
01:09:39,880 --> 01:09:41,760
Speaker 1: I remember seeing it. God, it was probably on some

1228
01:09:41,800 --> 01:09:43,760
Speaker 1: other streaming service. I was like, wow, this looks like

1229
01:09:43,800 --> 01:09:48,400
Speaker 1: a still looks like a VHS. So I'm glad that

1230
01:09:48,439 --> 01:09:50,400
Speaker 1: they did they made it look great and did the

1231
01:09:50,439 --> 01:09:54,240
Speaker 1: work on it. But yeah, oh my God, now we

1232
01:09:54,360 --> 01:09:57,000
Speaker 1: have to transition to your film because your film is

1233
01:09:57,120 --> 01:09:59,720
Speaker 1: very much related to mine, and wow, I.

1234
01:09:59,720 --> 01:10:03,240
Speaker 2: Mean absolutely, And like you said, this is part of

1235
01:10:03,439 --> 01:10:06,160
Speaker 2: what what is deemed to be part of a trilogy,

1236
01:10:07,360 --> 01:10:10,800
Speaker 2: and my film would be the next in line. And

1237
01:10:10,840 --> 01:10:13,120
Speaker 2: we didn't we didn't pick our films with that in mind,

1238
01:10:13,160 --> 01:10:16,840
Speaker 2: but that's just how it shakes out sometimes. And my

1239
01:10:17,080 --> 01:10:21,520
Speaker 2: film was released in the year two thousand, directed, produced

1240
01:10:21,680 --> 01:10:25,200
Speaker 2: and written by Wang Khar Why and my movie is

1241
01:10:25,560 --> 01:10:27,160
Speaker 2: in the Mood for Love.

1242
01:10:30,080 --> 01:10:31,639
Speaker 1: I'm going to tell you which went home from.

1243
01:10:40,160 --> 01:10:43,800
Speaker 2: Oh Good? I mean, I feel like there's so much

1244
01:10:43,800 --> 01:10:45,920
Speaker 2: to say here. Like I said, I watched I watched

1245
01:10:45,920 --> 01:10:47,880
Speaker 2: this movie on the Criterion channel at the time that

1246
01:10:47,920 --> 01:10:51,840
Speaker 2: we are recording this, it was available, and there are

1247
01:10:51,880 --> 01:10:54,920
Speaker 2: so many tidbits that you usually would just get on

1248
01:10:54,920 --> 01:10:57,960
Speaker 2: a DVD, but they actually have some also on the site.

1249
01:10:57,960 --> 01:10:59,720
Speaker 2: And so I was watching all these interviews and kind

1250
01:10:59,720 --> 01:11:02,760
Speaker 2: of the like the French trailer and like all these

1251
01:11:02,800 --> 01:11:05,120
Speaker 2: different there's an alternate version of the film on there,

1252
01:11:05,360 --> 01:11:07,880
Speaker 2: like you just watch anything you want, And that's where

1253
01:11:07,880 --> 01:11:11,080
Speaker 2: I saw that interview where Wangkar Wai says that he

1254
01:11:11,600 --> 01:11:14,080
Speaker 2: tries to tell a story about a different time period

1255
01:11:14,120 --> 01:11:17,320
Speaker 2: and secrets and telling the story of another side of

1256
01:11:17,360 --> 01:11:23,280
Speaker 2: an affair with this film. And so my one sentence synopsis,

1257
01:11:23,760 --> 01:11:26,080
Speaker 2: I actually have two because I couldn't the first one

1258
01:11:26,160 --> 01:11:29,679
Speaker 2: is just too simple, but it made me last story

1259
01:11:29,680 --> 01:11:32,479
Speaker 2: of my life. My one sentence synopsis of In the

1260
01:11:32,520 --> 01:11:36,599
Speaker 2: Mood for Love is it's a very sexy movie about

1261
01:11:36,640 --> 01:11:38,680
Speaker 2: two people who do not have sex.

1262
01:11:39,240 --> 01:11:47,960
Speaker 3: Yes, ah God, and it is painful at times to

1263
01:11:48,080 --> 01:11:50,920
Speaker 3: watch them in this relationship, but we'll get into that.

1264
01:11:51,920 --> 01:11:54,240
Speaker 2: And the crux of the synopsis of this film is

1265
01:11:54,240 --> 01:11:57,120
Speaker 2: that you have these two new neighbors, like they've both

1266
01:11:57,240 --> 01:12:01,360
Speaker 2: moved into a room in someone else's apartment at the

1267
01:12:01,400 --> 01:12:03,920
Speaker 2: same time, on the same day, and it was like,

1268
01:12:03,920 --> 01:12:06,760
Speaker 2: you know, a little bit of comedy that ensues when

1269
01:12:06,800 --> 01:12:08,760
Speaker 2: their stuff arrives at the same time and she's like,

1270
01:12:08,800 --> 01:12:11,640
Speaker 2: that's not my chest and that's not my shoes, and

1271
01:12:11,680 --> 01:12:13,680
Speaker 2: like there's like a little bit of comedy there. But

1272
01:12:13,720 --> 01:12:16,960
Speaker 2: there are two neighbors who are largely pretty polite to

1273
01:12:17,040 --> 01:12:23,080
Speaker 2: each other, and then they discover that their spouses are

1274
01:12:23,200 --> 01:12:27,559
Speaker 2: cheating on them with each other. And you would think

1275
01:12:27,680 --> 01:12:31,000
Speaker 2: in most films that would be the narrative, like that

1276
01:12:31,000 --> 01:12:33,599
Speaker 2: would be it is our spouses are cheating with each other?

1277
01:12:33,720 --> 01:12:37,439
Speaker 2: What do we do? But what I love about this movie,

1278
01:12:37,520 --> 01:12:39,160
Speaker 2: and part of the reason I picked it, is that

1279
01:12:39,200 --> 01:12:43,519
Speaker 2: the story deviates two or three times in ways that

1280
01:12:43,560 --> 01:12:46,400
Speaker 2: you do not expect. And part of it is because

1281
01:12:46,560 --> 01:12:51,439
Speaker 2: of the cast and the cinematography. And so we're watching

1282
01:12:51,479 --> 01:12:53,760
Speaker 2: these two people kind of embark on like this very

1283
01:12:54,560 --> 01:12:57,280
Speaker 2: delicate and sexy dance that kind of brings them to

1284
01:12:57,320 --> 01:13:01,000
Speaker 2: the brink of having a relationship of their own. But

1285
01:13:01,160 --> 01:13:03,160
Speaker 2: as you get to know them and understand who they

1286
01:13:03,160 --> 01:13:06,040
Speaker 2: are as people, you realize why they never follow through

1287
01:13:06,040 --> 01:13:09,400
Speaker 2: with that. So this is a film set in Hong

1288
01:13:09,520 --> 01:13:12,439
Speaker 2: Kong and the time period that it spans is from

1289
01:13:12,520 --> 01:13:16,400
Speaker 2: nineteen sixty two to nineteen sixty six. He originally wanted

1290
01:13:16,560 --> 01:13:20,080
Speaker 2: the film to end in nineteen seventy two, but he

1291
01:13:20,160 --> 01:13:23,360
Speaker 2: thought that the style in Hong Kong and the politics

1292
01:13:23,360 --> 01:13:25,559
Speaker 2: of Hong Kong had changed so much in that ten

1293
01:13:25,640 --> 01:13:28,600
Speaker 2: years that it kind of wouldn't make sense to have

1294
01:13:28,680 --> 01:13:32,120
Speaker 2: the film span that much of a gap in time.

1295
01:13:32,720 --> 01:13:34,720
Speaker 2: But it's the movie starts out with you know, some

1296
01:13:34,760 --> 01:13:37,920
Speaker 2: phrases on the screen, and it just it's again one

1297
01:13:37,960 --> 01:13:41,240
Speaker 2: of those films that from the first sentence I was

1298
01:13:41,320 --> 01:13:45,960
Speaker 2: in because it's just this narrator saying it's a restless moment.

1299
01:13:46,320 --> 01:13:49,040
Speaker 2: So they're just literally setting the scene for like here's

1300
01:13:49,080 --> 01:13:51,599
Speaker 2: what you're getting into in Hong Kong in nineteen sixty two.

