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

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho, I'm Danielle Henderson, and we.

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Speaker 1: Are back with you baby, talking about the wonderful world

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Speaker 1: of film. What's up the pictures? The cinema. However, anytime

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Speaker 1: we can say it in a weird accent, that's that's

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Speaker 1: how we start, like to start to show. So that's

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Speaker 1: what we prefer, yea cinema. Well, listen, we don't want

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Speaker 1: to like dilly dally.

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Speaker 2: Today at all. I love you. I don't want to

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Speaker 2: talk at all.

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Speaker 1: I was gonna say I love you too, But let's

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Speaker 1: not ask about each other's lives. Because we have this

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Speaker 1: amazing guest uh for the mail bag this episode. We

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Speaker 1: have been trying to get this wonderful woman on the

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Speaker 1: pod for a really long time, and I have to say,

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Speaker 1: I think that this is maybe the first time that

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Speaker 1: we actually have a director of a film that we've

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Speaker 1: actually discussed on the pod.

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Speaker 3: Right first and last, we're I mean, this is the apex.

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Speaker 3: We're never doing it again. Yes, I mean Paul Spielberg

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Speaker 3: can tell him to cancel. You're not doing it.

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Speaker 1: We would never have Spielberg on here like, and I'm

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Speaker 1: not just saying because he's in he's hard to get,

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Speaker 1: but what would we even say to him?

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Speaker 2: I'm just I'm just throwing that out there.

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Speaker 3: This is all we ever wanted, and the fact that

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Speaker 3: we have it, I'm like, let me play some lotto numbers.

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Speaker 3: Let me like throw some crystals out in the sunlight

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Speaker 3: or the moonlight.

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Speaker 1: Yes, well, let's let me introduce our guest who's going

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Speaker 1: to answer a letter from our mail bag. She is

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Speaker 1: an incredible director, writer, a director for TV and film.

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Speaker 1: In fact, she's an amazing woman. She's very inspirational for

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Speaker 1: the both of us. She does so much. She's a

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Speaker 1: consummate cinophile, like knows so much about film, She teaches film.

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Speaker 1: She knows so much about music, which I love personally.

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Speaker 1: She actually does a music and film festival in LA

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Speaker 1: with her daughter, and we just love her. And I'm

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Speaker 1: so lucky that I actually have known our guests for

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Speaker 1: many years. We met through my job, my full time

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Speaker 1: job at TCM, which seems like the best place to

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Speaker 1: meet anybody really.

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Speaker 2: But our guest for the.

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Speaker 1: Mailbag is the wonderful Alison Anders.

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Speaker 3: Hello, Oh my goodness, Hello, Hello, Just like the North

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Speaker 3: Star goddess of my heart?

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Speaker 2: How are you?

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Speaker 4: Bless you?

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Speaker 1: Guys?

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Speaker 4: So fun to be here. It's so so fun to

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Speaker 4: be here.

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Speaker 3: Oh, we cannot cannot express how how great it is.

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Speaker 3: Again and again, just as someone who loves film and

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Speaker 3: makes films like you had a post not too long

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Speaker 3: ago on your Instagram about how you spent the whole

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Speaker 3: day at the movies, and I was like, yes, I

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Speaker 3: was more riveted than I was reading anything in the

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Speaker 3: New York or the New York Times.

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Speaker 2: Like I was like, yes, tell me more. What did

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Speaker 2: you see? What did you see next? Who did you

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Speaker 2: go with? Who was this friend you were hanging out with?

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Speaker 3: It was wonderful, Like you just truly love You love

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Speaker 3: movies the way we love movies, which is, you know,

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Speaker 3: anything goes as long as it it touches you, as

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Speaker 3: long as it's good.

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Speaker 4: Oh boy, I do love movies. You know.

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Speaker 5: I was just this morning, I was thinking, I gotta,

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Speaker 5: I gotta spend this whole weekend watching stuff because I

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Speaker 5: need to. I need to get filled up, whether I'm

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Speaker 5: watching it on TV or I go to the movies.

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Speaker 5: You know, there's a few things I want to see

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Speaker 5: out there.

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Speaker 2: But you know, and does and does it do that.

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Speaker 3: I feel like I feel the same way about films,

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Speaker 3: which is that sometimes I just need to be filled

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Speaker 3: with an experience. Yeah, And is that kind of what

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Speaker 3: you find that you that that feeling that you have

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Speaker 3: sometimes like I just need to fill my brain with.

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Speaker 4: Experience, absolutely and put the down.

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Speaker 5: I mean, that's the good thing about going to the

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Speaker 5: movie theater now something that our fore mothers in the

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Speaker 5: industry could never have imagined, which is that, you know,

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Speaker 5: the added benefit is you're sitting there for a couple

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Speaker 5: of hours and you.

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Speaker 4: Can't look at your damn phone. You can't. Yeah, you can't.

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Speaker 5: You know, you got to you gotta focus, especially if

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Speaker 5: it's got subtitles.

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Speaker 4: That's that's.

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Speaker 5: Oh that's a killer at home because if I look

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Speaker 5: away for one minute, I've lost the plot, you.

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Speaker 2: Know, totally completely, I know, but it is.

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Speaker 3: It is actually something that we hear from listeners a

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Speaker 3: lot who will say, you know, I don't know if

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Speaker 3: I have the attention span for movies or you know,

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Speaker 3: I can't put my phone down, and I'm like, it

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Speaker 3: is crucial for me to get that time away from

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Speaker 3: electronics and away from devices, and it's it's welcome to

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Speaker 3: me to have to pay attention to something else.

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Speaker 5: It's really absolutely, really absolutely yeah.

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Speaker 1: Well, we're so happy that you're here to answer a

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Speaker 1: question because you know, I actually remember when I sent

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Speaker 1: you a message to tell you by the way, we

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Speaker 1: talked about gas, food, lodging on an episode of the podcast,

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Speaker 1: and there was a part of me that was like,

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Speaker 1: I hope she doesn't get freaked out by how much

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Speaker 1: I love this movie, you know what I mean, where

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Speaker 1: I'm like, she might think I'm this like lunatic because

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Speaker 1: I just wanted to go like thirty minutes on this

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Speaker 1: wonderful film that you.

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Speaker 3: Made, and then really likes to go for like ten years,

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Speaker 3: and then she'll rip off the mask.

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Speaker 2: In a friendship, I like to you know, I'm trying

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Speaker 2: to be cool.

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Speaker 1: So I don't want to like to give it all

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Speaker 1: away up front, and then eventually, many many years down

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Speaker 1: the line, I just like confess how much I love

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Speaker 1: something and love you, and then people are like, Okay,

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Speaker 1: where did this come from?

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Speaker 5: But anyway, but sant Tristina, I know how that is

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Speaker 5: because I've done this before, where you know you have

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Speaker 5: a friend and then you go, well, just because I'm

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Speaker 5: a friend, doesn't mean I'm not a fan of what

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Speaker 5: they just did. You know, I remember calling or or

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Speaker 5: you know, just writing an email to Kim Gordon long

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Speaker 5: after I worked with them and everything, and I just said,

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Speaker 5: I got to tell you I love this new record

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Speaker 5: so much. And I you know, I said, me and

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Speaker 5: Tiffany were in the car and we just stopped, like

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Speaker 5: you know, we stopped talking just to listen.

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Speaker 4: And she was like, oh, thanks, Allison. You know, sometimes

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Speaker 4: you just go I said, I mean, I know we're friends,

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Speaker 4: but I got to tell you.

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Speaker 5: I stepped outside of that moment to say I really

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Speaker 5: love this.

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Speaker 4: And and sometimes you got to do that.

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Speaker 5: And she says, yeah, sometimes you have this work and

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Speaker 5: you just go as anybody listening, does anybody care? And

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Speaker 5: then somebody you know close to you will say something

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Speaker 5: and it's yeah, so appreciatingful.

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Speaker 2: Oh I think it's me.

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Speaker 3: And you should never feel like you have to be

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Speaker 3: cool around people that you are friends with and love.

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Speaker 2: I think it's it's true. It's a great experience.

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Speaker 3: I just I love supporting people in that way and

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Speaker 3: just saying like hey, I love that sweater you made,

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Speaker 3: I love that movie you made, I love that Yeah

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Speaker 3: you did. I'm a big fan of my friends, so

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Speaker 3: I feel like just be a fan of them.

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Speaker 1: Yeah, I'm working on that. Okay, I'm a work in progress,

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Speaker 1: as they say, so I promise I'll be a little

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Speaker 1: bit more forthcoming with the adoration from now on. But

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Speaker 1: you know, Alison, You're like when I met you, it

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Speaker 1: was like many years ago at the TCM Festival, and

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Speaker 1: like I had loved you, you know, loved your films

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Speaker 1: when I was younger, and and then I remember you

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Speaker 1: and Terry Terry was there and we were I was

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Speaker 1: like double freaked out because of Terry as well, because

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Speaker 1: he was in gun Club and I was like, Alison Anderson,

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Speaker 1: the drummer from gun Club are literally in front of me,

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Speaker 1: and I was like having like almost a panic attack.

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Speaker 2: But you know what, like I'm so.

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Speaker 1: Much better for it. I'm so happy that I've gotten

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Speaker 1: to like see you over the years. And maybe you know,

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Speaker 1: talk about film, it's always in the context of film,

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Speaker 1: which I really.

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Speaker 4: Loved me too.

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Speaker 1: Yeah, and so we figured like we wanted to have

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Speaker 1: you on this one because I think this is a

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Speaker 1: great question actually, and I would love to hear your

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Speaker 1: answer to it. So Danielle, do you want to read

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Speaker 1: the question.

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Speaker 3: I do want to read the question, and before I do,

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Speaker 3: I also have to say that it's it's nice to

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Speaker 3: it's nice when someone that you admire so much also

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Speaker 3: ends up being a very cool person.

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Speaker 2: So, so thank you for walking it like you talk it.

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Speaker 3: I was a fan of your films and a fan

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Speaker 3: of you way before we ever even connected in a

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Speaker 3: marginal way.

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Speaker 2: And you are.

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Speaker 3: Just as cool and thoughtful and kind and wonderful as

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Speaker 3: as you show us that you are in all of

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Speaker 3: your work. So thank you for that.

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Speaker 4: Oh, thank you, thank you.

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Speaker 2: And our question now, our question is I like this

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Speaker 2: I like this one a lot. Yeah. So our question

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Speaker 2: is I.

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Speaker 3: Am currently stuck at home in quarantine, and I was

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Speaker 3: wondering if you have any favorite sick day movies. As

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Speaker 3: a kid, I used to always watch The Never Ending

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Speaker 3: Story when I was homesick, and I feel like I

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Speaker 3: need to find a grown up version of the sick

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Speaker 3: day movie for me that means something compelling enough to

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Speaker 3: keep me awake, like a thriller or adventure movie, but

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Speaker 3: with an ending that doesn't make me feel even more

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Speaker 3: bummed out than being stuck at homesick does. What are

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Speaker 3: some of your go to sick day movies? What do

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Speaker 3: you look for in a good sick day movie? And

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Speaker 3: that letter was from Jess, who uses she her pronouns.

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Speaker 5: Well, I mean, you know with I mean, I have

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Speaker 5: movies that I go to for any time that I'm

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Speaker 5: in crisis, you know, any kind of crisis. Number one,

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Speaker 5: Hard Day's Night works for me every time. In fact,

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Speaker 5: there's even a little saying among people that know me

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Speaker 5: very well if I'm very grumpy or panicked or anything,

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Speaker 5: which is I think somebody needs to watch A Hard

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Speaker 5: Day's Night.

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Speaker 2: Such a great sand because you're also like, oh wait,

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Speaker 2: I probably should calm down.

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Speaker 3: Yeah, And it is it the same as so the

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Speaker 3: person who sent in this question. Do you kind of

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Speaker 3: have the same guidelines where it has to be something

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Speaker 3: that is comforting but doesn't make you bummed out?

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Speaker 2: Like is it?

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Speaker 3: Because The Hard Day's Night is a great film for

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Speaker 3: so many reasons, But I like, I like going back

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Speaker 3: to movies like that that that I find I kind

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Speaker 3: of know really well, so I can sense what's coming up,

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Speaker 3: and I know what's coming and that makes me feel comforted.

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Speaker 5: Absolutely, And I think that for a Hard Day's Night,

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Speaker 5: it's like the combination of the Beatles. It's remembering my

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Speaker 5: exuberance seeing it in the theater as a little girl

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Speaker 5: over and over and over again and screaming through the

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Speaker 5: whole thing.

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Speaker 3: And.

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Speaker 4: With five hundred screaming little girls.

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Speaker 2: That's so awesome. Like I remember when my friend passed out.

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Speaker 5: And you know, it's things like that. I mean, I

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Speaker 5: remember when I watch it now. I remember watching it

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Speaker 5: as an adult at sun Dance because we were so

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Speaker 5: overwhelmed trying to sell our film Sugartown and there were

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Speaker 5: three different options available, and I was exhausted, and I go,

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Speaker 5: you know what, I'm going to take my family and

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Speaker 5: goes watch A Hard Day's Night. I'm going to scream

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Speaker 5: as a grown ass woman and then, you know, then

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Speaker 5: we'll talk about this afterwards.

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Speaker 4: And it was amazing. The film comes on.

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Speaker 5: I scream, I'm the only one screaming, and.

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Speaker 2: The cops were called. Then they leave and then I

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Speaker 2: keep watch it and then I walk out.

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Speaker 5: It's snowing and there's my agent at the time, Shauna Eddie,

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Speaker 5: standing in a co in the snow, and she goes

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Speaker 5: you and Kurt, my co director, Kurt Boss. You and

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Speaker 5: Kurt need to come with me, let the kids go

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Speaker 5: back to the hotel. She says, we're gonna take a walk,

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Speaker 5: and so we walked up the street and there was

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Speaker 5: a party going on and we just sold the movie.

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Speaker 1: Wow.

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Speaker 4: So it was kind of I blame Hard Day's Night

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Speaker 4: for that.

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Speaker 2: I blame Night for that. Yeah you should.

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Speaker 3: That is so cathartic on so many levels that you

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Speaker 3: were able to have the catharsis of screaming to Hard

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Speaker 3: Day's Night and then the relief of we have sold

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Speaker 3: a film there it is there, beautiful.

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Speaker 5: So so there's that. I also like to you know,

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Speaker 5: one of the movies that I love so much that

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Speaker 5: helps me is a big epic like Giant.

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Speaker 4: Giant is one of those movies that.

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Speaker 5: Over and over again always it just always thrills me.

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Speaker 5: And like you said, I know this movie inside out.

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Speaker 5: That friend that I went to the movies, that I

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Speaker 5: met at the movies that you.

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Speaker 4: Were talking about, Danielle, he.

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Speaker 5: Just posted last night on Instagram that it was time

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Speaker 5: to watch Giant again. I was like, always always the

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Speaker 5: time to watch Giant anytime that it's on TCM. I'm like,

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Speaker 5: I'm not going to watch this again. I've seen it

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Speaker 5: a million times.

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Speaker 2: And then I sit there. You know. That's that's how

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Speaker 2: TCM gets you. They like that every time.

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Speaker 1: But it's like a three hour movie. It's like you know,

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Speaker 1: you're going to be in for a while or whatever.

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Speaker 1: And I love that too. I actually watch I tend

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Speaker 1: to watch longer movies when I'm at home sick, I

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Speaker 1: think as well, yeah, yeah.

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Speaker 4: Yes, I agree.

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Speaker 5: Now I'm also a fanatic for spy film since she

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Speaker 5: had mentioned or the question had mentioned action movies, and

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Speaker 5: you know, so I'm pretty crazy about spy movies. And

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Speaker 5: by the way, it's not a movie, but it should be.

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Speaker 5: It could be a six hour, seven hour movie, which

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Speaker 5: is the new Epchris File on AMC Plus is.

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Speaker 2: Really I don't watch it?

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Speaker 4: Yeah, so good.

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Speaker 5: Yeah, And that was a movie I watched as a

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Speaker 5: child with Michael Caine and I was obsessed.

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Speaker 4: With that movie. So I really like spy movies. I

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Speaker 4: love Taylor Uh Tinker tailor.

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Speaker 5: Taylor Spy absolutely to death, and so I'll always watch that.

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Speaker 4: That's another one of those.

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Speaker 2: It's that's one that's like I feel like for six

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Speaker 2: dy movies.

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Speaker 3: I tend to go towards things like that as well,

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Speaker 3: because usually when I was home sick. I grew up

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Speaker 3: with my grandparents and they would put on what they

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Speaker 3: wanted to watch. So it's comforting to me to watch

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Speaker 3: things that remind me of being, you know, bundled up

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Speaker 3: on the couch in a blanket and there was the

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Speaker 3: Tinker Tailor and Westerns like Westerns for sure, Westerns.

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Speaker 5: Oh yeah, Westerns. Yeah, I'll always watch The Man from

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Speaker 5: y Rmy two. I've got the posterback there behind me. Yeah,

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Speaker 5: that's one of those as well.

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Speaker 3: And I think like recently as an adult, I've tried

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Speaker 3: to when I'm sick. I usually it's a chance for

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Speaker 3: me to calm down and to not do anything, which

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Speaker 3: is rare where I have a day where I don't

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Speaker 3: have to do anything, and so I tend to go

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Speaker 3: to comedy a lot, Like I go back to comedies

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Speaker 3: that I liked, and I'll go to like Jacques Tati

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Speaker 3: or something like that. But yeah, like I've got a

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Speaker 3: nice box set. But the last time I was sick

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Speaker 3: was COVID related and I had a so kept well

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Speaker 3: well known to listeners already. But Kevin Klein was absolutely

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Speaker 3: responsible for my sexual awakening in the eighties, and I

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Speaker 3: rewatched a fish called Wanda, and I was like, this

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Speaker 3: is great. This is a great thick day film like

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Speaker 3: I did. Just chill out and relax and I love it.

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Speaker 3: And it can laugh and you can also fall asleep

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Speaker 3: and wake up and you don't worry about missing anything.

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Speaker 4: That's true. I really loved Dave. That's one of my

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Speaker 4: favorites with this.

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Speaker 2: Yes, Dave, And I'll tell you I have been.

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Speaker 5: I was on a jury at Lacarno Film Festival with

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Speaker 5: Catherine Bigelow.

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Speaker 4: And so we were together. I mean, we had an

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Speaker 4: amazing jury that year.

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Speaker 5: It was just crazy Olivia Assiahs and just so many,

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Speaker 5: so many great Valeria Galino.

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Speaker 4: I mean, it was spectacular.

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Speaker 5: But we had watched about thirty movies together, you know,

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Speaker 5: and so and we both presented movies too.

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Speaker 4: So we get on the.

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Speaker 5: Plane, we're flying home, and the minute they come around,

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Speaker 5: they go, would you like to watch a movie? We

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Speaker 5: both looked at each other and I got we're not

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Speaker 5: watching anymore movie. The Bob sat there and we go

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Speaker 5: watch the movie and she says Dave, and we're like,

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Speaker 5: give us us.

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Speaker 2: We're all moving out. I'm lessing Dave. And then we're

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Speaker 2: back in Okay.

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Speaker 1: That is a screenplay in and of itself. Is you

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Speaker 1: and Catherine Bigelow watching Dave?

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Speaker 2: Completely? I love that story so much. What's the film Dave?

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Speaker 4: All Right? You just in my arm.

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Speaker 1: That's the answer to the question, really is it really is?

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Speaker 4: Watch Dave? Watch?

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Speaker 1: Oh my god, that's too funny.

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Speaker 3: And I love that too, because because I imagine in

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Speaker 3: in your life and at work and not at work,

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Speaker 3: that you you know, you have to kind of be

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Speaker 3: really precise with your downtime often, and so even if

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Speaker 3: you're not having a sick day, like, are there films

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Speaker 3: that you find are just comforting for you to kind

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Speaker 3: of decompress or well?

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Speaker 4: I mean, yeah, I always tend to go back to

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Speaker 4: the old movies. I mean I go back to.

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Speaker 5: I mean one of the most important movies to my

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Speaker 5: life was A Stolen Life with Betty Davis. And you know,

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Speaker 5: the more that I know about it, you know, I

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Speaker 5: mean I kind of stole the end the ending for gas,

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Speaker 5: food lodging that's not in there now, but that was

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Speaker 5: my original ending. I stole from there, and you know,

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Speaker 5: and so it's kind of a I've learned more about

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Speaker 5: that movie over the years, but even the music, you know,

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Speaker 5: gets to me, you know. And her performance is so magnificent.

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Speaker 5: And it was the first movie she had produced, so

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Speaker 5: so she really called all the shots, you know. I

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Speaker 5: mean she discovered Glenn Ford and she she did all

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Speaker 5: of that, you know for that movie. She hired the

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Speaker 5: director and you know, so.

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Speaker 1: Her hair in that movie, her bangs in that movie, Yeah,

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Speaker 1: you were like truly the like picture that I would

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Speaker 1: show my hairstylus for like twenty years. I was like,

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Speaker 1: can you do this small bang?

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Speaker 2: But swoopy. I don't know how she managed.

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Speaker 1: I guess she has sick hair, but I'm like, it's

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Speaker 1: the perfect bang. I just love her hair in that.

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Speaker 2: Movie so much, so good. So I love that one.

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Speaker 4: And I love odd Man Out. Oh yeah, in fact,

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Speaker 4: I love that that score so much and it's.

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Speaker 5: And you know it was that score was composed by

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Speaker 5: William Alwin, who's the great grandfather of Joe, you know.

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Speaker 5: And so I was kind of like, I want to

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Speaker 5: cast Joe just because I can talk to him about

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Speaker 5: his great grandfather.

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Speaker 4: He probably back, I've never met him, but he's.

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Speaker 2: Got photos or something about him. Yeah, there's some family

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Speaker 2: stories kicking around. I'm sure, even if they.

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Speaker 3: Never met I love I Look, I think I've I've

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Speaker 3: hired people for less for us.

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Speaker 2: Yeah, I think that's the one.

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Speaker 4: He's wonderful too. But at the same time it's a

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Speaker 4: bonus exactly.

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Speaker 3: And I love too that this that these are also

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Speaker 3: that the movies that you go back to that are comforting,

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Speaker 3: they are also things that inspired you in your own work.

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Speaker 2: Like that's incredible.

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Speaker 4: Oh yeah, for sure, for sure.

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Speaker 1: Well I think Jess has quite a bit on her

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Speaker 1: watch list at this point, right, Yeah, that's and I

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Speaker 1: feel like, besides Dave, which we rocketed to the top

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Speaker 1: of the list, but so so many good classics, and

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Speaker 1: I mean, honestly, like that would be an incredible sick

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Speaker 1: day movie for me is to watch like a hard

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Speaker 1: day's night Giants Dave of course, you know, and just

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Speaker 1: do like a whole like twenty four hour, forty eight

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Speaker 1: hour film festival of stuff and then hopefully you'll feel

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Speaker 1: better after.

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Speaker 3: So, especially if you're quarantining, you're going to be doing

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Speaker 3: that for a while. You're gonna be in that room

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Speaker 3: for ten days maybe, so Adam all yeah, yeah, yeah.

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Speaker 1: Well before we let you go, Allison, I wanted to

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Speaker 1: say that. So for this episode, It's actually interesting because

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Speaker 1: we're going to talk about the film too, Lane Blacktop,

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Speaker 1: and you were on one of my favorite commentary tracks

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Speaker 1: on Criterion was you and the director Moni Hellman talking

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Speaker 1: about Tulane Blacktop. So I just think that's interesting that

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Speaker 1: you're on the episode that we're going to talk about.

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Speaker 1: You know when I used, actually I used your commentary

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Speaker 1: track to do research for the film this week. So,

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Speaker 1: oh my god, mate, everything you had to say about

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Speaker 1: the movie is incredible. I really encouraged everybody to like

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Speaker 1: track down a copy of the DVD just to hear

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Speaker 1: your commentary. But uh, oh wait, did you did you?

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Speaker 1: Would you consider Tulane Blacktop a movie for Quarantine?

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Speaker 2: I mean, it's kind of you know what I have.

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Speaker 5: I absolutely would for me. It's like that's another movie

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Speaker 5: that I I I can't not watch, you know when

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Speaker 5: whenever it's whenever I get an opportunity to see it,

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Speaker 5: I'm in, you know. And it's it's interesting because I'm

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Speaker 5: about to go to this to the Harry Dean Stanton

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Speaker 5: Film Festival to present in Lexington, to present Paris, Texas.

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00:22:27,800 --> 00:22:31,919
Speaker 5: But to talk about I mean, Harry's just so great

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00:22:32,320 --> 00:22:34,840
Speaker 5: and two Lane Black I mean, they're all so good

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00:22:34,960 --> 00:22:38,240
Speaker 5: and you've got hello. I mean, you can just you

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Speaker 5: could even you could turn the sound down on two

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00:22:41,240 --> 00:22:45,280
Speaker 5: lane Blacktop because there isn't much dialogue and just look

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Speaker 5: at all the gorgeous people in it, and I Glorie

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Speaker 5: Bird and James Taylor and Dennis Wills.

