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Speaker 1: Warning, today's episode contains some spoilers for the some spoilers

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Speaker 1: for the twenty twenty five Ryan Coogler epic Sinners. Hello,

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Speaker 1: my name is Jason, getupcion and on Mersday Night, and

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Speaker 1: welcome back to Xtra Vision of the podcast where we

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Speaker 1: dive could your favorite shows, movies, collegs of pop culture

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Speaker 1: coming to you from iHeart Podcast, where we're bringing you

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Speaker 1: three episodes a week every Tuesday, Thursday, Friday, plus news

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Speaker 1: last news.

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Speaker 2: In today's episode, you guys have been asking for it,

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Speaker 2: and honestly, we have wanted to do it because we

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Speaker 2: love Sinners and we do want to talk about Sinners.

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Speaker 2: But it's been of Ipmageddon, guys, it's been busy. So

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Speaker 2: now we're finally diving deep into Sinnas. We'll be having

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Speaker 2: a chat about the movie and what we loved about it,

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Speaker 2: and you are going to be blessed with ad Jason

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Speaker 2: Concepsion omnibus about some of the influencers and inspirations behind Sinners,

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Speaker 2: which is gonna be really cool.

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Speaker 3: But first we need.

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Speaker 2: To introduce you guys to a new segment on X

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Speaker 2: ray Vision and the new segment is called Popcorn Pop Outay,

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Speaker 2: me really exciting and good Welcome to our very first

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Speaker 2: episode of Popcorn Pop Out. It's a bite sized Friday

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Speaker 2: special where we prep for the weekend cinematic releases, get

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Speaker 2: a quick film history lesson, and hear from the stars

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Speaker 2: and creators behind your next favorite movie. Twenty twenty five,

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Speaker 2: I will say, is shaping up to be a landmark

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Speaker 2: here for cinema after twenty twenty four.

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Speaker 1: I feel like it was a little bit down here.

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Speaker 1: It was a down here with double double strikes.

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Speaker 2: It kind of yeah, we started stuff we loved, but

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Speaker 2: it's more than just recognizable.

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Speaker 3: Ip.

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Speaker 2: Like, while we have our tickets for Summer classics, Jurassic World,

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Speaker 2: you know I will be there, comes out the day

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Speaker 2: after my birthday. Superman, Fantastic Form, Mission Impossible, How to

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Speaker 2: Train Your Dragon, Final Destination. But there's also a giant

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Speaker 2: list of directors releasing pictures this year that we can't

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Speaker 2: wait to watch, like bon June, Who, Steven Soderberg, Ryan

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Speaker 2: cooglerre They already kicked the door open for Paul Thomas Anderson,

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Speaker 2: Park Chamwork, Where's Anderson, Catherine Bigelow, Spike Lee, Paul Greengrass.

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Speaker 2: I'm putting the Philip Howeer Brothers in there, because I

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Speaker 2: just watched Bring Her Back and it was amazing. Jim

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Speaker 2: jar Moush, Giamma del Toro close back in Oh, I

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Speaker 2: love Jim jar Moosh. Guys, you're gonna get the most

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Speaker 2: annoying version of me and Jason talking about these old

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Speaker 2: art house movies. Yeah, Damian Chazzelle, Darren Aronofsky, ari Asta,

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Speaker 2: Benny Safti, Danny boy or Ryan Johnson, your Goss, I

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Speaker 2: love your gossl Anthemos and Gareth Evans who are all

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Speaker 2: still planning to release movies this year. Basically, it's a

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Speaker 2: smagas board of cinema and for our very first pop out,

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Speaker 2: we are revisiting Ryan Coogler's Sinners, and we are a

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Speaker 2: little interview with the creative team buying the upcoming Final

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Speaker 2: Destination Bloodlines, which is very.

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Speaker 3: Very good and we can't wait. But first let's talk

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Speaker 3: about Sinners.

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Speaker 1: Rosie Sinners, what an incredible cinema experience. I saw it

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Speaker 1: in those seventy millimeters panavision, gorgeous and at the vista,

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Speaker 1: and you know what, this is a movie that gets

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Speaker 1: better the more you think about it. It's an incredible

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Speaker 1: experience there. But it's there's so much richness to the film.

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Speaker 1: I can't wait to see it again.

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Speaker 3: What are your thoughts?

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Speaker 2: I think what blew me about a way about the movie,

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Speaker 2: and I was very lucky. I got to watch it

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Speaker 2: at the Imax headquarters, which is where they edit the

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Speaker 2: Imax movie, so it was a true Imax screen and

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Speaker 2: I went in and I was expecting Coogler, I was

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Speaker 2: expecting horror. I was expecting vampires, just because less about

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Speaker 2: what they revealed in the trailers, which I do as

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Speaker 2: always think it could have been cool to see this

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Speaker 2: movie get that word of mouth hit of people not

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Speaker 2: knowing about that. But I already knew about this because

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Speaker 2: it had been rumored for a long time that it

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Speaker 2: was going to be vampires. What I didn't expect was

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Speaker 2: when I sat down in the cinema and the movie began,

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Speaker 2: and there was just this unbelievable, sprawling cinematography and yeah,

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Speaker 2: the most some of the most stunning stuff I've seen

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Speaker 2: set to film in a long time. The absolute breakout

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Speaker 2: performance of Miles Katton. I just thought the whole movie

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Speaker 2: was quite astonishing. And what I thought it did incredibly

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Speaker 2: well was it crafted a true four quadrant blockbuster. If

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Speaker 2: you just love vampires and you love Lost Boy Rules

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Speaker 2: and you want to see a vampire movie about that,

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Speaker 2: It's got you covered. If you want to see a

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Speaker 2: movie that allows like adult storytelling, fucking violence but it's

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Speaker 2: set in a period piece, if you want to learn

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Speaker 2: about Delta, Mississippi and the history of Chinese grocery stores, Like,

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Speaker 2: there are so many levels to this movie before you

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Speaker 2: even get to the blues, before you even get to

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Speaker 2: the fact that it's a black gangster movie with nods

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Speaker 2: to capone. There is so much here to break apart

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Speaker 2: that I think is just truly astonishing, and I think

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Speaker 2: it's a really astonishing piece of cinema. I absolutely adore

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Speaker 2: the practical work, and I also think something that for

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Speaker 2: me was really gorgeous about this film was it had violence,

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Speaker 2: it had horror, it had trauma, but it also had

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Speaker 2: hope and it also had It was also a story

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Speaker 2: about two brothers who get to find their own versions

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Speaker 2: of immortality, which I absolutely adored. I thought that it

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Speaker 2: was rioteously funny at parts two, which is some of

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Speaker 2: the cool. I think the balance between the action, the humor,

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Speaker 2: the music, the kind of transcendent exploration of the way

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Speaker 2: that music can connect to ancestral pasts and futures. That

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Speaker 2: sequence like made me cry. I also think something that

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Speaker 2: Koogler did that was really interesting and kind of unheard

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Speaker 2: of is he made sure the movie looked good for everyone.

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Speaker 2: I saw the movie in for Imax, but I also

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Speaker 2: saw the movie in a tiny screen at the Alamo

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Speaker 2: draft House, eating like the Sinners themed menu.

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Speaker 3: It was just as good. It was just it was

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Speaker 3: just a different experience. And I think he.

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Speaker 1: Shot it down multiple formats to allow for multiple framings. Yeah,

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Speaker 1: and to have it look good for everybody, no matter

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Speaker 1: whether you're an Imax, semi mil whatever.

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Speaker 3: I think is really cool.

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Speaker 2: I think it's one of those films that will be

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Speaker 2: looked back on as a seminal movie.

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Speaker 3: But I also think it's a rare seminal movie.

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Speaker 2: That will also be looked back on as like a

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Speaker 2: great sleepover film and a great film that will be

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Speaker 2: studied at in film school, and a great film that

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Speaker 2: inspire storytellers.

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Speaker 3: It walks on so many different levels.

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Speaker 1: It's what I love about cinema, which is, you know,

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Speaker 1: I can kind of end up rolling my eyes when

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Speaker 1: when people start having these overly artistic kind of amorphous

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Speaker 1: conversations about the meaning of cinema and art and stuff.

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Speaker 1: To me, cinema the movies, it's about number one, like

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Speaker 1: are you entertaining people? This is an entertainment itedom And

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Speaker 1: then after you're entertaining them, are they are there deeper

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Speaker 1: levels to the entertainment?

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Speaker 4: You know?

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Speaker 3: And siners like.

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Speaker 1: Really has that in a way that's more profound the

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Speaker 1: more you think about it. And to kind of piggyback

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Speaker 1: off what you talked about, I love that this is

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Speaker 1: a movie about a period of American history and a

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Speaker 1: lace the Jim Crow South. That doesn't compress that story

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Speaker 1: into just a story about oppression and the oppressed. It's

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Speaker 1: a story about life and the variety and the richness

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Speaker 1: of the life there at that time. Yes, that that

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Speaker 1: was oppression was part of the story, and the fact

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Speaker 1: that the non white residents, the black residents of this

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Speaker 1: area had very little security in their homes and their lives.

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Speaker 1: At the same time, this is a story about people

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Speaker 1: creating this space, this jupe joint where life can happen,

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Speaker 1: where celebrations happened.

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Speaker 2: In spite of the oppression, and that's how people survive.

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Speaker 3: And I think that I adore that aspect of this movie.

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Speaker 2: And I also think that this sets Coogler apart as

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Speaker 2: a kind of generational time. We knew that he could

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Speaker 2: do that with you know, Black Panther, and we knew

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Speaker 2: he could tell like intimate inspired by true life stories

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Speaker 2: with The Fruit Real Station, which is like obviously an

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Speaker 2: unbelievable movie, but also like he gets to have fun

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Speaker 2: here and he gets to put together all of his

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Speaker 2: creative collaborators and craft something that is incredibly specific. But again,

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Speaker 2: I think this happened with Squid Game. I think this

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Speaker 2: happened with everything everywhere all at once. If you make

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Speaker 2: something that is really specific and authentic and true to

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Speaker 2: the story you want to tell, there is a universality

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Speaker 2: in that that will appeal to people, and people will go, well,

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Speaker 2: I I connect to this part, and I connect to

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Speaker 2: this part. And even just like I think having like

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Speaker 2: a fat woman and obviously in this case it's win

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Speaker 2: Me Massako incredible, you know, fat black woman in a

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Speaker 2: space where she is like loved and lusted after and appreciated.