1301
01:13:52,040 --> 01:13:55,839
Speaker 2: It's a restless moment. And then this this film itself

1302
01:13:55,880 --> 01:14:00,639
Speaker 2: is like it's like the slow, like languorous shots of movement,

1303
01:14:01,160 --> 01:14:03,559
Speaker 2: Like the movie itself is like a dance or like

1304
01:14:03,560 --> 01:14:06,599
Speaker 2: like a waltz of some kind. And I think I

1305
01:14:06,600 --> 01:14:08,960
Speaker 2: heard wangkar Wa I say that in an interview as well,

1306
01:14:10,000 --> 01:14:13,519
Speaker 2: but it is it's like this slow, steamy dance, like

1307
01:14:13,560 --> 01:14:15,600
Speaker 2: where you could feel the heat of the place and

1308
01:14:15,640 --> 01:14:17,760
Speaker 2: you could feel the like. I have been the Hong

1309
01:14:17,840 --> 01:14:23,200
Speaker 2: Kong before I went to Macau on a freelance writing assignment.

1310
01:14:23,880 --> 01:14:26,800
Speaker 2: And when I was married, my brother in law lived

1311
01:14:26,840 --> 01:14:28,280
Speaker 2: in Hong Kong, so I went to go see him

1312
01:14:28,320 --> 01:14:29,880
Speaker 2: and his family for the day. I just took a

1313
01:14:29,880 --> 01:14:33,599
Speaker 2: boat over for a couple of days. And I love

1314
01:14:33,680 --> 01:14:36,800
Speaker 2: Hong Kong. It's a gorgeous, gorgeous city, but it has

1315
01:14:36,880 --> 01:14:41,519
Speaker 2: a lot of history that is rife with colonialism and

1316
01:14:41,640 --> 01:14:45,120
Speaker 2: you know again with you know, separatism and it just

1317
01:14:45,160 --> 01:14:49,479
Speaker 2: has a lot of history. And so one of the

1318
01:14:49,479 --> 01:14:52,759
Speaker 2: things we're learning about this moment in time that wangkar

1319
01:14:52,840 --> 01:14:56,720
Speaker 2: wa I wants us to pay attention to is kind

1320
01:14:56,720 --> 01:15:01,240
Speaker 2: of how people live together, both literally and figuratively. So

1321
01:15:01,280 --> 01:15:07,639
Speaker 2: you've got mister again cast incredible. Maggie Chung is playing

1322
01:15:07,680 --> 01:15:12,840
Speaker 2: Missus Chan and Tony Leung is playing Chow Ma Wan

1323
01:15:13,960 --> 01:15:18,439
Speaker 2: mister Chow, and they live together. They live next door

1324
01:15:18,479 --> 01:15:20,439
Speaker 2: to each other. Again, they each rented a room in

1325
01:15:20,520 --> 01:15:25,639
Speaker 2: someone's house. So Missus Chan has rented a room from

1326
01:15:25,840 --> 01:15:30,439
Speaker 2: Missus Suen the Siwen family, and mister Chow has rented

1327
01:15:30,479 --> 01:15:34,000
Speaker 2: from the Coups. And both of these families are wild

1328
01:15:34,000 --> 01:15:35,640
Speaker 2: in their own different ways. We will get into that

1329
01:15:37,160 --> 01:15:40,799
Speaker 2: totally wild. But they're renting rooms in each other's houses,

1330
01:15:40,840 --> 01:15:43,960
Speaker 2: so they and their partners are living together in a room.

1331
01:15:44,080 --> 01:15:46,360
Speaker 2: So we start out and we're getting to learn more

1332
01:15:46,360 --> 01:15:49,880
Speaker 2: about their lives, and missus Chan is a secretary and

1333
01:15:49,960 --> 01:15:53,799
Speaker 2: mister Chow is a journalist. They both have very nosy

1334
01:15:53,880 --> 01:15:58,120
Speaker 2: landlords and nosey to the point where, like later in

1335
01:15:58,160 --> 01:16:04,800
Speaker 2: the film, Missus Suen tells mssus Chan tells the Sulesian

1336
01:16:05,320 --> 01:16:09,000
Speaker 2: character played by Maggie chung that she shouldn't be going

1337
01:16:09,000 --> 01:16:11,680
Speaker 2: out so much alone and without her husband, and like

1338
01:16:11,800 --> 01:16:14,280
Speaker 2: kind of makes her fall in line, and you could

1339
01:16:14,280 --> 01:16:17,360
Speaker 2: tell she's fucking miserable, but she says things like, you know,

1340
01:16:17,360 --> 01:16:19,400
Speaker 2: I can't believe she's going out for noodles dressed like that,

1341
01:16:19,600 --> 01:16:22,519
Speaker 2: and just like really judgy and kind of taking a

1342
01:16:22,560 --> 01:16:25,120
Speaker 2: parental role that isn't needed or necessary.

1343
01:16:25,880 --> 01:16:28,760
Speaker 1: Yeah, this is like part of the movie that every

1344
01:16:28,760 --> 01:16:32,960
Speaker 1: time I watch it, it becomes very clear to me

1345
01:16:33,520 --> 01:16:38,360
Speaker 1: about just how close these people were living to each other.

1346
01:16:39,040 --> 01:16:43,479
Speaker 1: And I think the visual element is played out too

1347
01:16:43,560 --> 01:16:47,080
Speaker 1: in this way where they're the apartments are so close

1348
01:16:47,120 --> 01:16:49,960
Speaker 1: together and the hallways are super narrow, and you just

1349
01:16:50,040 --> 01:16:52,519
Speaker 1: get the feeling that these people are just like truly

1350
01:16:52,880 --> 01:16:56,519
Speaker 1: living on top of each other. And because of that,

1351
01:16:57,640 --> 01:17:01,439
Speaker 1: there's just so much like like they know exactly what

1352
01:17:01,439 --> 01:17:04,559
Speaker 1: you're fucking up to, and they see you come and go,

1353
01:17:05,040 --> 01:17:06,760
Speaker 1: and they want you to have dinner with them, and

1354
01:17:06,800 --> 01:17:11,160
Speaker 1: they know every move that you make and they have

1355
01:17:11,200 --> 01:17:12,280
Speaker 1: a judgment about it.

1356
01:17:12,400 --> 01:17:15,960
Speaker 2: Right. Absolutely, they are so on top of each other,

1357
01:17:16,080 --> 01:17:18,280
Speaker 2: and it's like they're in the kitchen together and they're

1358
01:17:18,920 --> 01:17:21,400
Speaker 2: excited when someone brings a new rice cooker on the scene,

1359
01:17:21,439 --> 01:17:24,080
Speaker 2: and they're playing majong together like they are just truly

1360
01:17:24,200 --> 01:17:27,519
Speaker 2: in each other's lives and business, which gives a sense

1361
01:17:27,560 --> 01:17:31,120
Speaker 2: of instant community, but also again becomes like very much

1362
01:17:31,120 --> 01:17:36,040
Speaker 2: a surveillance state, yes ways than one. And it works

1363
01:17:36,160 --> 01:17:38,879
Speaker 2: because these are two main characters who end up characters

1364
01:17:38,880 --> 01:17:41,240
Speaker 2: who end up watching each other, and they're able to

1365
01:17:41,280 --> 01:17:44,640
Speaker 2: do that because they live in such close proximity. And

1366
01:17:44,680 --> 01:17:47,479
Speaker 2: the interesting thing to me too about this film right

1367
01:17:47,520 --> 01:17:49,680
Speaker 2: off the bat is you get thrown into this chaos

1368
01:17:49,760 --> 01:17:52,320
Speaker 2: of people living right on top of each other. But

1369
01:17:52,439 --> 01:17:55,840
Speaker 2: not only do you rarely see their spouses, but when

1370
01:17:55,880 --> 01:17:59,519
Speaker 2: you do see their spouses, you never see their faces. Yes,

1371
01:18:00,200 --> 01:18:04,639
Speaker 2: so there's something being like instantly telegraphed about how these

1372
01:18:04,640 --> 01:18:07,160
Speaker 2: are not the important characters of the film, even though

1373
01:18:07,200 --> 01:18:10,040
Speaker 2: these are the characters that give you that inciting incident

1374
01:18:10,160 --> 01:18:13,080
Speaker 2: by having an affair. And you know, again from an

1375
01:18:13,120 --> 01:18:16,200
Speaker 2: artistic point of view, and you know, Wankar why had

1376
01:18:16,200 --> 01:18:18,799
Speaker 2: a lot to say about why he made that decision,

1377
01:18:19,240 --> 01:18:22,599
Speaker 2: But I just think it was so I just I

1378
01:18:22,640 --> 01:18:25,280
Speaker 2: loved it. I just loved that mystery, that element of

1379
01:18:25,320 --> 01:18:28,800
Speaker 2: mystery that was just introduced like immediately because you want

1380
01:18:28,800 --> 01:18:30,559
Speaker 2: to know who they are. But then you also realize, well,

1381
01:18:30,600 --> 01:18:32,519
Speaker 2: they're not important. They're not as important as the two

1382
01:18:32,520 --> 01:18:33,720
Speaker 2: people were watching.