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Speaker 1: You say, I would hard Day's Night Bo James Taylor

443
00:23:00,880 --> 00:23:01,920
Speaker 1: and Dennis Wilson of the Speek.

444
00:23:01,960 --> 00:23:02,800
Speaker 2: I'd be running, like.

445
00:23:02,840 --> 00:23:06,040
Speaker 1: If they were driving down the interstate, I would be

446
00:23:06,160 --> 00:23:07,800
Speaker 1: running after them, screaming right.

447
00:23:08,359 --> 00:23:11,520
Speaker 4: Same here, same here. I'm right there with you. Let's go.

448
00:23:12,160 --> 00:23:13,080
Speaker 2: Oh my goodness.

449
00:23:13,920 --> 00:23:16,160
Speaker 3: I also love the idea of turning the movie down

450
00:23:16,200 --> 00:23:17,800
Speaker 3: and just like you can put on your own soundtrack,

451
00:23:17,880 --> 00:23:21,639
Speaker 3: even like you're very very adept, why not, but you

452
00:23:21,760 --> 00:23:22,359
Speaker 3: want to hear the.

453
00:23:22,440 --> 00:23:23,560
Speaker 4: Roar of the engine.

454
00:23:23,680 --> 00:23:27,080
Speaker 2: So I know, yeah, well it really uh.

455
00:23:28,160 --> 00:23:29,640
Speaker 4: I love the movie so much.

456
00:23:29,840 --> 00:23:34,000
Speaker 5: And you know, interestingly enough, the connection is at that

457
00:23:34,240 --> 00:23:39,200
Speaker 5: same film festival is where I met uh, where Catherine

458
00:23:39,200 --> 00:23:42,760
Speaker 5: and I watched all those movies together.

459
00:23:43,359 --> 00:23:44,440
Speaker 4: I met Monty there.

460
00:23:45,040 --> 00:23:48,440
Speaker 5: Oh wow, yeah, so that was the you know, he

461
00:23:48,640 --> 00:23:52,560
Speaker 5: was there presenting a movie and and just we go

462
00:23:52,680 --> 00:23:55,199
Speaker 5: to film festivals all the time. Because he loved movies

463
00:23:55,320 --> 00:23:59,920
Speaker 5: and so so that's when we became friends. And in fact,

464
00:24:00,520 --> 00:24:05,920
Speaker 5: when I when I did my movie Things Behind the Sun,

465
00:24:06,960 --> 00:24:10,000
Speaker 5: I had to make because the budget was so low,

466
00:24:10,080 --> 00:24:13,680
Speaker 5: I had to make a hard choice between shooting on

467
00:24:13,920 --> 00:24:18,359
Speaker 5: film or shooting in Florida, and it was which is

468
00:24:18,640 --> 00:24:22,280
Speaker 5: ironic to think that back in that day, shooting in

469
00:24:22,680 --> 00:24:24,680
Speaker 5: LA was the cheaper option.

470
00:24:25,240 --> 00:24:29,120
Speaker 2: Completely part I believe, I love that choice, film or Florida,

471
00:24:30,440 --> 00:24:31,720
Speaker 2: Film or Florida.

472
00:24:32,520 --> 00:24:35,480
Speaker 5: So I picked Florida because I needed to shoot in

473
00:24:35,600 --> 00:24:38,680
Speaker 5: the I wanted to shoot in the town and the

474
00:24:38,840 --> 00:24:42,080
Speaker 5: house where all the events took place in my life personally.

475
00:24:43,080 --> 00:24:45,520
Speaker 4: But I was so devastated because I was like, but

476
00:24:45,640 --> 00:24:48,200
Speaker 4: I wanted to look like Tulamee Blacktop. How is that

477
00:24:48,320 --> 00:24:52,080
Speaker 4: going to look like tulame Blacktop when it's when it's

478
00:24:52,119 --> 00:24:53,160
Speaker 4: shot on digital?

479
00:24:53,640 --> 00:24:56,720
Speaker 5: And this was early digital, so you know, so I

480
00:24:56,880 --> 00:24:59,680
Speaker 5: told my DP, I go, this's gotta look like Tulane.

481
00:25:00,040 --> 00:25:01,160
Speaker 4: Got to do our best.

482
00:25:01,960 --> 00:25:06,240
Speaker 5: So the most amazing thing was having a test screening

483
00:25:06,320 --> 00:25:09,399
Speaker 5: a Monty, I mean just for close friends and stuff.

484
00:25:09,840 --> 00:25:12,840
Speaker 4: And Monty came and when he was leaving, he goes, Alison,

485
00:25:13,000 --> 00:25:13,960
Speaker 4: it looks great.

486
00:25:14,280 --> 00:25:21,359
Speaker 2: And I was like, oh God, deal is done. Deal

487
00:25:21,560 --> 00:25:25,159
Speaker 2: is put yourself in the sarcophagus and just slide the

488
00:25:25,240 --> 00:25:26,120
Speaker 2: letter for yourself.

489
00:25:28,040 --> 00:25:31,920
Speaker 3: Don don This is beautiful what I I truly could

490
00:25:31,960 --> 00:25:34,959
Speaker 3: talk to you all day and I actually hope you too.

491
00:25:35,119 --> 00:25:37,879
Speaker 3: I really hope you'll come back and we'll have other

492
00:25:37,960 --> 00:25:40,200
Speaker 3: questions that also, Millie and I have other questions for you.

493
00:25:40,680 --> 00:25:42,120
Speaker 1: Yeah, but we just want to hang.

494
00:25:42,240 --> 00:25:44,720
Speaker 2: We just want to I love it.

495
00:25:45,040 --> 00:25:47,760
Speaker 3: And also, like, I just appreciate so much that you

496
00:25:48,080 --> 00:25:51,760
Speaker 3: You're like Milly to me and that you are a

497
00:25:51,880 --> 00:25:54,760
Speaker 3: film your film historian in the truest sense of the word,

498
00:25:54,840 --> 00:25:59,720
Speaker 3: which is that you you you absolutely support and and

499
00:26:00,000 --> 00:26:05,320
Speaker 3: and remind us and just push these movies that are

500
00:26:05,359 --> 00:26:07,840
Speaker 3: important to you. And it doesn't have to be more

501
00:26:07,920 --> 00:26:09,560
Speaker 3: than that for you to be You don't have to

502
00:26:09,600 --> 00:26:11,920
Speaker 3: be mired down. You can be mired down in the

503
00:26:11,960 --> 00:26:14,920
Speaker 3: details of things you like. But I just really appreciate

504
00:26:15,000 --> 00:26:19,040
Speaker 3: that you are. You're just like again, like so cool

505
00:26:19,400 --> 00:26:22,240
Speaker 3: and so wonderful, and you are so inspiring because you

506
00:26:22,520 --> 00:26:26,320
Speaker 3: genuinely enjoy what you do and are inspired by what

507
00:26:26,400 --> 00:26:29,359
Speaker 3: you do. And it's nice that you're able to remind

508
00:26:29,440 --> 00:26:30,480
Speaker 3: us to be the same way.

509
00:26:31,240 --> 00:26:35,520
Speaker 4: Ah, bless you. This has just been so great. Thank

510
00:26:35,560 --> 00:26:36,240
Speaker 4: you so much.

511
00:26:36,800 --> 00:26:40,600
Speaker 1: Yeah, thanks for being on the episode. Please come back.

512
00:26:40,760 --> 00:26:43,320
Speaker 1: Thank you Jess for sending in our letter this week,

513
00:26:43,560 --> 00:26:47,040
Speaker 1: and we hope that you have lots to watch now

514
00:26:48,040 --> 00:26:50,159
Speaker 1: looking quarantine, it's a bit.

515
00:26:50,280 --> 00:26:54,760
Speaker 5: I gotta also thank Mellie because I swear to you

516
00:26:56,040 --> 00:26:57,920
Speaker 5: you know that. I the way that we met was

517
00:26:58,000 --> 00:27:01,680
Speaker 5: I tracked her down because I was like, yeah, program

518
00:27:02,080 --> 00:27:06,280
Speaker 5: Border radio on TCM, because I was so thrilled that

519
00:27:06,480 --> 00:27:07,520
Speaker 5: somebody had done that.

520
00:27:08,119 --> 00:27:13,080
Speaker 4: So now I'm part I think that's part of them family.

521
00:27:13,320 --> 00:27:14,720
Speaker 4: I get to meet Danielle.

522
00:27:15,040 --> 00:27:19,399
Speaker 2: I mean, we all find Millie that way. We're like,

523
00:27:19,480 --> 00:27:25,199
Speaker 2: who's the weirdo? Who did that? That's my best friend? Sweet?

524
00:27:26,640 --> 00:27:30,760
Speaker 3: Oh well, this is fantastic again. Please come back and

525
00:27:31,119 --> 00:27:33,600
Speaker 3: I just will. We'll talk to you anytime when we're

526
00:27:33,760 --> 00:27:35,639
Speaker 3: we'll come to LA and hang out. You can come

527
00:27:35,800 --> 00:27:41,120
Speaker 3: hang out in Atlanta. It'd be wonderful, all right.

528
00:27:41,200 --> 00:27:52,280
Speaker 4: Lots of love girls, Oh my god, I'm.

529
00:27:52,160 --> 00:27:55,320
Speaker 2: So glad we had Allison. I mean, what's not to love?

530
00:27:55,760 --> 00:28:01,760
Speaker 3: And I'm just so enamored of her, completely enamored of her,

531
00:28:01,960 --> 00:28:05,320
Speaker 3: and just if anyone in this world is deserving of

532
00:28:05,359 --> 00:28:06,000
Speaker 3: all the goodness.

533
00:28:06,160 --> 00:28:06,640
Speaker 2: It is her.

534
00:28:08,080 --> 00:28:13,080
Speaker 1: I'll tell you, like the literally, like the first twelve

535
00:28:13,320 --> 00:28:16,760
Speaker 1: hours I lived in La, Like when I moved there,

536
00:28:18,920 --> 00:28:21,880
Speaker 1: I was getting my haircut because I was like, oh,

537
00:28:21,920 --> 00:28:23,680
Speaker 1: I just got off the road, and I guess I

538
00:28:23,760 --> 00:28:25,080
Speaker 1: need a haircut, And so I went to get my

539
00:28:25,160 --> 00:28:28,600
Speaker 1: haircut and she was there. She was the first person

540
00:28:29,400 --> 00:28:32,840
Speaker 1: I saw that I knew in LA, and I felt

541
00:28:32,880 --> 00:28:35,560
Speaker 1: like that was some sort of blessing, even though I

542
00:28:35,600 --> 00:28:37,960
Speaker 1: had the worst experience in La. But that's neither here

543
00:28:38,000 --> 00:28:40,240
Speaker 1: nor there. But anyway, she she made me feel right

544
00:28:41,000 --> 00:28:42,840
Speaker 1: right at home in the city immediately, and so I

545
00:28:42,880 --> 00:28:43,800
Speaker 1: will never forget that.

546
00:28:44,120 --> 00:28:45,520
Speaker 2: But we love her.

547
00:28:47,320 --> 00:28:51,160
Speaker 1: Well, we have quite a theme this week, an actual,

548
00:28:51,360 --> 00:28:53,920
Speaker 1: real fun theme. You want to tell them what the

549
00:28:54,000 --> 00:28:54,360
Speaker 1: theme is?

550
00:28:55,160 --> 00:29:00,680
Speaker 3: Well, our theme was actually thought of by Millie, who

551
00:29:01,120 --> 00:29:04,680
Speaker 3: insists that she never pulls her weight, But this came

552
00:29:04,760 --> 00:29:05,120
Speaker 3: from her.

553
00:29:05,720 --> 00:29:08,560
Speaker 2: What. Yeah, I don't know if you remember or not,

554
00:29:08,720 --> 00:29:11,160
Speaker 2: but it came from you. And the theme is summer

555
00:29:11,480 --> 00:29:12,000
Speaker 2: road trip.

556
00:29:12,600 --> 00:29:17,320
Speaker 1: Oh shit, I completely forgot that I suggested it, But

557
00:29:17,480 --> 00:29:20,000
Speaker 1: now now that I know, I'm like, thank you me.

558
00:29:20,680 --> 00:29:24,120
Speaker 2: Yeah, Well, Silly is doing future Millia solid.

559
00:29:26,240 --> 00:29:28,440
Speaker 1: So I want to ask you, like, right off the bat,

560
00:29:29,960 --> 00:29:33,720
Speaker 1: did you ever because Okay, we have talked both about

561
00:29:33,800 --> 00:29:36,000
Speaker 1: like we've done a lot of traveling, done a lot

562
00:29:36,040 --> 00:29:39,160
Speaker 1: of driving. You've done a lot of solo driving, which

563
00:29:39,200 --> 00:29:42,320
Speaker 1: I find very interesting. I still can't get over the

564
00:29:42,400 --> 00:29:46,120
Speaker 1: fact that you drove to Alaska. You've told that story

565
00:29:46,120 --> 00:29:49,160
Speaker 1: about three thousand times because I keep asking you, but

566
00:29:49,360 --> 00:29:53,520
Speaker 1: I just you know, I'm just so in awe of that, right,

567
00:29:55,320 --> 00:29:57,760
Speaker 1: But I want to ask you, did you ever like

568
00:29:58,440 --> 00:30:00,880
Speaker 1: road trips or the summer, Like did you ever go

569
00:30:01,000 --> 00:30:03,400
Speaker 1: on vacation during summer? Like what was your what are

570
00:30:03,440 --> 00:30:04,920
Speaker 1: your relationship to road trips?

571
00:30:05,480 --> 00:30:10,040
Speaker 3: Yeah, my family didn't go on vacation's period, so we

572
00:30:10,160 --> 00:30:11,200
Speaker 3: never did a summer road trip.

573
00:30:11,240 --> 00:30:13,800
Speaker 2: And my grandparents didn't drive, so that was out.

574
00:30:14,560 --> 00:30:18,640
Speaker 3: But when I started driving, I took as many summer

575
00:30:18,720 --> 00:30:19,960
Speaker 3: road trips as possible.

576
00:30:20,120 --> 00:30:22,240
Speaker 2: So as a teenager, just.

577
00:30:22,320 --> 00:30:24,080
Speaker 3: You know, work, I would work during the day and

578
00:30:24,440 --> 00:30:27,640
Speaker 3: I would drive to another state just to see a concert, like,

579
00:30:27,760 --> 00:30:30,240
Speaker 3: oh there's someone playing in Connecticut, I'm going to Connecticut.

580
00:30:30,760 --> 00:30:33,760
Speaker 2: So I love being on the road, and I particularly

581
00:30:33,800 --> 00:30:34,680
Speaker 2: love it in the summer.

582
00:30:34,880 --> 00:30:37,920
Speaker 3: It's just easier to drive, it's more free it's not

583
00:30:38,080 --> 00:30:39,600
Speaker 3: as you know, I'm from the East coast, so it's

584
00:30:39,640 --> 00:30:42,920
Speaker 3: not as weather heavy. And there's just something cool about

585
00:30:43,000 --> 00:30:45,960
Speaker 3: like rolling down your windows and screaming along to a

586
00:30:46,080 --> 00:30:49,360
Speaker 3: song against when I was a teenager, grab a friend.

587
00:30:49,600 --> 00:30:51,600
Speaker 3: Nothing better than grabbing a friend and just being like,

588
00:30:51,840 --> 00:30:54,360
Speaker 3: let's go somewhere for two days. We'll just drive until

589
00:30:54,400 --> 00:30:56,120
Speaker 3: we can't and then turn around.

590
00:30:57,400 --> 00:30:57,960
Speaker 2: So I love it.

591
00:30:58,040 --> 00:31:00,880
Speaker 3: And yes, I have traversed this country quite a few times.

592
00:31:01,600 --> 00:31:03,760
Speaker 3: My trip to Alaska was a summer road trip.

593
00:31:03,880 --> 00:31:08,160
Speaker 2: I left in May. I immediately went drove south.

594
00:31:08,320 --> 00:31:10,320
Speaker 3: I picked up a friend and we went to Memphis

595
00:31:10,400 --> 00:31:16,200
Speaker 3: in May concert in well Memphis Shocker, and it was

596
00:31:16,400 --> 00:31:17,000
Speaker 3: so fun.

597
00:31:17,280 --> 00:31:18,360
Speaker 2: It was just so fun.

598
00:31:18,560 --> 00:31:21,320
Speaker 3: And then you know, drove really took my time driving

599
00:31:21,360 --> 00:31:23,760
Speaker 3: across country. It took me a couple of months, and

600
00:31:25,400 --> 00:31:27,400
Speaker 3: then just hit the West coast and drove straight up

601
00:31:27,440 --> 00:31:31,360
Speaker 3: to Alaska. And during the summer it was really cool

602
00:31:31,400 --> 00:31:35,240
Speaker 3: because you get the glacial runoff from you know, a

603
00:31:35,320 --> 00:31:38,240
Speaker 3: lot of the glaciers in Canada, so when you dip

604
00:31:38,280 --> 00:31:39,760
Speaker 3: your feet in streams, it's.

605
00:31:39,680 --> 00:31:43,640
Speaker 2: Like always cool. And it was just kind of nice,

606
00:31:44,280 --> 00:31:46,840
Speaker 2: kind of nice to be out there and wild and free,

607
00:31:47,040 --> 00:31:48,960
Speaker 2: and what about you. Do you like a summer road trip?

608
00:31:49,840 --> 00:31:54,920
Speaker 1: I sure fucking do, girl, I do love them. I'm

609
00:31:54,920 --> 00:31:57,640
Speaker 1: from the South, so you know, that's just part of

610
00:31:57,720 --> 00:32:02,200
Speaker 1: the vibe down here is to you know, drive to

611
00:32:03,000 --> 00:32:05,640
Speaker 1: like from Atlanta. You know, it's very It takes like,

612
00:32:05,840 --> 00:32:07,960
Speaker 1: I don't know, seven hours to get to New Orleans,

613
00:32:08,440 --> 00:32:12,000
Speaker 1: seven hours to get to Memphis. Like Nashville's three hours away.

614
00:32:12,040 --> 00:32:13,880
Speaker 1: So there's all these like places to kind of go

615
00:32:14,320 --> 00:32:16,200
Speaker 1: that you can do, like a day drive.

616
00:32:16,560 --> 00:32:16,800
Speaker 2: Nice.

617
00:32:17,840 --> 00:32:20,760
Speaker 1: So that's always been something that I would do with friends.

618
00:32:20,880 --> 00:32:24,400
Speaker 1: I mean when I was a kid, we definitely did

619
00:32:25,160 --> 00:32:28,840
Speaker 1: go on vacation and we drove because my parents are

620
00:32:28,920 --> 00:32:33,960
Speaker 1: too cheap to fly, so they were like, why the

621
00:32:34,040 --> 00:32:35,640
Speaker 1: fact are we gonna spend money on planet tickets?

622
00:32:35,640 --> 00:32:36,440
Speaker 2: Well, we can just drive.

623
00:32:37,680 --> 00:32:40,800
Speaker 3: So I don't blame them, because trying to wrangle a

624
00:32:40,880 --> 00:32:43,160
Speaker 3: family into an airport, I don't care how quick it is.

625
00:32:43,200 --> 00:32:45,720
Speaker 2: It seems like hell on Earth. Yeah, oh my god.

626
00:32:46,640 --> 00:32:48,720
Speaker 1: Like now that I've seen the other side of it

627
00:32:48,800 --> 00:32:52,960
Speaker 1: where I have little kids in my family, I'm just like, no,

628
00:32:53,440 --> 00:32:56,080
Speaker 1: never never put a kid in an airplane, Like, don't

629
00:32:56,080 --> 00:32:57,040
Speaker 1: get them through security.

630
00:32:57,120 --> 00:32:58,120
Speaker 2: It's just like a disaster.

631
00:32:58,760 --> 00:33:01,360
Speaker 1: But yeah, I just and I so I would just

632
00:33:01,440 --> 00:33:04,520
Speaker 1: go to beach. You know, it's nothing fancy. But but

633
00:33:04,640 --> 00:33:06,040
Speaker 1: then you know, when I was in my twenties, I

634
00:33:06,120 --> 00:33:07,920
Speaker 1: did a lot of road trips, a lot of like

635
00:33:08,640 --> 00:33:12,440
Speaker 1: you know, like let's go drive to see the biggest

636
00:33:12,520 --> 00:33:15,000
Speaker 1: peanut in America or whatever. You know, it's like all

637
00:33:15,040 --> 00:33:20,000
Speaker 1: that crap, like tourist trap stuff, and you know, like

638
00:33:20,480 --> 00:33:22,400
Speaker 1: and it's kind of you know, it's also this kind

639
00:33:22,400 --> 00:33:27,080
Speaker 1: of thing too where I I kind of love like

640
00:33:27,400 --> 00:33:30,520
Speaker 1: not taking the interstate, which I feel like is a

641
00:33:30,760 --> 00:33:34,520
Speaker 1: huge connection point between our two movies this week, because yes,

642
00:33:35,120 --> 00:33:38,200
Speaker 1: that to me, like interstate driving is obviously very efficient

643
00:33:38,280 --> 00:33:41,200
Speaker 1: and you know, it's you know whatever it is, but

644
00:33:41,360 --> 00:33:44,800
Speaker 1: it's but taking like back roads and like little state

645
00:33:45,080 --> 00:33:48,600
Speaker 1: highway type things is always like I mean, it's kind

646
00:33:48,640 --> 00:33:50,720
Speaker 1: of like it's a roll of the dice, to be honest,

647
00:33:50,800 --> 00:33:53,440
Speaker 1: but it's also like kind of fun because you can

648
00:33:53,720 --> 00:33:55,880
Speaker 1: see like so much stuff you never see.

649
00:33:56,040 --> 00:33:59,040
Speaker 2: Right, absolutely, it is could not be more true.

650
00:33:59,120 --> 00:34:01,200
Speaker 3: Like I but I agree with you, agree with you

651
00:34:01,400 --> 00:34:03,280
Speaker 3: fully that it is a roll of the fucking dice

652
00:34:03,440 --> 00:34:05,800
Speaker 3: because there are some places where you take that back

653
00:34:05,920 --> 00:34:10,880
Speaker 3: road and it is deliverance Central, and you're like, I

654
00:34:11,080 --> 00:34:12,360
Speaker 3: feel unsafe.

655
00:34:12,080 --> 00:34:16,759
Speaker 2: Immediately, let me turn this car around. But for the

656
00:34:16,840 --> 00:34:18,440
Speaker 2: most part, it's nice to just go.

657
00:34:18,920 --> 00:34:20,560
Speaker 3: And I feel like that's where a lot of the

658
00:34:21,120 --> 00:34:23,080
Speaker 3: better parts of the road trip come in, is when

659
00:34:23,120 --> 00:34:25,840
Speaker 3: you get off the beaten path and you kind of

660
00:34:25,920 --> 00:34:29,120
Speaker 3: just find find something that you like, you know, or

661
00:34:29,239 --> 00:34:31,319
Speaker 3: find a fucking farm stand that has the best pie

662
00:34:31,360 --> 00:34:34,080
Speaker 3: in the neighborhood, or you know, just it's just fun

663
00:34:34,120 --> 00:34:37,239
Speaker 3: to kind of see how people live and to really

664
00:34:37,280 --> 00:34:38,640
Speaker 3: get out in the world that way.

665
00:34:39,280 --> 00:34:42,680
Speaker 1: What is your favorite road trip snacks?

666
00:34:44,160 --> 00:34:46,640
Speaker 2: Or I see it like such a garbage monster. When

667
00:34:46,680 --> 00:34:50,240
Speaker 2: I'm on a road trip. It is disgusting.

668
00:34:50,360 --> 00:34:53,359
Speaker 3: And here's why, because I don't usually eat a lot

669
00:34:53,400 --> 00:34:57,160
Speaker 3: of fast food in my day to day life, so

670
00:34:57,480 --> 00:34:59,759
Speaker 3: when I'm traveling, it's kind of the only time I'm

671
00:34:59,800 --> 00:35:02,440
Speaker 3: pro into eating fast food. So if I'm an airport,

672
00:35:02,560 --> 00:35:05,160
Speaker 3: I'm like, give me a fucking sausage, big muffin stat.

673
00:35:06,800 --> 00:35:09,319
Speaker 3: But when I'm on a road trip, it's like, give

674
00:35:09,360 --> 00:35:14,080
Speaker 3: me some fucking fries. I love a McDonald's apple pie.

675
00:35:14,960 --> 00:35:17,240
Speaker 3: This is not sponsored. I'm just telling you the truth.

676
00:35:18,640 --> 00:35:23,879
Speaker 3: I fucking love a seven eleven slushy. Mm hmm, give

677
00:35:23,920 --> 00:35:25,960
Speaker 3: me a fucking slushy so I can just put it

678
00:35:26,040 --> 00:35:27,879
Speaker 3: in that cup holder and no, I'm gonna have something

679
00:35:27,960 --> 00:35:29,040
Speaker 3: cold to drink for hours.

680
00:35:30,560 --> 00:35:33,160
Speaker 2: And this is truly disgusting and.

681
00:35:33,480 --> 00:35:36,920
Speaker 3: Only acceptable if you're on a road trip by yourself,

682
00:35:38,800 --> 00:35:43,160
Speaker 3: slim gyms, you will your car will be powered by farts.