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Speaker 2: And two I don't know, I just there's so many

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Speaker 2: different levels. I think people are going to be talking

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Speaker 2: about this movie for so long, and I do think

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Speaker 2: when I came out of this movie, I said to

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Speaker 2: Warner Brothers, I said to my friend who works there,

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Speaker 2: I said, in a just world, this movie sweeps the Oscars.

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Speaker 2: And when I said that before the movie was out,

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Speaker 2: it seemed crazy to say that.

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Speaker 1: Well, I think I think there's a I think there's

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Speaker 1: a lane.

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Speaker 3: I think I think it's got Elaine.

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Speaker 1: I certainly think Coogler is going to get Best Director.

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Speaker 1: I certainly think he's gonna get Best Original screen Yeah, nominations.

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Speaker 1: I think the cinematography is going to be in there.

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Speaker 1: I think we get Ludwig Gore and Ericsson definites again

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Speaker 1: in there for soundtrack and a few other things.

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Speaker 3: I think, and they who knows, like but I.

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Speaker 1: Think there's a shot. I think there's a shot for

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Speaker 1: certainly nomination Best of It, definitely nominations. I definitely think

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Speaker 1: Best Original Screenplay is our best shot.

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Speaker 2: Though I do feel like for a movie and a

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Speaker 2: movie awards show, as Bongin who called it a local

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Speaker 2: awards show that is so heavily American, so focused on

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Speaker 2: American cinema, I feel like sinners should be the.

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Speaker 3: Only option when it comes to a sweep. I think

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Speaker 3: we could be.

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Speaker 2: This is my far out prediction because in we are

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Speaker 2: far Out, We're over, We're like, We're over.

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Speaker 3: Like it's basically like a year.

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Speaker 2: Basically, my gut says it's gonna get like ten or

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Speaker 2: eleven nominations, but then we'll win like Best Original Screenplay.

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Speaker 3: But I'm hoping.

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Speaker 2: As I said when I first saw the movie and

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Speaker 2: me and Joelle kind of did our brief feedback, I

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Speaker 2: do think this could be this year's everything everwhere all

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Speaker 2: at once.

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Speaker 3: I think it can keep playing.

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Speaker 2: Sure, it's back in the IMAX right now once Friendship

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Speaker 2: is a hit come back, which it's a huge financial hit,

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Speaker 2: which I think helps, but it's also a rare critical

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Speaker 2: and commercial hit where a score is really high. There

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Speaker 2: is a accessibility hit that means people will actually have

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Speaker 2: seen the movie and be rooting for it. But there

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Speaker 2: is also a quality of cinematography, of movie making, of

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Speaker 2: reference that makes this something that the Academy should be exploring.

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Speaker 2: This is my this is my far out as an

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Speaker 2: unlikely thing, which is in a just world Sinners sweeps,

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Speaker 2: but I also think post bring Her Back Sally Hawkins

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Speaker 2: following the Dememor route set from the substance. I think

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Speaker 2: that Sally Hawkins for Bring Her Back should be up

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Speaker 2: for Best Leading.

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Speaker 3: And I would love to see a world you know,

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Speaker 3: Final Destination. Put that in there for best effects that

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Speaker 3: movie and you know what, the.

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Speaker 2: David Ayer Suicide Side Squad movie, a OSCAR winning movie,

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Speaker 2: some makeup. So I'm saying, put Final Destination in there

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Speaker 2: for special effects. I want to see a horror centric

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Speaker 2: Oscars next year. That's my that's my way out there.

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Speaker 2: Like not gonna happen, but I would love to see it.

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Speaker 1: I'm gonna talk about one thing that you mentioned, which

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Speaker 1: is that incredible scene when as the celebrations and the

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Speaker 1: duke joint and the music starts to really crescendo.

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Speaker 3: Yeah, the Coogler brings in.

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Speaker 1: Like all the vast tributaries in the Great River that

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Speaker 1: springs from Black American culture, including hip hop, including.

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Speaker 2: You get a j all these other Yeah. I love

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Speaker 2: that when you see that he pitches in. He doesn't

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Speaker 2: just go for the ancestral past.

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Speaker 3: He goes for like this goes into the future and

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Speaker 3: the future.

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Speaker 2: And you get that kind of Bootsy Collins esque And

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Speaker 2: that was when I was like I got core in

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Speaker 2: my throat, like, oh, he's doing something we've never seen before.

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Speaker 4: It really made me.

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Speaker 1: You know, hopeful is the right word that you used,

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Speaker 1: because I think, you know, one of the with all

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Speaker 1: the terrible things that can happen in the world, and

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Speaker 1: that we're happening at that time, and that maybe are

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Speaker 1: happening now. I think one of the things to take

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Speaker 1: away is that, you know, love doesn't this kind of hopefulness.

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Speaker 3: Love of community, love of humanity.

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Speaker 1: It never it's never able to. It doesn't have the

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Speaker 1: strength in the moment to stop anything that's terrible, but

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Speaker 1: it has the strength over time to continue to inspire

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Speaker 1: people over the long term.

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Speaker 3: And that's what it really got.

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Speaker 1: That's what really hit me in that in the middle

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Speaker 1: of that scene is like, look how people survive and

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Speaker 1: not just survive, but thrive under circumstances that are oppressed.

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Speaker 3: Imagine.

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Speaker 1: Yeah, and and to be able to put that in

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Speaker 1: the middle of a quote unquote genre film, it just

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Speaker 1: made me feel like we just joked about how it's

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Speaker 1: not good. You know, you're you saying it's going to

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Speaker 1: be horror Oscars twenty twenty six. It's not going to be, no,

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Speaker 1: but this is a this is a movie that absolute

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Speaker 1: like deletes the idea of genre. Yeah, yeah, yeah, that

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Speaker 1: genre is like less than or or should be less

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Speaker 1: than or shouldn't be thought of as something, you know,

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Speaker 1: intensely profound and meaningful, with something deeper to say than

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Speaker 1: just the stuff that's on the surface level text, which is,

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Speaker 1: you know, if you just whatever read the logline of

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Speaker 1: this movie or had somebody come out and just immediately

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Speaker 1: pitch you this movie after leaving the theater, it'd be like, okay,

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Speaker 1: this kind of genre bending vampire epic set in the

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Speaker 1: nineteen twenties South Like, you'd be like okay.

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Speaker 3: But there's so.

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Speaker 1: Much more to it than that. And I do hope that.

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Speaker 1: I do hope, and I do think that it is

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Speaker 1: going to be there in Awards season.

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Speaker 2: I do see a lot of it in a conversation

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Speaker 2: because I also don't think it's going to be out

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Speaker 2: of the movie fas for a long time. People want

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Speaker 2: to see this in imax exhibit as, want to play it,

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Speaker 2: someone like Tyn Tino could keep playing it at.

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Speaker 3: The Vista also as well.

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Speaker 2: I would say we've seen like Nope Is in continual

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Speaker 2: play in LA and sevent email and meters like every

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Speaker 2: few months. Everyone wants to see it that way as

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Speaker 2: it was, you know, meant to be seen, And I

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Speaker 2: would say Sinners and Note would.

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Speaker 5: Be a truly great double bill. But yeah, I'm very

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Speaker 5: excited for the future of this movie. I love thinking

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Speaker 5: about how I bet that Ryan Coogler and Michael B.

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Speaker 2: Jordan when this movie, like the lead into it, I

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Speaker 2: bet they were just sitting there like absolutely knowing, like shit,

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Speaker 2: we fucking like we really we really cooked at this.

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Speaker 2: So I'm like, I feel like I hope that they

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Speaker 2: were just like they knew that they had something that

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Speaker 2: was so special.

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Speaker 3: And I really I'm so happy to see the.

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Speaker 2: Way this has got people excited to go back to

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Speaker 2: movie theaters, excited to talk about movies, excited to make movies,

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Speaker 2: Like there's.

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Speaker 3: Just so much Rosie.

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Speaker 1: Is there anything about remis Vampire Pitch that had you

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Speaker 1: at any point thinking, you know, what if I was

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Speaker 1: out in the swamp somewhere and all of a sudden

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Speaker 1: we're under attacked by vampires.

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Speaker 6: But then the.

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Speaker 1: Vampire comes and makes and is playing some some jaunty

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Speaker 1: music and makes me a picture about eternal life, and

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Speaker 1: I come with a smile. I think about it would

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Speaker 1: you know.

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Speaker 2: I don't, no, no, no, I gotta tell you. I

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Speaker 2: would be like a number one sucker, like if.

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Speaker 3: A vampire, I just can't help it.

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Speaker 2: Ever since I was a little kid, I knew that

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Speaker 2: if a vampire came to me, I would say, let's go.

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Speaker 3: Let's go.

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Speaker 2: I like it is funny because like I relate deeply

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Speaker 2: to the kind of memes where people are like, I'm

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Speaker 2: all life, I've seen enough, like I don't need them all.

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Speaker 3: Yeah, But at the same time, it's like, yeah, I do.

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Speaker 2: I do want to be a little I do want

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Speaker 2: to be a little vampire. I want to just be

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Speaker 2: like hanging out and like dancing. Well, then, I'm not

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Speaker 2: a banjo music fan, so I don't think this particular

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Speaker 2: band of vampires would have sold me on it.

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Speaker 3: But generally I'm open to vampirism. Let me ask you this.

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Speaker 1: You're a vampire, Okay, how do you feed? Are you

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Speaker 1: doing like bad people? Or it's just like listen, I'm

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Speaker 1: I'm a creature of nature, like a lion doesn't think

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Speaker 1: about is that a good will to beast or a

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Speaker 1: bad will? They're just eating? Which which philosophy do you

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Speaker 1: go with?

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Speaker 3: Think that a rich.