1383
01:18:33,840 --> 01:18:36,040
Speaker 1: Right, you know, it's just sort of like this invisible

1384
01:18:36,200 --> 01:18:40,679
Speaker 1: force that's like kind of bringing these characters together. And yeah,

1385
01:18:40,720 --> 01:18:42,960
Speaker 1: I like that you don't see them. I feel like

1386
01:18:43,000 --> 01:18:46,080
Speaker 1: I feel like it was a good move for that, right.

1387
01:18:45,960 --> 01:18:48,680
Speaker 2: Oh, completely agree. And then it's also what I love

1388
01:18:48,720 --> 01:18:51,600
Speaker 2: about this film, which is evident in the beginning, is

1389
01:18:51,640 --> 01:18:55,720
Speaker 2: you're watching these two characters who are living independently, very

1390
01:18:55,760 --> 01:18:59,920
Speaker 2: lonely lives, and their partners are rarely around, and they're

1391
01:19:00,080 --> 01:19:02,240
Speaker 2: kind of like just again like ships in the night,

1392
01:19:02,400 --> 01:19:05,639
Speaker 2: and you're watching them like past each other as they

1393
01:19:05,640 --> 01:19:08,360
Speaker 2: go to the noodle shop, or you know, they're kind

1394
01:19:08,400 --> 01:19:11,320
Speaker 2: of in the hallway and saying, oh, hey, like your shoes,

1395
01:19:11,360 --> 01:19:13,080
Speaker 2: like your tie, Like they're just kind of living these

1396
01:19:13,200 --> 01:19:16,439
Speaker 2: lonely existences like right on top of each other. And

1397
01:19:16,479 --> 01:19:19,479
Speaker 2: then one night it rains as they're doing their noodle

1398
01:19:19,600 --> 01:19:25,760
Speaker 2: shop dance and they start actually having a real conversation,

1399
01:19:26,600 --> 01:19:29,559
Speaker 2: which leads to them going out to dinner. And at

1400
01:19:29,600 --> 01:19:35,799
Speaker 2: this dinner, just from looking at her handbag and his tie,

1401
01:19:35,880 --> 01:19:38,559
Speaker 2: both of which have been brought back from Japan by

1402
01:19:38,600 --> 01:19:44,040
Speaker 2: their spouses. They realize, Oh, what a coincidence are my

1403
01:19:44,200 --> 01:19:48,959
Speaker 2: wife and your husband are fucking each other basically because

1404
01:19:49,000 --> 01:19:51,760
Speaker 2: she has that exact same handbag and he has the

1405
01:19:51,800 --> 01:19:54,439
Speaker 2: exact same tie and they bought them together on the

1406
01:19:54,439 --> 01:19:57,720
Speaker 2: same trip. What the fuck? And then they don't. They

1407
01:19:57,720 --> 01:19:59,439
Speaker 2: don't get too far into it, but it kind of

1408
01:19:59,439 --> 01:20:01,760
Speaker 2: brings up all the the other questions of like was

1409
01:20:01,800 --> 01:20:05,439
Speaker 2: the move into these apartments intentional or was that just

1410
01:20:05,520 --> 01:20:08,799
Speaker 2: a coincidence? Like was there a kind of an unseen

1411
01:20:08,880 --> 01:20:12,960
Speaker 2: hand by these obscured partners that were like, well, if

1412
01:20:12,960 --> 01:20:14,519
Speaker 2: you get a room here and I get a room here,

1413
01:20:14,600 --> 01:20:19,160
Speaker 2: then blah blah blah. It's just it gives a credence

1414
01:20:19,200 --> 01:20:21,519
Speaker 2: to a larger story to be told here. But it

1415
01:20:21,640 --> 01:20:24,360
Speaker 2: also kind of in that magical realism or that kind

1416
01:20:24,360 --> 01:20:27,560
Speaker 2: of fantastical way, also just points out that like in

1417
01:20:27,640 --> 01:20:30,040
Speaker 2: a city of this size, with this many people, coincidences

1418
01:20:30,080 --> 01:20:33,200
Speaker 2: like this will exist and be on top of each

1419
01:20:33,200 --> 01:20:35,240
Speaker 2: other sometimes or be like, you know, but up against

1420
01:20:35,280 --> 01:20:40,840
Speaker 2: each other sometimes. Yeah, So at this dinner, they're realizing, like, fuck,

1421
01:20:40,880 --> 01:20:46,120
Speaker 2: our partners are together and from here the movie gets

1422
01:20:46,560 --> 01:20:53,320
Speaker 2: very romantic in the freshest and weirdest way possible because

1423
01:20:53,360 --> 01:20:56,799
Speaker 2: what they decide to do. You know, this this totally

1424
01:20:56,800 --> 01:21:00,360
Speaker 2: young and Maggie chank character. They just I had to

1425
01:21:00,439 --> 01:21:04,760
Speaker 2: keep going out. But they are basically role playing as

1426
01:21:04,800 --> 01:21:08,640
Speaker 2: each other's spouses. So every time they go out or

1427
01:21:08,640 --> 01:21:11,240
Speaker 2: get together, they're trying to envision, like how did the

1428
01:21:11,280 --> 01:21:14,640
Speaker 2: affair start and what would your wife say or what

1429
01:21:14,680 --> 01:21:18,240
Speaker 2: would your husband say here, or they're like role playing

1430
01:21:18,960 --> 01:21:22,599
Speaker 2: how it would go when she finally confronts him about

1431
01:21:22,600 --> 01:21:27,240
Speaker 2: the affair and they're having this real again, this super

1432
01:21:27,400 --> 01:21:31,120
Speaker 2: saturated with like greens and reds and like the saturated

1433
01:21:31,200 --> 01:21:35,280
Speaker 2: sexy time. But they're still focused on their cheating partners.

1434
01:21:35,320 --> 01:21:38,959
Speaker 2: So they're keeping each other at arm's length by focusing

1435
01:21:38,960 --> 01:21:41,280
Speaker 2: on the most painful thing happening to them both at

1436
01:21:41,320 --> 01:21:44,680
Speaker 2: the same time. And so when wankar Wai says he

1437
01:21:44,720 --> 01:21:47,240
Speaker 2: wanted to show the other side of an affair to me,

1438
01:21:47,360 --> 01:21:50,120
Speaker 2: that's what he meant. It's like, we're focusing on the

1439
01:21:50,320 --> 01:21:53,639
Speaker 2: disaster that is ensuing, but that they are trying they

1440
01:21:53,680 --> 01:21:59,080
Speaker 2: have to keep private and internalized, and they are each

1441
01:21:59,080 --> 01:22:00,880
Speaker 2: other's life raft in that way, like they are the

1442
01:22:00,880 --> 01:22:03,000
Speaker 2: only people they can talk to about this. Like you

1443
01:22:03,240 --> 01:22:06,200
Speaker 2: imagine telling missus Suanne, like, oh yeah, my husband is

1444
01:22:06,240 --> 01:22:09,479
Speaker 2: cheating with his wife, like that would be the talk

1445
01:22:09,520 --> 01:22:11,920
Speaker 2: of the fucking city for the rest of their lives.

1446
01:22:12,600 --> 01:22:14,960
Speaker 1: Yeah, And I mean, and again it goes without saying.