683
00:35:43,480 --> 00:35:47,120
Speaker 3: But huh, it's a nice easy snack to just jam

684
00:35:47,239 --> 00:35:48,840
Speaker 3: on your fucking face while you got your hands on

685
00:35:48,880 --> 00:35:49,520
Speaker 3: the steering wheel.

686
00:35:50,200 --> 00:35:54,480
Speaker 1: Oh hell yeah, I love combos.

687
00:35:54,960 --> 00:35:56,040
Speaker 2: Oh I love a gas station.

688
00:35:56,480 --> 00:35:59,920
Speaker 1: By the way, they got great Southern gas stations down here,

689
00:36:00,200 --> 00:36:03,000
Speaker 1: like stuckies. If you were from the South, y'all know

690
00:36:03,080 --> 00:36:06,720
Speaker 1: a stuckies. You gotta get that pecon roll or pecan

691
00:36:06,840 --> 00:36:10,560
Speaker 1: log or whatever they get whatever they have. Now they

692
00:36:10,600 --> 00:36:12,800
Speaker 1: actually have BUCkies down here, which I know is like

693
00:36:12,840 --> 00:36:13,680
Speaker 1: a Texas thing.

694
00:36:13,760 --> 00:36:16,839
Speaker 2: I think, are they gonna fight stuckies and BUCkies? See?

695
00:36:16,880 --> 00:36:19,960
Speaker 1: I actually feel like stuckies is kind of I have

696
00:36:20,080 --> 00:36:22,160
Speaker 1: seen less and less stuckies on the road.

697
00:36:22,520 --> 00:36:25,120
Speaker 2: Is BUCkies taking over stuckies? I mean, I don't want

698
00:36:25,160 --> 00:36:25,880
Speaker 2: to cause drama.

699
00:36:26,080 --> 00:36:28,040
Speaker 1: I don't want to cause you know, any kind of

700
00:36:28,120 --> 00:36:32,560
Speaker 1: drama there, But there's a moment where I have counted

701
00:36:32,640 --> 00:36:36,080
Speaker 1: on my hand the BUCkies and they're more plentiful than

702
00:36:36,120 --> 00:36:37,000
Speaker 1: the Stuckies hand.

703
00:36:37,040 --> 00:36:39,239
Speaker 2: Do you know what I'm saying, Listeners, let us know

704
00:36:39,440 --> 00:36:45,040
Speaker 2: if you are aware of the Bucky Stuckies conspiracy. Please

705
00:36:45,120 --> 00:36:47,359
Speaker 2: let us know this is important. Somebody will.

706
00:36:47,560 --> 00:36:51,720
Speaker 1: I mean, there's nothing more. There's people get real serious

707
00:36:51,719 --> 00:36:54,160
Speaker 1: about gas stations, and they get real serious about gas

708
00:36:54,200 --> 00:36:57,600
Speaker 1: station snacks. So I have a feeling we're gonna get tons.

709
00:36:57,400 --> 00:36:58,240
Speaker 2: And tons of mentions.

710
00:36:58,280 --> 00:37:02,320
Speaker 1: But absolutely I love so combos are like the salty

711
00:37:03,560 --> 00:37:08,440
Speaker 1: and sometimes a dorito, like a classic dorito, No cool rams,

712
00:37:08,560 --> 00:37:12,160
Speaker 1: just a regular nacho cheese. And then I gotta have

713
00:37:12,280 --> 00:37:15,800
Speaker 1: a sweet at some point, and I do like a

714
00:37:15,880 --> 00:37:19,839
Speaker 1: little deb like a little Debbie. Yeah. Sometimes when I'm

715
00:37:19,880 --> 00:37:22,400
Speaker 1: feeling like I have the crunchy salt and then I

716
00:37:22,480 --> 00:37:24,560
Speaker 1: need like the cakey sweet and I'll do like a

717
00:37:25,000 --> 00:37:29,160
Speaker 1: oatmeal cream pie or fudge round what have you?

718
00:37:29,360 --> 00:37:32,439
Speaker 2: So uh beautiful? Yeah, I can't.

719
00:37:33,480 --> 00:37:36,720
Speaker 3: I can't stress enough that I am an actual garbage

720
00:37:36,760 --> 00:37:38,359
Speaker 3: person when I'm on the road, Like by the time

721
00:37:38,400 --> 00:37:41,399
Speaker 3: my car pulls in anywhere, you're like, has this bitch

722
00:37:41,440 --> 00:37:44,800
Speaker 3: been living in here for seventeen years or did she

723
00:37:45,080 --> 00:37:47,960
Speaker 3: just drive here from one state away? Like, I will

724
00:37:48,040 --> 00:37:50,279
Speaker 3: use any excuse if I'm on the road, that is

725
00:37:50,320 --> 00:37:52,120
Speaker 3: an excuse for me to eat like a fucking monster,

726
00:37:52,640 --> 00:37:54,920
Speaker 3: whether it's a two hours or twenty.

727
00:37:55,480 --> 00:37:56,160
Speaker 2: Oh yeah, I mean.

728
00:37:56,360 --> 00:37:59,279
Speaker 1: And that's the thing is that, like I drive now

729
00:37:59,600 --> 00:38:02,000
Speaker 1: to my parents in Florida, and it's about a seven

730
00:38:02,120 --> 00:38:04,960
Speaker 1: six and a half seven hour drive each time, and

731
00:38:05,600 --> 00:38:09,320
Speaker 1: I try, I fucking try to be that bitch that's like,

732
00:38:09,600 --> 00:38:11,640
Speaker 1: oh well, I have my little Bento box with my

733
00:38:11,840 --> 00:38:14,480
Speaker 1: carrots and my my hummus and my.

734
00:38:14,560 --> 00:38:14,920
Speaker 5: This and that.

735
00:38:15,280 --> 00:38:18,680
Speaker 1: No, man, I like, by the by hour two, I

736
00:38:18,920 --> 00:38:21,960
Speaker 1: ditch that healthy shit and I'm like, where's the BUCkies.

737
00:38:21,960 --> 00:38:24,720
Speaker 1: I gotta get some beaver nuggets where you like, where's

738
00:38:24,760 --> 00:38:28,960
Speaker 1: the slim gyms, where's my fucking log my roll, my

739
00:38:29,120 --> 00:38:31,600
Speaker 1: goo goo cluster whatever. It's like, I'm always just like,

740
00:38:32,600 --> 00:38:35,120
Speaker 1: you know, I want to think that I'm like healthier

741
00:38:35,200 --> 00:38:37,279
Speaker 1: than I am on the road, but it's it all.

742
00:38:37,200 --> 00:38:38,399
Speaker 2: Start Also, I don't.

743
00:38:38,520 --> 00:38:39,960
Speaker 3: I think that's part of the joy of being on

744
00:38:40,040 --> 00:38:42,600
Speaker 3: the road is that you're fucking free, Like you feel

745
00:38:42,800 --> 00:38:45,719
Speaker 3: free and you're like there are no rules right now

746
00:38:45,960 --> 00:38:48,360
Speaker 3: for the time that I am on this road and

747
00:38:48,480 --> 00:38:50,400
Speaker 3: I want to live free.

748
00:38:50,719 --> 00:38:57,239
Speaker 2: Live Moss. I look at a fucking fucking bag of

749
00:38:57,480 --> 00:39:00,239
Speaker 2: cinnamon twist because I'm living Moss while I'm on the road.

750
00:39:01,040 --> 00:39:04,400
Speaker 1: Yeah. No, there's a part in your movie that the

751
00:39:04,560 --> 00:39:08,279
Speaker 1: two main characters are at the grocery store before they leave,

752
00:39:08,320 --> 00:39:10,719
Speaker 1: and they're just like throwing backs at chips and ship

753
00:39:10,880 --> 00:39:14,920
Speaker 1: and I'm like, yes, how satisfying. Is this the shopping

754
00:39:15,040 --> 00:39:16,080
Speaker 1: before the road trip?

755
00:39:16,480 --> 00:39:17,480
Speaker 2: So wonderful.

756
00:39:17,520 --> 00:39:20,320
Speaker 3: I also, I also love I love a good rest area,

757
00:39:20,600 --> 00:39:22,399
Speaker 3: like I love a you know, like TA they kind

758
00:39:22,440 --> 00:39:24,879
Speaker 3: of try to. Yeah, they're kind of hit and miss,

759
00:39:25,160 --> 00:39:27,719
Speaker 3: you know, some of them are not so great. But

760
00:39:27,800 --> 00:39:29,800
Speaker 3: I love like a good local rest area.

761
00:39:30,480 --> 00:39:30,680
Speaker 2: Yeah.

762
00:39:30,840 --> 00:39:33,400
Speaker 3: And I also love a mega rest area where you're like,

763
00:39:33,840 --> 00:39:37,080
Speaker 3: oh fuck, they've got like every fast food they've got.

764
00:39:37,200 --> 00:39:42,920
Speaker 3: It's just like a conglomerate weirdo stand of every food possible.

765
00:39:43,080 --> 00:39:44,080
Speaker 2: And over the.

766
00:39:44,160 --> 00:39:47,200
Speaker 1: Travel center sometimes they call it the travel center and

767
00:39:47,280 --> 00:39:51,800
Speaker 1: there'll be a fucking like listen. The greatest combo, truly,

768
00:39:51,920 --> 00:39:54,360
Speaker 1: the greatest combo, if you can find it, is a

769
00:39:55,320 --> 00:40:00,840
Speaker 1: Schlotsky's citabon. I've always seen it a few in my life.

770
00:40:00,960 --> 00:40:04,719
Speaker 1: But a Schlatsky sitabon is like the greatest combo of

771
00:40:04,840 --> 00:40:05,640
Speaker 1: shit ever.

772
00:40:06,120 --> 00:40:08,400
Speaker 2: That sounds like something to take a road trip for.

773
00:40:09,120 --> 00:40:14,120
Speaker 3: Yes, Like we're gonna go try to find a Schlatsky cinnabon. Also,

774
00:40:15,040 --> 00:40:20,360
Speaker 3: if you are mature enough to ever go to a

775
00:40:20,960 --> 00:40:25,640
Speaker 3: come and go kum and go without taking a picture

776
00:40:25,719 --> 00:40:29,920
Speaker 3: or making a joke, we cannot travel together. I cannot

777
00:40:30,000 --> 00:40:32,600
Speaker 3: tell you how many pictures I have of the Come

778
00:40:32,680 --> 00:40:35,080
Speaker 3: and Go over the years.

779
00:40:37,239 --> 00:40:39,279
Speaker 2: It is Say would they name it that?

780
00:40:39,680 --> 00:40:40,759
Speaker 1: Why would they name it that?

781
00:40:40,880 --> 00:40:43,719
Speaker 3: That's so crazy, fucking sick, perverse. I don't know who

782
00:40:44,160 --> 00:40:47,759
Speaker 3: is fucking running that company, but jobless?

783
00:40:48,000 --> 00:40:53,600
Speaker 2: And also how dare you? How dare you with a

784
00:40:53,680 --> 00:40:56,600
Speaker 2: come and Go? I'm too juvenile to ever let one

785
00:40:56,640 --> 00:40:58,600
Speaker 2: of those slide out of you one.

786
00:41:00,080 --> 00:41:03,040
Speaker 1: I like, I don't see them around here, but whenever

787
00:41:03,120 --> 00:41:05,759
Speaker 1: I see people take pictures of it on Instagram or whatever,

788
00:41:05,880 --> 00:41:09,640
Speaker 1: I'm like, I don't understand why they named a business

789
00:41:09,760 --> 00:41:13,360
Speaker 1: this is so it is just ripe for this, like

790
00:41:13,480 --> 00:41:17,000
Speaker 1: for photographs of like in people saying what the fuck?

791
00:41:17,480 --> 00:41:19,080
Speaker 2: So distracting.

792
00:41:19,600 --> 00:41:21,440
Speaker 3: Also, I didn't know until I started this is the

793
00:41:21,480 --> 00:41:24,960
Speaker 3: other beauty of road trips. Until I started taking road trips,

794
00:41:25,280 --> 00:41:28,520
Speaker 3: I didn't realize that Circle K was a real store.

795
00:41:28,760 --> 00:41:30,600
Speaker 3: I thought it was just something that they made up

796
00:41:30,640 --> 00:41:33,520
Speaker 3: for Bill and Tad. Circle K's are fucking real.

797
00:41:34,080 --> 00:41:37,200
Speaker 1: Oh yeah, that's that's the thing here for sure.

798
00:41:37,920 --> 00:41:41,839
Speaker 2: That's like a discovery. I love a regional discovery. Now

799
00:41:41,840 --> 00:41:42,279
Speaker 2: I did too.

800
00:41:42,600 --> 00:41:46,200
Speaker 1: It's like I had heard the term wah wah for

801
00:41:46,480 --> 00:41:51,359
Speaker 1: so long and then finally there they put a wah

802
00:41:51,440 --> 00:41:54,640
Speaker 1: wah down where my parents live, and I'm like, fuck,

803
00:41:54,719 --> 00:41:56,120
Speaker 1: this is what they've been talking about. This is like

804
00:41:56,200 --> 00:41:58,919
Speaker 1: what the prophecy is foretold, this fucking wah wah, which

805
00:41:58,920 --> 00:42:01,000
Speaker 1: I thought was a joke, like why would a business

806
00:42:01,080 --> 00:42:03,880
Speaker 1: be named wah wah? Of course, But then when they

807
00:42:04,040 --> 00:42:06,200
Speaker 1: when I finally saw it with my own eyes, I

808
00:42:06,400 --> 00:42:08,839
Speaker 1: was like, oh, okay, now it makes sense.

809
00:42:09,120 --> 00:42:10,480
Speaker 2: And then you go in and you're like, all right,

810
00:42:10,520 --> 00:42:11,400
Speaker 2: it's a grocery store.

811
00:42:11,640 --> 00:42:14,400
Speaker 3: But you cannot say that to anyone from fucking Philly

812
00:42:15,680 --> 00:42:17,520
Speaker 3: or anywhere in Pennsylvania because they're.

813
00:42:17,320 --> 00:42:21,279
Speaker 2: Like, it's the greatest of all fucking possible stars. And

814
00:42:21,320 --> 00:42:22,680
Speaker 2: you're like, all right, man, I'll give it to you.

815
00:42:22,800 --> 00:42:23,640
Speaker 2: I will give it to you.

816
00:42:24,040 --> 00:42:28,319
Speaker 3: You literally do not ever try to engage someone from Pennsylvania.

817
00:42:27,760 --> 00:42:29,600
Speaker 2: About ahuah wah. I'm just for your own good.

818
00:42:29,960 --> 00:42:34,960
Speaker 1: I don't fuck with anybody from Philly period. I went

819
00:42:35,040 --> 00:42:37,080
Speaker 1: there once and I was like, Yo, these people.

820
00:42:37,520 --> 00:42:39,800
Speaker 2: Mean fucking business. I ain't fucking around with those folks.

821
00:42:41,200 --> 00:42:44,239
Speaker 2: Oh good, Philly man. They'll fuck you up. And I

822
00:42:44,360 --> 00:42:46,759
Speaker 2: love them for it. I love them for it. I

823
00:42:46,920 --> 00:42:52,000
Speaker 2: truly do. Also, I feel like the Pigley Wiggly people.

824
00:42:52,840 --> 00:42:55,880
Speaker 3: So I'm just imagining a convention, Like imagine like a

825
00:42:56,000 --> 00:42:58,800
Speaker 3: food convention and you're like, Hi, I'm John from the

826
00:42:58,840 --> 00:43:03,080
Speaker 3: Come and Go, Hi, I'm Ida from the Pigley Wiggily.

827
00:43:03,520 --> 00:43:17,440
Speaker 2: Hi, I'm Jabrown from fucking wah wah, Like, wh who's

828
00:43:17,520 --> 00:43:18,880
Speaker 2: naming these fucking places?

829
00:43:19,800 --> 00:43:23,560
Speaker 1: Yeah, I mean Pickley Wiggly is definitely in my zone.

830
00:43:24,080 --> 00:43:27,720
Speaker 1: When I was a little kid in living outside of Charleston,

831
00:43:27,719 --> 00:43:30,000
Speaker 1: South Carolina, there was a Pickley Wigglely on every corner.

832
00:43:30,239 --> 00:43:33,160
Speaker 1: I feel like, at least in Georgia, I don't think

833
00:43:33,200 --> 00:43:35,640
Speaker 1: that there is prevalent, but damn if I didn't make

834
00:43:35,680 --> 00:43:37,920
Speaker 1: fun of a Pickley Wiggly name all.

835
00:43:37,800 --> 00:43:38,840
Speaker 2: The time with my friends.

836
00:43:39,000 --> 00:43:41,160
Speaker 3: The East Coast in the South are like, we want

837
00:43:41,239 --> 00:43:43,960
Speaker 3: you to buy some food and also laugh. And then

838
00:43:44,000 --> 00:43:46,160
Speaker 3: you get out to the West coast and they're like, let's.

839
00:43:45,920 --> 00:43:46,760
Speaker 1: Go to Ralph's.

840
00:43:50,120 --> 00:43:54,000
Speaker 2: Go to fucking Ralphs. They are too busy to have

841
00:43:54,160 --> 00:43:59,480
Speaker 2: a whimsical name for a grocery store. Let's go to Gilson's.

842
00:44:00,080 --> 00:44:04,800
Speaker 1: Airwan ear airon Oh Lord. I used to actually like,

843
00:44:05,280 --> 00:44:08,560
Speaker 1: I don't know if you if you know them jeans

844
00:44:08,640 --> 00:44:11,840
Speaker 1: from the How Long Gone? Podcast? But he would fucking

845
00:44:11,920 --> 00:44:13,279
Speaker 1: make fun of me. He made fun of me on

846
00:44:13,320 --> 00:44:16,840
Speaker 1: their podcast for saying Airwan, like I said at Airwan

847
00:44:17,400 --> 00:44:21,160
Speaker 1: and he's like, what the fuck is Airwon? And I'm like, yeah,

848
00:44:21,160 --> 00:44:24,480
Speaker 1: over from Georgia, it's Airwan to me. So all I

849
00:44:24,560 --> 00:44:26,879
Speaker 1: know is they got twenty five dollars yogurt, and that's

850
00:44:26,920 --> 00:44:27,239
Speaker 1: all I know.

851
00:44:27,480 --> 00:44:29,520
Speaker 2: I was gonna say, look a store that has the

852
00:44:29,760 --> 00:44:36,960
Speaker 2: fucking audacity to sell a fifty dollars pineapple, I'm gonna

853
00:44:37,000 --> 00:44:41,600
Speaker 2: call it whatever the fuck I want. The audacity of

854
00:44:41,719 --> 00:44:43,480
Speaker 2: that store is shocking.

855
00:44:44,080 --> 00:44:46,600
Speaker 3: They're like, here is some goat milk that we got

856
00:44:46,719 --> 00:44:49,160
Speaker 3: directly from the Himalayas, and that's why we're gonna charge

857
00:44:49,160 --> 00:44:51,600
Speaker 3: you ninety dollars an ounce and people are in line

858
00:44:51,719 --> 00:44:53,920
Speaker 3: for it. They're like, yo, so you put that in

859
00:44:54,000 --> 00:44:56,160
Speaker 3: my smoothie, because we also know you have a smoothie cotter.

860
00:44:56,239 --> 00:44:58,120
Speaker 3: I'll call that store whatever the fuck I want to

861
00:44:58,160 --> 00:44:58,440
Speaker 3: call it.

862
00:44:59,120 --> 00:45:01,080
Speaker 1: Listen if you want to. I find something that is

863
00:45:01,239 --> 00:45:04,600
Speaker 1: the absolute opposite end of the spectrum from stuckies.

864
00:45:05,040 --> 00:45:09,200
Speaker 2: It's an airwand thank you. That's all I'm saying. Could

865
00:45:09,280 --> 00:45:12,160
Speaker 2: not be more polar opposite. Oh God, that story. It

866
00:45:12,280 --> 00:45:15,759
Speaker 2: makes me so mad to think about that store. Every

867
00:45:15,840 --> 00:45:20,359
Speaker 2: time I think of it, I just get angry because

868
00:45:20,400 --> 00:45:22,200
Speaker 2: I went in there. I've been in there twice and

869
00:45:22,360 --> 00:45:27,320
Speaker 2: both were under duress. Both times. I'm like, I just

870
00:45:27,520 --> 00:45:32,080
Speaker 2: need something to drink. I'm going in and Fiona Apple.

871
00:45:31,880 --> 00:45:34,640
Speaker 3: Is always there, and like it's like always like Fiona

872
00:45:34,719 --> 00:45:38,680
Speaker 3: Apple or Sam Rockwell, just like people who are famous

873
00:45:38,719 --> 00:45:40,600
Speaker 3: enough to be recognized, but you also know like I

874
00:45:40,640 --> 00:45:44,480
Speaker 3: should not fuck with them. Yeah, And they have overflowing carts,

875
00:45:44,840 --> 00:45:48,439
Speaker 3: like full ass carts of ninety dollars goat milk.

876
00:45:49,000 --> 00:45:50,600
Speaker 2: And every time I go in there, they're always and

877
00:45:50,640 --> 00:45:51,759
Speaker 2: nobody wants to talk to me.

878
00:45:51,880 --> 00:45:55,800
Speaker 3: And I'm like, if you have again the audacity to

879
00:45:56,000 --> 00:45:59,600
Speaker 3: charge me ten dollars for a pair, you better say

880
00:45:59,680 --> 00:46:02,000
Speaker 3: hello and include my middle name. When I walk in

881
00:46:02,080 --> 00:46:06,600
Speaker 3: the fucking door, you better have a dossier and I

882
00:46:06,719 --> 00:46:09,560
Speaker 3: approach the fucking loading dock.

883
00:46:10,800 --> 00:46:12,879
Speaker 1: Will I'm not gonna name names here, By the way,

884
00:46:13,120 --> 00:46:16,520
Speaker 1: I had a friend who lives in Atlanta who one

885
00:46:16,640 --> 00:46:21,879
Speaker 1: time asked me to bring them a reusable shopping bag

886
00:46:22,000 --> 00:46:24,320
Speaker 1: from Airwan. Like they were like, can you bring like

887
00:46:24,440 --> 00:46:28,840
Speaker 1: as if I was going to buy them like duty

888
00:46:28,960 --> 00:46:31,520
Speaker 1: free alcohol or cigarettes. So it's like some kind of

889
00:46:31,600 --> 00:46:34,440
Speaker 1: like expensive gift. They're like, will you bring me a

890
00:46:34,680 --> 00:46:38,000
Speaker 1: reusable shopping bag from Ariwuan? Like as a gift?

891
00:46:38,040 --> 00:46:40,520
Speaker 2: And I'm like, are you fucking joking right now?

892
00:46:40,920 --> 00:46:43,680
Speaker 3: Like I mean hell though, Like can you go to

893
00:46:43,760 --> 00:46:47,560
Speaker 3: Beverly Hills and get me a Rolex Special Edition and

894
00:46:47,719 --> 00:46:50,040
Speaker 3: a bag from Airwe because they're the same fucking price.

895
00:46:50,120 --> 00:46:52,880
Speaker 3: I guarantee you could have pulled up to that person's

896
00:46:52,920 --> 00:46:55,760
Speaker 3: house in a brand new Toyota and it would have cost.

897
00:46:55,760 --> 00:46:57,759
Speaker 2: Exactly as much as that fucking bag cost.

898
00:46:58,760 --> 00:47:00,759
Speaker 1: I mean not gonna lie I have, and I'm not

899
00:47:00,800 --> 00:47:03,440
Speaker 1: gonna lie I do flex like I'd got the whole

900
00:47:03,480 --> 00:47:05,560
Speaker 1: foods round here and be like, oh, I'm sorry, I

901
00:47:05,640 --> 00:47:08,440
Speaker 1: brought my ariwon back. Like, so I used to live

902
00:47:08,480 --> 00:47:09,640
Speaker 1: in La, used to shop there.

903
00:47:10,000 --> 00:47:13,120
Speaker 2: Yeah, sod so mad.

904
00:47:13,200 --> 00:47:15,240
Speaker 3: I bet you didn't know that about me. I remember

905
00:47:15,320 --> 00:47:17,719
Speaker 3: we had an arawan fucking Thanksgiving one and it was

906
00:47:17,880 --> 00:47:21,600
Speaker 3: it was fine, it was great. This is after Millie's surgery,

907
00:47:21,840 --> 00:47:25,320
Speaker 3: her dad's there. I had some screeners and I'm like,

908
00:47:25,400 --> 00:47:28,120
Speaker 3: what are we doing with Thanksgiving? We washed vice and

909
00:47:28,200 --> 00:47:31,360
Speaker 3: we ate arawon and I guarantee you spent three hundred

910
00:47:31,400 --> 00:47:33,400
Speaker 3: dollars on a meal that fed the three of us.

911
00:47:33,920 --> 00:47:37,640
Speaker 1: No, lie, it was almost that much. And like for

912
00:47:38,440 --> 00:47:40,239
Speaker 1: for some fucking steamed asparagus.