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Speaker 2: You know, early on, I think all of us are

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Speaker 2: going to try and live that kind of like we're

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Speaker 2: just killing bad people, like we're just drinking that blood,

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Speaker 2: like it's just bad. But I'm sure that at some

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Speaker 2: point then it starts getting like really small. You like

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Speaker 2: see someone litter after one hundred years and you're like

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Speaker 2: that bad, Like that's you could have recycled that shit, babe,

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Speaker 2: Like it's time you're off. I definitely I don't think

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Speaker 2: I could live like the the Twilight you only drink,

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Speaker 2: you know, animal blood kind of kind of situation.

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Speaker 3: How about you? What are you? Are?

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Speaker 7: You?

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Speaker 3: Are you just? You're just a stone called killer?

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Speaker 1: I think, well, first of all, I I think like

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Speaker 1: you that I would. I'm susceptible to the pitch. I'm

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Speaker 1: not gonna say one hundred percent no, I'm not going

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Speaker 1: to do it. But if I'm like you know what,

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Speaker 1: I don't have the feistiness to be fighting dozens of

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Speaker 1: vampires tonight, I don't think I'm gonna make it.

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Speaker 3: I like that just lazy. Yeah it sounds and it does.

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Speaker 3: It doesn't sound bad.

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Speaker 1: It sounds pretty good, like there are there's definitely upsides

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Speaker 1: to it. And then I think after the fact, should

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Speaker 1: I take the plunge? And my only you know, obviously,

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Speaker 1: like you, my only points of reference to what it

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Speaker 1: would be like are every vampire movie I've ever seen,

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Speaker 1: every story I've ever read about vampires, and then like

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Speaker 1: you know, allowing myself to be turned into a vampire

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Speaker 1: in Oblivion and Skyrim. So those are my only thing. Yeah,

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Speaker 1: those are my only touchdotes. I think like you, I

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Speaker 1: would be the same. I would be like, first, bad people,

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Speaker 1: I'm gonna just are going down the list, who's bad,

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Speaker 1: who's bad, who's like very loudly bad, and let me

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Speaker 1: see if I can stuck their blood and then and

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Speaker 1: not turn them. Yes, they don't get to be turned.

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Speaker 1: I think, you know, the turning is a very intimate thing,

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Speaker 1: and you I want to make sure that somebody's down

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Speaker 1: with it. Like really, I'd be like, listen, this is

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Speaker 1: gonna be a multi stage.

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Speaker 3: PROCESSU consensual vampire where.

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Speaker 1: It's really going to talk about what because you can't

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Speaker 1: there's no going back, so we're going to talk about it.

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Speaker 1: And then I think, like you listen, over time, over

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Speaker 1: hundreds of years, I can't. I can't promise that I

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Speaker 1: that standards wouldn't slip a little bit.

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Speaker 2: We would try our best, but after a while, you're

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Speaker 2: just like really hungry.

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Speaker 3: Humans are annoying. Yeah, you guys are so annoying.

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Speaker 2: But I would say, like, you know, as a vampire,

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Speaker 2: you could just like you could live off billion as

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Speaker 2: for a pretty long time with how many So I

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Speaker 2: think that would be like start at the top kind

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Speaker 2: of trickle downditors.

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Speaker 3: Were like jacking terrible billionaires.

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Speaker 2: Yeah, maybe maybe this If any vampires listening, let me

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Speaker 2: and Jason No, we might have a plan.

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Speaker 3: Okay, let's go to the Omlands and we're back.

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Speaker 1: Welcome to the Omnibus, where Lauren, analysis and understanding come together.

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Speaker 1: Today we're going to talk about kindred spirits, the Choctaw

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Speaker 1: Irish bond in real life, and its depiction here in Sinners.

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Speaker 1: In eighteen forty seven, as Ireland was ravaged by the

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Speaker 1: Great Famine, a remarkable act of compassion across the Atlantic,

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Speaker 1: A group of Choctaw leaders in Oklahoma, themselves survivors of

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Speaker 1: the Trail of Tears, forced March a decade prior, raised

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Speaker 1: a hunt undred and seventy dollars for quote, the relief

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Speaker 1: of the starving poor in Ireland, the equivalent today of

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Speaker 1: a bit more than sixty two hundred dollars. The Choctaws

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Speaker 1: people their resources were not great, but they gave what

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Speaker 1: they could to those who they saw as in great need.

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Speaker 1: The remarkableness of the gesture was noted even at the time.

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Speaker 1: Martin vent Shake, the chairman of the General Irish Relief

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Speaker 1: Committee of New York City, mentioned the donation specifically in

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Speaker 1: his report back to Ireland. As Choctaw historian Judy Allen

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Speaker 1: explained to the BBC quote, we had been through so much,

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Speaker 1: losing so many of our people through death because of

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Speaker 1: the weather, starvation, a disease that sixteen years later we

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Speaker 1: heard about the famine and the horrible situation that they

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Speaker 1: were going through.

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Speaker 3: We felt such empathy that we wanted to help.

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Speaker 1: The Choctaw donation during eighteen forty seven, what is known

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Speaker 1: as Black forty seven, the Famin's darkest year, forged an

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Speaker 1: unlikely bond between the two peoples who were separated by

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Speaker 1: an ocean. The only real link between them was a

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Speaker 1: common humanity, a common sense of another people's suffering, as

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Speaker 1: the Choctawn nation had suffered.

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Speaker 3: Yet that was enough.

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Speaker 1: This unexpected kinship had been passed down through generations, entering

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Speaker 1: Irish and Choctaw folk memory. It planted seeds of a

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Speaker 1: future friendship that would be rekindled and honored many times over.

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Speaker 1: Irish communities walk the Trail of Tears in a six

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Speaker 1: hundred mile fund raising trek in nineteen ninety two, raising

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Speaker 1: one hundred and seventy thousand dollars for famine relief in Somalia,

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Speaker 1: one thousand dollars for every dollar the Choctaw gave. In

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Speaker 1: nineteen ninety five, Ireland's President Mary Robinson, the first woman

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Speaker 1: President of Ireland, traveled to Oklahoma to thank the Choctaw

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Speaker 1: in person, and more recently, in twenty twenty, tens of

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Speaker 1: thousands of Irish donors sent over a million dollars in

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Speaker 1: COVID nineteen relief to hard hit Native American reservations. The

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Speaker 1: Irish have enshrined this relationship in art. In a park

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Speaker 1: in Middleton County, Cork, a stunning monument called Kindred Spirits

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Speaker 1: stands as a tribute to the choctaws generosity. The sculpture

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Speaker 1: consists of nine twenty foot stainless steel eagle feathers arranged

437
00:23:56,440 --> 00:23:59,400
Speaker 1: in a circle, forming the shape of a giant empty bowl.

438
00:23:59,440 --> 00:24:02,800
Speaker 1: Each feather is unique a sign of respect, symbolizing those

439
00:24:02,880 --> 00:24:05,800
Speaker 1: used in Choctaw ceremonies. The empty bowl of feathers points

440
00:24:06,119 --> 00:24:09,360
Speaker 1: to both the famines, hunger and the nourishment given. Unveiled

441
00:24:09,359 --> 00:24:12,960
Speaker 1: in twenty seventeen with Chalktaw representatives in attendants, Kindred spirits

442
00:24:13,040 --> 00:24:16,360
Speaker 1: is an enduring expression of gratitude and empathy.

443
00:24:16,920 --> 00:24:17,200
Speaker 3: Quote.

444
00:24:17,480 --> 00:24:20,440
Speaker 1: These people were still recovering from their own injustice, and

445
00:24:20,480 --> 00:24:23,400
Speaker 1: they helped strangers, noted one Irish official at the dedication,

446
00:24:23,560 --> 00:24:26,520
Speaker 1: calling it a rare and selfless generosity that had to

447
00:24:26,600 --> 00:24:31,840
Speaker 1: be acknowledged. Alex Pentech, the Irish The Irish artist Alex Pentech,

448
00:24:31,920 --> 00:24:34,879
Speaker 1: the Irish artist who created a monument, said he aimed

449
00:24:34,880 --> 00:24:37,840
Speaker 1: to capture quote the courage for Jilly and humanity shown

450
00:24:37,880 --> 00:24:41,040
Speaker 1: by the Choctaw people. The memorial thus serves not only

451
00:24:41,080 --> 00:24:43,520
Speaker 1: as a reminder of a past charity, but as a

452
00:24:43,560 --> 00:24:47,320
Speaker 1: celebration of resilience had shared hope. And it's fitting then

453
00:24:47,760 --> 00:24:52,119
Speaker 1: that this legacy of mutual compassion intertwined history finds a

454
00:24:52,200 --> 00:24:56,560
Speaker 1: new life in Ryan Coogler's Sinners, a modern vampire film,

455
00:24:57,240 --> 00:25:01,040
Speaker 1: and it's a testament to the rich call research and

456
00:25:01,240 --> 00:25:05,080
Speaker 1: history that Kugler did. One thread of the film follows

457
00:25:05,480 --> 00:25:08,760
Speaker 1: an Irish immigrant named Remick played by Jack O'Connell, a

458
00:25:08,880 --> 00:25:12,600
Speaker 1: vampire who is being pursued by a band of Choctaw

459
00:25:12,720 --> 00:25:16,960
Speaker 1: vampire hunters. Beneath the horror action of the film, Kugler

460
00:25:17,080 --> 00:25:20,639
Speaker 1: is engaging with deep themes of hunger, of colonization, and

461
00:25:20,720 --> 00:25:24,520
Speaker 1: cross cultural kinship. The film's premise was directly inspired by

462
00:25:24,600 --> 00:25:28,879
Speaker 1: real history. Kugler, in researching nineteen thirties Mississippi, discovered that

463
00:25:29,400 --> 00:25:32,920
Speaker 1: Chinese chalked on Irish communities all had a hand and

464
00:25:33,160 --> 00:25:37,119
Speaker 1: influence in the Delta's cultural life and music. Quote all

465
00:25:37,200 --> 00:25:40,120
Speaker 1: of them appears in Sinners, he says, a deliberate choice

466
00:25:40,119 --> 00:25:42,800
Speaker 1: to reflect a richer reality than one commonly used to

467
00:25:42,880 --> 00:25:44,840
Speaker 1: depict the Jim Crow South. As he notes in an

468
00:25:44,880 --> 00:25:48,240
Speaker 1: interview with Phillyvoice dot com, quote, it's very easy to

469
00:25:48,280 --> 00:25:51,240
Speaker 1: flatten the Jim Crow South just because the signs and

470
00:25:51,880 --> 00:25:53,360
Speaker 1: had colored and white on them.