1447
01:22:15,000 --> 01:22:18,479
Speaker 1: I mean, this is like early sixties. We're still you know,

1448
01:22:19,439 --> 01:22:23,400
Speaker 1: divorce is still a big no no, and especially in

1449
01:22:23,479 --> 01:22:26,479
Speaker 1: traditional Asian culture, where you know, you're not supposed to

1450
01:22:26,479 --> 01:22:29,880
Speaker 1: be divorced, you're not supposed to you know, pretty much

1451
01:22:29,960 --> 01:22:34,719
Speaker 1: like hang out with a member of the opposite sex

1452
01:22:34,800 --> 01:22:38,599
Speaker 1: without your husband or wife around. So it's like, yeah,

1453
01:22:38,640 --> 01:22:44,439
Speaker 1: they're they're they're really boxed in by the traditionalism of

1454
01:22:44,479 --> 01:22:49,400
Speaker 1: this era, but also boxed into this really tense like

1455
01:22:49,520 --> 01:22:54,400
Speaker 1: living scenario where you know, they can't you know, they

1456
01:22:54,439 --> 01:23:00,760
Speaker 1: can't really express pretty much anything without anybody seeing. Like

1457
01:23:00,800 --> 01:23:04,280
Speaker 1: it's just it's so you know, they're all just really

1458
01:23:04,360 --> 01:23:07,080
Speaker 1: constrained in so many different ways.

1459
01:23:07,000 --> 01:23:10,559
Speaker 2: Right, absolutely, and because of that traditionalism that you mentioned,

1460
01:23:10,800 --> 01:23:14,360
Speaker 2: that's the reason why they have to start being more covert,

1461
01:23:15,040 --> 01:23:17,599
Speaker 2: and so in the weirdest way, they end up acting

1462
01:23:17,680 --> 01:23:20,719
Speaker 2: like they are having an affair. Yeah, just by trying

1463
01:23:20,760 --> 01:23:23,120
Speaker 2: to kind of get together, and you know, he's he's

1464
01:23:23,160 --> 01:23:25,800
Speaker 2: a journalist, but he's also writing what he calls a

1465
01:23:25,840 --> 01:23:28,120
Speaker 2: martial arts serial, which is like kind of like comic

1466
01:23:28,120 --> 01:23:31,120
Speaker 2: book style book, and she's helping him with it. So

1467
01:23:31,160 --> 01:23:34,880
Speaker 2: they're getting together and trying to make it seem as

1468
01:23:34,920 --> 01:23:38,680
Speaker 2: innocent as it actually is, but having to do it

1469
01:23:38,720 --> 01:23:41,200
Speaker 2: in a way that they're like acting as shady as

1470
01:23:41,240 --> 01:23:44,160
Speaker 2: their partners. And so yeah, like they're acting like they

1471
01:23:44,160 --> 01:23:49,400
Speaker 2: are having an affair. And it's something that comes to

1472
01:23:49,520 --> 01:23:54,680
Speaker 2: light is that Chow really does love missus Chan, like

1473
01:23:54,720 --> 01:23:56,080
Speaker 2: he has fallen in love with her.

1474
01:23:56,640 --> 01:23:59,040
Speaker 1: No, And like I was going to say too, to

1475
01:23:59,120 --> 01:24:02,000
Speaker 1: your point about the two of them working on this

1476
01:24:02,120 --> 01:24:08,320
Speaker 1: like serial book or whatever. This Like I'm like, y'all

1477
01:24:08,360 --> 01:24:11,360
Speaker 1: are tripping if you think that that is like a

1478
01:24:11,479 --> 01:24:15,720
Speaker 1: chaste way to coexist with this other person, because like,

1479
01:24:16,240 --> 01:24:20,880
Speaker 1: the creative collaboration is like one of the deepest, most passionate,

1480
01:24:21,600 --> 01:24:26,519
Speaker 1: fucking relationships in the world. And I just love that

1481
01:24:26,600 --> 01:24:30,040
Speaker 1: the two of them are like, well, we can't very

1482
01:24:30,040 --> 01:24:33,360
Speaker 1: well have a romance, so why don't we just creatively

1483
01:24:33,439 --> 01:24:35,200
Speaker 1: collaborate on art together.

1484
01:24:36,240 --> 01:24:38,679
Speaker 2: Why don't we just get together in this new room

1485
01:24:38,720 --> 01:24:41,200
Speaker 2: you're renting so that we can have even more alone time.

1486
01:24:41,840 --> 01:24:43,880
Speaker 1: Right, But it's just so funny where it's just like,

1487
01:24:44,000 --> 01:24:48,800
Speaker 1: oh yeah, like let's do the thing that that is

1488
01:24:48,840 --> 01:24:52,040
Speaker 1: going to make everything fine but actually draws us even

1489
01:24:52,200 --> 01:24:56,479
Speaker 1: closer still, right, And I mean talk about like.

1490
01:24:56,479 --> 01:24:59,120
Speaker 2: The younger version of me thinking of what was romance.

1491
01:25:00,280 --> 01:25:04,400
Speaker 2: Working on something creatively was like the twenties version the

1492
01:25:04,479 --> 01:25:06,639
Speaker 2: night Like when I was in my twenties, the version

1493
01:25:06,640 --> 01:25:09,120
Speaker 2: of my teen romantic ideal, which was like walking through

1494
01:25:09,120 --> 01:25:11,920
Speaker 2: a graveyard holding hands with somebody, and I'm like, holy shit,

1495
01:25:12,400 --> 01:25:15,360
Speaker 2: we've graduated from that to this that is sexy.

1496
01:25:16,160 --> 01:25:18,280
Speaker 1: Well, and like I was when I was watching The

1497
01:25:18,320 --> 01:25:21,240
Speaker 1: Kids in the Hall documentary, there was this moment where

1498
01:25:21,320 --> 01:25:25,680
Speaker 1: Dave Foley talks about falling in love with someone like that,

1499
01:25:26,000 --> 01:25:29,880
Speaker 1: creating comedy with someone is a relationship. It is a

1500
01:25:30,000 --> 01:25:32,920
Speaker 1: love fair And so it's that thing where you're like, yes,

1501
01:25:32,920 --> 01:25:36,640
Speaker 1: of course you're not in a romantic, you know, relationship,

1502
01:25:37,120 --> 01:25:41,280
Speaker 1: but like art and comedy and all of these things

1503
01:25:42,080 --> 01:25:46,400
Speaker 1: are aret is love. That's love, and connecting to someone

1504
01:25:47,520 --> 01:25:50,720
Speaker 1: in the scope of that is a relationship. So your

1505
01:25:50,760 --> 01:25:53,280
Speaker 1: tripping if you think that, oh, I'm just gonna create

1506
01:25:53,320 --> 01:25:55,840
Speaker 1: some art with somebody and it's gonna be totally fun

1507
01:25:55,880 --> 01:25:57,920
Speaker 1: and we're never gonna have feelings. And this is like

1508
01:25:58,360 --> 01:26:00,920
Speaker 1: in lieu of fucking. I'm like, no, that's its own

1509
01:26:00,960 --> 01:26:03,679
Speaker 1: fucking by the way, you don't know that, but.

1510
01:26:03,600 --> 01:26:09,479
Speaker 2: That's chaste, fucking chase fucking exactly. And also it's like

1511
01:26:09,520 --> 01:26:12,719
Speaker 2: you're doing this while she's wearing like these elaborately gorgeous

1512
01:26:12,760 --> 01:26:14,240
Speaker 2: Cheung Sam dresses.

1513
01:26:14,360 --> 01:26:16,639
Speaker 1: Oh my god, I was gonna say, are you gonna

1514
01:26:16,640 --> 01:26:19,920
Speaker 1: like I have to talk about these dresses because they're

1515
01:26:20,080 --> 01:26:25,720
Speaker 1: just gorgeous, unbelievable, because I don't I could never pull

1516
01:26:25,800 --> 01:26:28,479
Speaker 1: off of Chong Som. I could never. I don't have

1517
01:26:28,560 --> 01:26:32,640
Speaker 1: the neck. I don't have the I mean there, you

1518
01:26:32,720 --> 01:26:36,080
Speaker 1: gotta look like Maggie Chung to really pull off that ship.

1519
01:26:36,200 --> 01:26:39,000
Speaker 1: I was like, damn, if I had a couple more

1520
01:26:39,040 --> 01:26:43,040
Speaker 1: inches down here that weren't covered in chins, I'd be

1521
01:26:43,160 --> 01:26:46,320
Speaker 1: rocking that shit so hard. It looks so good on her.