913
00:47:40,360 --> 00:47:44,239
Speaker 3: I know that no leftovers, no Thanksgiving leftovers. So like,

914
00:47:44,280 --> 00:47:46,360
Speaker 3: how about you give us half your fucking paycheck. You

915
00:47:46,440 --> 00:47:49,360
Speaker 3: can feed two people and you don't get anymore.

916
00:47:49,440 --> 00:47:49,680
Speaker 2: That's it.

917
00:47:51,480 --> 00:47:55,040
Speaker 3: We have specially bathed and pluck this fucking turkey. The

918
00:47:55,120 --> 00:48:01,320
Speaker 3: turkey had a cosmic spiritual experience prior to being killed.

919
00:48:02,840 --> 00:48:05,880
Speaker 3: It was blessed by a fucking Dalai Lama.

920
00:48:06,440 --> 00:48:09,120
Speaker 1: These sashed potatoes had their chakras aligned before they enter

921
00:48:09,200 --> 00:48:09,960
Speaker 1: your bloodstream.

922
00:48:10,239 --> 00:48:14,560
Speaker 3: Absolutely, oh oh my god, the buyer listen, I did

923
00:48:14,680 --> 00:48:15,320
Speaker 3: know that about you?

924
00:48:15,480 --> 00:48:15,759
Speaker 2: I did.

925
00:48:15,960 --> 00:48:18,680
Speaker 1: I mean, look, come on, how could you, How could

926
00:48:18,800 --> 00:48:20,720
Speaker 1: you not hate Irwan?

927
00:48:21,040 --> 00:48:23,239
Speaker 2: How could you not hate it? Come on, I know

928
00:48:23,400 --> 00:48:24,560
Speaker 2: you a little bit better than Matt.

929
00:48:25,120 --> 00:48:28,560
Speaker 3: I defy anyone who grew up on welfare or ate

930
00:48:28,680 --> 00:48:31,719
Speaker 3: taco shells as a snack, like plain taco shells as

931
00:48:31,719 --> 00:48:32,160
Speaker 3: a snack.

932
00:48:33,320 --> 00:48:35,800
Speaker 2: You will never see my ass at a fucking grocery

933
00:48:35,840 --> 00:48:37,280
Speaker 2: store like that after.

934
00:48:37,160 --> 00:48:39,879
Speaker 3: That experience, like, you need to get a big old

935
00:48:39,920 --> 00:48:44,920
Speaker 3: doser reality. If that's your weekly shop, look, go every

936
00:48:44,960 --> 00:48:47,759
Speaker 3: once in a while, treat yourself. You want the pomegranate

937
00:48:47,880 --> 00:48:50,799
Speaker 3: juice that is ninety dollars and you think it's gonna

938
00:48:50,800 --> 00:48:53,040
Speaker 3: heal you, and maybe it will. Maybe it'll fix your hangovers,

939
00:48:53,360 --> 00:48:55,640
Speaker 3: maybe it'll get rid of covid, it'll clear up some

940
00:48:55,719 --> 00:48:56,480
Speaker 3: fucking chlamydia.

941
00:48:56,560 --> 00:48:59,359
Speaker 2: I don't know. Drink that pomegranate juice once, God him

942
00:49:00,080 --> 00:49:02,440
Speaker 2: if you need to. But you will not see me

943
00:49:02,560 --> 00:49:06,880
Speaker 2: in those goddamn stores. I will go to Ralphs, Ralphs.

944
00:49:07,480 --> 00:49:09,680
Speaker 2: I'd go to Ralphs eighteen times one day before I

945
00:49:09,719 --> 00:49:13,560
Speaker 2: went to Erewon once. Yeah. Uh, I didn't know I

946
00:49:13,640 --> 00:49:14,400
Speaker 2: had this rage in me.

947
00:49:14,520 --> 00:49:17,239
Speaker 3: And we're just talking about something lovely, which is road

948
00:49:17,280 --> 00:49:20,399
Speaker 3: trip snacks, which I fucking love.

949
00:49:21,000 --> 00:49:24,280
Speaker 1: I would almost think it was. I mean, if somebody

950
00:49:24,400 --> 00:49:31,360
Speaker 1: brought an erewon like microbiotic, fucking snacky snack on a

951
00:49:31,440 --> 00:49:33,040
Speaker 1: road trip, I'd be like, wow.

952
00:49:32,920 --> 00:49:34,879
Speaker 2: You fancy, Like how much did that show?

953
00:49:35,040 --> 00:49:37,080
Speaker 1: How much did you drop forty bucks on that little

954
00:49:37,080 --> 00:49:38,239
Speaker 1: bag of pressols or whatever?

955
00:49:38,480 --> 00:49:38,520
Speaker 2: Like?

956
00:49:38,960 --> 00:49:42,279
Speaker 3: There is absolutely there is no speed gun on the

957
00:49:42,400 --> 00:49:45,320
Speaker 3: planet that could clock how fast I would kick that

958
00:49:45,400 --> 00:49:47,520
Speaker 3: person out of my like, roll them out of my car.

959
00:49:49,040 --> 00:49:52,200
Speaker 2: No speed gun can stop can catch me. Oh my god.

960
00:49:52,320 --> 00:49:54,640
Speaker 1: I feel sorry for anybody that has no fucking idea

961
00:49:54,719 --> 00:49:57,120
Speaker 1: what we're talking about. Like this, we're talking about some

962
00:49:57,320 --> 00:50:00,719
Speaker 1: La shit. We apologize for that. We know a lot

963
00:50:00,760 --> 00:50:02,759
Speaker 1: of you don't live in LA, but you just have

964
00:50:02,880 --> 00:50:07,000
Speaker 1: to know there's a fancy ass grocery store there, and

965
00:50:07,120 --> 00:50:08,800
Speaker 1: it's a very polarizing place.

966
00:50:09,040 --> 00:50:11,440
Speaker 2: So it's a scam. It's a scam.

967
00:50:12,480 --> 00:50:14,400
Speaker 3: I guarantee in ten years it's gonna be like, oh

968
00:50:14,480 --> 00:50:17,680
Speaker 3: my god, the airwine people fucking donated to Halliburton and

969
00:50:17,760 --> 00:50:19,000
Speaker 3: they create weapons of war.

970
00:50:21,480 --> 00:50:23,440
Speaker 2: I would not be surprised. It is a scam.

971
00:50:23,760 --> 00:50:27,000
Speaker 3: But also, just you know, apply this conversation to any

972
00:50:27,920 --> 00:50:30,080
Speaker 3: overwhelmingly expensive grocery store in.

973
00:50:30,080 --> 00:50:32,239
Speaker 2: Your town exactly. Everyone's got one.

974
00:50:32,520 --> 00:50:36,320
Speaker 1: It can apply. But listen, I feel like these movies

975
00:50:36,360 --> 00:50:39,200
Speaker 1: are great. I have not seen your movie in a while.

976
00:50:40,000 --> 00:50:40,879
Speaker 2: M ooh.

977
00:50:41,000 --> 00:50:42,759
Speaker 1: I can't wait for you to get into it because

978
00:50:42,800 --> 00:50:45,719
Speaker 1: you're going first and have fun this summer. If you're

979
00:50:45,760 --> 00:50:47,719
Speaker 1: going on a road trip, let us know. Send us

980
00:50:47,719 --> 00:50:50,360
Speaker 1: an email, you know, but we're gonna talk about some

981
00:50:50,480 --> 00:50:52,879
Speaker 1: road trip movies today.

982
00:50:53,840 --> 00:50:55,719
Speaker 3: Hell yeah, send us those pictures of the come and

983
00:50:55,800 --> 00:51:00,919
Speaker 3: go in the Pigley Wiggly well my family for our

984
00:51:01,120 --> 00:51:04,600
Speaker 3: theme of the summer. Road Trip was released in two

985
00:51:04,640 --> 00:51:08,920
Speaker 3: thousand and one. It was directed by Alfonso Quiron and

986
00:51:09,040 --> 00:51:12,480
Speaker 3: the screenplay is by Carlos Quarte and Alfonso Quarone.

987
00:51:13,000 --> 00:51:15,640
Speaker 2: My movie is youtu Mama tambien.

988
00:51:20,960 --> 00:51:23,160
Speaker 1: From this day on, whats These are the rules, the

989
00:51:23,360 --> 00:51:24,200
Speaker 1: only rules.

990
00:51:27,480 --> 00:51:31,480
Speaker 2: One do whatever you like. Ooh ooh, f sot.

991
00:51:32,040 --> 00:51:33,040
Speaker 1: What a hot film.

992
00:51:33,400 --> 00:51:35,920
Speaker 3: I have also not seen this film in a very

993
00:51:36,040 --> 00:51:40,279
Speaker 3: long time. And you might laugh at me when I

994
00:51:40,360 --> 00:51:44,040
Speaker 3: say this next sentence, but it is completely true. I

995
00:51:44,239 --> 00:51:47,120
Speaker 3: absolutely forgot how horny this movie was. Oh my god,

996
00:51:47,239 --> 00:51:51,640
Speaker 3: me too, holy shit, shocked, scandalized.

997
00:51:52,360 --> 00:51:56,800
Speaker 1: Listen, I watched it in the same house where my

998
00:51:57,080 --> 00:52:00,200
Speaker 1: family is currently staying with me. They're on the other

999
00:52:00,280 --> 00:52:00,960
Speaker 1: side of the house.

1000
00:52:01,280 --> 00:52:02,000
Speaker 2: They're asleep.

1001
00:52:02,320 --> 00:52:05,000
Speaker 1: I'm watching this movie on my iPad alone, and I

1002
00:52:05,239 --> 00:52:08,080
Speaker 1: was like flustered, Like I was like, oh my god,

1003
00:52:08,239 --> 00:52:10,920
Speaker 1: Like I feel like I'm watching some contraband shit, Like

1004
00:52:11,360 --> 00:52:13,000
Speaker 1: can I watch this in the same house as my

1005
00:52:13,120 --> 00:52:15,880
Speaker 1: sister and my little nephews. I'm like, this is crazy.

1006
00:52:16,000 --> 00:52:18,120
Speaker 1: This movie be absolute too hot for TV.

1007
00:52:18,960 --> 00:52:21,600
Speaker 2: It was too hot for TV. And I forgot. I'm like,

1008
00:52:21,719 --> 00:52:25,120
Speaker 2: how did I blank this out? Yeah, of my mind

1009
00:52:25,280 --> 00:52:26,399
Speaker 2: when I saw it the first time.

1010
00:52:26,480 --> 00:52:28,719
Speaker 3: But I was also I just love the story so

1011
00:52:28,840 --> 00:52:30,880
Speaker 3: much that I'm like, ah, the sex is secondary.

1012
00:52:30,960 --> 00:52:34,719
Speaker 2: It is not secondary? Is the fucking movie the entire

1013
00:52:34,880 --> 00:52:36,040
Speaker 2: damn thing? Oh Yeah.

1014
00:52:36,080 --> 00:52:40,080
Speaker 1: That that I actually did forget is that it's just

1015
00:52:40,239 --> 00:52:44,600
Speaker 1: the constant conversation in the film, right exactly.

1016
00:52:44,680 --> 00:52:45,839
Speaker 2: It's not right.

1017
00:52:45,920 --> 00:52:48,200
Speaker 3: It's not just the like what's happening on the screen

1018
00:52:48,360 --> 00:52:50,200
Speaker 3: is that they're constantly talking about it.

1019
00:52:51,040 --> 00:52:52,840
Speaker 2: Yeah, And I and I don't I'm not.

1020
00:52:52,960 --> 00:52:54,840
Speaker 1: Being a prude saying any of this. I don't know

1021
00:52:54,880 --> 00:52:56,759
Speaker 1: if you are, but I'm just saying that, like, it

1022
00:52:57,000 --> 00:53:00,359
Speaker 1: is that interesting thing where you're like, Wow, this entire

1023
00:53:00,480 --> 00:53:03,920
Speaker 1: movie is about sex. And I remember at the time

1024
00:53:04,000 --> 00:53:07,760
Speaker 1: that I saw it, I was like, honestly just completely

1025
00:53:07,840 --> 00:53:10,080
Speaker 1: floored by it because I had never seen a movie

1026
00:53:10,160 --> 00:53:13,960
Speaker 1: like this before. I knew little to nothing about like

1027
00:53:14,440 --> 00:53:19,320
Speaker 1: Mexican cinema, Like I was very like uneducated about. You know,

1028
00:53:19,400 --> 00:53:22,240
Speaker 1: at that time, I think there was other Mexican films

1029
00:53:22,360 --> 00:53:27,800
Speaker 1: coming to the surface, and there's obviously been Mexican directors

1030
00:53:27,840 --> 00:53:29,800
Speaker 1: in the past, but for some reason, this is just

1031
00:53:29,880 --> 00:53:31,719
Speaker 1: like a bullet It just like got right into my

1032
00:53:31,840 --> 00:53:33,960
Speaker 1: brain and I was like, holy fuck, what is this movie?

1033
00:53:34,080 --> 00:53:34,800
Speaker 1: This is insane?

1034
00:53:35,320 --> 00:53:38,160
Speaker 3: Same, yes, I didn't know anything about Alfonso Quiron at

1035
00:53:38,160 --> 00:53:40,480
Speaker 3: that point, and like this is a movie that introduced

1036
00:53:40,520 --> 00:53:42,840
Speaker 3: him to a lot of people. And you know, he

1037
00:53:42,920 --> 00:53:44,920
Speaker 3: went on to do to do like he had done

1038
00:53:44,920 --> 00:53:48,280
Speaker 3: The Little Princess prior to this, but he directed Roma,

1039
00:53:48,400 --> 00:53:50,719
Speaker 3: he directed Children of Men, like he's he's had a

1040
00:53:50,800 --> 00:53:55,120
Speaker 3: really great and interesting career since this movie was released.

1041
00:53:55,600 --> 00:53:58,239
Speaker 3: But I will say he's he's I didn't know this,

1042
00:53:58,320 --> 00:54:01,200
Speaker 3: so I was doing research about this little film here

1043
00:54:02,239 --> 00:54:08,320
Speaker 3: he signed a petition in support of Roman Polanski and

1044
00:54:09,120 --> 00:54:12,480
Speaker 3: I can't believe that Shitoo, where's gonna let that sit there?

1045
00:54:13,680 --> 00:54:17,160
Speaker 3: But this film is so horny.

1046
00:54:17,840 --> 00:54:20,440
Speaker 2: Oh my god. Okay, I've got I've got a one sentence.

1047
00:54:20,520 --> 00:54:21,000
Speaker 2: I tried it.

1048
00:54:21,800 --> 00:54:22,120
Speaker 1: Let's go.

1049
00:54:22,560 --> 00:54:25,360
Speaker 2: I tried it, all right, here's my one sentence synopsis.

1050
00:54:26,560 --> 00:54:31,239
Speaker 3: Two unstoppably horny teenage boys are forced to confront the

1051
00:54:31,360 --> 00:54:35,480
Speaker 3: deepest parts of themselves during a road trip with a

1052
00:54:35,640 --> 00:54:38,120
Speaker 3: cousin who enters their life through marriage.

1053
00:54:39,800 --> 00:54:43,360
Speaker 2: That is good. That is fucking good. I tried it.

1054
00:54:43,520 --> 00:54:43,960
Speaker 2: I tried it.

1055
00:54:44,080 --> 00:54:44,239
Speaker 4: Now.

1056
00:54:44,280 --> 00:54:45,000
Speaker 2: I feel like.

1057
00:54:46,520 --> 00:54:49,719
Speaker 3: The main character of main characters of this film are

1058
00:54:50,880 --> 00:54:55,880
Speaker 3: incredibly cast, incredibly well cast. So you have Diego Luna

1059
00:54:56,080 --> 00:55:04,360
Speaker 3: plays to Notch Gayel Garcia Bernald plays Julio, and Marabelle

1060
00:55:04,520 --> 00:55:09,720
Speaker 3: there Du plays Luisa. And the premise of the film

1061
00:55:09,960 --> 00:55:12,920
Speaker 3: is they set up the teen boynous of it, like

1062
00:55:13,120 --> 00:55:15,640
Speaker 3: right off the bat. And when I tell you that

1063
00:55:15,840 --> 00:55:20,120
Speaker 3: as someone who has recently watched and rewatched Narcos Mexico,

1064
00:55:20,400 --> 00:55:24,200
Speaker 3: in which Diego Luna stars, he looks like an actual

1065
00:55:24,320 --> 00:55:26,640
Speaker 3: fucking baby in this movie. And it's a little disturbing.

1066
00:55:27,120 --> 00:55:33,719
Speaker 2: Yeah, like baby, fat, tiny, little Diego Luna. Oh my god.

1067
00:55:33,800 --> 00:55:36,520
Speaker 2: And he is the rich child.

1068
00:55:37,239 --> 00:55:41,680
Speaker 3: He's a child of wealth, his parents, his father's politician

1069
00:55:43,320 --> 00:55:45,440
Speaker 3: and he's kind of a he's a total brat. He's

1070
00:55:45,520 --> 00:55:48,920
Speaker 3: just a total brat, and he's best friends with Julio.

1071
00:55:49,880 --> 00:55:52,200
Speaker 3: Julio has a single mom and comes from a totally

1072
00:55:52,239 --> 00:55:56,759
Speaker 3: different economic situation, but what connects them is just their

1073
00:55:56,960 --> 00:56:02,160
Speaker 3: rampant teen boyness. So like the public pool, for example,

1074
00:56:02,640 --> 00:56:05,720
Speaker 3: closes down on Monday, but to know she is allowed

1075
00:56:05,760 --> 00:56:07,720
Speaker 3: to go in because his dad's got connects.

1076
00:56:08,440 --> 00:56:09,520
Speaker 2: And so they go into the.

1077
00:56:09,560 --> 00:56:11,440
Speaker 3: Pool and they swim, and they race, and then they

1078
00:56:11,600 --> 00:56:14,120
Speaker 3: jerk off next to each other on diving boards. Like

1079
00:56:14,320 --> 00:56:16,240
Speaker 3: teen boys are just like that, I guess.

1080
00:56:17,239 --> 00:56:19,120
Speaker 1: I mean, it's kind of goes back to I swear

1081
00:56:19,120 --> 00:56:21,160
Speaker 1: to god, what was it like her first or second

1082
00:56:21,239 --> 00:56:24,480
Speaker 1: episode where we talked about foot cigarettes and it has

1083
00:56:24,880 --> 00:56:28,600
Speaker 1: like taking baths with your friends, and I remember you

1084
00:56:28,680 --> 00:56:30,640
Speaker 1: and I were like, we never did that?

1085
00:56:30,760 --> 00:56:32,880
Speaker 2: Do we ever? Not naked friends? I was not a

1086
00:56:33,000 --> 00:56:33,560
Speaker 2: naked friend.

1087
00:56:34,080 --> 00:56:37,400
Speaker 1: So this is I mean, obviously, so many steps beyond

1088
00:56:37,600 --> 00:56:39,120
Speaker 1: a simple bath with your friend.

1089
00:56:39,320 --> 00:56:40,040
Speaker 2: I can't like.

1090
00:56:40,160 --> 00:56:43,480
Speaker 1: I was like, when that part of the movie happened,

1091
00:56:43,600 --> 00:56:47,360
Speaker 1: I completely forgot I completely forgot it, and I was like,

1092
00:56:47,600 --> 00:56:52,200
Speaker 1: totally shit, dude, that's I can't imagine. I cannot imagine.

1093
00:56:52,320 --> 00:56:54,239
Speaker 3: But that's also kind of like the I think the

1094
00:56:54,320 --> 00:56:58,120
Speaker 3: reason that this film really rocketed into people's brains and

1095
00:56:58,239 --> 00:57:00,359
Speaker 3: like it was such an indie hit and it such

1096
00:57:00,640 --> 00:57:03,360
Speaker 3: a well received film, and I think that's part of

1097
00:57:03,400 --> 00:57:07,040
Speaker 3: it is you're showing things very viscerally that filmmakers hadn't

1098
00:57:07,080 --> 00:57:11,040
Speaker 3: really shown before in a way that wasn't directly pornographic. Yes,

1099
00:57:11,560 --> 00:57:15,239
Speaker 3: And so he's telling the story of this boy's friendship

1100
00:57:15,400 --> 00:57:18,320
Speaker 3: and they are just like they're high all the time,

1101
00:57:18,440 --> 00:57:22,320
Speaker 3: they're drunk, they're lazy. They have these two girlfriends that

1102
00:57:22,400 --> 00:57:26,120
Speaker 3: they're kind of not great boyfriends too, and they're just

1103
00:57:26,520 --> 00:57:29,200
Speaker 3: kind of hanging out and waiting for life to happen

1104
00:57:29,280 --> 00:57:34,240
Speaker 3: to them. So we meet them at a point where

1105
00:57:34,560 --> 00:57:37,720
Speaker 3: they are going to a wedding, and this is where

1106
00:57:37,720 --> 00:57:43,120
Speaker 3: they meet Luisa. So Tinoach's cousin Yano, is married to Luisa,

1107
00:57:43,680 --> 00:57:45,600
Speaker 3: but they don't know that. They just see this hot

1108
00:57:45,720 --> 00:57:48,520
Speaker 3: lady at a wedding and they sidle on up and

1109
00:57:48,600 --> 00:57:51,920
Speaker 3: they're like, Yo, how's it going, And just their approach

1110
00:57:52,000 --> 00:57:54,040
Speaker 3: to her, like they're kind of like crowding her physically,

1111
00:57:54,160 --> 00:57:57,280
Speaker 3: like they just truly are so teen boyish about it,

1112
00:57:57,880 --> 00:58:02,040
Speaker 3: like they just have no concept of of physical space

1113
00:58:02,400 --> 00:58:05,600
Speaker 3: or like how to be kind, like just selfish. They're

1114
00:58:05,600 --> 00:58:08,800
Speaker 3: just so selfish and weird, and that it's kind of funny,

1115
00:58:08,920 --> 00:58:11,480
Speaker 3: Like it's kind of funny how weird they are, Yeah,

1116
00:58:12,400 --> 00:58:15,240
Speaker 3: so strange. So they meet Luisa and she's like, yeah,

1117
00:58:15,440 --> 00:58:16,880
Speaker 3: married to your fucking cousin.

1118
00:58:17,000 --> 00:58:17,400
Speaker 2: What's up?

1119
00:58:17,800 --> 00:58:20,640
Speaker 3: And they kind of lie and say that they're going

1120
00:58:20,720 --> 00:58:23,040
Speaker 3: on a road trip to a beach and that she

1121
00:58:23,120 --> 00:58:28,680
Speaker 3: should join them, and that lie turns into a real

1122
00:58:28,800 --> 00:58:32,800
Speaker 3: trip when she calls them after finding out that Yano

1123
00:58:33,280 --> 00:58:36,680
Speaker 3: has cheated on her, and Yano has called her drunk

1124
00:58:36,960 --> 00:58:39,760
Speaker 3: and crying and is like, oh, I slept with someone.

1125
00:58:39,880 --> 00:58:43,080
Speaker 2: This is the worst. She starts crying, but then she

1126
00:58:43,240 --> 00:58:47,440
Speaker 2: just leaves their apartment and she's just like pace. She decides.

1127
00:58:47,480 --> 00:58:50,760
Speaker 3: She decides then in there to leave him, and she

1128
00:58:51,000 --> 00:58:52,880
Speaker 3: calls to Notes and she's like, I would like to

1129
00:58:52,920 --> 00:58:54,480
Speaker 3: go with you on this road trip and he's like,

1130
00:58:54,680 --> 00:58:56,440
Speaker 3: fuck now, I got to scramble to put together this

1131
00:58:56,560 --> 00:59:00,640
Speaker 3: road trip. Yeah, and he you this is you know,

1132
00:59:00,880 --> 00:59:02,760
Speaker 3: he has an old car that his dad gave him.

1133
00:59:03,440 --> 00:59:07,240
Speaker 3: Picks up Julio and again we see that wonderful grocery

1134
00:59:07,280 --> 00:59:10,520
Speaker 3: store scene where they're just throwing everything they can think

1135
00:59:10,560 --> 00:59:14,880
Speaker 3: of in the cart and they pick up Luisa uh

1136
00:59:15,080 --> 00:59:18,280
Speaker 3: and she well, first they go to their friend's Saba,

1137
00:59:18,600 --> 00:59:23,440
Speaker 3: who's a trip Saba is a fucking burnout. And this

1138
00:59:23,600 --> 00:59:26,000
Speaker 3: is back in the day where like again, cell phones no,

1139
00:59:26,360 --> 00:59:28,480
Speaker 3: So they're like, can you help us find a fucking

1140
00:59:28,560 --> 00:59:30,439
Speaker 3: beach to take a road trip to? And they're looking

1141
00:59:30,480 --> 00:59:33,560
Speaker 3: at paper maps trying to figure it out with this burnout?

1142
00:59:33,880 --> 00:59:35,560
Speaker 1: Did you have a Saba in your group?

1143
00:59:35,760 --> 00:59:36,160
Speaker 2: Like was there?

1144
00:59:36,280 --> 00:59:37,080
Speaker 1: Did you know a Saba?

