WEBVTT - Sinners and Final Destination - Popcorn Popout

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<v Speaker 1>Warning, today's episode contains some spoilers for the some spoilers

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<v Speaker 1>for the twenty twenty five Ryan Coogler epic Sinners. Hello,

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<v Speaker 1>my name is Jason, getupcion and on Mersday Night, and

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<v Speaker 1>welcome back to Xtra Vision of the podcast where we

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<v Speaker 1>dive could your favorite shows, movies, collegs of pop culture

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<v Speaker 1>coming to you from iHeart Podcast, where we're bringing you

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<v Speaker 1>three episodes a week every Tuesday, Thursday, Friday, plus news

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<v Speaker 1>last news.

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<v Speaker 2>In today's episode, you guys have been asking for it,

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<v Speaker 2>and honestly, we have wanted to do it because we

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<v Speaker 2>love Sinners and we do want to talk about Sinners.

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<v Speaker 2>But it's been of Ipmageddon, guys, it's been busy. So

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

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<v Speaker 2>a chat about the movie and what we loved about it,

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<v Speaker 2>and you are going to be blessed with ad Jason

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<v Speaker 2>Concepsion omnibus about some of the influencers and inspirations behind Sinners,

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<v Speaker 2>which is gonna be really cool.

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<v Speaker 3>But first we need.

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<v Speaker 2>To introduce you guys to a new segment on X

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<v Speaker 2>ray Vision and the new segment is called Popcorn Pop Outay,

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<v Speaker 2>me really exciting and good Welcome to our very first

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<v Speaker 2>episode of Popcorn Pop Out. It's a bite sized Friday

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<v Speaker 2>special where we prep for the weekend cinematic releases, get

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<v Speaker 2>a quick film history lesson, and hear from the stars

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<v Speaker 2>and creators behind your next favorite movie. Twenty twenty five,

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<v Speaker 2>I will say, is shaping up to be a landmark

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<v Speaker 2>here for cinema after twenty twenty four.

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<v Speaker 1>I feel like it was a little bit down here.

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<v Speaker 1>It was a down here with double double strikes.

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<v Speaker 2>It kind of yeah, we started stuff we loved, but

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<v Speaker 2>it's more than just recognizable.

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<v Speaker 3>Ip.

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<v Speaker 2>Like, while we have our tickets for Summer classics, Jurassic World,

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<v Speaker 2>you know I will be there, comes out the day

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<v Speaker 2>after my birthday. Superman, Fantastic Form, Mission Impossible, How to

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

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<v Speaker 2>list of directors releasing pictures this year that we can't

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<v Speaker 2>wait to watch, like bon June, Who, Steven Soderberg, Ryan

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<v Speaker 2>cooglerre They already kicked the door open for Paul Thomas Anderson,

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

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<v Speaker 2>I'm putting the Philip Howeer Brothers in there, because I

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<v Speaker 2>just watched Bring Her Back and it was amazing. Jim

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<v Speaker 2>jar Moush, Giamma del Toro close back in Oh, I

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

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<v Speaker 2>annoying version of me and Jason talking about these old

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<v Speaker 2>art house movies. Yeah, Damian Chazzelle, Darren Aronofsky, ari Asta,

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<v Speaker 2>Benny Safti, Danny boy or Ryan Johnson, your Goss, I

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<v Speaker 2>love your gossl Anthemos and Gareth Evans who are all

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

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<v Speaker 2>smagas board of cinema and for our very first pop out,

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<v Speaker 2>we are revisiting Ryan Coogler's Sinners, and we are a

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<v Speaker 2>little interview with the creative team buying the upcoming Final

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<v Speaker 2>Destination Bloodlines, which is very.

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

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<v Speaker 3>about Sinners.

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<v Speaker 1>Rosie Sinners, what an incredible cinema experience. I saw it

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<v Speaker 1>in those seventy millimeters panavision, gorgeous and at the vista,

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<v Speaker 1>and you know what, this is a movie that gets

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<v Speaker 1>better the more you think about it. It's an incredible

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<v Speaker 1>experience there. But it's there's so much richness to the film.

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<v Speaker 1>I can't wait to see it again.

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<v Speaker 3>What are your thoughts?