1522
01:26:46,640 --> 01:26:48,280
Speaker 2: If I wore one, it would look like I was

1523
01:26:48,280 --> 01:26:51,960
Speaker 2: wearing a neck brace like she wears one. It looks

1524
01:26:52,040 --> 01:26:56,320
Speaker 2: like the most glamorous, elegant item of clothing that has

1525
01:26:56,400 --> 01:26:59,519
Speaker 2: ever graced a human body, and for me, it'd be like, oh,

1526
01:26:59,640 --> 01:27:03,240
Speaker 2: she's the intraction because that neck brace is not doing enough.

1527
01:27:03,800 --> 01:27:06,960
Speaker 2: It's gorgeous, and the colors of her clothing and the

1528
01:27:07,000 --> 01:27:11,639
Speaker 2: colors of her makeup and everything that feeds into that

1529
01:27:11,720 --> 01:27:15,280
Speaker 2: saturated world of color that he's creating is also telling

1530
01:27:15,320 --> 01:27:18,400
Speaker 2: a story about her, because there's there's a moment too.

1531
01:27:18,439 --> 01:27:21,400
Speaker 2: And again Tony the young, Oh my god, these like

1532
01:27:21,840 --> 01:27:26,280
Speaker 2: nicely tailored suits and the fucking hair and it's it's

1533
01:27:26,280 --> 01:27:29,759
Speaker 2: the sixties. Everyone was just kind of hot.

1534
01:27:30,160 --> 01:27:33,559
Speaker 1: Yeah, oh my god. I mean it goes without saying

1535
01:27:33,680 --> 01:27:38,400
Speaker 1: Tony Lung is so attractive, So this day is attractive

1536
01:27:38,439 --> 01:27:38,760
Speaker 1: as shit.

1537
01:27:39,120 --> 01:27:41,679
Speaker 2: But just like this day, they are.

1538
01:27:41,800 --> 01:27:44,519
Speaker 1: Wearing these outfits that are just like I mean, they're

1539
01:27:44,560 --> 01:27:47,799
Speaker 1: just gorgeous. It's like that very like suit, the suits

1540
01:27:47,800 --> 01:27:50,240
Speaker 1: and the dresses and like, I mean, I don't know

1541
01:27:50,280 --> 01:27:52,559
Speaker 1: if you saw everything everywhere all at once, I don't

1542
01:27:52,560 --> 01:27:55,080
Speaker 1: know if you saw that movie. No, yeah, but there's

1543
01:27:55,080 --> 01:27:59,000
Speaker 1: a there's a part of the movie that is basically

1544
01:27:59,080 --> 01:28:01,680
Speaker 1: like kind of a trick to I feel like this

1545
01:28:01,760 --> 01:28:04,000
Speaker 1: movie or at least one car Wy movies, and you're

1546
01:28:04,080 --> 01:28:08,479
Speaker 1: just like those outfits with the slicked back hair and

1547
01:28:08,520 --> 01:28:11,360
Speaker 1: the fucking cigarette and the skinny tides. Like you put

1548
01:28:11,360 --> 01:28:14,880
Speaker 1: anybody in those outfits and they look a thousand times

1549
01:28:15,360 --> 01:28:17,280
Speaker 1: more beautiful, right, You're just come.

1550
01:28:17,360 --> 01:28:20,760
Speaker 2: It's incredible immediately. Oh so, And it's also part of

1551
01:28:20,800 --> 01:28:22,800
Speaker 2: the world. I know, I keep going back to the

1552
01:28:22,840 --> 01:28:25,200
Speaker 2: color of it, but it's part of the world that

1553
01:28:25,800 --> 01:28:29,479
Speaker 2: when something happens, you know, Chow kind of reveals that

1554
01:28:29,880 --> 01:28:34,320
Speaker 2: he has been falling in love with with missus Chan

1555
01:28:34,479 --> 01:28:36,800
Speaker 2: but also knows in his heart of hearts that she

1556
01:28:36,880 --> 01:28:39,200
Speaker 2: will not leave her husband because of the time and

1557
01:28:39,280 --> 01:28:43,599
Speaker 2: what's going on. And he decides to leave and take

1558
01:28:43,640 --> 01:28:48,200
Speaker 2: a job, you know, in Singapore with Ping, his coworker.

1559
01:28:48,520 --> 01:28:50,160
Speaker 2: And let me tell you, let's just take a moment

1560
01:28:50,320 --> 01:28:53,639
Speaker 2: to talk about what a fucking disaster of a human

1561
01:28:53,680 --> 01:28:58,519
Speaker 2: being Ping is. He is such a necessary comic relief

1562
01:28:58,640 --> 01:29:02,600
Speaker 2: but just so funny to watch in this world of

1563
01:29:02,640 --> 01:29:05,920
Speaker 2: like very put together people and he is just a

1564
01:29:06,000 --> 01:29:09,160
Speaker 2: fucking chaos agent. Just like, Hello, you have to give

1565
01:29:09,200 --> 01:29:11,720
Speaker 2: me thirty bucks because I left my ID with a

1566
01:29:11,760 --> 01:29:13,439
Speaker 2: sex worker and she will not give it back to

1567
01:29:13,520 --> 01:29:14,599
Speaker 2: me until I pay her.

1568
01:29:15,080 --> 01:29:17,519
Speaker 1: Yes, And like it's almost in this weird way like

1569
01:29:17,640 --> 01:29:21,600
Speaker 1: ping is that sort of like manifestation of like what

1570
01:29:21,640 --> 01:29:26,880
Speaker 1: would happen if they weren't so restrained in their relationship.

1571
01:29:26,880 --> 01:29:30,799
Speaker 1: It's like, here's here's the guy that's like smoking, drinking,

1572
01:29:31,320 --> 01:29:34,880
Speaker 1: going to sex workers. He's like living fucking footloose and

1573
01:29:34,920 --> 01:29:37,600
Speaker 1: fancy free, and he's like all up in the in

1574
01:29:37,680 --> 01:29:40,120
Speaker 1: Tony Lung's ways, like yeah, what's your fucking problem, Like

1575
01:29:40,200 --> 01:29:43,599
Speaker 1: just go out there and fuck people, come on like whatever,

1576
01:29:43,680 --> 01:29:47,280
Speaker 1: and like he's it's like, wow, uh, that's the road.

1577
01:29:47,479 --> 01:29:49,720
Speaker 1: I guess that's the the road less taken for me

1578
01:29:50,240 --> 01:29:51,200
Speaker 1: comple And when you.

1579
01:29:51,160 --> 01:29:52,880
Speaker 2: Look at the two options, you're like, I think I'll

1580
01:29:52,880 --> 01:29:55,639
Speaker 2: be over here smoking a cigarette looking chill for a minute,

1581
01:29:55,680 --> 01:29:57,679
Speaker 2: Like maybe I might dabble on that for a night,

1582
01:29:58,000 --> 01:30:01,360
Speaker 2: but living that lifestyle fold t is not good for you.

1583
01:30:01,479 --> 01:30:05,960
Speaker 2: Bing And then there's a scene where mister mister Ku,

1584
01:30:06,080 --> 01:30:09,160
Speaker 2: the one of the other landlords, comes back and he

1585
01:30:09,320 --> 01:30:13,760
Speaker 2: is fucking blitzed drunk, and his wife is like pitched.

1586
01:30:13,800 --> 01:30:15,400
Speaker 2: She's like, we had to leave the fucking party because

1587
01:30:15,439 --> 01:30:18,640
Speaker 2: he's drunk, And they end up saying in their apartment

1588
01:30:18,720 --> 01:30:20,960
Speaker 2: playing Majong and they're like we're just gonna play like

1589
01:30:21,000 --> 01:30:29,960
Speaker 2: two rounds and traps missus traps them Missus Channon mister

1590
01:30:30,080 --> 01:30:33,880
Speaker 2: Chow are trapped in his fucking room because they are

1591
01:30:34,120 --> 01:30:37,759
Speaker 2: getting drunk and playing until the morning, literally the morning,

1592
01:30:38,920 --> 01:30:40,880
Speaker 2: and like no one has stopped drinking. It looked like

1593
01:30:41,000 --> 01:30:44,360
Speaker 2: so much fucking fun. Yeah, but they're trapped in this

1594
01:30:44,479 --> 01:30:47,080
Speaker 2: room and again not doing anything illicit, but they both

1595
01:30:47,120 --> 01:30:49,080
Speaker 2: have to call out of work the next day and

1596
01:30:49,240 --> 01:30:52,040
Speaker 2: like fucking hunker down and he has to go out

1597
01:30:52,040 --> 01:30:55,439
Speaker 2: for noodles and like pretending he's sick and like she's like,

1598
01:30:55,479 --> 01:30:57,040
Speaker 2: oh yeah, we're just taking a break. And I'm like,

1599
01:30:57,120 --> 01:30:59,240
Speaker 2: this is a wild life. So if you're looking at

1600
01:30:59,240 --> 01:31:03,840
Speaker 2: these two options, this kind of slow romantic option or

1601
01:31:03,880 --> 01:31:07,400
Speaker 2: this like wildlife option, I feel like our characters are

1602
01:31:07,400 --> 01:31:10,200
Speaker 2: perfectly placed to meet each other because they both kind

1603
01:31:10,200 --> 01:31:11,599
Speaker 2: of want the same thing in that way.