471
00:25:53,680 --> 00:25:55,399
Speaker 3: You think that's all the people that were there. But

472
00:25:55,520 --> 00:25:56,520
Speaker 3: that wasn't the case.

473
00:25:57,119 --> 00:26:01,280
Speaker 1: Remick, the vampire villain, embodies these themes in complex ways.

474
00:26:01,320 --> 00:26:03,120
Speaker 3: He arrives as an outsider.

475
00:26:02,680 --> 00:26:05,480
Speaker 1: From another world, an older world, one that pre existed

476
00:26:06,000 --> 00:26:09,520
Speaker 1: American racial hierarchies, and as an irishman turned on dead,

477
00:26:09,640 --> 00:26:13,040
Speaker 1: Remick carries the legacy of Ireland's own history of colonization

478
00:26:13,160 --> 00:26:16,919
Speaker 1: and famine. He is, in fact literally famished, literally starving,

479
00:26:16,960 --> 00:26:20,000
Speaker 1: a vampire driven by hunger, emerging from a nation that

480
00:26:20,119 --> 00:26:23,040
Speaker 1: new starvation. In one pivotal scene, Remic stands outside a

481
00:26:23,160 --> 00:26:25,679
Speaker 1: juke joint and begins to sing the Rocky Rote to Dublin,

482
00:26:25,840 --> 00:26:29,240
Speaker 1: a bouncy nineteenth century Irish folk ballad which tells the

483
00:26:29,280 --> 00:26:31,399
Speaker 1: story of an irishman who leaves home for Liverpool in

484
00:26:31,480 --> 00:26:34,680
Speaker 1: search of work, and once there he finds hardship, violence

485
00:26:35,400 --> 00:26:37,960
Speaker 1: and solace and protection in the kinship of his fellow

486
00:26:38,040 --> 00:26:41,399
Speaker 1: Irish immigrants. It's an ironic choice. Remick is using the

487
00:26:41,480 --> 00:26:44,560
Speaker 1: tune to tempt the patrons outside, offering them a chance

488
00:26:44,640 --> 00:26:49,040
Speaker 1: to escape Jim Crow Mississippi by joining him in immortality.

489
00:26:49,080 --> 00:26:51,760
Speaker 1: But as doctor Rachel Stewart of Brunell University in London

490
00:26:51,840 --> 00:26:55,000
Speaker 1: notes quote, the music he chooses, although catchy, is a

491
00:26:55,040 --> 00:26:57,800
Speaker 1: story of exchanging one form of suffering life in tu

492
00:26:57,920 --> 00:27:00,960
Speaker 1: him in Ireland during the height of English suppression, for

493
00:27:01,080 --> 00:27:04,080
Speaker 1: another life on the English Mainland, where the ballad tells

494
00:27:04,119 --> 00:27:07,920
Speaker 1: of victimization and violence, depicting in Sinners, Rocky wrote to

495
00:27:08,000 --> 00:27:11,400
Speaker 1: Dublin is the song of a predator promising escape while

496
00:27:11,480 --> 00:27:15,600
Speaker 1: secretly leading his victims into another form of exploitation. Coogler's

497
00:27:15,600 --> 00:27:19,440
Speaker 1: own love of Irish music and culture infuses this scene

498
00:27:20,000 --> 00:27:23,399
Speaker 1: and others with a genuine musical verve and dynamism, he

499
00:27:23,480 --> 00:27:28,080
Speaker 1: told the Filmmaker Toolkit podcast quote, I'm obsessed with Irish

500
00:27:28,080 --> 00:27:30,680
Speaker 1: folk music. My kids are obsessed with it. My first

501
00:27:30,760 --> 00:27:31,439
Speaker 1: name is Irish.

502
00:27:31,840 --> 00:27:32,440
Speaker 3: He continued.

503
00:27:32,520 --> 00:27:34,840
Speaker 1: I think it's not known how much crossover there is

504
00:27:34,920 --> 00:27:38,120
Speaker 1: between African American culture and Irish culture, and how much

505
00:27:38,200 --> 00:27:39,680
Speaker 1: that stuff is loved in our community.

506
00:27:40,680 --> 00:27:43,000
Speaker 3: See Sinners to really tap into that.

507
00:27:43,400 --> 00:27:47,359
Speaker 2: An incredible movie, unbelievable stuff, and I love Jason, you

508
00:27:47,480 --> 00:27:48,840
Speaker 2: are the king of omnibuses.

509
00:27:49,040 --> 00:27:49,879
Speaker 4: That was fantastic.

510
00:27:50,119 --> 00:27:50,399
Speaker 1: Thank you.

511
00:27:51,280 --> 00:27:55,000
Speaker 2: Let's go to a message from our sponsors, and afterwards,

512
00:27:55,160 --> 00:27:59,680
Speaker 2: I will be speaking to the directors of the Delightfully

513
00:28:00,480 --> 00:28:07,000
Speaker 2: grow Tesque Final Destination bloodline about their inspirations the franchise

514
00:28:07,160 --> 00:28:09,080
Speaker 2: and sending off horror legends.

515
00:28:09,440 --> 00:28:22,159
Speaker 4: Tony Todd, Hello, guys.

516
00:28:21,920 --> 00:28:23,280
Speaker 8: It's so great to speak to you.

517
00:28:23,520 --> 00:28:24,879
Speaker 9: Yeah, great to talk to you.

518
00:28:25,240 --> 00:28:26,720
Speaker 8: I absolutely loved the movie.

519
00:28:27,240 --> 00:28:29,920
Speaker 2: It was fantastic, and I was lucky enough to take

520
00:28:29,960 --> 00:28:33,359
Speaker 2: a friend who is a lifelong Final Destination superstar and.

521
00:28:33,520 --> 00:28:35,640
Speaker 8: He absolutely loved it amazing.

522
00:28:36,080 --> 00:28:38,040
Speaker 2: I want to because I'm kind of lucky to get

523
00:28:38,440 --> 00:28:40,320
Speaker 2: a little bit more time with you guys. I would

524
00:28:40,400 --> 00:28:44,479
Speaker 2: love to know, like, what's your first memory of watching

525
00:28:45,040 --> 00:28:45,960
Speaker 2: Final Destination?

526
00:28:46,120 --> 00:28:47,680
Speaker 8: When did that begin?

527
00:28:48,160 --> 00:28:51,760
Speaker 7: I think for me it was FD two, And you know,

528
00:28:51,840 --> 00:28:53,480
Speaker 7: I think for a lot of people, the logging truck

529
00:28:53,520 --> 00:28:56,080
Speaker 7: scene kind of scars you, especially if you saw it

530
00:28:56,200 --> 00:28:58,440
Speaker 7: back then at an early age of sort of wow,

531
00:28:58,520 --> 00:29:02,440
Speaker 7: driving on a highway could be extremely dangerous, especially for

532
00:29:02,560 --> 00:29:04,560
Speaker 7: me because I grew up in Vancouver, which is where

533
00:29:04,640 --> 00:29:06,800
Speaker 7: all the FT movies were shot except for number four,

534
00:29:07,240 --> 00:29:10,320
Speaker 7: and so that highway that they shot that scene, and

535
00:29:10,360 --> 00:29:12,520
Speaker 7: I've been down many times, and I've been on the

536
00:29:12,640 --> 00:29:14,840
Speaker 7: rollercoaster from FT three, and I've been on the bridge

537
00:29:14,840 --> 00:29:18,240
Speaker 7: of FT five, and so all of those set pieces

538
00:29:18,320 --> 00:29:20,959
Speaker 7: are very very real for me and my growing up

539
00:29:21,000 --> 00:29:21,520
Speaker 7: in that city.

540
00:29:21,840 --> 00:29:24,640
Speaker 10: I remember the plane scene, I mean, and to this day,

541
00:29:24,960 --> 00:29:29,560
Speaker 10: you know, whenever there's turbulence, I go probably because of

542
00:29:29,640 --> 00:29:34,200
Speaker 10: that scene. But you know, then as filmmakers, you know,

543
00:29:34,320 --> 00:29:38,520
Speaker 10: we really connected to the films even more because these

544
00:29:38,560 --> 00:29:42,320
Speaker 10: films are special. There's no antagonists like in other horror movies.

545
00:29:42,360 --> 00:29:45,280
Speaker 10: There's no monster in the woods, there's no guy in

546
00:29:45,360 --> 00:29:49,080
Speaker 10: a mask, you know, with a knife. It's really the

547
00:29:49,160 --> 00:29:53,719
Speaker 10: filmmaking that's creating the suspense. You know, those close up

548
00:29:53,800 --> 00:29:56,640
Speaker 10: shots that are all connected and that are cut in

549
00:29:56,680 --> 00:30:00,360
Speaker 10: the perfect way to create the maximums of suspense is

550
00:30:00,440 --> 00:30:03,800
Speaker 10: really something as filmmakers we've always relished and it was

551
00:30:03,840 --> 00:30:05,400
Speaker 10: such a joy to be able to create that.

552
00:30:05,520 --> 00:30:06,080
Speaker 7: In this movie.

553
00:30:06,440 --> 00:30:06,640
Speaker 9: Yeah.

554
00:30:06,680 --> 00:30:09,360
Speaker 2: Well, I at the screening that we went to in

555
00:30:10,200 --> 00:30:13,000
Speaker 2: La we did get a tease about how you guys

556
00:30:13,080 --> 00:30:15,600
Speaker 2: got this movie. So I would love if for our

557
00:30:15,640 --> 00:30:18,719
Speaker 2: listeners you could kind of explain what was your pitching

558
00:30:18,800 --> 00:30:21,360
Speaker 2: process like and how did you put together that really

559
00:30:21,480 --> 00:30:22,120
Speaker 2: unique pitch.

560
00:30:22,480 --> 00:30:22,680
Speaker 9: Yeah.