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<v Speaker 2>I think what blew me about a way about the movie,

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<v Speaker 2>and I was very lucky. I got to watch it

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<v Speaker 2>at the Imax headquarters, which is where they edit the

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<v Speaker 2>Imax movie, so it was a true Imax screen and

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<v Speaker 2>I went in and I was expecting Coogler, I was

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<v Speaker 2>expecting horror. I was expecting vampires, just because less about

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<v Speaker 2>what they revealed in the trailers, which I do as

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<v Speaker 2>always think it could have been cool to see this

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<v Speaker 2>movie get that word of mouth hit of people not

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<v Speaker 2>knowing about that. But I already knew about this because

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<v Speaker 2>it had been rumored for a long time that it

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<v Speaker 2>was going to be vampires. What I didn't expect was

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<v Speaker 2>when I sat down in the cinema and the movie began,

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<v Speaker 2>and there was just this unbelievable, sprawling cinematography and yeah,

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<v Speaker 2>the most some of the most stunning stuff I've seen

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<v Speaker 2>set to film in a long time. The absolute breakout

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<v Speaker 2>performance of Miles Katton. I just thought the whole movie

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<v Speaker 2>was quite astonishing. And what I thought it did incredibly

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<v Speaker 2>well was it crafted a true four quadrant blockbuster. If

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<v Speaker 2>you just love vampires and you love Lost Boy Rules

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<v Speaker 2>and you want to see a vampire movie about that,

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<v Speaker 2>It's got you covered. If you want to see a

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<v Speaker 2>movie that allows like adult storytelling, fucking violence but it's

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<v Speaker 2>set in a period piece, if you want to learn

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<v Speaker 2>about Delta, Mississippi and the history of Chinese grocery stores, Like,

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<v Speaker 2>there are so many levels to this movie before you

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<v Speaker 2>even get to the blues, before you even get to

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<v Speaker 2>the fact that it's a black gangster movie with nods

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<v Speaker 2>to capone. There is so much here to break apart

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<v Speaker 2>that I think is just truly astonishing, and I think

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<v Speaker 2>it's a really astonishing piece of cinema. I absolutely adore

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<v Speaker 2>the practical work, and I also think something that for

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<v Speaker 2>me was really gorgeous about this film was it had violence,

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<v Speaker 2>it had horror, it had trauma, but it also had

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<v Speaker 2>hope and it also had It was also a story

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<v Speaker 2>about two brothers who get to find their own versions

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<v Speaker 2>of immortality, which I absolutely adored. I thought that it

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<v Speaker 2>was rioteously funny at parts two, which is some of

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<v Speaker 2>the cool. I think the balance between the action, the humor,

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<v Speaker 2>the music, the kind of transcendent exploration of the way

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<v Speaker 2>that music can connect to ancestral pasts and futures. That

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<v Speaker 2>sequence like made me cry. I also think something that

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<v Speaker 2>Koogler did that was really interesting and kind of unheard

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<v Speaker 2>of is he made sure the movie looked good for everyone.

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<v Speaker 2>I saw the movie in for Imax, but I also

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<v Speaker 2>saw the movie in a tiny screen at the Alamo

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<v Speaker 2>draft House, eating like the Sinners themed menu.

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<v Speaker 3>It was just as good. It was just it was

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<v Speaker 3>just a different experience. And I think he.

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<v Speaker 1>Shot it down multiple formats to allow for multiple framings. Yeah,

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<v Speaker 1>and to have it look good for everybody, no matter

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<v Speaker 1>whether you're an Imax, semi mil whatever.

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<v Speaker 3>I think is really cool.

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<v Speaker 2>I think it's one of those films that will be

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<v Speaker 2>looked back on as a seminal movie.

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<v Speaker 3>But I also think it's a rare seminal movie.

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<v Speaker 2>That will also be looked back on as like a

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<v Speaker 2>great sleepover film and a great film that will be

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<v Speaker 2>studied at in film school, and a great film that

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<v Speaker 2>inspire storytellers.

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<v Speaker 3>It walks on so many different levels.

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<v Speaker 1>It's what I love about cinema, which is, you know,

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<v Speaker 1>I can kind of end up rolling my eyes when

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<v Speaker 1>when people start having these overly artistic kind of amorphous

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<v Speaker 1>conversations about the meaning of cinema and art and stuff.