1604
01:31:12,640 --> 01:31:16,640
Speaker 1: Yeah, oh my god, the neighbors. Like that whole storyline

1605
01:31:16,680 --> 01:31:19,439
Speaker 1: of like the Suans and the coups, like, to me

1606
01:31:19,600 --> 01:31:22,519
Speaker 1: is so charming. It's like the whole scene with the

1607
01:31:22,600 --> 01:31:24,439
Speaker 1: rice cooker. I know you talked about it, but like

1608
01:31:25,439 --> 01:31:28,640
Speaker 1: rice cookers are very fucking exciting. I mean, maybe some

1609
01:31:28,720 --> 01:31:30,639
Speaker 1: Asian people can back me up on this shit. When

1610
01:31:30,680 --> 01:31:33,400
Speaker 1: anyone gets a new rice cooker, you're like, holy shit.

1611
01:31:33,960 --> 01:31:37,120
Speaker 1: And I'm sure back then people were still sort of

1612
01:31:37,160 --> 01:31:39,760
Speaker 1: making rice like the old fashioned way, like maybe over

1613
01:31:39,760 --> 01:31:42,720
Speaker 1: the stove. So to get a rice cooker, you're like, yo,

1614
01:31:42,960 --> 01:31:45,559
Speaker 1: it's a big fucking deal. And I love that. Everybody

1615
01:31:45,600 --> 01:31:47,519
Speaker 1: like came together and they were like, oh my god,

1616
01:31:47,560 --> 01:31:49,880
Speaker 1: can you get me one of these? And then they

1617
01:31:49,960 --> 01:31:53,760
Speaker 1: when mister Kup comes in wasted and they're like he's

1618
01:31:53,800 --> 01:31:56,599
Speaker 1: like got dribble coming out of his face, and everyone's

1619
01:31:56,640 --> 01:31:59,640
Speaker 1: like clear the way, like he's wasted and like and

1620
01:31:59,680 --> 01:32:02,240
Speaker 1: you can just see it in like Maggie Chung and

1621
01:32:02,240 --> 01:32:05,320
Speaker 1: Tony Lung's eyes, like they're like, oh fuck, they're home.

1622
01:32:05,600 --> 01:32:08,920
Speaker 1: We're stuck in this fucking room and we can't leave

1623
01:32:09,040 --> 01:32:11,880
Speaker 1: because if they see me leaving.

1624
01:32:11,600 --> 01:32:16,679
Speaker 2: Your room, oh shit is gone. And they didn't even

1625
01:32:16,800 --> 01:32:21,960
Speaker 2: they were writing a fucking comic book together, basically, yeah,

1626
01:32:22,400 --> 01:32:24,599
Speaker 2: but if she comes out of that room, they're gonna

1627
01:32:24,600 --> 01:32:28,120
Speaker 2: be like she was throwing down with him while we

1628
01:32:28,160 --> 01:32:30,679
Speaker 2: were gone. It's been happening. No wonder why their partners

1629
01:32:30,720 --> 01:32:33,320
Speaker 2: got together, Like what the fuck? It would be all

1630
01:32:33,439 --> 01:32:36,240
Speaker 2: hell would break loose and it's so cute.

1631
01:32:35,920 --> 01:32:38,679
Speaker 1: And imagine that like just that idea of like we

1632
01:32:38,800 --> 01:32:42,680
Speaker 1: cannot fucking leave this room we got to sleep and

1633
01:32:42,840 --> 01:32:48,680
Speaker 1: shifts like I'm fucking calling out of work because we

1634
01:32:48,800 --> 01:32:54,000
Speaker 1: can't literally walk out of here. I mean, that is crazy.

1635
01:32:54,160 --> 01:32:56,760
Speaker 2: You had to call her boss and she's like, who

1636
01:32:56,800 --> 01:32:58,800
Speaker 2: did he think you were? And he's like he didn't ask,

1637
01:32:58,880 --> 01:33:01,680
Speaker 2: but I guess he thought was your husband. Like she

1638
01:33:01,800 --> 01:33:03,960
Speaker 2: can't even leave to say I'm not going to work.

1639
01:33:05,400 --> 01:33:08,960
Speaker 2: It was wild. I fucking love that scene so much,

1640
01:33:09,960 --> 01:33:12,439
Speaker 2: so much, But it's like again, like that, after that

1641
01:33:12,520 --> 01:33:15,160
Speaker 2: scene and after you know, this kind of event happens

1642
01:33:15,160 --> 01:33:17,360
Speaker 2: when when he gets his he gets this job, he

1643
01:33:17,400 --> 01:33:21,200
Speaker 2: decides to move to Singapore and work with Ping. The

1644
01:33:21,240 --> 01:33:24,360
Speaker 2: colors are so brown and muted for both of them.

1645
01:33:24,800 --> 01:33:28,000
Speaker 2: There's a really beautiful scene where it's kind of going

1646
01:33:28,040 --> 01:33:30,639
Speaker 2: back and forth between a wall that they're both leaning

1647
01:33:30,640 --> 01:33:34,559
Speaker 2: against and it's just so dark and brown and like gray,

1648
01:33:34,760 --> 01:33:38,479
Speaker 2: and the color story of the film changes when their

1649
01:33:38,720 --> 01:33:43,160
Speaker 2: relationship is pulled apart. And speaking of leaning against walls,

1650
01:33:43,320 --> 01:33:47,120
Speaker 2: there are two, possibly three, but definitely two scenes in

1651
01:33:47,160 --> 01:33:50,719
Speaker 2: this film that have stayed with me the way those

1652
01:33:50,760 --> 01:33:57,479
Speaker 2: other scenes stayed with you, like quintessential, just quintessential shots

1653
01:33:57,560 --> 01:34:03,920
Speaker 2: of Maggie Chung leaning again a fucking wall and they're gorgeous.

1654
01:34:04,000 --> 01:34:09,080
Speaker 2: It's just truly a spectacle of beauty. And I just

1655
01:34:09,280 --> 01:34:11,160
Speaker 2: love so I just I love this film. I do

1656
01:34:11,240 --> 01:34:15,240
Speaker 2: not want to ruin the ending. But something wild happens,

1657
01:34:15,720 --> 01:34:19,400
Speaker 2: like just so heartbreaking, and it makes me cry genuinely

1658
01:34:19,439 --> 01:34:22,879
Speaker 2: every time I see it. I know it's coming. And

1659
01:34:22,920 --> 01:34:25,519
Speaker 2: then there's this coda that that was kind of like

1660
01:34:25,560 --> 01:34:27,200
Speaker 2: the coda at the end of your film where the

1661
01:34:27,240 --> 01:34:32,439
Speaker 2: movie takes a different turn, but it it just he's

1662
01:34:32,439 --> 01:34:35,240
Speaker 2: still referencing something that like a very poignant moment from

1663
01:34:35,280 --> 01:34:39,759
Speaker 2: earlier in the film, and it's a moment where Chow

1664
01:34:40,040 --> 01:34:44,080
Speaker 2: was talking to Ping, and of course this beautiful poetic

1665
01:34:44,120 --> 01:34:47,400
Speaker 2: moment is lost on Ping. He's like, what, that's fucking stupid,

1666
01:34:47,439 --> 01:34:50,680
Speaker 2: Like whatever, give me some money. But the way that

1667
01:34:50,720 --> 01:34:54,320
Speaker 2: they showcase this moment later in the film as the

1668
01:34:54,400 --> 01:34:57,840
Speaker 2: kind of ending the coda to the film, at this

1669
01:34:57,880 --> 01:35:02,639
Speaker 2: beautiful temple and in Cambodia an anger Wat, it brings

1670
01:35:02,680 --> 01:35:05,400
Speaker 2: me again, I want there to be seventeen more movies.