561
00:30:22,840 --> 00:30:26,760
Speaker 7: Well, yeah, your listeners may not know that directors often

562
00:30:26,840 --> 00:30:28,719
Speaker 7: have to audition just like actors zoo to get these

563
00:30:28,800 --> 00:30:32,080
Speaker 7: bigger jobs, and part of that process is putting images

564
00:30:32,120 --> 00:30:34,640
Speaker 7: together and all your thoughts on the scenes and new ideas.

565
00:30:34,760 --> 00:30:36,880
Speaker 6: And we did all that, but one of the.

566
00:30:37,000 --> 00:30:39,320
Speaker 7: Really hard things when you're pitching is to pitch tone

567
00:30:39,720 --> 00:30:42,640
Speaker 7: and Final Destination has a really unique tone. It's not

568
00:30:42,840 --> 00:30:46,239
Speaker 7: just scary, it's not just fun, it's all it's all

569
00:30:46,280 --> 00:30:48,040
Speaker 7: these things kind of mixed together, and so we wanted

570
00:30:48,080 --> 00:30:50,680
Speaker 7: to bring that to life for them, and we had

571
00:30:50,720 --> 00:30:53,680
Speaker 7: this crazy idea of basically having death come for us

572
00:30:53,720 --> 00:30:57,880
Speaker 7: at the end of our pitch and for the for

573
00:30:58,000 --> 00:31:00,480
Speaker 7: the executives watching, they had no idea any was going

574
00:31:00,560 --> 00:31:02,200
Speaker 7: to happen. So for them it was just as much

575
00:31:02,240 --> 00:31:04,040
Speaker 7: a surprise as it would be when you're in the

576
00:31:04,080 --> 00:31:07,000
Speaker 7: theater and we were pitching our the finale of what

577
00:31:07,080 --> 00:31:09,000
Speaker 7: we thought the end of the movie should be, while

578
00:31:09,040 --> 00:31:11,240
Speaker 7: the fireplace behind us was lighting the wall on fire,

579
00:31:11,560 --> 00:31:13,880
Speaker 7: and they all started pointing and being very concerned, and

580
00:31:14,480 --> 00:31:16,640
Speaker 7: we got up and quickly put the fire out and

581
00:31:16,760 --> 00:31:19,000
Speaker 7: turned on this big ceiling fan, and I'm running around

582
00:31:19,040 --> 00:31:20,200
Speaker 7: saying should I call nine one one?

583
00:31:20,280 --> 00:31:22,800
Speaker 6: And then then we like calmed down and they all.

584
00:31:22,760 --> 00:31:24,600
Speaker 7: Started up plouding, being like, oh, that's great, that was

585
00:31:24,720 --> 00:31:26,520
Speaker 7: very They kind of realized that it was a joke.

586
00:31:27,320 --> 00:31:28,960
Speaker 7: And then right at that moment, there was sparks that

587
00:31:29,040 --> 00:31:30,680
Speaker 7: came from the ceiling fan and it fell off the

588
00:31:30,720 --> 00:31:32,560
Speaker 7: ceiling and I jumped out of the way, and it

589
00:31:32,640 --> 00:31:35,400
Speaker 7: chopped Adham's head off and his blood went sprang everywhere,

590
00:31:35,520 --> 00:31:38,920
Speaker 7: and it was quite a surprise for them, and it

591
00:31:39,000 --> 00:31:42,200
Speaker 7: gave them the experience of watching Final Destination, and so

592
00:31:42,560 --> 00:31:44,360
Speaker 7: that was really important because we wanted them to know

593
00:31:44,520 --> 00:31:46,880
Speaker 7: that we knew how to build these types of set pieces.

594
00:31:47,880 --> 00:31:49,400
Speaker 8: What was it like, top of your head chopped on that?

595
00:31:49,600 --> 00:31:53,800
Speaker 9: You know, I know he's always trying to get rid

596
00:31:53,840 --> 00:31:54,000
Speaker 9: of me.

597
00:31:54,200 --> 00:31:59,720
Speaker 2: So why was it so important for you guys to

598
00:32:00,200 --> 00:32:03,240
Speaker 2: not just showcase that you understand the tone, which is important,

599
00:32:03,440 --> 00:32:05,920
Speaker 2: but also you brought something else in that moment, which was, hey,

600
00:32:06,000 --> 00:32:08,280
Speaker 2: we can do VFX, we can make this look real.

601
00:32:08,360 --> 00:32:10,120
Speaker 2: Could you talk a little bit about kind of putting

602
00:32:10,160 --> 00:32:11,160
Speaker 2: that on the screen.

603
00:32:11,320 --> 00:32:12,960
Speaker 9: You know what it was for me?

604
00:32:13,400 --> 00:32:17,360
Speaker 10: It was the joy bringing the joy in and showing

605
00:32:17,440 --> 00:32:20,560
Speaker 10: them that like, not only do we get how to

606
00:32:20,680 --> 00:32:25,440
Speaker 10: do this technically, but that we can bring our sort

607
00:32:25,480 --> 00:32:30,840
Speaker 10: of creativity to the franchise in unexpected ways. Kind Of

608
00:32:30,920 --> 00:32:34,640
Speaker 10: when you're pitching sometimes, I'm sure you know filmmakers in

609
00:32:34,920 --> 00:32:37,240
Speaker 10: your audience or actors in your audience can relate to this.

610
00:32:38,560 --> 00:32:40,880
Speaker 10: It can kind of feel like a slog. You know,

611
00:32:41,000 --> 00:32:43,000
Speaker 10: you're trying to get these jobs. You're trying to do

612
00:32:43,160 --> 00:32:43,840
Speaker 10: self tapes.

613
00:32:44,400 --> 00:32:46,720
Speaker 8: Everything's inn ip you're trying.

614
00:32:46,520 --> 00:32:49,280
Speaker 10: To you're trying to prove that you can do it

615
00:32:50,080 --> 00:32:54,080
Speaker 10: and to bring our joy of filmmaking into that process

616
00:32:54,560 --> 00:32:57,480
Speaker 10: and make like a little mini movie that we could

617
00:32:58,760 --> 00:33:01,440
Speaker 10: entertain them with. That's I think what made it feel

618
00:33:01,480 --> 00:33:02,040
Speaker 10: so special.

619
00:33:02,520 --> 00:33:05,080
Speaker 8: The most incredible thing about that I think I heard

620
00:33:05,200 --> 00:33:05,640
Speaker 8: is there.

621
00:33:05,600 --> 00:33:08,120
Speaker 2: Was no one recording it right, even though most pictures

622
00:33:08,160 --> 00:33:10,280
Speaker 2: are recorded, so it's never going on the Blu ray.

623
00:33:10,560 --> 00:33:13,040
Speaker 10: They've been kicking themselves because I think they you know,

624
00:33:13,560 --> 00:33:15,680
Speaker 10: they hit record on some of the pitches and they

625
00:33:15,760 --> 00:33:17,280
Speaker 10: just forgot to do ours or something.

626
00:33:17,400 --> 00:33:17,800
Speaker 8: I love that.

627
00:33:19,320 --> 00:33:22,040
Speaker 10: And the fact that it was a live experience, I

628
00:33:22,120 --> 00:33:24,960
Speaker 10: think is what also made it feel special. That like

629
00:33:25,520 --> 00:33:27,960
Speaker 10: those you know, twenty people who were on that zoom

630
00:33:28,320 --> 00:33:31,600
Speaker 10: are the only people who could ever expecience exactly made

631
00:33:31,680 --> 00:33:33,960
Speaker 10: it feel you know, extra special.

632
00:33:34,240 --> 00:33:36,680
Speaker 8: Well, you kind of touched on the joy. I think

633
00:33:36,720 --> 00:33:38,760
Speaker 8: this is the funniest final destination.

634
00:33:38,960 --> 00:33:40,880
Speaker 2: I think it's it has some of the most brutal,

635
00:33:41,000 --> 00:33:43,960
Speaker 2: scary kills, but it also has the most kind of

636
00:33:44,840 --> 00:33:48,440
Speaker 2: on screen, non contextual, non tongue in cheek kind of laughs.

637
00:33:48,760 --> 00:33:50,880
Speaker 2: So could you talk about kind of bringing after you know,

638
00:33:51,040 --> 00:33:54,320
Speaker 2: fourteen years, like kind of bringing that new layer to

639
00:33:54,440 --> 00:33:54,920
Speaker 2: the films.

640
00:33:55,080 --> 00:33:57,360
Speaker 7: I think we always wanted to create a film where

641
00:33:57,400 --> 00:34:00,520
Speaker 7: you're watching it through your fingers because it's super intense,

642
00:34:00,560 --> 00:34:02,080
Speaker 7: but you also have a huge smile on your face.

643
00:34:03,080 --> 00:34:04,960
Speaker 7: And I think Adam and I just have an incredibly dark,

644
00:34:05,000 --> 00:34:08,400
Speaker 7: twisted sense of humor, where the darker it gets, the

645
00:34:08,440 --> 00:34:10,560
Speaker 7: funnier we think it gets. And I think a lot

646
00:34:10,640 --> 00:34:13,719
Speaker 7: of the humor that we wanted to bring out aren't

647
00:34:13,760 --> 00:34:17,040
Speaker 7: necessarily jokes. They're not necessarily one liners. They're just the

648
00:34:17,160 --> 00:34:20,120
Speaker 7: emergent humor that comes out of how insane the situation is.

649
00:34:20,160 --> 00:34:22,359
Speaker 7: And we always kind of keep asking ourselves when we're

650
00:34:22,360 --> 00:34:23,360
Speaker 7: working on those scenes, like.

651
00:34:23,920 --> 00:34:26,040
Speaker 6: What would it feel like to be in the situation?

652
00:34:26,160 --> 00:34:27,640
Speaker 6: And what would you say? And what would you do?

653
00:34:27,840 --> 00:34:31,200
Speaker 7: And if you knew that you could only you know,

654
00:34:32,239 --> 00:34:34,799
Speaker 7: live for the years of however much someone had if

655
00:34:34,840 --> 00:34:36,440
Speaker 7: you killed them, well, wouldn't you try and kill the

656
00:34:36,480 --> 00:34:39,600
Speaker 7: youngest person possible? And wouldn't that and wouldn't that be

657
00:34:39,680 --> 00:34:41,800
Speaker 7: hilarious to put in the movie? And like, just like

658
00:34:41,920 --> 00:34:43,960
Speaker 7: those types of things, it all comes from the that

659
00:34:44,080 --> 00:34:46,520
Speaker 7: emerge the humor emerges out of the situation, and I think.