1145
00:59:37,200 --> 00:59:40,840
Speaker 2: Of course, of course I do. Like three Sabas. Basically,

1146
00:59:40,840 --> 00:59:43,520
Speaker 2: oh my god. The Sabas were NonStop, Like half of

1147
00:59:43,600 --> 00:59:48,320
Speaker 2: them ended up taking weird acid that like affected them

1148
00:59:48,360 --> 00:59:51,600
Speaker 2: for the rest of their life. So I get nineteen.

1149
00:59:51,640 --> 00:59:55,439
Speaker 2: They were just done with life and you're like, wait, what, yes,

1150
00:59:59,040 --> 01:00:00,480
Speaker 2: well our sawa us take the.

1151
01:00:00,480 --> 01:00:04,720
Speaker 3: Weird acid always always. But he helps them and he's like,

1152
01:00:04,720 --> 01:00:06,800
Speaker 3: all right, I'll find a fucking place. So she shows

1153
01:00:06,920 --> 01:00:09,760
Speaker 3: up and is like, let's fucking go. And then this

1154
01:00:09,960 --> 01:00:12,880
Speaker 3: is so at the start of this road trip, they're

1155
01:00:12,960 --> 01:00:15,200
Speaker 3: basically driving a few days to get to this beach

1156
01:00:15,280 --> 01:00:18,240
Speaker 3: called Heaven's Mouth, which they've completely made up like they

1157
01:00:18,320 --> 01:00:19,280
Speaker 3: do not know what exists.

1158
01:00:19,320 --> 01:00:20,440
Speaker 2: They've completely made it up.

1159
01:00:21,120 --> 01:00:25,280
Speaker 3: But the scenes in the car are the point of

1160
01:00:25,360 --> 01:00:28,440
Speaker 3: the movie, right, So you're seeing most of their humanity,

1161
01:00:28,480 --> 01:00:30,680
Speaker 3: You're hearing most of their discussions, You're seeing most of

1162
01:00:30,760 --> 01:00:33,960
Speaker 3: their uncomfortableness and their cockiness.

1163
01:00:34,720 --> 01:00:35,680
Speaker 2: It's in the road trip.

1164
01:00:36,040 --> 01:00:39,880
Speaker 3: And I will say for Luisa's Luisa's fascinating and she

1165
01:00:40,120 --> 01:00:46,240
Speaker 3: is incredibly provocative. Yeah, so she will like straight out

1166
01:00:46,400 --> 01:00:48,920
Speaker 3: directly ask them like how many girls have you fucked?

1167
01:00:48,960 --> 01:00:50,240
Speaker 2: How do you fuck your girlfriends?

1168
01:00:50,400 --> 01:00:54,920
Speaker 3: Like she's just interested in their sex lives. Yeah, and

1169
01:00:55,040 --> 01:00:59,400
Speaker 3: they are ready to tell her, like completely, But the

1170
01:00:59,480 --> 01:01:02,840
Speaker 3: teen boyess of it is like they're high all the time.

1171
01:01:03,680 --> 01:01:09,640
Speaker 3: They're bragging about trying moves from the Kamma Sutra, which

1172
01:01:09,840 --> 01:01:11,880
Speaker 3: if that guy enters your life, fucking run.

1173
01:01:12,520 --> 01:01:13,280
Speaker 2: I don't look.

1174
01:01:13,440 --> 01:01:17,040
Speaker 1: I don't think the Kama Sutra has ever been uttered

1175
01:01:17,600 --> 01:01:20,120
Speaker 1: by a grown ass person. I feel like the only

1176
01:01:20,240 --> 01:01:25,280
Speaker 1: people that ever invoke that are teenagers because it's like

1177
01:01:25,360 --> 01:01:26,880
Speaker 1: the only thing that they know. They think it's like

1178
01:01:26,960 --> 01:01:30,320
Speaker 1: some elevated way to like have sex or something, And

1179
01:01:30,400 --> 01:01:33,000
Speaker 1: I'm like, I don't know, I don't I've never even

1180
01:01:33,040 --> 01:01:36,240
Speaker 1: heard of that term. Once after twenty.

1181
01:01:36,040 --> 01:01:37,000
Speaker 2: Five or something.

1182
01:01:37,200 --> 01:01:41,200
Speaker 3: Ever, Ever, no one's referencing a book to fuck after

1183
01:01:41,320 --> 01:01:48,200
Speaker 3: twenty five, so true, Like ahm, so they are like, yeah,

1184
01:01:48,320 --> 01:01:50,440
Speaker 3: like we know Kama Sutra and they're like they have

1185
01:01:50,520 --> 01:01:53,280
Speaker 3: a manifesto that they came up with with Saba and

1186
01:01:53,360 --> 01:01:56,680
Speaker 3: it's got like eleven weird rules, like it's just so

1187
01:01:57,000 --> 01:01:57,840
Speaker 3: teen boyenous.

1188
01:01:58,280 --> 01:02:00,640
Speaker 1: Yeah, they call themselves the challo Lostras.

1189
01:02:00,720 --> 01:02:03,400
Speaker 2: Is that what the names are, the charo lostros, which

1190
01:02:03,480 --> 01:02:07,640
Speaker 2: is like a fuck they someone fucked up the pronunciation

1191
01:02:07,760 --> 01:02:09,360
Speaker 2: of something while they were singing a song and they

1192
01:02:09,440 --> 01:02:12,560
Speaker 2: just lashed onto it as like that's what we're called. Yeah.

1193
01:02:13,160 --> 01:02:16,640
Speaker 3: But yeah, like they've got like a very childish approach

1194
01:02:16,960 --> 01:02:21,800
Speaker 3: to life and you know they And there's also which

1195
01:02:21,800 --> 01:02:24,400
Speaker 3: should be said, there's a narrator to this film, and

1196
01:02:24,720 --> 01:02:28,320
Speaker 3: the person who narrates the film is Danielle Jimenez got Kacho,

1197
01:02:28,920 --> 01:02:34,040
Speaker 3: and he gives so much more flavor because it's not

1198
01:02:34,160 --> 01:02:37,360
Speaker 3: your typical narration of and then they went here you

1199
01:02:37,400 --> 01:02:40,600
Speaker 3: will meet characters in the course of this road trip

1200
01:02:40,680 --> 01:02:42,880
Speaker 3: that he explains what happens to them and the rest

1201
01:02:42,920 --> 01:02:45,480
Speaker 3: of their life. So you're meeting people and that's kind

1202
01:02:45,520 --> 01:02:47,480
Speaker 3: of again, like I thought was really interesting and a

1203
01:02:47,560 --> 01:02:49,040
Speaker 3: cool way to do it, because when you are on

1204
01:02:49,200 --> 01:02:51,160
Speaker 3: road trips, you do meet people that you never see

1205
01:02:51,200 --> 01:02:53,600
Speaker 3: again and you're like, I wonder what happened to them?

1206
01:02:53,640 --> 01:02:56,080
Speaker 3: And he just kind of spells it out. And they're

1207
01:02:56,160 --> 01:02:58,400
Speaker 3: road tripping through all these small towns. So it's like

1208
01:02:58,440 --> 01:03:02,000
Speaker 3: a lot of trauma, a lot of funerals, a lot

1209
01:03:02,080 --> 01:03:04,240
Speaker 3: of but then also a lot of joy and a

1210
01:03:04,320 --> 01:03:08,920
Speaker 3: lot of like you know, like children's parties and consigneras

1211
01:03:09,040 --> 01:03:11,959
Speaker 3: and like it's it's true slice of life road trip

1212
01:03:12,160 --> 01:03:13,760
Speaker 3: that you get when you go through the backgrounds.

1213
01:03:14,160 --> 01:03:14,360
Speaker 2: Yeah.

1214
01:03:14,480 --> 01:03:18,080
Speaker 3: Yeah, so the and and also the the narrator points

1215
01:03:18,120 --> 01:03:21,040
Speaker 3: out things about to Notch and Julio, like to Notch

1216
01:03:22,040 --> 01:03:23,720
Speaker 3: lifts up the seat when he goes to the bathroom

1217
01:03:23,760 --> 01:03:26,280
Speaker 3: at Julio's house, and Julio lights a match because he

1218
01:03:26,320 --> 01:03:28,560
Speaker 3: doesn't want anyone at to Knowch's house to know he's

1219
01:03:28,600 --> 01:03:30,800
Speaker 3: been in there. So they're like these again, like these

1220
01:03:30,840 --> 01:03:34,600
Speaker 3: class differences that are discussed in a very interesting way.

1221
01:03:36,360 --> 01:03:39,240
Speaker 3: And Luisa, for her part, is she's not just like

1222
01:03:39,480 --> 01:03:44,360
Speaker 3: you know, peace yano. She is crying all the time, Yeah,

1223
01:03:44,840 --> 01:03:49,440
Speaker 3: non stop crying in this film, and these teen boys

1224
01:03:49,640 --> 01:03:54,040
Speaker 3: do not give a fuck, like she is going through

1225
01:03:54,200 --> 01:03:57,480
Speaker 3: it and they're just like, is she gonna take her

1226
01:03:57,480 --> 01:04:01,480
Speaker 3: clothes off? Like they're both to fuck her so actively

1227
01:04:01,880 --> 01:04:04,080
Speaker 3: that they don't even care that she's in an emotional crisis,

1228
01:04:04,360 --> 01:04:06,160
Speaker 3: and we think it's because of her marriage.

1229
01:04:06,760 --> 01:04:08,760
Speaker 2: Later in the movie becomes clear that it's something else.

1230
01:04:08,840 --> 01:04:13,760
Speaker 1: But yeah, I so when this movie came out, I

1231
01:04:14,200 --> 01:04:19,240
Speaker 1: was twenty one, twenty two, twenty, I don't know, and

1232
01:04:20,440 --> 01:04:27,320
Speaker 1: I sensed that these guys were like just useful stone

1233
01:04:27,440 --> 01:04:34,320
Speaker 1: dummies then, but fast forward to watching it now, I'm like, wow,

1234
01:04:35,240 --> 01:04:39,480
Speaker 1: Like we talk a lot about like perspective from you know,

1235
01:04:40,040 --> 01:04:43,840
Speaker 1: a very far off age, like you look at yourself

1236
01:04:43,880 --> 01:04:45,800
Speaker 1: from like twenty years ago, and you're like, fuck, I

1237
01:04:45,920 --> 01:04:49,360
Speaker 1: was a disaster. It really hit home to me.

1238
01:04:49,600 --> 01:04:50,200
Speaker 2: Just how.

1239
01:04:52,240 --> 01:04:57,320
Speaker 1: How kind of young and self obsessed they were and

1240
01:04:58,520 --> 01:05:04,600
Speaker 1: just stupid, like no concept of anybody else other than themselves,

1241
01:05:04,760 --> 01:05:07,800
Speaker 1: meaning not even each other. I think a lot of times, yes,

1242
01:05:08,440 --> 01:05:10,520
Speaker 1: which plays out obviously in a lot of different scenes

1243
01:05:10,520 --> 01:05:12,520
Speaker 1: when they're like kind of arguing on the trip and

1244
01:05:12,560 --> 01:05:16,120
Speaker 1: that kind of stuff. But it's that thing where I'm like, man,

1245
01:05:16,200 --> 01:05:18,200
Speaker 1: you couldn't pay me to be young again for so

1246
01:05:18,320 --> 01:05:20,960
Speaker 1: many reasons. But this it's like this kind of stuff,

1247
01:05:21,040 --> 01:05:24,920
Speaker 1: like having like no intuition about anything. You're just like,

1248
01:05:25,000 --> 01:05:27,760
Speaker 1: what the fuck, Like these that don't really live it

1249
01:05:28,080 --> 01:05:30,040
Speaker 1: just for themselves and for the moment, they don't think

1250
01:05:30,080 --> 01:05:30,880
Speaker 1: about anything.

1251
01:05:30,640 --> 01:05:33,400
Speaker 2: Else, and there's such a distinct freedom to that.

1252
01:05:33,600 --> 01:05:35,320
Speaker 3: But then when you look at it as it's held up,

1253
01:05:35,520 --> 01:05:38,000
Speaker 3: which is film does, when you look at it as

1254
01:05:38,040 --> 01:05:39,960
Speaker 3: it's held up as a lens to the rest of

1255
01:05:40,040 --> 01:05:43,320
Speaker 3: the world, you're like, these kids are fucking clueless, and

1256
01:05:43,360 --> 01:05:44,920
Speaker 3: they're so lucky to be so clueless.

1257
01:05:45,720 --> 01:05:47,800
Speaker 1: Yeah, and I you know, and obviously I think that's

1258
01:05:48,040 --> 01:05:52,480
Speaker 1: that's maybe what Luisa season them is that she wishes

1259
01:05:52,520 --> 01:05:54,520
Speaker 1: that she could be more that right, that she doesn't

1260
01:05:54,600 --> 01:05:56,560
Speaker 1: have these kind of like grown up hang ups and

1261
01:05:57,240 --> 01:06:01,400
Speaker 1: this drama. She just wants to be that free and

1262
01:06:02,200 --> 01:06:04,360
Speaker 1: you know, no fucks given about stuff.

1263
01:06:04,080 --> 01:06:08,000
Speaker 3: Completely completely, and she's trying to access it by really

1264
01:06:08,160 --> 01:06:13,440
Speaker 3: pushing them to do what this this carelessness that they have,

1265
01:06:13,640 --> 01:06:18,200
Speaker 3: she's pushing them to the max of carelessness. And you know,

1266
01:06:18,240 --> 01:06:20,720
Speaker 3: their girlfriends are both the way in Italy for the summer.

1267
01:06:21,840 --> 01:06:24,320
Speaker 3: She knows that she's again like talking to them being

1268
01:06:24,440 --> 01:06:27,960
Speaker 3: very provocative, but in between, like and all their rest stops,

1269
01:06:28,000 --> 01:06:30,320
Speaker 3: she kind of calls and leaves like very teary messages

1270
01:06:30,400 --> 01:06:34,080
Speaker 3: for her her husband, and she's just she's in a

1271
01:06:34,200 --> 01:06:38,320
Speaker 3: very different place from them in this film. And I

1272
01:06:38,440 --> 01:06:40,840
Speaker 3: paid way more attention to her than I did to them. Well,

1273
01:06:40,880 --> 01:06:43,440
Speaker 3: I paid attention to them too, obviously, but I was

1274
01:06:43,560 --> 01:06:45,560
Speaker 3: very I was more fascinated by her story than I

1275
01:06:45,680 --> 01:06:49,040
Speaker 3: was the first time I saw this. Yes, and let

1276
01:06:49,120 --> 01:06:51,960
Speaker 3: me tell you that she's not just being provocative for

1277
01:06:52,080 --> 01:06:55,040
Speaker 3: the sake of it. She absolutely fucks both of them.

1278
01:06:55,520 --> 01:06:59,160
Speaker 3: So she starts with to notch and she gives to

1279
01:06:59,240 --> 01:07:01,800
Speaker 3: not to blowjob, and they fuck, and Julio sees it,

1280
01:07:02,080 --> 01:07:05,640
Speaker 3: and he can't explain why he's feeling like, I think

1281
01:07:05,680 --> 01:07:07,560
Speaker 3: the way that the narrator describes it as like, you know,

1282
01:07:07,680 --> 01:07:10,160
Speaker 3: his stomach hurts in a way that never hurt before.

1283
01:07:10,720 --> 01:07:13,520
Speaker 3: But he feels betrayed, and he feels like, you know,

1284
01:07:14,080 --> 01:07:18,760
Speaker 3: Luisa is his cousin by Mary's cousin by marriage, so

1285
01:07:18,800 --> 01:07:20,760
Speaker 3: if anyone was gonna fuck her, it should have been Julio,

1286
01:07:20,800 --> 01:07:23,480
Speaker 3: who has like no connection to her, no relation to her.

1287
01:07:24,400 --> 01:07:27,240
Speaker 3: So he's feeling betrayed. And there's this scene where they

1288
01:07:27,480 --> 01:07:31,120
Speaker 3: swim and you know, Toochu usually beats him at everything,

1289
01:07:31,960 --> 01:07:36,360
Speaker 3: kind of lets Julio win. And I'm telling you, these

1290
01:07:36,520 --> 01:07:39,680
Speaker 3: these these two are so self absorbed that like all

1291
01:07:39,800 --> 01:07:43,080
Speaker 3: Julio sees is that to know, fuck Luisa. What he

1292
01:07:43,240 --> 01:07:46,360
Speaker 3: doesn't see or seem to take in at all is

1293
01:07:46,440 --> 01:07:51,320
Speaker 3: that is really bad at sex. Like he's like, comes

1294
01:07:51,400 --> 01:07:54,280
Speaker 3: in a second, he doesn't pay attention to her at all.

1295
01:07:54,600 --> 01:07:55,920
Speaker 2: He's so bad at it.

1296
01:07:56,600 --> 01:07:59,640
Speaker 3: But Julio's in a different place and he's like pissed

1297
01:07:59,680 --> 01:08:04,040
Speaker 3: and trade. So after they have this swim match, he says,

1298
01:08:04,840 --> 01:08:08,960
Speaker 3: by the way, I fucked your girlfriend once, and this

1299
01:08:09,160 --> 01:08:12,160
Speaker 3: starts an absolute fucking meltdown.

1300
01:08:12,840 --> 01:08:15,880
Speaker 2: Yeah, absolute meltdown. And to note, just like he wants

1301
01:08:15,920 --> 01:08:18,840
Speaker 2: to know everything. He's like, what the fuck? How dare you?

1302
01:08:19,000 --> 01:08:21,000
Speaker 2: What kind of underwear was she wearing? Like what kind

1303
01:08:21,000 --> 01:08:23,360
Speaker 2: of dress was she wearing? He is just.

1304
01:08:25,120 --> 01:08:28,240
Speaker 3: In a horrible place, even though he treats his girlfriend

1305
01:08:28,400 --> 01:08:33,320
Speaker 3: so poorly. Yeah, and just fuck someone else? Yeah again

1306
01:08:33,479 --> 01:08:34,320
Speaker 3: teen boys.

1307
01:08:34,400 --> 01:08:37,880
Speaker 1: Oh my god, I mean that's like the whole It's

1308
01:08:37,920 --> 01:08:39,920
Speaker 1: just it's just exactly like I said, I'm like you

1309
01:08:39,960 --> 01:08:42,479
Speaker 1: couldn't pay me to be. They were so clueless about themselves.

1310
01:08:42,640 --> 01:08:44,880
Speaker 1: They like they think that they're the best at sex

1311
01:08:45,120 --> 01:08:46,960
Speaker 1: that ever happened. I think they were like the two

1312
01:08:47,200 --> 01:08:51,040
Speaker 1: biggest studs on planet Earth. They're super competitive with each other,

1313
01:08:51,920 --> 01:08:54,960
Speaker 1: right Like, because let's get serious, I mean, the whole

1314
01:08:55,040 --> 01:08:58,439
Speaker 1: reason why either of them give a shit about either

1315
01:08:58,520 --> 01:09:02,680
Speaker 1: one of them fucking Lisa is because they want to

1316
01:09:03,160 --> 01:09:07,440
Speaker 1: compete with each other, like they're absolutely and she recognizes

1317
01:09:07,560 --> 01:09:09,080
Speaker 1: that at a certain point, right.

1318
01:09:09,360 --> 01:09:14,400
Speaker 2: Oh yeah, and instigates it and instigates it and yeah.

1319
01:09:14,520 --> 01:09:16,760
Speaker 3: And there's also like the class thing kind of comes

1320
01:09:16,800 --> 01:09:19,720
Speaker 3: into play there too, because wins it everything, like he's

1321
01:09:19,760 --> 01:09:21,600
Speaker 3: winning it life in a way that Julio is not

1322
01:09:21,680 --> 01:09:25,679
Speaker 3: winning it life. Yeah, and the class thing also comes

1323
01:09:25,760 --> 01:09:29,960
Speaker 3: into play heavily after this argument, because the things that

1324
01:09:30,560 --> 01:09:33,639
Speaker 3: Tonosh's leveling at Julio are all about like how he's

1325
01:09:33,680 --> 01:09:36,479
Speaker 3: a pig and he's poor, and like he goes to

1326
01:09:36,560 --> 01:09:40,280
Speaker 3: the nastiest place possible when they're fighting about the fact

1327
01:09:40,320 --> 01:09:43,599
Speaker 3: that Julio fucked his girlfriend. So it's not like from

1328
01:09:43,640 --> 01:09:45,519
Speaker 3: a place of we're friends and I'm mad, it's like,

1329
01:09:45,800 --> 01:09:47,400
Speaker 3: I fucking hate you. You're disgusting.

1330
01:09:47,439 --> 01:09:50,320
Speaker 2: You're beneath me? How dare you touch my girlfriend?

1331
01:09:50,880 --> 01:09:55,840
Speaker 1: Yeah, even though it's later revealed that to Nosch's father,

1332
01:09:56,120 --> 01:09:58,720
Speaker 1: who is this like powerful politician, guy's actually like a

1333
01:09:58,760 --> 01:10:03,280
Speaker 1: fucking crook. And you know, and at certain points like

1334
01:10:03,840 --> 01:10:08,439
Speaker 1: has maybe like participated in some like unsavory business and

1335
01:10:08,560 --> 01:10:11,680
Speaker 1: that kind of stuff, And so that gets leveled at

1336
01:10:11,760 --> 01:10:13,600
Speaker 1: to notes at a certain point because I feel like

1337
01:10:14,040 --> 01:10:18,320
Speaker 1: over a certain period of time, that class dynamic has

1338
01:10:18,400 --> 01:10:21,120
Speaker 1: to like rite itself, like where Julio feels like, well,

1339
01:10:21,160 --> 01:10:23,479
Speaker 1: fuck it, dude, you're calling me like this poor kid,

1340
01:10:24,000 --> 01:10:26,880
Speaker 1: what about you? You're a fucking a yuppy piece of

1341
01:10:26,960 --> 01:10:28,840
Speaker 1: shit and your dad is a crook.

1342
01:10:28,800 --> 01:10:30,720
Speaker 3: Right absolutely, Like you had to leave the country for

1343
01:10:30,760 --> 01:10:33,200
Speaker 3: a year because your dad was such a crook.

1344
01:10:33,720 --> 01:10:34,240
Speaker 2: Yeah he is.

1345
01:10:34,479 --> 01:10:37,600
Speaker 3: He's definitely given it as good as he gets, especially

1346
01:10:38,240 --> 01:10:42,120
Speaker 3: when Chines tells him, Hey, Julio, I fucked your girlfriend.

1347
01:10:42,479 --> 01:10:43,080
Speaker 1: Oh god.

1348
01:10:43,600 --> 01:10:46,879
Speaker 3: And this is the point where I'm like, whatever connects

1349
01:10:46,960 --> 01:10:48,040
Speaker 3: teen boys in friendship?

1350
01:10:48,160 --> 01:10:51,120
Speaker 2: Like how do they even make it through? Because they're

1351
01:10:51,200 --> 01:10:52,000
Speaker 2: so selfish?

1352
01:10:52,560 --> 01:10:57,320
Speaker 1: Weed we we weed in like good times. I Mean,

1353
01:10:57,720 --> 01:11:01,280
Speaker 1: it's truly a mystery to me because I because as

1354
01:11:01,479 --> 01:11:03,639
Speaker 1: I used to hang out with, you know, guys their

1355
01:11:03,680 --> 01:11:05,479
Speaker 1: age when I was their age, right, you know, it's

1356
01:11:05,520 --> 01:11:08,479
Speaker 1: like in your early twenties or maybe late teens, there's

1357
01:11:08,520 --> 01:11:10,880
Speaker 1: always guys and girls around, and everybody's kind of like

1358
01:11:11,200 --> 01:11:14,840
Speaker 1: single and hanging out and partying and stuff. And I'm like, yeah, like,

1359
01:11:15,120 --> 01:11:18,320
Speaker 1: how come like these guys like truly, there is no

1360
01:11:19,360 --> 01:11:22,960
Speaker 1: like connection beyond sort of just partying and like making

1361
01:11:22,960 --> 01:11:25,320
Speaker 1: each other laugh. You know, it's just that thing where

1362
01:11:25,360 --> 01:11:29,040
Speaker 1: you're like, Okay, this is weird. But you know, maybe

1363
01:11:29,040 --> 01:11:32,400
Speaker 1: it's because I'm I'm a different I have stronger bonds.

1364
01:11:32,080 --> 01:11:35,360
Speaker 3: In my life, but you know, it's just it's wild

1365
01:11:35,439 --> 01:11:38,479
Speaker 3: because I'm like I truly I hope that it has

1366
01:11:38,560 --> 01:11:40,559
Speaker 3: changed for the better for teen boys and they being

1367
01:11:40,600 --> 01:11:42,160
Speaker 3: able to tap into something a little.

1368
01:11:42,040 --> 01:11:47,200
Speaker 2: More sound and lasting. But this, this movie still just

1369
01:11:47,320 --> 01:11:47,960
Speaker 2: rocks my world.