1671
01:35:05,720 --> 01:35:07,759
Speaker 2: It breaks me down every time.

1672
01:35:08,320 --> 01:35:13,040
Speaker 1: Rex me Rex me. I mean, I see this movie

1673
01:35:13,040 --> 01:35:14,920
Speaker 1: every couple of years, and I swear to god, I

1674
01:35:14,960 --> 01:35:18,559
Speaker 1: saw it again for this taping, and I'm like fucking wrecked,

1675
01:35:18,920 --> 01:35:23,200
Speaker 1: Like this whole this whole ending just destroys me. Like

1676
01:35:23,320 --> 01:35:29,040
Speaker 1: I the I was watching some of the special features

1677
01:35:29,080 --> 01:35:32,479
Speaker 1: on the Criterion disc and there's a little interview with

1678
01:35:32,520 --> 01:35:35,559
Speaker 1: Wyatt sanak R. Yes, I don't know if you watched it,

1679
01:35:35,600 --> 01:35:39,000
Speaker 1: but he talked about how this film was very patient,

1680
01:35:40,600 --> 01:35:44,000
Speaker 1: and that is exactly what I love about it. It's

1681
01:35:44,080 --> 01:35:51,360
Speaker 1: that it's this patient film that just is all about restraint,

1682
01:35:51,880 --> 01:35:56,120
Speaker 1: and that I think is part of why it hurts

1683
01:35:56,160 --> 01:35:59,360
Speaker 1: so bad, right, is because you're like, you just want

1684
01:35:59,360 --> 01:36:02,879
Speaker 1: this to have been for them for so many reasons,

1685
01:36:02,880 --> 01:36:07,360
Speaker 1: and then it just can't, and it can't, it can't.

1686
01:36:07,439 --> 01:36:10,559
Speaker 1: It reminds me a lot of this nineteen forties movie

1687
01:36:10,600 --> 01:36:13,000
Speaker 1: called Brief Encounter, which I don't know if anybody's ever

1688
01:36:13,120 --> 01:36:17,040
Speaker 1: seen that film. Holy shit, it's the same feeling. It's

1689
01:36:17,080 --> 01:36:21,400
Speaker 1: these this feeling of two married people who cannot be

1690
01:36:21,479 --> 01:36:23,559
Speaker 1: in a relationship together despite the fact that they want

1691
01:36:23,600 --> 01:36:26,360
Speaker 1: to be so badly, and and there it's coming from

1692
01:36:26,360 --> 01:36:30,479
Speaker 1: these cultures of very traditional, you know, family values and

1693
01:36:30,600 --> 01:36:32,599
Speaker 1: marriages and you know that kind of stuff, and you're

1694
01:36:32,680 --> 01:36:36,200
Speaker 1: just like, it's hard to think about now, because especially

1695
01:36:36,200 --> 01:36:38,960
Speaker 1: in the modern era, I mean, come on, like, it's

1696
01:36:39,040 --> 01:36:43,360
Speaker 1: completely different in this regard, but at this time, in

1697
01:36:43,400 --> 01:36:45,880
Speaker 1: the time of this film, especially, man, it was not.

1698
01:36:46,160 --> 01:36:51,280
Speaker 1: It was not the vibe and the movie is that

1699
01:36:52,080 --> 01:36:56,880
Speaker 1: feeling of just of just really of wanting, of longing,

1700
01:36:57,120 --> 01:37:01,439
Speaker 1: of the loneliness and that sort of death, you know,

1701
01:37:02,000 --> 01:37:03,200
Speaker 1: for something better.

1702
01:37:03,040 --> 01:37:07,000
Speaker 2: And the restraint and the patients and the ugh and

1703
01:37:07,040 --> 01:37:09,479
Speaker 2: I think I think Criterion did a double feature with

1704
01:37:09,720 --> 01:37:12,280
Speaker 2: Brief Encounters and in the Mood for Love, and it

1705
01:37:12,320 --> 01:37:16,519
Speaker 2: was the theme was Blue Valentine's Oh like, oh my god,

1706
01:37:16,880 --> 01:37:19,880
Speaker 2: if you watch these movies back to back, like rest.

1707
01:37:19,640 --> 01:37:23,160
Speaker 1: In Peace, yeah, oh my god, destroyed And by the way,

1708
01:37:23,240 --> 01:37:25,599
Speaker 1: we got to do Brief Encounter on an episode. I mean,

1709
01:37:25,680 --> 01:37:28,240
Speaker 1: should have been sitting on that one forever talk about

1710
01:37:28,280 --> 01:37:31,759
Speaker 1: another gut punch, but well.

1711
01:37:31,600 --> 01:37:34,840
Speaker 2: This was just so I'm just so glad we got

1712
01:37:34,840 --> 01:37:37,080
Speaker 2: to finally dig in because I know we both love

1713
01:37:37,360 --> 01:37:43,200
Speaker 2: wankhar Wai as a director, and his birthday is there's

1714
01:37:43,200 --> 01:37:46,120
Speaker 2: no better reason to dig into these films and start

1715
01:37:46,120 --> 01:37:49,080
Speaker 2: introducing people hopefully to films they haven't heard before and

1716
01:37:49,520 --> 01:37:53,880
Speaker 2: will watch or have watched. But his whole, his whole

1717
01:37:54,080 --> 01:37:57,240
Speaker 2: uber is just worth just pick one and jump like

1718
01:37:57,280 --> 01:37:58,120
Speaker 2: it is worth it.

1719
01:37:59,080 --> 01:38:03,680
Speaker 1: Yes, just like consummate romantic artists like we said at

1720
01:38:03,680 --> 01:38:07,040
Speaker 1: the beginning, and his films just like evoke so many,

1721
01:38:07,400 --> 01:38:10,320
Speaker 1: so many feelings. They're like it's nostalgia for me. But

1722
01:38:10,400 --> 01:38:12,840
Speaker 1: also again, like all the things that we talked about,

1723
01:38:13,240 --> 01:38:18,360
Speaker 1: they're romantic, they're sad, moody. I mean, it's just it's

1724
01:38:18,400 --> 01:38:22,000
Speaker 1: just the the whole world that he created with his

1725
01:38:22,080 --> 01:38:26,120
Speaker 1: films is just a place that I really wanted to

1726
01:38:26,200 --> 01:38:30,719
Speaker 1: be in my youth in my twenties. Uh. And every

1727
01:38:30,760 --> 01:38:33,559
Speaker 1: time I go back there, it just makes me, oh god,

1728
01:38:33,600 --> 01:38:35,360
Speaker 1: it just makes me want to fall into the hole again.

1729
01:38:35,439 --> 01:38:37,200
Speaker 1: Like now I'm like, well, now I gotta go back

1730
01:38:37,240 --> 01:38:40,920
Speaker 1: and watch Happy Together and Falls and all this stuff.

1731
01:38:40,960 --> 01:38:44,360
Speaker 1: Like I'm not gonna be on a terror my letter box.

1732
01:38:44,360 --> 01:38:46,080
Speaker 1: It is gonna be a mess. I'm gonna just be

1733
01:38:46,200 --> 01:38:49,000
Speaker 1: watching all these one Car Wi movies. So I'm so

1734
01:38:49,160 --> 01:38:51,240
Speaker 1: glad that we got to talk about them and Happy

1735
01:38:51,240 --> 01:38:53,719
Speaker 1: Birthday one Car Why. I don't know if you're listening,

1736
01:38:54,120 --> 01:38:59,360
Speaker 1: but if you are. It's how our birthday, sir.

1737
01:39:00,360 --> 01:39:03,799
Speaker 2: I'm shocked. I will be thrilled and shocked. But happy

1738
01:39:03,840 --> 01:39:07,400
Speaker 2: birthday to whatever assistant tells him about this.

1739
01:39:09,840 --> 01:39:11,880
Speaker 1: I don't even think you could sitchtag him on Twitter.