660
00:34:46,480 --> 00:34:49,840
Speaker 10: People especially now want to be in the theater having

661
00:34:49,920 --> 00:34:53,520
Speaker 10: that experience with it in a communal way, you know,

662
00:34:54,000 --> 00:34:56,359
Speaker 10: to scream when everyone else is screaming, and laugh when

663
00:34:56,360 --> 00:34:59,120
Speaker 10: everyone else is laughing, and feel all of those feelings.

664
00:35:00,040 --> 00:35:02,759
Speaker 10: If the crowd is such a special, special thing.

665
00:35:03,280 --> 00:35:05,520
Speaker 2: Yeah, Well, in twenty twenty five, when a lot of

666
00:35:05,600 --> 00:35:07,759
Speaker 2: movies are not going to theaters, and obviously we are

667
00:35:07,840 --> 00:35:10,040
Speaker 2: currently living in a moment where everyone is loving to

668
00:35:10,120 --> 00:35:12,560
Speaker 2: go to the theater because of a horror movie with sinners,

669
00:35:13,080 --> 00:35:15,320
Speaker 2: what was it like for you guys to make a

670
00:35:15,440 --> 00:35:18,200
Speaker 2: movie that was exactly always going to be for that.

671
00:35:18,360 --> 00:35:20,120
Speaker 2: It's not going to streaming, it's not going to be

672
00:35:20,160 --> 00:35:22,920
Speaker 2: second screen. It is about the people in the cinema

673
00:35:23,040 --> 00:35:24,920
Speaker 2: going like, oh, Mike, well I can't watch that, or

674
00:35:24,960 --> 00:35:27,479
Speaker 2: everyone kind of laughing when you think somebody's gotten away,

675
00:35:28,080 --> 00:35:30,560
Speaker 2: And there are many many moments like that in this movie.

676
00:35:30,840 --> 00:35:32,239
Speaker 2: So how fun was it to be able to go

677
00:35:32,360 --> 00:35:35,200
Speaker 2: into it knowing you're making a cinematic experience.

678
00:35:35,440 --> 00:35:39,279
Speaker 10: That was our first and foremost goal the entire time,

679
00:35:39,440 --> 00:35:42,799
Speaker 10: is make this a movie that's so special to experience

680
00:35:42,880 --> 00:35:45,000
Speaker 10: with other people that you have to see it in theaters.

681
00:35:46,200 --> 00:35:48,680
Speaker 10: A big part of that was actually working with Imax people.

682
00:35:48,960 --> 00:35:50,840
Speaker 10: From the very beginning, we knew this movie was going

683
00:35:50,920 --> 00:35:53,719
Speaker 10: to be in Imax. We were crafting it for the

684
00:35:53,760 --> 00:35:57,320
Speaker 10: big screen to have that intensity and that delight of

685
00:35:57,840 --> 00:36:01,480
Speaker 10: how intense it could be on a big screen and

686
00:36:01,640 --> 00:36:04,279
Speaker 10: also craft. You know, one of the things that was

687
00:36:04,520 --> 00:36:06,799
Speaker 10: really fun while working with the Imax people is they

688
00:36:06,840 --> 00:36:10,680
Speaker 10: really encouraged us to use that aspect ratio change as

689
00:36:10,719 --> 00:36:14,239
Speaker 10: a creative tool, not just you know, suddenly cut to it,

690
00:36:14,400 --> 00:36:16,839
Speaker 10: but how can you guys use this as a creative tool.

691
00:36:16,880 --> 00:36:19,960
Speaker 10: And we had the idea to use it as a

692
00:36:20,200 --> 00:36:24,759
Speaker 10: signal of death being present. So we designed for each

693
00:36:24,880 --> 00:36:28,680
Speaker 10: death sequence a specific shot that pushes in in a

694
00:36:28,800 --> 00:36:32,040
Speaker 10: very creepy, slow way, and that's when it expands to

695
00:36:32,200 --> 00:36:35,520
Speaker 10: Imax and it gives you that feeling that death is here,

696
00:36:35,920 --> 00:36:38,600
Speaker 10: and you know, for people who don't know to look

697
00:36:38,680 --> 00:36:41,920
Speaker 10: out for it, it just has this feeling of extra

698
00:36:42,080 --> 00:36:45,800
Speaker 10: ominous intensity. But for fans who know to look for that,

699
00:36:46,640 --> 00:36:49,440
Speaker 10: it's similar to the way death arrives on the wind

700
00:36:49,680 --> 00:36:51,880
Speaker 10: or with a music cue, except now there's a visual

701
00:36:52,040 --> 00:36:55,680
Speaker 10: symbol too. There's a moment where you can actually see

702
00:36:55,840 --> 00:36:58,640
Speaker 10: death arrive on the scene, which is just so much fun.

703
00:36:59,040 --> 00:37:00,879
Speaker 2: Yeah, that's amazing, and I've feel like people are extra

704
00:37:01,000 --> 00:37:05,480
Speaker 2: prime to understand Imax understand those aspect ratios because of Ryan.

705
00:37:05,320 --> 00:37:06,520
Speaker 8: And Sinners, which is amazing.

706
00:37:07,200 --> 00:37:09,600
Speaker 2: Something else that I really loved about this film is

707
00:37:09,760 --> 00:37:14,799
Speaker 2: I am like a law lover, like lor Everyone.

708
00:37:14,000 --> 00:37:14,759
Speaker 8: Always rags on me.

709
00:37:14,800 --> 00:37:16,520
Speaker 2: They're like, oh, you love the law. I'm like, it's

710
00:37:16,600 --> 00:37:19,520
Speaker 2: not that kind of law. This is a movie that's

711
00:37:19,560 --> 00:37:23,480
Speaker 2: heavily invested in final destination law. So, as fans, what

712
00:37:23,719 --> 00:37:25,680
Speaker 2: was it like to get to play in the sandbox

713
00:37:25,760 --> 00:37:29,080
Speaker 2: but also expand it because we get new backstories here

714
00:37:29,160 --> 00:37:31,440
Speaker 2: for fan favorite characters, we get a new understanding of

715
00:37:31,520 --> 00:37:32,360
Speaker 2: how death works.

716
00:37:32,400 --> 00:37:34,440
Speaker 8: So could you talk a little bit about that.

717
00:37:36,360 --> 00:37:39,920
Speaker 2: That kind of expansion while also getting to pull from

718
00:37:40,000 --> 00:37:41,920
Speaker 2: so many different sources, because I think a lot of

719
00:37:41,960 --> 00:37:44,000
Speaker 2: the early reviews are like, wow, I did not expect

720
00:37:44,040 --> 00:37:46,440
Speaker 2: that reference. I did not expect you to care about

721
00:37:46,480 --> 00:37:48,800
Speaker 2: this one, which is my favorite movie, you know, So

722
00:37:48,920 --> 00:37:49,880
Speaker 2: could you talk a little bit.

723
00:37:50,040 --> 00:37:52,200
Speaker 7: Yeah, that was very much by design from the beginning.

724
00:37:52,280 --> 00:37:54,120
Speaker 7: You know, We're we come at it as fans of

725
00:37:54,160 --> 00:37:57,759
Speaker 7: the franchise and FT five had one of the best

726
00:37:57,880 --> 00:38:00,920
Speaker 7: endings that felt like it wrapped up even the franchise

727
00:38:01,000 --> 00:38:03,359
Speaker 7: so well. So when we heard they were making another one,

728
00:38:03,560 --> 00:38:07,680
Speaker 7: our kind of primary question was why what are they.

729
00:38:07,680 --> 00:38:10,359
Speaker 6: Doing here that it deserves to have another one?

730
00:38:11,000 --> 00:38:14,799
Speaker 7: And we really approached it from the perspective of, let's

731
00:38:14,880 --> 00:38:18,880
Speaker 7: make sure that it doesn't break anything from the previous movies,

732
00:38:19,080 --> 00:38:21,520
Speaker 7: but it's adding and twisting it in a way that's

733
00:38:21,640 --> 00:38:25,640
Speaker 7: new because we want the audience, especially the super fans

734
00:38:25,680 --> 00:38:28,960
Speaker 7: of the franchise, to never know where a movie's going next.

735
00:38:29,120 --> 00:38:31,440
Speaker 7: That's what makes you lean forward, that's what makes we

736
00:38:31,560 --> 00:38:33,880
Speaker 7: think for a really great experience in the theater is

737
00:38:34,000 --> 00:38:37,400
Speaker 7: I have no idea where this is going. And Final

738
00:38:37,440 --> 00:38:40,840
Speaker 7: Listenation has a structure to it that is very well understood.

739
00:38:41,040 --> 00:38:44,080
Speaker 7: You have an opening set piece, it's a premonition. All

740
00:38:44,120 --> 00:38:46,160
Speaker 7: these people are marked for death, and it goes one

741
00:38:46,200 --> 00:38:47,960
Speaker 7: by one all the way through that list, and we

742
00:38:48,040 --> 00:38:51,399
Speaker 7: wanted to make sure to take that structure and then

743
00:38:51,560 --> 00:38:55,160
Speaker 7: twist it and bend it in new ways that feel

744
00:38:55,280 --> 00:38:58,320
Speaker 7: like they break the cannon. But then slowly, as the

745
00:38:58,400 --> 00:39:00,680
Speaker 7: movie progresses, you realize it doesn't break the canon. It

746
00:39:00,760 --> 00:39:04,000
Speaker 7: actually borrows on all sorts of delicious rules that we

747
00:39:04,160 --> 00:39:08,360
Speaker 7: know and love, and that was really exciting to us

748
00:39:08,400 --> 00:39:11,160
Speaker 7: as fans of the franchise to both kind of honor

749
00:39:11,200 --> 00:39:13,160
Speaker 7: the movies that have come before it, but also offer

750
00:39:13,239 --> 00:39:13,680
Speaker 7: something new.