1370
01:11:48,000 --> 01:11:51,600
Speaker 3: When I realized that they're just so selfish and just

1371
01:11:51,760 --> 01:11:53,800
Speaker 3: so they're hanging on by a thread, Like the thing

1372
01:11:53,880 --> 01:11:58,040
Speaker 3: that connects them is their proximity to each other, and

1373
01:11:58,160 --> 01:12:01,720
Speaker 3: that's not enough to sustain a relationship. So now they're

1374
01:12:01,760 --> 01:12:03,519
Speaker 3: in it like they're like they've each fucked each other's

1375
01:12:03,560 --> 01:12:07,479
Speaker 3: girlfriends and Luisa's fucking had it. She's like, she actually

1376
01:12:07,479 --> 01:12:08,960
Speaker 3: says a line that I love where she says, if

1377
01:12:08,960 --> 01:12:11,040
Speaker 3: you hang out with babies, you have to change their diapers,

1378
01:12:11,680 --> 01:12:13,880
Speaker 3: and she takes her bags and she's like peace out.

1379
01:12:14,520 --> 01:12:18,880
Speaker 3: But during this argument, she also points out something very interesting,

1380
01:12:19,200 --> 01:12:22,479
Speaker 3: which is basically, you guys should just fuck each other

1381
01:12:22,560 --> 01:12:24,080
Speaker 3: and get it over with because I think that's.

1382
01:12:23,960 --> 01:12:25,840
Speaker 2: What you really want to do. Yeah.

1383
01:12:26,400 --> 01:12:29,400
Speaker 3: So again she's being so provocative and they can't hear it,

1384
01:12:29,600 --> 01:12:31,599
Speaker 3: Like they can't hear it because they're just fighting too much.

1385
01:12:33,040 --> 01:12:35,600
Speaker 3: But yeah, Like so she eventually gets back in the

1386
01:12:35,680 --> 01:12:38,920
Speaker 3: car and they're in rural Mexico and they go to

1387
01:12:39,000 --> 01:12:42,120
Speaker 3: this beach and you know, they end up getting the

1388
01:12:42,200 --> 01:12:45,800
Speaker 3: car stuck at night on this road, and when they

1389
01:12:45,800 --> 01:12:47,799
Speaker 3: wake up in the morning, they're at this like beautiful

1390
01:12:47,840 --> 01:12:52,560
Speaker 3: private beach and Luisa runs into the water and she

1391
01:12:52,680 --> 01:12:55,120
Speaker 3: kind of comes up with her own manifesto in order

1392
01:12:55,200 --> 01:12:57,200
Speaker 3: to like get back in the car, which is hilarious.

1393
01:12:58,600 --> 01:13:01,040
Speaker 3: So they're all kind of separate at this point, like

1394
01:13:01,080 --> 01:13:04,240
Speaker 3: they're all kind of like they're having their own experience

1395
01:13:04,360 --> 01:13:07,760
Speaker 3: on this beach. But this boat pulls up with this dude,

1396
01:13:07,960 --> 01:13:10,920
Speaker 3: Chewy and his family, and he's like, I will absolutely

1397
01:13:11,000 --> 01:13:14,400
Speaker 3: give you a tour of all the stunning beaches around

1398
01:13:14,479 --> 01:13:16,400
Speaker 3: here tomorrow.

1399
01:13:16,800 --> 01:13:18,960
Speaker 2: So they sleep on the beach, they camp out, they

1400
01:13:19,040 --> 01:13:19,840
Speaker 2: go out with Chewy.

1401
01:13:19,960 --> 01:13:24,200
Speaker 3: They actually find Heaven's Mouth the beach, and it is

1402
01:13:24,400 --> 01:13:27,400
Speaker 3: when they come back for the evening, this is so funny,

1403
01:13:28,280 --> 01:13:31,760
Speaker 3: like a crew of wild pigs have just torn their

1404
01:13:31,800 --> 01:13:35,120
Speaker 3: fucking camp up. So Chewey's like, all right, why don't

1405
01:13:35,120 --> 01:13:37,320
Speaker 3: you just come back with my family, Like you can

1406
01:13:37,400 --> 01:13:39,360
Speaker 3: stay with us and you could take a shower and.

1407
01:13:39,439 --> 01:13:42,320
Speaker 2: Just like chill. So this is where the movie.

1408
01:13:44,280 --> 01:13:47,280
Speaker 3: Kind of fulfills its mission. Yeah, based on the title,

1409
01:13:48,439 --> 01:13:51,000
Speaker 3: and if you don't want to know how the movie ends,

1410
01:13:51,720 --> 01:13:52,640
Speaker 3: fast forward a little bit.

1411
01:13:54,320 --> 01:13:56,840
Speaker 2: I'm not going to spoil the actual ending, but i

1412
01:13:56,920 --> 01:13:57,640
Speaker 2: will tell you that.

1413
01:13:59,439 --> 01:14:04,760
Speaker 3: The all of the emotional catharsis all of the confessions.

1414
01:14:05,120 --> 01:14:07,120
Speaker 3: All this days and days of being in a car

1415
01:14:07,280 --> 01:14:11,800
Speaker 3: talking about sex leads to to Notch and Julio having

1416
01:14:11,840 --> 01:14:18,599
Speaker 3: a threesome with Luisa. And what's insinuated during this threesome

1417
01:14:19,240 --> 01:14:21,760
Speaker 3: is that to Notch in Julio actually do fuck each other.

1418
01:14:23,000 --> 01:14:24,639
Speaker 1: Mm hmm mm hmm.

1419
01:14:26,320 --> 01:14:30,920
Speaker 3: And so this is a movie that it lives up

1420
01:14:31,000 --> 01:14:36,080
Speaker 3: to the sexiness that's been laying down along the way.

1421
01:14:37,200 --> 01:14:41,439
Speaker 3: But right before this scene when they're getting drunk on

1422
01:14:41,520 --> 01:14:46,320
Speaker 3: the beach at this little beach bar, Julio confesses that

1423
01:14:46,479 --> 01:14:50,960
Speaker 3: he is also fucked to Noach his mother, and then

1424
01:14:51,040 --> 01:14:55,240
Speaker 3: they have a threesome after this. Yeah, so it's like

1425
01:14:55,400 --> 01:14:59,320
Speaker 3: again this Catharsis that happens, and it's so wild to

1426
01:14:59,439 --> 01:15:02,320
Speaker 3: see because you don't see the threesome, like they fully

1427
01:15:02,360 --> 01:15:06,280
Speaker 3: cut away. Yeah, and you deal with the emotional aftermath

1428
01:15:06,360 --> 01:15:08,599
Speaker 3: of it, which I think is a really smart choice.

1429
01:15:09,120 --> 01:15:15,840
Speaker 1: Yes, this, I think the whole end of the film

1430
01:15:15,960 --> 01:15:20,360
Speaker 1: in this way is it does fulfill the mission of

1431
01:15:20,520 --> 01:15:24,680
Speaker 1: the film. It's also like kind of I think a

1432
01:15:24,840 --> 01:15:28,680
Speaker 1: lot of like what ends up being actually sexy and

1433
01:15:28,760 --> 01:15:32,360
Speaker 1: maybe sensual about the film because before.

1434
01:15:31,920 --> 01:15:33,200
Speaker 2: That you're just watching like.

1435
01:15:35,080 --> 01:15:39,439
Speaker 1: Two idiots essentially not know what they're doing when it

1436
01:15:39,520 --> 01:15:43,200
Speaker 1: comes to women. Right. Yes, but there is this moment

1437
01:15:43,360 --> 01:15:47,960
Speaker 1: where you're like, Okay, well they seem to be out

1438
01:15:48,040 --> 01:15:50,439
Speaker 1: of their bullshit in a small way, like they're not

1439
01:15:50,680 --> 01:15:53,680
Speaker 1: being like the Beavis and Budhead bullshit of like check

1440
01:15:53,720 --> 01:15:55,880
Speaker 1: out this hot cheek and like we're so drunk and

1441
01:15:55,960 --> 01:15:57,800
Speaker 1: I can't wait to you know, blah blah blah. They

1442
01:15:57,920 --> 01:16:00,519
Speaker 1: kind of like feel they kind kind of make a

1443
01:16:00,640 --> 01:16:07,120
Speaker 1: little adjustment to the situation, and I was like, you know, okay,

1444
01:16:07,479 --> 01:16:11,720
Speaker 1: like maybe they have learned a few things.

1445
01:16:12,880 --> 01:16:15,000
Speaker 2: Or whatever, but they've grown up a little bit.

1446
01:16:15,520 --> 01:16:21,559
Speaker 1: Yeah, And it's interesting to without giving away the ending

1447
01:16:21,640 --> 01:16:25,519
Speaker 1: as sort of like what the fallout of everything was.

1448
01:16:26,080 --> 01:16:30,840
Speaker 3: Yes, yeah, because there's something that happens. Everything that happens

1449
01:16:30,880 --> 01:16:35,200
Speaker 3: after this was very unexpected to me, but it makes

1450
01:16:35,240 --> 01:16:37,000
Speaker 3: sense that this is the way it would go. And

1451
01:16:37,080 --> 01:16:41,920
Speaker 3: then you also learned something about Luisa that really solidifies

1452
01:16:42,320 --> 01:16:45,960
Speaker 3: her choices throughout this film and makes her a much

1453
01:16:46,040 --> 01:16:49,160
Speaker 3: more sympathetic character and a much more understandable character. And

1454
01:16:49,200 --> 01:16:51,360
Speaker 3: I think it takes real art and grace to kind

1455
01:16:51,400 --> 01:16:55,799
Speaker 3: of give that to a character after watching them behave

1456
01:16:56,080 --> 01:16:59,200
Speaker 3: kind of recklessly throughout a film, to give them a

1457
01:16:59,280 --> 01:17:03,200
Speaker 3: reason why. So yeah, I just I think it's it's

1458
01:17:03,280 --> 01:17:06,400
Speaker 3: such a great road trip movie because of what it

1459
01:17:06,479 --> 01:17:09,879
Speaker 3: showcases while they're on the road, the conversations, the feeling

1460
01:17:10,000 --> 01:17:12,960
Speaker 3: of like being with your friends and again that freedom.

1461
01:17:13,520 --> 01:17:16,879
Speaker 3: But it's also a really tender and strange and sexy

1462
01:17:17,920 --> 01:17:19,160
Speaker 3: story about friendship.

1463
01:17:19,680 --> 01:17:21,679
Speaker 2: Yeah, I totally agree.

1464
01:17:21,760 --> 01:17:24,400
Speaker 1: And like I, like I said, I think I was

1465
01:17:24,560 --> 01:17:28,040
Speaker 1: like I had not remembered that there was all of

1466
01:17:28,280 --> 01:17:31,360
Speaker 1: what it was like with that content, with that kind

1467
01:17:31,400 --> 01:17:33,160
Speaker 1: of sexual content. I was like, oh my god, I forgot,

1468
01:17:33,280 --> 01:17:39,880
Speaker 1: Like this is NonStop. But I do think that I

1469
01:17:40,080 --> 01:17:43,960
Speaker 1: definitely was kind of more invested in the Louisa story

1470
01:17:44,040 --> 01:17:47,320
Speaker 1: this time. And that's just because I'm older and I

1471
01:17:47,439 --> 01:17:50,720
Speaker 1: connect with her more. I will say that when I

1472
01:17:50,760 --> 01:17:54,600
Speaker 1: first saw the movie, I was like I assumed that

1473
01:17:55,360 --> 01:17:57,679
Speaker 1: they were in their twenties. I don't actually know how

1474
01:17:57,880 --> 01:18:00,799
Speaker 1: old they are. I feel like maybe like Kyle Garcia

1475
01:18:00,920 --> 01:18:02,920
Speaker 1: is like our age. I don't know, Yeah, I think they.

1476
01:18:03,040 --> 01:18:04,240
Speaker 2: Both kind of our age.

1477
01:18:04,320 --> 01:18:05,880
Speaker 3: Like I think they were in their twenties when they

1478
01:18:05,960 --> 01:18:08,639
Speaker 3: made it, but they were like they looked like babies.

1479
01:18:09,120 --> 01:18:11,760
Speaker 1: Yes, And I was taken back to the time when

1480
01:18:11,880 --> 01:18:16,640
Speaker 1: like when Guile Garcia Bernald came onto the scene, like

1481
01:18:16,880 --> 01:18:20,880
Speaker 1: between Morris Paros and this movie, he was like every

1482
01:18:21,080 --> 01:18:24,559
Speaker 1: girl I knew had a crush on him. Anybody who

1483
01:18:24,680 --> 01:18:26,360
Speaker 1: loved men loved him.

1484
01:18:29,120 --> 01:18:31,040
Speaker 2: And I don't know if you've seen him recently, like

1485
01:18:31,400 --> 01:18:38,280
Speaker 2: gray with that face like a fine wine. Yeah, like

1486
01:18:38,400 --> 01:18:41,120
Speaker 2: a fine wine. Although I gotta say between the two,

1487
01:18:41,560 --> 01:18:46,559
Speaker 2: Diego Luna looking much more uh up my alley lately. Yeah,

1488
01:18:46,880 --> 01:18:49,559
Speaker 2: he's more of my type now because we like him old.

1489
01:18:49,760 --> 01:18:51,680
Speaker 1: Come on, I love this is all the time. We

1490
01:18:51,840 --> 01:18:53,280
Speaker 1: like him old, like he's old.

1491
01:18:53,400 --> 01:18:55,880
Speaker 3: Now he's kind of tall and lanky and like he's

1492
01:18:55,920 --> 01:18:58,400
Speaker 3: got the facial he's very very cute now.

1493
01:18:58,920 --> 01:19:02,280
Speaker 1: Yeah, no, it so I he had like like in

1494
01:19:02,400 --> 01:19:05,719
Speaker 1: the in the film, Guyle had that hair that kind.

1495
01:19:05,640 --> 01:19:09,560
Speaker 2: Of like britt Pop that is hair, Britpop hair, and

1496
01:19:09,600 --> 01:19:11,879
Speaker 2: then they're listening to brit Pop in the car.

1497
01:19:12,000 --> 01:19:14,680
Speaker 1: And you're like, oh my god, Yeah this was I

1498
01:19:14,920 --> 01:19:18,120
Speaker 1: was taken back to a time when this movie came out.

1499
01:19:18,160 --> 01:19:19,680
Speaker 1: I was so happy we got to watch again in

1500
01:19:19,760 --> 01:19:23,080
Speaker 1: a road trip like unforgettable road trip film, one of

1501
01:19:23,160 --> 01:19:23,840
Speaker 1: the best.

1502
01:19:24,280 --> 01:19:28,240
Speaker 2: So truly, so glad you picked it. And you're a

1503
01:19:28,320 --> 01:19:30,080
Speaker 2: film also a doozy.

1504
01:19:30,640 --> 01:19:35,240
Speaker 1: It's a duce, a little bit more understated, I believe

1505
01:19:35,479 --> 01:19:36,439
Speaker 1: than yours, but.

1506
01:19:36,479 --> 01:19:38,200
Speaker 2: An understated doozy.

1507
01:19:38,360 --> 01:19:42,400
Speaker 1: Understated doozy, So my film for the theme. Summer road

1508
01:19:42,400 --> 01:19:45,960
Speaker 1: Trip is a movie from nineteen seventy one. The screenplay

1509
01:19:46,320 --> 01:19:48,679
Speaker 1: was by Rudy Worlitzer and It was from a story

1510
01:19:48,680 --> 01:19:51,880
Speaker 1: written by Will Corey, directed by Monty Hellman, and it's

1511
01:19:51,920 --> 01:19:53,240
Speaker 1: called two Lane Blacktop.

1512
01:19:53,600 --> 01:19:55,360
Speaker 4: Sure, little Race, damn right, blue Race?

1513
01:19:56,280 --> 01:20:04,040
Speaker 2: Okay, thanks Slips. You mean for cars where too? You

1514
01:20:04,160 --> 01:20:04,439
Speaker 2: name it?

1515
01:20:05,040 --> 01:20:05,800
Speaker 4: Washington DC.

1516
01:20:06,520 --> 01:20:08,840
Speaker 1: I don't think we've talked about Monty Hellman yet on

1517
01:20:08,960 --> 01:20:13,000
Speaker 1: this podcast. Okay, briefly. You know, he was a director

1518
01:20:13,080 --> 01:20:16,560
Speaker 1: that came from that Roger Korman school of filmmaking. You know,

1519
01:20:16,680 --> 01:20:19,640
Speaker 1: started out making those cheap B movies, but then he

1520
01:20:20,560 --> 01:20:24,559
Speaker 1: eventually moved into making He made kind of these two

1521
01:20:25,920 --> 01:20:28,200
Speaker 1: what they call acid westerns.

1522
01:20:28,760 --> 01:20:29,080
Speaker 2: Nice.

1523
01:20:29,439 --> 01:20:32,560
Speaker 1: Maybe we'll we'll have to do an episode about that

1524
01:20:33,280 --> 01:20:36,799
Speaker 1: at some point. But they are both with Jack Nicholson.

1525
01:20:37,640 --> 01:20:39,760
Speaker 1: The shooting and riding the whirl win those are the two.

1526
01:20:40,520 --> 01:20:45,600
Speaker 1: And then made Tulane Blacktop. And so as you can

1527
01:20:45,680 --> 01:20:50,040
Speaker 1: imagine Monty Hellman working with Jack Nicholson doing some acid westerns.

1528
01:20:50,760 --> 01:20:54,760
Speaker 1: He you know, he's involved with the counterculture a little bit, right,

1529
01:20:55,479 --> 01:20:58,800
Speaker 1: And then Two Lane Blacktop comes out in seventy one,

1530
01:20:59,280 --> 01:21:03,719
Speaker 1: and it was basically in that wake of the success

1531
01:21:03,800 --> 01:21:08,080
Speaker 1: of Easy Rider, right, which was the movie essentially that

1532
01:21:08,280 --> 01:21:11,880
Speaker 1: bridged you know, this old Hollywood with this like new

1533
01:21:12,000 --> 01:21:16,559
Speaker 1: Hollywood where you have people like Scorsese and Francis Ford

1534
01:21:16,600 --> 01:21:19,960
Speaker 1: Coppola and you know, Monty Hellman obviously making these like

1535
01:21:20,600 --> 01:21:23,840
Speaker 1: films in the seventies that were kind of a lot

1536
01:21:23,880 --> 01:21:26,840
Speaker 1: more personal and you know, kind of cool. And you know,

1537
01:21:27,560 --> 01:21:31,599
Speaker 1: obviously with Easy Rider, that was like a big movie

1538
01:21:32,000 --> 01:21:34,479
Speaker 1: that showed what the counter culture was up to. And

1539
01:21:35,160 --> 01:21:38,200
Speaker 1: you know, I think the studios were at that point like, well, well,

1540
01:21:38,280 --> 01:21:41,559
Speaker 1: now we just got to make counterculture movies, Like we got.

1541
01:21:41,600 --> 01:21:43,800
Speaker 2: To just get the hippies to just give them money

1542
01:21:43,840 --> 01:21:44,720
Speaker 2: to do whatever they want.

1543
01:21:44,840 --> 01:21:47,439
Speaker 3: So like, you know, my Twilight came out and they're like,

1544
01:21:47,560 --> 01:21:48,960
Speaker 3: let's put a vampire and everything.

1545
01:21:49,360 --> 01:21:51,200
Speaker 1: Yeah, exactly, you know how we taught We love to

1546
01:21:51,240 --> 01:21:53,960
Speaker 1: talk about that, like one movie hits and then there's

1547
01:21:54,040 --> 01:21:57,160
Speaker 1: like one hundred thousand others that come within three to

1548
01:21:57,280 --> 01:22:00,880
Speaker 1: five years of that movie, right, because honestly, if you

1549
01:22:01,000 --> 01:22:04,360
Speaker 1: if you watch Tulane Blacktop, you're like, oh, I can't

1550
01:22:04,400 --> 01:22:07,160
Speaker 1: believe they let a guy make basically like a movie

1551
01:22:07,240 --> 01:22:13,320
Speaker 1: with almost no dialogue with two effectively like rock stars

1552
01:22:13,360 --> 01:22:18,040
Speaker 1: who had never weren't They weren't professional actors, none of

1553
01:22:18,160 --> 01:22:21,320
Speaker 1: actually none of the cast was except for Warren Oates.

1554
01:22:21,360 --> 01:22:22,680
Speaker 1: So is that kind of thing. We were like, Oh,

1555
01:22:22,800 --> 01:22:25,400
Speaker 1: that's because of easy writer they gave them. They were like,

1556
01:22:25,520 --> 01:22:27,479
Speaker 1: let him do something like give them some money to

1557
01:22:27,560 --> 01:22:29,719
Speaker 1: do something which I think is wild.

1558
01:22:29,960 --> 01:22:31,360
Speaker 2: Break them off a little car movie.

1559
01:22:31,840 --> 01:22:35,080
Speaker 1: Yeah, let them do that existential car movie. So one

1560
01:22:35,160 --> 01:22:40,760
Speaker 1: sentenced synopsis coming at you. Two men from California take

1561
01:22:40,840 --> 01:22:45,040
Speaker 1: their handbuilt race car across the American Southwest, first as

1562
01:22:45,040 --> 01:22:48,320
Speaker 1: a way to make extra cash by road racing, but

1563
01:22:48,439 --> 01:22:53,760
Speaker 1: soon eventually find themselves in a cross country challenge with

1564
01:22:53,920 --> 01:22:55,800
Speaker 1: a fellow car enthusiast.

1565
01:22:56,400 --> 01:22:57,640
Speaker 2: Yes, that's it.

1566
01:22:58,920 --> 01:23:02,200
Speaker 1: Now I'm gonna give you the breakdown of who's in

1567
01:23:02,240 --> 01:23:04,040
Speaker 1: this movie because there's not a lot of people in

1568
01:23:04,080 --> 01:23:09,639
Speaker 1: this movie. Oh yeah, you've got the musician James Taylor,

1569
01:23:10,880 --> 01:23:13,440
Speaker 1: who is simply because character is simply.

1570
01:23:13,200 --> 01:23:13,760
Speaker 2: Called the Driver.

1571
01:23:15,520 --> 01:23:21,000
Speaker 1: And James Taylor, by the way, as he was presented

1572
01:23:21,120 --> 01:23:25,240
Speaker 1: to me as a child, was like a soft rock.

1573
01:23:25,280 --> 01:23:27,280
Speaker 2: Geek, oh folk singer.

1574
01:23:27,800 --> 01:23:30,479
Speaker 1: Yes, that's who he was to me when I was

1575
01:23:30,560 --> 01:23:32,439
Speaker 1: growing up. Was somebody that my parents liked.

1576
01:23:33,080 --> 01:23:33,599
Speaker 2: And then.

1577
01:23:35,000 --> 01:23:37,560
Speaker 1: You realize, oh, wait a minute, he was this like

1578
01:23:37,760 --> 01:23:40,720
Speaker 1: cool guy at one point, like when he was you know,

1579
01:23:40,880 --> 01:23:44,880
Speaker 1: in California, and he has this whole trajectory that I

1580
01:23:44,920 --> 01:23:48,000
Speaker 1: didn't know anything about so completely.

1581
01:23:47,439 --> 01:23:49,599
Speaker 3: I know, blows here mind to think of him as cool,

1582
01:23:49,600 --> 01:23:51,400
Speaker 3: because even now it's like I picture him as like

1583
01:23:51,439 --> 01:23:55,479
Speaker 3: a little hunched over and bald and like little grainny glasses.

1584
01:23:55,920 --> 01:23:58,960
Speaker 2: Yeah, thing and fire and rain exactly.

1585
01:23:59,200 --> 01:24:00,600
Speaker 1: But then you look at him in this movie and

1586
01:24:00,640 --> 01:24:03,759
Speaker 1: you're like, WHOA, Like, I really want to know your opinion.

1587
01:24:04,000 --> 01:24:05,479
Speaker 1: What did you think when you saw him in this

1588
01:24:05,600 --> 01:24:08,400
Speaker 1: movie where you're like, is that a high assed guy

1589
01:24:08,680 --> 01:24:11,040
Speaker 1: I could whose life I could ruin? Or where you're

1590
01:24:11,080 --> 01:24:12,040
Speaker 1: just like, eh, he's all right.

1591
01:24:13,600 --> 01:24:17,880
Speaker 2: I thought I fucked that guy and I never would again.

1592
01:24:20,080 --> 01:24:23,639
Speaker 3: Like the quiet Weirdo, Yes, he's a little too obsessed

1593
01:24:23,680 --> 01:24:25,920
Speaker 3: with one thing, like I don't need to go there again.

1594
01:24:26,400 --> 01:24:29,519
Speaker 2: Yeah, he's cute, but like I can't. And he's very

1595
01:24:31,400 --> 01:24:33,000
Speaker 2: he's very like like you said, there's not a lot

1596
01:24:33,000 --> 01:24:34,800
Speaker 2: of dialogue in the film, so he's very one note

1597
01:24:35,080 --> 01:24:38,360
Speaker 2: when he does speak, and I'm just like, hmm, now,

1598
01:24:38,479 --> 01:24:41,040
Speaker 2: Dennis Wilson, however, well there you go, I would ruin

1599
01:24:41,120 --> 01:24:42,320
Speaker 2: a life. Yeah.