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<v Speaker 1>To me, cinema the movies, it's about number one, like

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<v Speaker 1>are you entertaining people? This is an entertainment itedom And

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<v Speaker 1>then after you're entertaining them, are they are there deeper

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<v Speaker 1>levels to the entertainment?

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<v Speaker 4>You know?

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<v Speaker 3>And siners like.

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<v Speaker 1>Really has that in a way that's more profound the

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<v Speaker 1>more you think about it. And to kind of piggyback

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<v Speaker 1>off what you talked about, I love that this is

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<v Speaker 1>a movie about a period of American history and a

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<v Speaker 1>lace the Jim Crow South. That doesn't compress that story

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<v Speaker 1>into just a story about oppression and the oppressed. It's

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<v Speaker 1>a story about life and the variety and the richness

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<v Speaker 1>of the life there at that time. Yes, that that

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<v Speaker 1>was oppression was part of the story, and the fact

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<v Speaker 1>that the non white residents, the black residents of this

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<v Speaker 1>area had very little security in their homes and their lives.

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<v Speaker 1>At the same time, this is a story about people

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<v Speaker 1>creating this space, this jupe joint where life can happen,

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<v Speaker 1>where celebrations happened.

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

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<v Speaker 3>And I think that I adore that aspect of this movie.

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<v Speaker 2>And I also think that this sets Coogler apart as

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<v Speaker 2>a kind of generational time. We knew that he could

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<v Speaker 2>do that with you know, Black Panther, and we knew

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<v Speaker 2>he could tell like intimate inspired by true life stories

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<v Speaker 2>with The Fruit Real Station, which is like obviously an

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<v Speaker 2>unbelievable movie, but also like he gets to have fun

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<v Speaker 2>here and he gets to put together all of his

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<v Speaker 2>creative collaborators and craft something that is incredibly specific. But again,

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<v Speaker 2>I think this happened with Squid Game. I think this

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<v Speaker 2>happened with everything everywhere all at once. If you make

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<v Speaker 2>something that is really specific and authentic and true to

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<v Speaker 2>the story you want to tell, there is a universality

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<v Speaker 2>in that that will appeal to people, and people will go, well,

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<v Speaker 2>I I connect to this part, and I connect to

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<v Speaker 2>this part. And even just like I think having like

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<v Speaker 2>a fat woman and obviously in this case it's win

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<v Speaker 2>Me Massako incredible, you know, fat black woman in a

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<v Speaker 2>space where she is like loved and lusted after and appreciated.

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<v Speaker 2>And two I don't know, I just there's so many

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<v Speaker 2>different levels. I think people are going to be talking

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<v Speaker 2>about this movie for so long, and I do think

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<v Speaker 2>when I came out of this movie, I said to

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<v Speaker 2>Warner Brothers, I said to my friend who works there,

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<v Speaker 2>I said, in a just world, this movie sweeps the Oscars.

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<v Speaker 2>And when I said that before the movie was out,

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<v Speaker 2>it seemed crazy to say that.

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<v Speaker 1>Well, I think I think there's a I think there's

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<v Speaker 1>a lane.

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<v Speaker 3>I think I think it's got Elaine.

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<v Speaker 1>I certainly think Coogler is going to get Best Director.

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

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<v Speaker 1>I think the cinematography is going to be in there.

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<v Speaker 1>I think we get Ludwig Gore and Ericsson definites again

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<v Speaker 1>in there for soundtrack and a few other things.

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<v Speaker 3>I think, and they who knows, like but I.

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<v Speaker 1>Think there's a shot. I think there's a shot for

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<v Speaker 1>certainly nomination Best of It, definitely nominations. I definitely think

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<v Speaker 1>Best Original Screenplay is our best shot.

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<v Speaker 2>Though I do feel like for a movie and a

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<v Speaker 2>movie awards show, as Bongin who called it a local

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<v Speaker 2>awards show that is so heavily American, so focused on

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<v Speaker 2>American cinema, I feel like sinners should be the.

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<v Speaker 3>Only option when it comes to a sweep. I think

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<v Speaker 3>we could be.

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<v Speaker 2>This is my far out prediction because in we are

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<v Speaker 2>far Out, We're over, We're like, We're over.