751
00:39:13,840 --> 00:39:16,239
Speaker 10: We also filled it chock full of Easter eggs for

752
00:39:16,320 --> 00:39:20,920
Speaker 10: the fans. You know, every license plate, every little little

753
00:39:21,280 --> 00:39:24,040
Speaker 10: note scrawled in in the book or in the maitre

754
00:39:24,120 --> 00:39:27,120
Speaker 10: D's book or on the wall of the tattoo parlor,

755
00:39:27,160 --> 00:39:31,040
Speaker 10: they're all just filled with Easter eggs that that you know,

756
00:39:31,520 --> 00:39:35,160
Speaker 10: fans will We'll see, maybe maybe you take multiple viewings

757
00:39:35,320 --> 00:39:36,400
Speaker 10: to really unpack.

758
00:39:36,640 --> 00:39:37,879
Speaker 9: We're still discovering things.

759
00:39:38,080 --> 00:39:39,759
Speaker 2: I was going to say because so many people who

760
00:39:39,840 --> 00:39:42,839
Speaker 2: made it must and fans, so those people impost.

761
00:39:42,560 --> 00:39:43,719
Speaker 9: That Easter well.

762
00:39:43,960 --> 00:39:46,800
Speaker 10: And in the art department, you know, we encouraged everyone

763
00:39:47,000 --> 00:39:49,120
Speaker 10: to put in Easter eggs without even telling us I

764
00:39:49,239 --> 00:39:51,759
Speaker 10: love this, so that you know there could always be

765
00:39:52,000 --> 00:39:55,279
Speaker 10: multiple layers that you're unpacking. And you mentioned, you know,

766
00:39:55,440 --> 00:39:58,359
Speaker 10: you hinted at Bloodworth's character. Another thing that was really

767
00:39:58,400 --> 00:40:01,600
Speaker 10: important for us as we were working with Tony, you

768
00:40:01,680 --> 00:40:05,160
Speaker 10: know and the writers on the script, is to give

769
00:40:05,320 --> 00:40:10,080
Speaker 10: him more of a backstory and more of an understanding

770
00:40:10,200 --> 00:40:13,760
Speaker 10: of where blood Worth came from and why he cares

771
00:40:13,840 --> 00:40:16,640
Speaker 10: so much about death, why he knows so much, why

772
00:40:16,680 --> 00:40:19,920
Speaker 10: he's so focused on understanding the premonitions of all the

773
00:40:20,000 --> 00:40:22,560
Speaker 10: characters in the previous movies, and to do it in

774
00:40:22,640 --> 00:40:25,640
Speaker 10: a way that you know, made him more than just

775
00:40:25,719 --> 00:40:29,160
Speaker 10: a mysterious mentor figure yes that comes in and gives

776
00:40:29,200 --> 00:40:33,160
Speaker 10: advice and disappears. How do we really understand him more

777
00:40:33,320 --> 00:40:35,520
Speaker 10: on a human level? And that was something he was

778
00:40:35,560 --> 00:40:38,359
Speaker 10: really excited about. You know, he's always relished the fan

779
00:40:38,560 --> 00:40:41,840
Speaker 10: theories of who blood Worth is, but also it was

780
00:40:41,920 --> 00:40:46,240
Speaker 10: just so excited to kind of explore him as an

781
00:40:46,280 --> 00:40:47,439
Speaker 10: individual and as a person.

782
00:40:47,560 --> 00:40:47,719
Speaker 9: Yeah.

783
00:40:47,920 --> 00:40:50,480
Speaker 2: I have a friend, a really fantastic Cora or the

784
00:40:50,560 --> 00:40:53,360
Speaker 2: Good Endship and Fitzpatrick, and she loves these movies. But

785
00:40:53,600 --> 00:40:55,840
Speaker 2: her one big thing has always been I want to

786
00:40:55,920 --> 00:40:57,919
Speaker 2: know more about blood Worth, Like does he fit into

787
00:40:58,000 --> 00:41:00,160
Speaker 2: a trope of just being someone who helps? Does he

788
00:41:00,200 --> 00:41:03,719
Speaker 2: ever just say like go away, yeah please, I've had enough?

789
00:41:04,000 --> 00:41:06,160
Speaker 2: And does he ever get to like have his own story?

790
00:41:06,200 --> 00:41:07,600
Speaker 2: And I texted her as soon as I go out

791
00:41:07,600 --> 00:41:08,719
Speaker 2: of the movie there, and I was like, you were

792
00:41:08,760 --> 00:41:10,680
Speaker 2: going to love this movie, and I, like you had

793
00:41:10,719 --> 00:41:13,600
Speaker 2: been absolutely love it, and I do think it's one

794
00:41:13,640 --> 00:41:15,680
Speaker 2: of the coolest parts of the movie. And I would

795
00:41:15,680 --> 00:41:17,120
Speaker 2: love to talk to you a little bit about that,

796
00:41:17,280 --> 00:41:19,040
Speaker 2: Like what was it like to work with Tony to

797
00:41:19,080 --> 00:41:21,640
Speaker 2: get to collaborate, because we also learned at the screening

798
00:41:21,719 --> 00:41:24,440
Speaker 2: that his final words those are his words, right, So

799
00:41:24,520 --> 00:41:26,239
Speaker 2: could you talk a little bit about getting to kind

800
00:41:26,280 --> 00:41:28,200
Speaker 2: of Yeah, it was pay homage to him, but also

801
00:41:28,280 --> 00:41:29,080
Speaker 2: collaborate with him.

802
00:41:29,280 --> 00:41:30,879
Speaker 9: He's such an icon, he's such an honor.

803
00:41:31,040 --> 00:41:34,239
Speaker 7: Yeah, he came to set and it was a really

804
00:41:34,280 --> 00:41:36,360
Speaker 7: special moment for a bunch of reasons, all at the

805
00:41:36,440 --> 00:41:39,800
Speaker 7: same time. He was so charming and so excited to

806
00:41:39,880 --> 00:41:43,600
Speaker 7: be there and cracking jokes, and everyone was just amazed

807
00:41:43,640 --> 00:41:46,440
Speaker 7: at kind of the vitality that he had despite the

808
00:41:46,520 --> 00:41:49,360
Speaker 7: fact that he physically was obviously extremely weak. So we

809
00:41:49,440 --> 00:41:51,360
Speaker 7: knew going into this movie when we were crafting the

810
00:41:51,440 --> 00:41:55,200
Speaker 7: story that he was ill, and so all of the

811
00:41:55,280 --> 00:41:57,520
Speaker 7: details of sort of his character were with that in

812
00:41:57,640 --> 00:42:00,520
Speaker 7: mind and working with him very closely to figure out

813
00:42:01,160 --> 00:42:02,719
Speaker 7: like we were just saying, not only do how do

814
00:42:02,760 --> 00:42:04,560
Speaker 7: we give him a beginning, but how do we give

815
00:42:04,600 --> 00:42:05,040
Speaker 7: him an end?

816
00:42:05,400 --> 00:42:08,440
Speaker 6: How do we say goodbye to this character, and how

817
00:42:08,480 --> 00:42:09,320
Speaker 6: does he want to do that?

818
00:42:09,840 --> 00:42:11,479
Speaker 7: And in that moment that you were just talking about,

819
00:42:11,560 --> 00:42:15,160
Speaker 7: when at the very end of that scene there was

820
00:42:15,200 --> 00:42:17,160
Speaker 7: stuff we'd written in planned, but we just wanted to

821
00:42:17,200 --> 00:42:18,759
Speaker 7: give him a chance to just speak from the heart

822
00:42:19,520 --> 00:42:21,800
Speaker 7: because the experience we'd been having him with him that

823
00:42:21,960 --> 00:42:24,480
Speaker 7: day was so meaningful and we could tell that he

824
00:42:24,600 --> 00:42:27,320
Speaker 7: had so many different emotions going on, just said, what

825
00:42:27,400 --> 00:42:29,799
Speaker 7: has this all been about? You know, what is life about?

826
00:42:29,840 --> 00:42:32,400
Speaker 7: What is death about? What are you thinking about? Just

827
00:42:32,640 --> 00:42:35,600
Speaker 7: speak to the audience, And that take that's in the

828
00:42:35,680 --> 00:42:38,440
Speaker 7: film is him speaking from the heart. And you can

829
00:42:38,520 --> 00:42:42,080
Speaker 7: really tell when you watch that scene that there's an

830
00:42:42,320 --> 00:42:44,800
Speaker 7: icon kind of saying goodbye to the audience there and

831
00:42:44,920 --> 00:42:47,439
Speaker 7: leaving us with a message of hope and beauty, which

832
00:42:47,520 --> 00:42:50,919
Speaker 7: is something that we've really taken after that moment.

833
00:42:51,200 --> 00:42:53,560
Speaker 8: Yeah, I thought it was such a special moment. It

834
00:42:53,680 --> 00:42:54,560
Speaker 8: was so much fun.

835
00:42:55,200 --> 00:42:58,520
Speaker 2: And also it's like kind of I love how in

836
00:42:59,719 --> 00:43:03,160
Speaker 2: conversation it is with like the audience, with fans, but

837
00:43:03,320 --> 00:43:06,480
Speaker 2: also it's got a dark hilarity to it because then

838
00:43:06,520 --> 00:43:08,240
Speaker 2: you go on to some of the worst deaths.

839
00:43:08,280 --> 00:43:10,520
Speaker 8: Like the most so it's not like denying what the

840
00:43:10,600 --> 00:43:13,120
Speaker 8: films are, but it gives him that moment which is

841
00:43:13,200 --> 00:43:15,200
Speaker 8: really just completely lovely.

842
00:43:16,000 --> 00:43:18,759
Speaker 2: How does it feel now you've done the work, you've

843
00:43:18,800 --> 00:43:21,360
Speaker 2: worked with the legends, How does it feel for the

844
00:43:21,480 --> 00:43:24,759
Speaker 2: movie to almost be out there and to be a

845
00:43:24,880 --> 00:43:27,160
Speaker 2: tangible thing that fans are going to see, that people

846
00:43:27,160 --> 00:43:29,000
Speaker 2: are going to get to throw popcorn up in the air.

847
00:43:29,080 --> 00:43:32,520
Speaker 2: You're starting to see those first responses of the audiences.

848
00:43:32,640 --> 00:43:33,399
Speaker 8: How does that feel?