1600
01:24:42,360 --> 01:24:46,840
Speaker 1: Well, because so Dennis Wilson plays the character is his

1601
01:24:46,960 --> 01:24:51,400
Speaker 1: name is the Mechanic. Now, Dennis Wilson, you may know him.

1602
01:24:51,680 --> 01:24:55,240
Speaker 1: He was a member of the Beach Boys. He was

1603
01:24:55,280 --> 01:24:58,240
Speaker 1: apparently the one beach boy that actually surfed.

1604
01:25:00,400 --> 01:25:02,560
Speaker 2: I always love that to know, you'll know what, he

1605
01:25:02,600 --> 01:25:04,960
Speaker 2: was a reserve, would not scamming us.

1606
01:25:05,479 --> 01:25:09,160
Speaker 1: Yeah, and Dennis was you know, if you know a

1607
01:25:09,240 --> 01:25:13,120
Speaker 1: lot about kind of la history and that kind of

1608
01:25:13,560 --> 01:25:17,840
Speaker 1: you know, Manson family era, he was definitely involved with

1609
01:25:18,000 --> 01:25:18,479
Speaker 1: all of that.

1610
01:25:19,080 --> 01:25:19,840
Speaker 2: I mean he was.

1611
01:25:20,000 --> 01:25:22,840
Speaker 1: He had befriended Charles Manson. I think he was the

1612
01:25:22,920 --> 01:25:27,680
Speaker 1: one that introduced Manson to Terry Melcher and so it's

1613
01:25:27,720 --> 01:25:30,639
Speaker 1: kind of like he's got this Dennis Wilson particularly has

1614
01:25:30,680 --> 01:25:34,000
Speaker 1: this whole you know, mythology around him.

1615
01:25:34,400 --> 01:25:36,280
Speaker 2: Right. Also, I forgot the Manson part.

1616
01:25:36,360 --> 01:25:39,680
Speaker 3: So I'm just going to backtrack my statement about him

1617
01:25:39,720 --> 01:25:41,719
Speaker 3: being cute in the movie.

1618
01:25:42,800 --> 01:25:44,760
Speaker 2: He can still be cute. He can still be cute.

1619
01:25:45,439 --> 01:25:48,760
Speaker 1: But uh so, Yeah, Dennis Wilson, the mechanic. And then

1620
01:25:48,800 --> 01:25:54,160
Speaker 1: you've got Laurie Bird who plays the girl, and we

1621
01:25:54,200 --> 01:25:56,200
Speaker 1: will definitely get into her in just a second, but

1622
01:25:56,560 --> 01:25:59,720
Speaker 1: Laurie Bird was just a you know, she was a

1623
01:25:59,800 --> 01:26:02,720
Speaker 1: mo basically, she had never really acted before and she

1624
01:26:02,920 --> 01:26:09,160
Speaker 1: wasn't in a lot of films at all. She died unfortunately,

1625
01:26:09,880 --> 01:26:14,400
Speaker 1: very young, very tragically. But you know, she was a

1626
01:26:14,560 --> 01:26:17,880
Speaker 1: non actor, completely fresh face as well. So you've got

1627
01:26:17,920 --> 01:26:22,200
Speaker 1: these like three young non professional actors, and then you've

1628
01:26:22,240 --> 01:26:25,640
Speaker 1: got Warren Oates, who is the gto. And you know,

1629
01:26:25,880 --> 01:26:30,360
Speaker 1: Warren Oates personally is one of my favorite character actors ever.

1630
01:26:31,439 --> 01:26:35,160
Speaker 1: He's so awesome. Anytime I see him in a movie,

1631
01:26:35,560 --> 01:26:38,519
Speaker 1: I'm just like, that's my guy. He was, you know,

1632
01:26:38,720 --> 01:26:41,760
Speaker 1: kind of like Monti Hellman's muse. He was, you know,

1633
01:26:41,960 --> 01:26:43,720
Speaker 1: the same for Sam Peck and Paul. He was in

1634
01:26:43,800 --> 01:26:47,600
Speaker 1: a lot of like you know, kind of great seventies,

1635
01:26:47,880 --> 01:26:50,680
Speaker 1: sixties and seventies movies. He was also in Stripes. I

1636
01:26:50,680 --> 01:26:54,560
Speaker 1: don't know if everybody remembers. He was the like the

1637
01:26:54,720 --> 01:26:57,800
Speaker 1: colonel or like the guy that's like ordering everybody around

1638
01:26:57,840 --> 01:26:58,400
Speaker 1: in stripes.

1639
01:26:58,560 --> 01:26:59,200
Speaker 2: My god.

1640
01:26:59,560 --> 01:27:02,720
Speaker 1: Yes, yeah, so he's he was around for a long time.

1641
01:27:02,800 --> 01:27:05,640
Speaker 1: He's no longer with us. But anyway, if you like

1642
01:27:05,760 --> 01:27:08,479
Speaker 1: Warre Notates, you're a friend of mine. Let's just say that.

1643
01:27:09,600 --> 01:27:13,160
Speaker 1: So yeah, I mean, you've got these four characters, and

1644
01:27:13,840 --> 01:27:17,000
Speaker 1: from what I've read, like Monti Hellman, actually he didn't

1645
01:27:17,080 --> 01:27:22,640
Speaker 1: come into the movie, intending to cast James Taylor and

1646
01:27:22,760 --> 01:27:26,240
Speaker 1: Dennis Wilson. In fact, he said that you'll love this.

1647
01:27:27,000 --> 01:27:33,120
Speaker 1: He actually considered James Kahan. Oh at one point, so

1648
01:27:33,400 --> 01:27:38,120
Speaker 1: could have been a Jimmy Kahn Tulane Blacktop. What could

1649
01:27:38,160 --> 01:27:38,439
Speaker 1: have been?

1650
01:27:38,720 --> 01:27:43,160
Speaker 3: Right, Jimmy Kahn would never stay silent in a film

1651
01:27:43,240 --> 01:27:44,120
Speaker 3: for as long as this movie was.

1652
01:27:44,560 --> 01:27:47,639
Speaker 1: I was gonna say, I don't think so, I don't think.

1653
01:27:49,240 --> 01:27:52,280
Speaker 1: I don't think a man, real actor would be like, oh,

1654
01:27:52,320 --> 01:27:54,000
Speaker 1: I don't say anything pretty much.

1655
01:27:54,120 --> 01:27:58,720
Speaker 2: Ever, Yeah, a man is not having it, yeap, Rip King.

1656
01:28:00,680 --> 01:28:02,599
Speaker 1: Look, we're gonna get into the beasts of the film

1657
01:28:02,640 --> 01:28:03,960
Speaker 1: a little bit, but I just want to say as

1658
01:28:04,000 --> 01:28:09,080
Speaker 1: a warning, I know very little about racing and cars, Okay,

1659
01:28:09,640 --> 01:28:12,360
Speaker 1: So just just gonna throw that out there. Although I

1660
01:28:12,400 --> 01:28:16,360
Speaker 1: will say this, I went to a NASCAR race once,

1661
01:28:17,400 --> 01:28:20,000
Speaker 1: just once. I have a friend who works for a

1662
01:28:20,080 --> 01:28:23,320
Speaker 1: NASCAR team, and she invited me to see a NASCAR

1663
01:28:23,439 --> 01:28:25,480
Speaker 1: race that at the Atlanta Motor Speedway.

1664
01:28:26,000 --> 01:28:27,559
Speaker 2: Nice an institution here.

1665
01:28:28,400 --> 01:28:32,559
Speaker 1: But that was the only time that I ever felt

1666
01:28:32,640 --> 01:28:38,920
Speaker 1: like I got the full scope of like men's obsessions

1667
01:28:39,160 --> 01:28:43,439
Speaker 1: with cars. Right there was this First of all, I

1668
01:28:43,479 --> 01:28:46,160
Speaker 1: will say this, I don't know if this is typical

1669
01:28:46,200 --> 01:28:48,400
Speaker 1: of NASCAR race, but I swear to god, there was

1670
01:28:48,560 --> 01:28:52,920
Speaker 1: like three women there, like totally in the mass medium. Yeah,

1671
01:28:53,320 --> 01:28:55,800
Speaker 1: it was I would say ninety to ninety five percent

1672
01:28:55,960 --> 01:29:01,080
Speaker 1: men bomn and the degree to which people were obsessed

1673
01:29:01,160 --> 01:29:05,840
Speaker 1: with watching, like it was like men watching men work

1674
01:29:05,880 --> 01:29:08,439
Speaker 1: on like take apart cars, put the new tires on.

1675
01:29:08,840 --> 01:29:14,559
Speaker 1: There was a car that had wrecked on the racetrack

1676
01:29:14,640 --> 01:29:18,000
Speaker 1: or whatever, so they pull they tow the car to

1677
01:29:18,240 --> 01:29:21,559
Speaker 1: the pit, right, and then whoever's team it is, all

1678
01:29:21,600 --> 01:29:24,280
Speaker 1: their mechanics start just taking apart the car because you know,

1679
01:29:24,320 --> 01:29:25,680
Speaker 1: you got to take all the shit off of it

1680
01:29:25,800 --> 01:29:27,919
Speaker 1: and you know and scrap it or do whatever, rebuild

1681
01:29:27,960 --> 01:29:30,759
Speaker 1: it or something. Yeah, and so there was this pile

1682
01:29:31,120 --> 01:29:34,200
Speaker 1: there was like four guys with a junked up car,

1683
01:29:35,040 --> 01:29:39,160
Speaker 1: and these dudes just like circling them filming it with

1684
01:29:39,280 --> 01:29:44,280
Speaker 1: their iPhones, like watching like filming guys take apart a car.

1685
01:29:45,560 --> 01:29:49,120
Speaker 1: And I was like, this is like fucking crazy, Like

1686
01:29:49,200 --> 01:29:51,280
Speaker 1: I've never seen anything like that before my life.

1687
01:29:51,360 --> 01:29:51,519
Speaker 5: Yeah.

1688
01:29:51,560 --> 01:29:55,519
Speaker 1: Yeah, it was kind of like sexual in a weird way,

1689
01:29:55,640 --> 01:29:59,479
Speaker 1: like they were like having a moment or something, and

1690
01:29:59,520 --> 01:30:04,160
Speaker 1: I'm just like, wow, this is like an ethnographic study

1691
01:30:04,200 --> 01:30:05,960
Speaker 1: here that I that I'm here for.

1692
01:30:06,760 --> 01:30:07,160
Speaker 2: So yeah.

1693
01:30:07,400 --> 01:30:09,760
Speaker 1: Yeah, So I had that NASCAR experience and you know,

1694
01:30:09,840 --> 01:30:13,400
Speaker 1: I mean I didn't know anything that was going on, but.

1695
01:30:13,560 --> 01:30:15,400
Speaker 2: I couldn't tell you how a NASCAR race goes.

1696
01:30:15,840 --> 01:30:18,280
Speaker 1: Yeah, but it is like as an outsider, it's fascinating.

1697
01:30:18,479 --> 01:30:20,240
Speaker 1: And that's like part of like what I think is

1698
01:30:20,360 --> 01:30:22,479
Speaker 1: fascinating about this movie in that regard is that, like,

1699
01:30:22,920 --> 01:30:24,560
Speaker 1: I mean, there are parts of this movie where you

1700
01:30:24,640 --> 01:30:27,080
Speaker 1: can see people in the background like looking at their

1701
01:30:27,200 --> 01:30:30,599
Speaker 1: cars and stuff, like just guys, just guys milling around

1702
01:30:31,080 --> 01:30:34,000
Speaker 1: looking at the cars, talking about their engines and shit.

1703
01:30:34,040 --> 01:30:36,599
Speaker 1: And I'm like, it's fascinating because.

1704
01:30:36,360 --> 01:30:38,840
Speaker 3: I just don't know anything about that and it's so

1705
01:30:39,040 --> 01:30:44,000
Speaker 3: like it's so intricate because they're interested in the thing

1706
01:30:44,080 --> 01:30:46,720
Speaker 3: that's on the inside of the car. Yeah, but they

1707
01:30:46,760 --> 01:30:49,120
Speaker 3: don't actually want to talk to the drivers or anyone

1708
01:30:49,200 --> 01:30:50,960
Speaker 3: who has anything to do with the car. They're like,

1709
01:30:51,040 --> 01:30:52,360
Speaker 3: let me just does pop the hood and let me

1710
01:30:52,400 --> 01:30:53,880
Speaker 3: take a look and do my own thing.

1711
01:30:54,240 --> 01:30:54,439
Speaker 2: Yeah.

1712
01:30:54,960 --> 01:30:57,320
Speaker 1: Well, and that's what I think is so interesting ultimately too,

1713
01:30:57,360 --> 01:30:59,280
Speaker 1: about the driver and the mechanic.

1714
01:30:59,439 --> 01:31:01,280
Speaker 2: Now, at the beginning of the film.

1715
01:31:01,280 --> 01:31:04,479
Speaker 1: They're together, like they're just like hanging out together, and

1716
01:31:05,160 --> 01:31:08,719
Speaker 1: you know, James Taylor is the driver obviously, Dennis Wilson

1717
01:31:08,760 --> 01:31:11,759
Speaker 1: is a mechanic, and he's so knowledgeable, Like apparently Dennis

1718
01:31:11,800 --> 01:31:14,120
Speaker 1: Wilson actually did know a lot about cars, which I

1719
01:31:14,200 --> 01:31:19,520
Speaker 1: find very interesting. But the mechanic is like so knowledgeable

1720
01:31:19,640 --> 01:31:22,160
Speaker 1: that he kind of like knows just by looking at

1721
01:31:22,200 --> 01:31:25,760
Speaker 1: a car if he thinks that they could win if

1722
01:31:25,800 --> 01:31:31,160
Speaker 1: they race it type of thing. And they have together. Again,

1723
01:31:31,240 --> 01:31:34,240
Speaker 1: there's not a lot of backstory with either of them, right,

1724
01:31:34,880 --> 01:31:39,360
Speaker 1: And at times it's sort of like you can't decide

1725
01:31:39,360 --> 01:31:41,800
Speaker 1: because they literally don't say anything to each other unless

1726
01:31:41,920 --> 01:31:46,559
Speaker 1: it's about cars, right, And there's there's a moment where

1727
01:31:46,560 --> 01:31:49,400
Speaker 1: I think, Okay, they're either like completely closed off from

1728
01:31:49,520 --> 01:31:53,960
Speaker 1: their entire like emotional register and they don't know anything

1729
01:31:54,960 --> 01:31:58,960
Speaker 1: but cars, or they're like an old married couple that

1730
01:31:59,120 --> 01:32:01,280
Speaker 1: like doesn't have to speak to each other even if

1731
01:32:01,280 --> 01:32:03,880
Speaker 1: they're in the same room. It was a very interesting vibe.

1732
01:32:03,880 --> 01:32:05,439
Speaker 1: I couldn't decide. Maybe it was a little bit of

1733
01:32:05,520 --> 01:32:06,360
Speaker 1: both who knows?

1734
01:32:06,880 --> 01:32:10,640
Speaker 2: And then Lorie Bird shows up and you're like, whoa, yes, she.

1735
01:32:10,800 --> 01:32:12,680
Speaker 1: Really throws a wrench in there, and that's something that

1736
01:32:12,680 --> 01:32:14,240
Speaker 1: I want to get into in a second, because I

1737
01:32:14,280 --> 01:32:16,800
Speaker 1: feel like it has almost a lot in common with

1738
01:32:16,920 --> 01:32:21,080
Speaker 1: your film. But so this car that they have together

1739
01:32:21,600 --> 01:32:25,040
Speaker 1: is a like a nineteen fifty five Chevy okay, and

1740
01:32:25,680 --> 01:32:27,880
Speaker 1: they apparently have built it from like the ground up.

1741
01:32:28,080 --> 01:32:31,720
Speaker 1: And part of what I have heard Monti Hellman talk

1742
01:32:31,720 --> 01:32:34,400
Speaker 1: about when he talks about the film is that the

1743
01:32:34,840 --> 01:32:38,960
Speaker 1: actual car in the movie was built as a race car.

1744
01:32:39,120 --> 01:32:43,200
Speaker 1: Like basically it's all aluminum like trunk and hood and

1745
01:32:43,280 --> 01:32:45,560
Speaker 1: the fiberglass windows so that the car goes faster, so

1746
01:32:45,680 --> 01:32:49,479
Speaker 1: nothing that like prevents the car from slowing down in

1747
01:32:49,560 --> 01:32:52,120
Speaker 1: any way. So they've built this thing from scratch, and

1748
01:32:52,160 --> 01:32:55,120
Speaker 1: you can tell it's just kind of like it's their

1749
01:32:55,160 --> 01:32:57,400
Speaker 1: girlfriend or something. It's like they're the love of their.

1750
01:32:57,360 --> 01:33:01,639
Speaker 2: Life, right, and it look great. But I guess, yes,

1751
01:33:01,960 --> 01:33:03,680
Speaker 2: and you have to take the trunk off when you

1752
01:33:03,760 --> 01:33:04,559
Speaker 2: want to do anything.

1753
01:33:05,120 --> 01:33:11,120
Speaker 1: Yes, very very interesting, and you know, basically they're just

1754
01:33:11,280 --> 01:33:15,000
Speaker 1: kind of roaming around, you know, La, but also they

1755
01:33:15,120 --> 01:33:17,200
Speaker 1: move out into like kind of Arizona and New Mexico

1756
01:33:17,200 --> 01:33:19,360
Speaker 1: and they're just like racing for money. They're just really

1757
01:33:19,400 --> 01:33:21,800
Speaker 1: they got really kind of no goal other than to

1758
01:33:21,960 --> 01:33:24,400
Speaker 1: just like show up and do some drag racing, make

1759
01:33:24,479 --> 01:33:26,679
Speaker 1: some cash, and then move on to the next place. Okay,

1760
01:33:27,680 --> 01:33:33,160
Speaker 1: so one day they're out and this female hitchhiker just

1761
01:33:33,240 --> 01:33:35,080
Speaker 1: kind of gets into the backseat of their car where

1762
01:33:35,080 --> 01:33:37,680
Speaker 1: they're like in a diner or a gas station, and

1763
01:33:37,760 --> 01:33:39,120
Speaker 1: then just kind of stays.

1764
01:33:40,040 --> 01:33:42,880
Speaker 3: It's so weird, yeah, because there's not a lot of

1765
01:33:42,960 --> 01:33:45,000
Speaker 3: dialogue in the film, so you're like, do they know her?

1766
01:33:45,120 --> 01:33:49,600
Speaker 2: Have they met her? There's no explanation, yes, and like, you.

1767
01:33:49,640 --> 01:33:51,960
Speaker 1: Know, and this is obviously the Lori Bird character who's

1768
01:33:52,040 --> 01:33:54,760
Speaker 1: just sort of named the girl. They don't know her

1769
01:33:55,000 --> 01:33:58,080
Speaker 1: or anything, and you know, and they just sort of

1770
01:33:58,200 --> 01:34:01,320
Speaker 1: like nobody has introduced them, Like she just kind of Hey,

1771
01:34:01,360 --> 01:34:02,880
Speaker 1: we're in the backseat and guess what, Now we're on

1772
01:34:02,960 --> 01:34:06,000
Speaker 1: a ride and she's just along for it, and you know,

1773
01:34:06,520 --> 01:34:08,960
Speaker 1: part of what again, what I think this movie is

1774
01:34:09,040 --> 01:34:11,240
Speaker 1: a lot about. It's just about that sort of the

1775
01:34:11,400 --> 01:34:14,040
Speaker 1: road and sort of being on the road. And you know,

1776
01:34:14,560 --> 01:34:18,280
Speaker 1: seventy one seventies in general was not just a big

1777
01:34:18,400 --> 01:34:22,360
Speaker 1: car but also like a big hitchhiking era too, which

1778
01:34:22,439 --> 01:34:24,040
Speaker 1: was a huge part of the counterculture. A lot of

1779
01:34:24,080 --> 01:34:27,599
Speaker 1: people hitchhiked all the time, especially if you were hippie

1780
01:34:27,680 --> 01:34:29,679
Speaker 1: and you know, just sort of like cool and wanted

1781
01:34:29,680 --> 01:34:32,519
Speaker 1: to get places. So she just kind of shows up

1782
01:34:32,840 --> 01:34:34,920
Speaker 1: where her stuff and there's kind of like, Okay, it

1783
01:34:35,040 --> 01:34:38,000
Speaker 1: felt very you know, like you can never do that

1784
01:34:38,120 --> 01:34:39,920
Speaker 1: now obviously, but I was like, I don't know, maybe

1785
01:34:40,000 --> 01:34:41,439
Speaker 1: in the seventies.

1786
01:34:41,560 --> 01:34:44,200
Speaker 2: It was like that, you know, I don't even know

1787
01:34:44,200 --> 01:34:45,760
Speaker 2: if you could do it then, but she did.

1788
01:34:46,280 --> 01:34:49,000
Speaker 1: Yeah, it's just what happened.

1789
01:34:49,360 --> 01:34:52,920
Speaker 2: So again it's a great entrance. Yeah, it's a great entrance.

1790
01:34:53,880 --> 01:34:55,840
Speaker 1: So again, you know, they're not on the interstate when

1791
01:34:55,840 --> 01:34:58,360
Speaker 1: they're driving around, they're just taking these back roads and

1792
01:34:58,520 --> 01:35:03,280
Speaker 1: you know, so essentially what ends up happening is they're

1793
01:35:03,320 --> 01:35:07,960
Speaker 1: on the road and they keep driving. This guy, just

1794
01:35:08,240 --> 01:35:12,560
Speaker 1: random guy keeps driving up next to them, and it's Gto,

1795
01:35:12,880 --> 01:35:15,080
Speaker 1: the character named Gto, played by war Notes.

1796
01:35:15,360 --> 01:35:17,040
Speaker 2: And this guy's a real fucking character.

1797
01:35:17,200 --> 01:35:21,160
Speaker 1: Now he's doing all the talking in the film, like

1798
01:35:21,240 --> 01:35:22,840
Speaker 1: he's doing all the talking for them.

1799
01:35:23,520 --> 01:35:25,760
Speaker 2: And what I love about this character is that.

1800
01:35:27,280 --> 01:35:31,120
Speaker 3: He you hear his personal story by all the hitchhikers

1801
01:35:31,160 --> 01:35:34,840
Speaker 3: he picks up and talks to exactly. Yeah, so he's

1802
01:35:34,880 --> 01:35:38,080
Speaker 3: alone in the car, except he does pick up hitchhikers,

1803
01:35:38,080 --> 01:35:39,160
Speaker 3: and they're of every stripe.

1804
01:35:40,200 --> 01:35:40,360
Speaker 2: You know.

1805
01:35:40,439 --> 01:35:44,640
Speaker 1: It's like old ladies with with their granddaughters, you know,

1806
01:35:44,760 --> 01:35:48,040
Speaker 1: guys in the military, you know, just random dudes on

1807
01:35:48,120 --> 01:35:49,920
Speaker 1: the side of the road. You know, it's just kind

1808
01:35:49,960 --> 01:35:52,840
Speaker 1: of everybody, and which is also like another kind of

1809
01:35:52,920 --> 01:35:54,599
Speaker 1: charming part of the film is getting to see all

1810
01:35:54,640 --> 01:35:56,439
Speaker 1: these different people that he picks up, and then every

1811
01:35:56,520 --> 01:35:59,160
Speaker 1: time he picks them up, he has this new story

1812
01:35:59,240 --> 01:36:01,000
Speaker 1: about who he is and how he got the car.

1813
01:36:01,600 --> 01:36:03,920
Speaker 1: He's like he's a mini bar and it's trunk and

1814
01:36:04,000 --> 01:36:05,920
Speaker 1: he's like wearing these like racing gloves. I mean, he's

1815
01:36:06,000 --> 01:36:10,400
Speaker 1: just fucking ridiculous, right, But at the same time, you

1816
01:36:10,479 --> 01:36:12,120
Speaker 1: can sense that he's also kind of going through his

1817
01:36:12,200 --> 01:36:16,080
Speaker 1: own sort of like existential crisis or something. Like he

1818
01:36:16,479 --> 01:36:18,800
Speaker 1: kind of just starts saying things like he's been on

1819
01:36:18,880 --> 01:36:20,960
Speaker 1: the go for so long and maybe it's time to

1820
01:36:21,000 --> 01:36:25,280
Speaker 1: settle down. He says something that's it was, you know,

1821
01:36:25,560 --> 01:36:27,600
Speaker 1: very profound to me. Actually, he said that if he

1822
01:36:27,640 --> 01:36:29,360
Speaker 1: doesn't settle down soon, he's.

1823
01:36:29,240 --> 01:36:29,680
Speaker 2: Going to like.

1824
01:36:31,240 --> 01:36:33,920
Speaker 1: You know, move up into the orbit or whatever, meaning

1825
01:36:34,080 --> 01:36:36,799
Speaker 1: like he's like, I don't know, if I don't figure

1826
01:36:36,800 --> 01:36:39,960
Speaker 1: this out soon, I'm gonna I'm gonna float away and

1827
01:36:40,080 --> 01:36:41,679
Speaker 1: not know what I'm doing.

1828
01:36:41,800 --> 01:36:43,439
Speaker 2: That's a real issue for a lot of people.