1740
01:39:11,920 --> 01:39:14,719
Speaker 1: I don't even know he ain't on Twitter.

1741
01:39:14,800 --> 01:39:19,240
Speaker 2: He's too busy out here making fucking beautiful, sprawling spectacles

1742
01:39:19,240 --> 01:39:21,519
Speaker 2: of love and romance. You can't be on Twitter and

1743
01:39:21,560 --> 01:39:25,240
Speaker 2: then also be romantic in your heart.

1744
01:39:25,640 --> 01:39:29,200
Speaker 1: Twitter is the antithesis of romance, by the way, so

1745
01:39:30,640 --> 01:39:32,479
Speaker 1: thank God has asses it on Twitter.

1746
01:39:32,560 --> 01:39:38,559
Speaker 2: My god, well next week. Holy shit. I have been

1747
01:39:38,600 --> 01:39:45,360
Speaker 2: waiting for this one for fucking ever because I know

1748
01:39:45,560 --> 01:39:46,919
Speaker 2: you haven't seen my movie.

1749
01:39:47,479 --> 01:39:50,120
Speaker 1: You can count on that, babe. I had not seen it.

1750
01:39:50,200 --> 01:39:52,280
Speaker 1: I have not even heard of it, and you know

1751
01:39:52,320 --> 01:39:53,719
Speaker 1: what happens when that happens.

1752
01:39:54,040 --> 01:39:58,360
Speaker 2: Oh my god, listen, I'm just gonna say right now, comparably,

1753
01:39:59,439 --> 01:40:03,679
Speaker 2: between this movie and another movie that I know, freakd

1754
01:40:03,720 --> 01:40:07,920
Speaker 2: you the fuck out in every possible way, this one

1755
01:40:08,240 --> 01:40:12,400
Speaker 2: is ten times worse than Hereditary in that way, Oh

1756
01:40:12,560 --> 01:40:16,240
Speaker 2: son of a bitch. This one is like the height.

1757
01:40:17,080 --> 01:40:21,120
Speaker 2: I could not have picked a movie that would outdo

1758
01:40:21,160 --> 01:40:23,040
Speaker 2: Hereditary more than this one.

1759
01:40:24,760 --> 01:40:27,360
Speaker 1: All right, I'm gonna need a vaalum before I watch

1760
01:40:27,360 --> 01:40:30,160
Speaker 1: a film. Ah, I'm gonna have to go ahead and

1761
01:40:30,280 --> 01:40:32,000
Speaker 1: get that on lock. Fuck.

1762
01:40:32,520 --> 01:40:34,080
Speaker 2: Who do you want to tell them what the movies are?

1763
01:40:34,479 --> 01:40:38,160
Speaker 1: I mean, I guess the movies for our next episode

1764
01:40:38,360 --> 01:40:47,800
Speaker 1: are Border from twenty eighteen and Zardaz from nineteen seventy four.

1765
01:40:48,600 --> 01:40:49,760
Speaker 2: What is wrong with us?

1766
01:40:53,280 --> 01:40:55,639
Speaker 1: We'll have you listen. If you want to email our

1767
01:40:55,720 --> 01:41:00,439
Speaker 1: twisted asses, we are at. I Saw what you Did

1768
01:41:00,479 --> 01:41:05,200
Speaker 1: pod at gmail dot com. As we always say, send

1769
01:41:05,240 --> 01:41:11,240
Speaker 1: us questions for bonus episodes, please stories, fun movie times,

1770
01:41:11,880 --> 01:41:14,680
Speaker 1: anything you got. I Saw what you Did pod at

1771
01:41:14,760 --> 01:41:15,479
Speaker 1: gmail dot com.

1772
01:41:16,240 --> 01:41:19,480
Speaker 2: And you can also find us on our social media accounts.

1773
01:41:19,880 --> 01:41:22,839
Speaker 2: We are at I saw pod on Instagram and Twitter.

1774
01:41:24,080 --> 01:41:26,840
Speaker 1: That's right. And also, by the way, I get those

1775
01:41:26,920 --> 01:41:31,200
Speaker 1: like USPS notifications anytime somebody drops a letter into our

1776
01:41:32,720 --> 01:41:35,439
Speaker 1: po box. Oh my god, we've been getting some shit.

1777
01:41:35,840 --> 01:41:36,920
Speaker 1: I'll just tell you right now.

1778
01:41:38,400 --> 01:41:40,600
Speaker 2: I cannot wait. Let's carve out a weekend and just

1779
01:41:40,680 --> 01:41:41,559
Speaker 2: read through them together.

1780
01:41:41,960 --> 01:41:43,600
Speaker 1: Yes, so we do have a peeo box. If you

1781
01:41:43,640 --> 01:41:46,200
Speaker 1: go to the link tree on our Instagram you'll find

1782
01:41:46,240 --> 01:41:48,599
Speaker 1: the peobox address if you want to send us snail mail.

1783
01:41:48,720 --> 01:41:49,960
Speaker 1: But that's that's happening.

1784
01:41:50,160 --> 01:41:53,920
Speaker 2: So and we got merch hop into the exactly Right

1785
01:41:54,000 --> 01:41:57,840
Speaker 2: shop at Exactlyrightmedia dot com. Buy our merch so we

1786
01:41:57,880 --> 01:42:01,800
Speaker 2: can get you new merch. That's how it works, Merch merch.

1787
01:42:02,960 --> 01:42:08,280
Speaker 1: We have canceled the Duncan line, so sorry, we have

1788
01:42:08,360 --> 01:42:11,280
Speaker 1: canceled those orders. You'll be refunded.

1789
01:42:11,439 --> 01:42:11,880
Speaker 2: Just kidding.

1790
01:42:12,080 --> 01:42:16,000
Speaker 1: We never had one, but theoretically we wanted them until now.

1791
01:42:16,080 --> 01:42:19,680
Speaker 2: So and I should throw in and allegedly I allegedly

1792
01:42:19,720 --> 01:42:23,080
Speaker 2: got COVID at Dunkin Donuts, so even though we know

1793
01:42:23,200 --> 01:42:25,360
Speaker 2: I fucking did because I didn't take that mask off

1794
01:42:25,439 --> 01:42:26,240
Speaker 2: anywhere else.

1795
01:42:28,200 --> 01:42:30,960
Speaker 1: Well, Danielle, as always, it is a fucking pleasure to

1796
01:42:30,960 --> 01:42:32,160
Speaker 1: be doing this podcast with you.

1797
01:42:32,720 --> 01:42:33,559
Speaker 2: So glad you're.

1798
01:42:33,439 --> 01:42:38,280
Speaker 1: Healthy and everything that you're post COVID. We love it.

1799
01:42:38,640 --> 01:42:40,240
Speaker 2: Thank you, and I'm glad that you have so far,

1800
01:42:40,400 --> 01:42:43,120
Speaker 2: thus far avoided it. I think you are superhuman and

1801
01:42:43,200 --> 01:42:47,600
Speaker 2: I hope that continues since you have you know, weightlifters

1802
01:42:47,640 --> 01:42:53,720
Speaker 2: just breathing right in your face. Please stay safe. I

1803
01:42:53,720 --> 01:42:55,240
Speaker 2: need you to stay healthy and safe.

1804
01:42:55,840 --> 01:42:57,479
Speaker 1: Thanks, and we want you to stay healthy and save

1805
01:42:57,560 --> 01:43:00,600
Speaker 1: everybody too, So talk to you soon. Un Thanks for

1806
01:43:00,680 --> 01:43:08,600
Speaker 1: listening bye bye.

1807
01:43:10,840 --> 01:43:13,599
Speaker 2: This has been an exactly right production, produced and mixed

1808
01:43:13,600 --> 01:43:16,719
Speaker 2: by Casey O'Brien. Our theme song is by Tom bry Fogel,

1809
01:43:17,000 --> 01:43:21,200
Speaker 2: artwork by Garrett Ross. Our executive producers are Georgia Hartstart, Karenkle,

1810
01:43:21,200 --> 01:43:24,160
Speaker 2: Garrett and Daniel Kramer. You can follow us on Instagram

1811
01:43:24,200 --> 01:43:26,960
Speaker 2: and Twitter at I Saw pod, and you can email

1812
01:43:27,080 --> 01:43:29,360
Speaker 2: us at I Saw What You Did Pod at gmail