849
00:43:33,560 --> 00:43:36,640
Speaker 10: I mean, my favorite thing is to is to hear

850
00:43:36,719 --> 00:43:40,239
Speaker 10: from people who are big fans who really love the movie,

851
00:43:40,360 --> 00:43:43,879
Speaker 10: you know, because because you know, it's a bit nerve

852
00:43:43,920 --> 00:43:46,920
Speaker 10: wracking to make a new installment of such a beloved

853
00:43:47,040 --> 00:43:50,840
Speaker 10: franchise and not know how people are going to respond

854
00:43:50,920 --> 00:43:54,040
Speaker 10: to it, and to start hearing from people who saw

855
00:43:54,160 --> 00:43:56,839
Speaker 10: the movie and absolutely loved it, just you know, I mean,

856
00:43:56,960 --> 00:43:57,600
Speaker 10: what more can.

857
00:43:57,480 --> 00:43:57,880
Speaker 9: You ask for?

858
00:43:58,520 --> 00:43:59,919
Speaker 8: Yeah? How does it feel?

859
00:44:00,120 --> 00:44:00,160
Speaker 1: You?

860
00:44:00,880 --> 00:44:01,799
Speaker 6: It's a dream come true?

861
00:44:01,800 --> 00:44:04,440
Speaker 7: I mean, as filmmakers, you start making movies when you're

862
00:44:04,840 --> 00:44:07,600
Speaker 7: in your house with your friends running around with the

863
00:44:07,680 --> 00:44:11,680
Speaker 7: camera and spring tomato sauce over them as they die horribly,

864
00:44:11,840 --> 00:44:16,080
Speaker 7: and to kind of be able to bring to life

865
00:44:16,400 --> 00:44:20,120
Speaker 7: a beloved franchise and kind of doing it from the

866
00:44:20,200 --> 00:44:22,239
Speaker 7: perspective of a fan wanting other fans to love it.

867
00:44:22,320 --> 00:44:25,160
Speaker 7: It's so much fun to see those fans now getting

868
00:44:25,200 --> 00:44:27,400
Speaker 7: to enjoy it and being thankful that they get a.

869
00:44:27,400 --> 00:44:30,279
Speaker 6: Little bit more of what they love. Is really really

870
00:44:30,320 --> 00:44:31,320
Speaker 6: special as a filmmaker.

871
00:44:31,480 --> 00:44:34,360
Speaker 2: Yeah, the title of my review was like final Destination.

872
00:44:34,600 --> 00:44:37,319
Speaker 2: Bloodlines knows exactly what we want and gives it to us.

873
00:44:37,480 --> 00:44:39,359
Speaker 4: So I think you guys deliver it on that front.

874
00:44:39,640 --> 00:44:44,160
Speaker 2: Awesome when you're going back rewatching the movies, just kind

875
00:44:44,200 --> 00:44:45,839
Speaker 2: of immersing yourself in the world.

876
00:44:46,280 --> 00:44:47,680
Speaker 8: Was there like a moment or.

877
00:44:47,680 --> 00:44:49,600
Speaker 2: A movie that kind of stood out for you more

878
00:44:49,640 --> 00:44:53,879
Speaker 2: than you expected when you were revisiting from the original franchises.

879
00:44:54,160 --> 00:44:54,799
Speaker 6: You know what, we.

880
00:44:56,920 --> 00:45:00,000
Speaker 10: Were big fans, and we became even more super nerves

881
00:45:00,520 --> 00:45:02,040
Speaker 10: just because the first thing we did when we were

882
00:45:02,120 --> 00:45:05,480
Speaker 10: hired was break down every single death on a spreadsheet

883
00:45:06,520 --> 00:45:09,920
Speaker 10: exactly how many omens it had, how many dominoes to

884
00:45:10,000 --> 00:45:11,799
Speaker 10: the route Goldberg, you.

885
00:45:11,840 --> 00:45:14,839
Speaker 9: Know how successful it was on a scale of one

886
00:45:14,880 --> 00:45:15,239
Speaker 9: to ten.

887
00:45:15,600 --> 00:45:18,239
Speaker 10: And we put the deaths into categories and made sure

888
00:45:18,280 --> 00:45:20,920
Speaker 10: that we never repeated ourselves and all that stuff. But

889
00:45:21,000 --> 00:45:24,720
Speaker 10: there were several deaths that became kind of touch points

890
00:45:25,560 --> 00:45:29,160
Speaker 10: some of our favorite deaths that inspired some of the

891
00:45:29,200 --> 00:45:32,360
Speaker 10: set pieces. So for example, the screw on the balance

892
00:45:32,400 --> 00:45:35,919
Speaker 10: beam from FD five, which is just such a delightful

893
00:45:36,680 --> 00:45:42,480
Speaker 10: exercise masterclass in suspense. You're watching a screw, the tiniest

894
00:45:42,480 --> 00:45:45,960
Speaker 10: thing possible. You're watching a bunch of feet miss the screw.

895
00:45:46,800 --> 00:45:50,359
Speaker 10: Nothing's happening, and you're just cringing and on the edge

896
00:45:50,400 --> 00:45:55,480
Speaker 10: of your seat watching. That really was inspirational for the

897
00:45:55,560 --> 00:45:59,399
Speaker 10: barbecue sying with the glass and the cup and how

898
00:45:59,480 --> 00:46:03,759
Speaker 10: can we make the audience cringe but then bring that

899
00:46:04,160 --> 00:46:08,400
Speaker 10: object in in an unexpected way into the roupe goldbrigs.

900
00:46:08,480 --> 00:46:10,400
Speaker 10: You can't just swallow the glass, you can't just step

901
00:46:10,480 --> 00:46:12,520
Speaker 10: on the screw. You have to bring it in in

902
00:46:12,640 --> 00:46:14,040
Speaker 10: a way that nobody expected.

903
00:46:14,120 --> 00:46:14,680
Speaker 9: So that was one.

904
00:46:15,200 --> 00:46:17,600
Speaker 10: Another one was this what we call the spaghetti death

905
00:46:17,640 --> 00:46:20,560
Speaker 10: and FT two, where the guy throws the spaghetti out

906
00:46:20,560 --> 00:46:23,880
Speaker 10: the window. A bunch of other stuff happens, you completely

907
00:46:23,960 --> 00:46:27,080
Speaker 10: forget about the spaghetti and then he at the very end,

908
00:46:27,160 --> 00:46:29,319
Speaker 10: he slips on the spaghetti and that's what kills him.

909
00:46:29,560 --> 00:46:30,080
Speaker 9: So that was.

910
00:46:30,680 --> 00:46:34,480
Speaker 10: Inspirational for let's say the hospital death sees that comes

911
00:46:34,560 --> 00:46:37,680
Speaker 10: later where you set something up and then you kind

912
00:46:37,719 --> 00:46:39,480
Speaker 10: of forget about it, and then it comes in at

913
00:46:39,480 --> 00:46:42,320
Speaker 10: the very end. So we definitely were inspired by a

914
00:46:42,400 --> 00:46:45,920
Speaker 10: lot of the deaths that came before, but using them

915
00:46:45,960 --> 00:46:50,720
Speaker 10: in new ways, you know, and uh, you know, all

916
00:46:50,800 --> 00:46:52,200
Speaker 10: to keep the audience on their toes.

917
00:46:52,280 --> 00:46:55,239
Speaker 2: Yeah, I would love to see those breakdowns. That's incredibly fun.

918
00:46:55,360 --> 00:46:56,080
Speaker 2: That's real fun.

919
00:46:59,000 --> 00:47:02,919
Speaker 8: Is there a no context spoiler that you are most

920
00:47:03,040 --> 00:47:04,879
Speaker 8: excited for people to see?

921
00:47:06,520 --> 00:47:09,120
Speaker 6: No context spoiler for me would be the poster of

922
00:47:09,239 --> 00:47:09,719
Speaker 6: FT five.

923
00:47:12,400 --> 00:47:15,839
Speaker 8: Yeah, okay, I love this. Thank you both so much.

924
00:47:15,920 --> 00:47:18,000
Speaker 2: I appreciate you for joining us. The movie is great

925
00:47:18,480 --> 00:47:20,239
Speaker 2: and it was a total joy to talk to you guys,

926
00:47:20,360 --> 00:47:20,920
Speaker 2: so thank.

927
00:47:20,760 --> 00:47:21,239
Speaker 9: You so much.

928
00:47:21,800 --> 00:47:24,960
Speaker 2: Next week on x ray Vision, Tuesday, we take one

929
00:47:25,000 --> 00:47:27,240
Speaker 2: final visit to Jackson Hall as we review the season

930
00:47:27,320 --> 00:47:30,880
Speaker 2: two finale of The Last of Us. Wednesday, we're reacting

931
00:47:31,000 --> 00:47:34,880
Speaker 2: to Mission Impossible, The Final Reckoning. Thursday, the Council gathers

932
00:47:34,920 --> 00:47:36,240
Speaker 2: to discuss season two.

933
00:47:36,400 --> 00:47:37,440
Speaker 3: Of the Last of Us.

934
00:47:37,640 --> 00:47:40,640
Speaker 2: Friday, we're diving deep into the action set pieces of

935
00:47:40,760 --> 00:47:42,520
Speaker 2: Mission Impossible, The Final Reckoning.

936
00:47:42,719 --> 00:47:43,960
Speaker 3: Saturday News.

937
00:47:48,800 --> 00:47:52,399
Speaker 1: X ray Vision is hosted by Jesus Upson and Rosie Knight.

938
00:47:53,120 --> 00:47:56,920
Speaker 1: And is a production of Iheard Podcasts. Our Executive producers

939
00:47:56,920 --> 00:48:00,239
Speaker 1: are Jeelle Smith and Aaron Kaufman are super as in

940
00:48:00,280 --> 00:48:05,000
Speaker 1: producer is a Booze Afar. Our producers are Carmen Lawn

941
00:48:05,760 --> 00:48:09,360
Speaker 1: and Mia Taylor. Our theme song is by Brian Basquez.

942
00:48:09,880 --> 00:48:14,160
Speaker 2: Special thanks to Soul Rubin and Chris Laude, Kenny Goodman

943
00:48:14,520 --> 00:48:16,600
Speaker 2: and Heidi our discord moderator.