1829
01:36:43,520 --> 01:36:45,920
Speaker 3: Where I think he was this character seems to be

1830
01:36:45,960 --> 01:36:51,760
Speaker 3: smart enough to notice that about himself, that he's not

1831
01:36:51,880 --> 01:36:52,439
Speaker 3: tethered to the.

1832
01:36:52,479 --> 01:36:54,840
Speaker 2: World and he can literally just drive back and forth

1833
01:36:54,880 --> 01:36:55,479
Speaker 2: and do his thing.

1834
01:36:56,120 --> 01:36:58,799
Speaker 1: Yeah, and so part of like what ends up happening

1835
01:36:58,920 --> 01:37:02,200
Speaker 1: is that he just seeing these this car, this other

1836
01:37:02,320 --> 01:37:06,040
Speaker 1: car with these guys and this girl, and you know,

1837
01:37:06,360 --> 01:37:09,040
Speaker 1: they're in this like old fifty five Chevy that they've

1838
01:37:09,040 --> 01:37:10,360
Speaker 1: built from the ground up, and he is in this

1839
01:37:10,520 --> 01:37:15,479
Speaker 1: like brand new Pontiac Gto with all the bells and whistles,

1840
01:37:15,920 --> 01:37:19,720
Speaker 1: and so you start seeing like this kind of generational

1841
01:37:20,040 --> 01:37:22,800
Speaker 1: conversation happening where it's sort of like, so, he's the

1842
01:37:22,880 --> 01:37:25,320
Speaker 1: guy that like bought the brand new car off the lot,

1843
01:37:25,960 --> 01:37:27,760
Speaker 1: and he wants to be cool and he thinks he's

1844
01:37:27,800 --> 01:37:30,880
Speaker 1: being hip. Meanwhile, these like kids got this old car

1845
01:37:31,760 --> 01:37:34,120
Speaker 1: and they're just kind of restoring it to the best

1846
01:37:34,160 --> 01:37:35,560
Speaker 1: of their ability, and they're just kind of like So

1847
01:37:35,680 --> 01:37:37,680
Speaker 1: there's this kind of this thing that's going back and

1848
01:37:37,800 --> 01:37:41,160
Speaker 1: forth between the two of them about how they're kind

1849
01:37:41,200 --> 01:37:42,960
Speaker 1: of making fun of him, but he's kind of like

1850
01:37:43,040 --> 01:37:44,960
Speaker 1: a bunch of you know, shaking his fist at them

1851
01:37:45,040 --> 01:37:47,840
Speaker 1: and stuff. And at the same time though, they kind

1852
01:37:47,880 --> 01:37:49,920
Speaker 1: of have the same vibe, which is that they're all

1853
01:37:50,040 --> 01:37:53,439
Speaker 1: kind of drifting, like, you know, and that's I think

1854
01:37:53,800 --> 01:37:56,240
Speaker 1: another part of what makes this movie kind of an

1855
01:37:57,240 --> 01:38:03,200
Speaker 1: existential shin or thought experiment is just like that idea

1856
01:38:03,240 --> 01:38:07,200
Speaker 1: of like he's them in like twenty thirty years right exactly.

1857
01:38:08,280 --> 01:38:11,000
Speaker 1: So after a while they get sick of just kind

1858
01:38:11,000 --> 01:38:13,280
Speaker 1: of following each other, and then so finally they agree

1859
01:38:13,320 --> 01:38:15,439
Speaker 1: that they're going to race, and the whole thing is

1860
01:38:15,479 --> 01:38:18,200
Speaker 1: that they're going to race to Washington, DC, and then

1861
01:38:18,320 --> 01:38:23,080
Speaker 1: whoever gets their first gets the other person's car. Essentially,

1862
01:38:24,120 --> 01:38:28,759
Speaker 1: it's time to kind of address the Lori Bird character,

1863
01:38:28,960 --> 01:38:34,320
Speaker 1: because in this era, you know, she's playing effectively like

1864
01:38:35,120 --> 01:38:39,840
Speaker 1: a wanderer, kind of like a counterculture girl, and she,

1865
01:38:40,280 --> 01:38:42,640
Speaker 1: in a weird way, kind of has I mean, she

1866
01:38:42,800 --> 01:38:46,519
Speaker 1: has no goals either, she has no desires other than

1867
01:38:46,560 --> 01:38:48,759
Speaker 1: to just have experiences and just kind of like drift

1868
01:38:48,840 --> 01:38:51,640
Speaker 1: and move along and just kind of go places. And

1869
01:38:52,680 --> 01:38:55,080
Speaker 1: I actually think that's pretty interesting because I feel like

1870
01:38:55,800 --> 01:39:00,639
Speaker 1: in maybe maybe a movie from a slightly early period

1871
01:39:00,720 --> 01:39:04,360
Speaker 1: of time than this, that woman would have like all

1872
01:39:04,439 --> 01:39:07,240
Speaker 1: these needs and she'd be like this big mag and

1873
01:39:07,320 --> 01:39:09,960
Speaker 1: she's just kind of like, you know this, like trying

1874
01:39:10,040 --> 01:39:12,519
Speaker 1: to like settle the men down. But I feel like

1875
01:39:12,600 --> 01:39:15,240
Speaker 1: at the end of the day, she's not doing that.

1876
01:39:15,400 --> 01:39:16,920
Speaker 1: She's like, I want to live my own life. I

1877
01:39:17,000 --> 01:39:19,040
Speaker 1: want to do what I want to do. This guy's

1878
01:39:19,080 --> 01:39:20,600
Speaker 1: telling me they want to take me to Florida. I

1879
01:39:20,640 --> 01:39:21,760
Speaker 1: don't want to do that shit, Like.

1880
01:39:21,800 --> 01:39:24,719
Speaker 2: I want to do my own thing right exactly.

1881
01:39:25,280 --> 01:39:28,080
Speaker 1: And at certain points, like both the driver and the

1882
01:39:28,160 --> 01:39:30,800
Speaker 1: mechanic kind of enter into, you know, some kind of

1883
01:39:30,960 --> 01:39:36,280
Speaker 1: romance with her, but she's not feeling she doesn't feel

1884
01:39:38,200 --> 01:39:40,680
Speaker 1: indebted to either of them. Yeah, and she's just like,

1885
01:39:40,760 --> 01:39:42,000
Speaker 1: I don't care. I just want to do what I

1886
01:39:42,080 --> 01:39:43,720
Speaker 1: want to do, which I feel like, in a way

1887
01:39:43,840 --> 01:39:45,679
Speaker 1: is kind of fresh for this time.

1888
01:39:45,600 --> 01:39:48,840
Speaker 3: You know, absolutely, And it's really indicative of like it's

1889
01:39:49,880 --> 01:39:53,479
Speaker 3: in a movie where most of the characters don't have

1890
01:39:53,600 --> 01:39:59,280
Speaker 3: any personal motivation, she does, like she has this motivation

1891
01:39:59,479 --> 01:40:01,880
Speaker 3: to be free on her own terms. And you can

1892
01:40:01,960 --> 01:40:04,599
Speaker 3: see that with her hopping back and forth between the cars.

1893
01:40:05,200 --> 01:40:08,320
Speaker 3: So sometimes she's hanging out with Gto and sometimes she's

1894
01:40:08,320 --> 01:40:11,160
Speaker 3: hanging out with the with the driver and the mechanic. Yeah,

1895
01:40:11,200 --> 01:40:13,439
Speaker 3: and she's just kind of like figuring it out as

1896
01:40:13,520 --> 01:40:16,479
Speaker 3: she goes and basing all of her decisions on what

1897
01:40:16,600 --> 01:40:17,519
Speaker 3: makes her comfortable.

1898
01:40:18,040 --> 01:40:22,559
Speaker 1: Yeah, there's this one part where I feel like the driver,

1899
01:40:24,400 --> 01:40:28,280
Speaker 1: you know, considers maybe entering into a romance with her

1900
01:40:28,360 --> 01:40:32,280
Speaker 1: or has a little crush on her. And throughout the film,

1901
01:40:32,840 --> 01:40:35,360
Speaker 1: it's not like these people are having these big conversations.

1902
01:40:35,400 --> 01:40:37,400
Speaker 1: I mean, they're just kind of like chillin together with

1903
01:40:37,640 --> 01:40:41,479
Speaker 1: kind of no get to, no use, no like anything.

1904
01:40:42,560 --> 01:40:45,960
Speaker 1: And it's interesting because the shift between like, you know,

1905
01:40:46,080 --> 01:40:48,200
Speaker 1: he kind of I guess she kind of grows on

1906
01:40:48,320 --> 01:40:50,680
Speaker 1: him at a certain point on the trip, and then

1907
01:40:50,720 --> 01:40:54,240
Speaker 1: he decides to try to teach her how to drive

1908
01:40:54,439 --> 01:40:59,880
Speaker 1: the car, which in his language, which he's car obsessed

1909
01:41:00,000 --> 01:41:03,080
Speaker 1: and he only talks about cars and thinks about cars.

1910
01:41:03,320 --> 01:41:09,120
Speaker 2: That's pretty much like a marriage proposal, right exactly. And

1911
01:41:09,200 --> 01:41:12,040
Speaker 2: then there's so much disappointment in that lesson.

1912
01:41:12,640 --> 01:41:16,479
Speaker 1: Yeah, and what ends up happening without you know, giving

1913
01:41:16,520 --> 01:41:19,240
Speaker 1: a ton away, even though I don't even think there's

1914
01:41:19,240 --> 01:41:23,360
Speaker 1: really enough to give away in this film, Like it's

1915
01:41:23,840 --> 01:41:26,680
Speaker 1: like she that doesn't mean anything to her, Like she

1916
01:41:26,920 --> 01:41:32,640
Speaker 1: like even that gesture. Ultimately it doesn't turn her Like

1917
01:41:32,720 --> 01:41:34,680
Speaker 1: she's just like, you know what, I'm just gonna move

1918
01:41:34,720 --> 01:41:36,759
Speaker 1: on and go off with somebody else and that's.

1919
01:41:36,680 --> 01:41:39,800
Speaker 2: Just how I am. Yeah, and she tells me he's boring.

1920
01:41:39,880 --> 01:41:41,759
Speaker 2: She's like, you're boring me, and she like walks away.

1921
01:41:42,280 --> 01:41:46,120
Speaker 1: Yeah, Like and again like this is you know, something

1922
01:41:46,240 --> 01:41:48,639
Speaker 1: that I think is kind of unique about the film

1923
01:41:48,760 --> 01:41:52,040
Speaker 1: is that like, yes, the girl doesn't like say much

1924
01:41:52,560 --> 01:41:55,479
Speaker 1: alongside everybody else who's not saying anything, but she also

1925
01:41:55,760 --> 01:42:01,080
Speaker 1: is not you know, feeling sort of like some type

1926
01:42:01,080 --> 01:42:02,200
Speaker 1: of way about either of them or.

1927
01:42:02,200 --> 01:42:02,720
Speaker 2: Any of them.

1928
01:42:02,880 --> 01:42:04,720
Speaker 1: So I don't know, I just I find that very

1929
01:42:04,760 --> 01:42:08,439
Speaker 1: interesting and you know, part of like what this movie is.

1930
01:42:08,640 --> 01:42:11,080
Speaker 1: And like I said, there is a lot sort of

1931
01:42:11,640 --> 01:42:14,040
Speaker 1: there's a lot of like it's one of those movies

1932
01:42:14,040 --> 01:42:17,599
Speaker 1: where you don't hear a lot of dialogue, you see

1933
01:42:17,640 --> 01:42:21,040
Speaker 1: a lot of great scenery, like the shots of like

1934
01:42:21,720 --> 01:42:24,360
Speaker 1: you know again, they're kind of they're not taking the interstate.

1935
01:42:24,439 --> 01:42:27,240
Speaker 1: They're kind of I feel like on maybe like Route

1936
01:42:27,240 --> 01:42:29,640
Speaker 1: sixty six or something, they're kind of hitting all the

1937
01:42:29,680 --> 01:42:34,040
Speaker 1: spots that you would go to like Oklahoma, Arkansas, Memphis,

1938
01:42:34,200 --> 01:42:35,920
Speaker 1: so you're kind of like, okay, maybe they're traveling cost

1939
01:42:35,960 --> 01:42:37,640
Speaker 1: the country, but they're not like on the you know,

1940
01:42:37,760 --> 01:42:41,560
Speaker 1: I forty or whatever. They're they're taking back roads and

1941
01:42:42,000 --> 01:42:43,680
Speaker 1: just all of the people that they meet, like they

1942
01:42:43,720 --> 01:42:45,840
Speaker 1: show up to these kind of like local race tracks,

1943
01:42:45,880 --> 01:42:48,559
Speaker 1: and it's like so great, like watching all the old

1944
01:42:49,160 --> 01:42:52,880
Speaker 1: you know, racetrack footage and the diners and that kind

1945
01:42:52,880 --> 01:42:55,000
Speaker 1: of stuff. It's like, you know, that to me is

1946
01:42:55,320 --> 01:42:58,680
Speaker 1: part of the charm of this film, but it is

1947
01:42:58,840 --> 01:43:01,000
Speaker 1: the kind of thing where, you know, if you're looking

1948
01:43:01,040 --> 01:43:03,080
Speaker 1: for something where there's a lot of action, a lot

1949
01:43:03,160 --> 01:43:05,520
Speaker 1: of shit happening, a lot of like you know, conversation,

1950
01:43:05,640 --> 01:43:08,680
Speaker 1: this probably ain't the movie for you, But it's more

1951
01:43:08,800 --> 01:43:12,519
Speaker 1: kind of like a meditative vibe. Like you know, there

1952
01:43:12,600 --> 01:43:14,320
Speaker 1: was a lot of that in this era too, a

1953
01:43:14,400 --> 01:43:18,200
Speaker 1: lot of kind of like existential car films like Vanishing

1954
01:43:18,280 --> 01:43:20,479
Speaker 1: Point and that kind of stuff. So it's kind of

1955
01:43:20,600 --> 01:43:24,120
Speaker 1: of the era, but also like if you're just looking

1956
01:43:24,200 --> 01:43:26,479
Speaker 1: to see like a movie where you can just kind

1957
01:43:26,520 --> 01:43:28,200
Speaker 1: of like I don't know, just kind of sit in

1958
01:43:28,280 --> 01:43:30,880
Speaker 1: the world and not you know, and kind of just

1959
01:43:30,960 --> 01:43:34,559
Speaker 1: make up your own conclusions about some things, then it's

1960
01:43:34,600 --> 01:43:35,240
Speaker 1: a great film.

1961
01:43:35,760 --> 01:43:38,080
Speaker 3: Yeah, And I like that about the movie that it

1962
01:43:38,200 --> 01:43:41,240
Speaker 3: kind of when you look at the start and the endpoint,

1963
01:43:41,360 --> 01:43:43,479
Speaker 3: you're like, oh, they're just showing you this chunk of

1964
01:43:43,600 --> 01:43:48,080
Speaker 3: time and you get to decide what you think happens

1965
01:43:48,200 --> 01:43:50,400
Speaker 3: or who these people are, Like they're not projecting a

1966
01:43:50,479 --> 01:43:51,480
Speaker 3: lot onto.

1967
01:43:51,280 --> 01:43:52,800
Speaker 2: You about the experience.

1968
01:43:52,880 --> 01:43:55,559
Speaker 3: That's kind of it is very meditative, and it's very

1969
01:43:56,400 --> 01:43:58,639
Speaker 3: it's calming in a way because there's not a lot

1970
01:43:58,720 --> 01:44:01,400
Speaker 3: of big movie happening, so you don't have to kind

1971
01:44:01,439 --> 01:44:02,880
Speaker 3: of guess, like why are they doing that and where

1972
01:44:02,880 --> 01:44:05,000
Speaker 3: are they going next? And like that is not the

1973
01:44:05,120 --> 01:44:07,879
Speaker 3: vibe of the people who would do this kind of traveling,

1974
01:44:08,040 --> 01:44:09,599
Speaker 3: So that comes through lad and clear.

1975
01:44:10,120 --> 01:44:12,160
Speaker 1: And I think if there is one thing that I

1976
01:44:12,280 --> 01:44:17,160
Speaker 1: do think is a nice kind of reference point between

1977
01:44:17,240 --> 01:44:20,000
Speaker 1: your movie and my movie is that I think both

1978
01:44:20,000 --> 01:44:21,920
Speaker 1: of these movies, besides the fact that there are about

1979
01:44:22,080 --> 01:44:26,599
Speaker 1: road trips, taking the road less travel, not taking interstate roads,

1980
01:44:26,720 --> 01:44:29,200
Speaker 1: like getting to see like kind of slice of life,

1981
01:44:29,439 --> 01:44:33,040
Speaker 1: whether it's Mexico or America, is that their movie is

1982
01:44:33,280 --> 01:44:37,519
Speaker 1: ultimately about men and about when a woman comes into

1983
01:44:37,680 --> 01:44:40,679
Speaker 1: that scenario and what happens right.

1984
01:44:40,960 --> 01:44:43,439
Speaker 3: When a confident woman who doesn't need or want anything

1985
01:44:43,479 --> 01:44:46,440
Speaker 3: from them comes into that scenario exactly.

1986
01:44:47,240 --> 01:44:49,880
Speaker 1: And that was not intentional. I mean, I wasn't for

1987
01:44:50,000 --> 01:44:52,120
Speaker 1: me when we decided to do this theme. I just

1988
01:44:52,200 --> 01:44:56,360
Speaker 1: think me, yea an accidental connection point.

1989
01:44:56,760 --> 01:45:01,400
Speaker 3: My original movie was Magic Mike XXL and I was like, actually,

1990
01:45:01,400 --> 01:45:03,479
Speaker 3: I don't think I want to talk about Magic mykegs Exel.

1991
01:45:04,560 --> 01:45:08,120
Speaker 3: I completely forgot that, by the way, So it totally

1992
01:45:08,240 --> 01:45:09,960
Speaker 3: wasn't intentional because I changed my movie.

1993
01:45:10,520 --> 01:45:12,040
Speaker 2: Yeah, so that's that's great.

1994
01:45:12,120 --> 01:45:13,920
Speaker 1: I mean, that's that was what I was really thinking

1995
01:45:14,000 --> 01:45:16,439
Speaker 1: when I was, you know, watching both of these together.

1996
01:45:16,560 --> 01:45:18,320
Speaker 1: I was like, oh my god, like these are again

1997
01:45:18,479 --> 01:45:21,920
Speaker 1: like an accidental connection even though you know they are

1998
01:45:22,040 --> 01:45:24,719
Speaker 1: about this one obvious theme, but there's other things involved

1999
01:45:24,760 --> 01:45:27,960
Speaker 1: too that they're both you know, pretty similar. So I

2000
01:45:28,120 --> 01:45:32,320
Speaker 1: have to say, like, watching these two together made me

2001
01:45:32,479 --> 01:45:34,200
Speaker 1: want to go on a road trip. I know that's,

2002
01:45:34,640 --> 01:45:37,439
Speaker 1: you know, stupid, but I I was stupid at all.

2003
01:45:37,479 --> 01:45:40,120
Speaker 3: They're showing these great slices of countries and you know,

2004
01:45:40,200 --> 01:45:44,240
Speaker 3: of Mexico and of USA, and it's like you're seeing

2005
01:45:45,120 --> 01:45:48,320
Speaker 3: the way that both movies are filmed, you really get

2006
01:45:48,360 --> 01:45:50,000
Speaker 3: a feel for what it's like to be on the road,

2007
01:45:50,080 --> 01:45:52,280
Speaker 3: like all the bumps and all the like. It's not

2008
01:45:52,400 --> 01:45:55,240
Speaker 3: a smooth ride, and it's you know, you're coming across

2009
01:45:55,320 --> 01:45:57,760
Speaker 3: things that are so unexpected, and the imagery like of

2010
01:45:57,840 --> 01:45:59,320
Speaker 3: course it makes you want to take a road trip.

2011
01:45:59,360 --> 01:46:00,439
Speaker 2: I think that's totally normal.

2012
01:46:01,320 --> 01:46:04,200
Speaker 1: Yeah, they they are great both. I will say this,

2013
01:46:04,439 --> 01:46:07,240
Speaker 1: both of these were on the Criterion collection at some point.

2014
01:46:07,320 --> 01:46:09,960
Speaker 1: I think, like your film is on the Criterion channel.

2015
01:46:10,720 --> 01:46:14,160
Speaker 1: Mine there is a Criterion disc and if you could

2016
01:46:14,200 --> 01:46:16,719
Speaker 1: dig into the special features of both of these movies,

2017
01:46:16,760 --> 01:46:20,840
Speaker 1: they are incredibly interesting. I mean, like we said at

2018
01:46:20,880 --> 01:46:24,240
Speaker 1: the top of the show, like Alison is doing the

2019
01:46:24,280 --> 01:46:26,880
Speaker 1: commentary for Tuli Black Top with Monni Hellman when he

2020
01:46:26,960 --> 01:46:29,280
Speaker 1: was still alive, and I watched the shit out of

2021
01:46:29,280 --> 01:46:31,320
Speaker 1: the special features for your film, I was like, damn.

2022
01:46:31,160 --> 01:46:33,639
Speaker 2: This is incredible. So yeah, it's awesome.

2023
01:46:34,000 --> 01:46:37,240
Speaker 1: That's why we're big advocates for you know, kind of

2024
01:46:37,400 --> 01:46:39,840
Speaker 1: like physical media or like at least a place where

2025
01:46:39,880 --> 01:46:41,880
Speaker 1: you can watch bonus features because you just get a

2026
01:46:41,960 --> 01:46:43,200
Speaker 1: lot of info from those.

2027
01:46:43,360 --> 01:46:47,280
Speaker 2: So so good. Ah, I love these movies. I love

2028
01:46:47,400 --> 01:46:51,759
Speaker 2: this week me too, and listen. I'm serious.

2029
01:46:51,800 --> 01:46:54,160
Speaker 1: If you guys go on a road trip and it's

2030
01:46:54,200 --> 01:46:58,160
Speaker 1: epic and you learn a lot, please email us or

2031
01:46:58,280 --> 01:46:59,920
Speaker 1: just email us in general if you have if you

2032
01:47:00,280 --> 01:47:02,160
Speaker 1: have desires to go on road trips, if you if

2033
01:47:02,200 --> 01:47:05,559
Speaker 1: you want to suggest more road trip films. We are

2034
01:47:05,640 --> 01:47:07,640
Speaker 1: at I Saw What You Did Pod at jmail.

2035
01:47:07,400 --> 01:47:10,639
Speaker 3: Dot com, and you can also find us on our

2036
01:47:10,800 --> 01:47:13,759
Speaker 3: social media. We are at I Saw Pod on Instagram

2037
01:47:13,840 --> 01:47:16,120
Speaker 3: and Twitter. We have a link tree that you can

2038
01:47:16,240 --> 01:47:20,000
Speaker 3: check on either account that lead you to our po

2039
01:47:20,160 --> 01:47:22,000
Speaker 3: box and other things about us.

2040
01:47:22,720 --> 01:47:26,280
Speaker 2: So, Danielle, would you like to tell everybody the movies

2041
01:47:26,360 --> 01:47:29,840
Speaker 2: for next week? You know I would. Our movies for

2042
01:47:29,960 --> 01:47:34,479
Speaker 2: next week are The Faculty from nineteen ninety eight and

2043
01:47:34,920 --> 01:47:39,960
Speaker 2: Disturbing Behavior from nineteen ninety eight. Ooh well, good vintage.

2044
01:47:40,160 --> 01:47:43,439
Speaker 2: B Yes, good vintage that year.

2045
01:47:43,880 --> 01:47:47,639
Speaker 1: Good year, Danielle. As always, it was a fucking pleasure

2046
01:47:48,000 --> 01:47:49,280
Speaker 1: to do a podcast.

2047
01:47:48,920 --> 01:47:51,880
Speaker 3: With you, Dream Come True and Alison Anders, I mean,

2048
01:47:51,920 --> 01:47:53,040
Speaker 3: come on, what an episode?

2049
01:47:53,439 --> 01:47:55,800
Speaker 1: Yeah, we are about to have the best summer ever.

2050
01:47:56,320 --> 01:48:00,400
Speaker 2: I love it. I'm driving to the Pigly Wiggly now as.

2051
01:48:00,240 --> 01:48:01,200
Speaker 1: See at the wah wah.

2052
01:48:11,280 --> 01:48:14,040
Speaker 3: This has been an Exactly Right production produced and mixed

2053
01:48:14,040 --> 01:48:17,120
Speaker 3: by Casey O'Brien. Our theme song is by Tom bry Fogel,

2054
01:48:17,479 --> 01:48:20,920
Speaker 3: artwork by Garrett Ross. Our executive producers are Georgia Hart,

2055
01:48:20,960 --> 01:48:23,679
Speaker 3: Start Caring, Tile Garrett, and Daniel Kramer. You can follow

2056
01:48:23,800 --> 01:48:26,600
Speaker 3: us on Instagram and Twitter at I Saw pod, and

2057
01:48:26,760 --> 01:48:28,720
Speaker 3: you can email us at I Saw What you Did

2058
01:48:28,840 --> 01:48:29,759
Speaker 3: Pod at gmail