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<v Speaker 3>Like it's basically like a year.

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<v Speaker 2>Basically, my gut says it's gonna get like ten or

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

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<v Speaker 3>But I'm hoping.

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<v Speaker 2>As I said when I first saw the movie and

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<v Speaker 2>me and Joelle kind of did our brief feedback, I

0:11:36.800 --> 0:11:40.080
<v Speaker 2>do think this could be this year's everything everwhere all

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<v Speaker 2>at once.

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<v Speaker 3>I think it can keep playing.

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<v Speaker 2>Sure, it's back in the IMAX right now once Friendship

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<v Speaker 2>is a hit come back, which it's a huge financial hit,

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<v Speaker 2>which I think helps, but it's also a rare critical

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<v Speaker 2>and commercial hit where a score is really high. There

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<v Speaker 2>is a accessibility hit that means people will actually have

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<v Speaker 2>seen the movie and be rooting for it. But there

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<v Speaker 2>is also a quality of cinematography, of movie making, of

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<v Speaker 2>reference that makes this something that the Academy should be exploring.

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<v Speaker 2>This is my this is my far out as an

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<v Speaker 2>unlikely thing, which is in a just world Sinners sweeps,

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<v Speaker 2>but I also think post bring Her Back Sally Hawkins

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<v Speaker 2>following the Dememor route set from the substance. I think

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<v Speaker 2>that Sally Hawkins for Bring Her Back should be up

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<v Speaker 2>for Best Leading.

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<v Speaker 3>And I would love to see a world you know,

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<v Speaker 3>Final Destination. Put that in there for best effects that

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<v Speaker 3>movie and you know what, the.

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<v Speaker 2>David Ayer Suicide Side Squad movie, a OSCAR winning movie,

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

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<v Speaker 2>for special effects. I want to see a horror centric

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<v Speaker 2>Oscars next year. That's my that's my way out there.

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<v Speaker 2>Like not gonna happen, but I would love to see it.

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<v Speaker 1>I'm gonna talk about one thing that you mentioned, which

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<v Speaker 1>is that incredible scene when as the celebrations and the

0:13:06.559 --> 0:13:09.240
<v Speaker 1>duke joint and the music starts to really crescendo.

0:13:09.880 --> 0:13:12.160
<v Speaker 3>Yeah, the Coogler brings in.

0:13:13.760 --> 0:13:18.480
<v Speaker 1>Like all the vast tributaries in the Great River that

0:13:18.640 --> 0:13:24.680
<v Speaker 1>springs from Black American culture, including hip hop, including.

0:13:24.320 --> 0:13:27.680
<v Speaker 2>You get a j all these other Yeah. I love

0:13:27.800 --> 0:13:31.360
<v Speaker 2>that when you see that he pitches in. He doesn't

0:13:31.360 --> 0:13:33.120
<v Speaker 2>just go for the ancestral past.

0:13:33.720 --> 0:13:36.360
<v Speaker 3>He goes for like this goes into the future and

0:13:36.400 --> 0:13:37.480
<v Speaker 3>the future.

0:13:37.080 --> 0:13:39.480
<v Speaker 2>And you get that kind of Bootsy Collins esque And

0:13:39.880 --> 0:13:42.080
<v Speaker 2>that was when I was like I got core in

0:13:42.120 --> 0:13:44.920
<v Speaker 2>my throat, like, oh, he's doing something we've never seen before.

0:13:45.000 --> 0:13:45.880
<v Speaker 4>It really made me.

0:13:46.559 --> 0:13:48.400
<v Speaker 1>You know, hopeful is the right word that you used,

0:13:48.440 --> 0:13:51.880
<v Speaker 1>because I think, you know, one of the with all

0:13:51.920 --> 0:13:54.160
<v Speaker 1>the terrible things that can happen in the world, and

0:13:54.200 --> 0:13:56.400
<v Speaker 1>that we're happening at that time, and that maybe are

0:13:56.480 --> 0:13:59.679
<v Speaker 1>happening now. I think one of the things to take

0:13:59.720 --> 0:14:05.599
<v Speaker 1>away is that, you know, love doesn't this kind of hopefulness.

0:14:05.160 --> 0:14:08.120
<v Speaker 3>Love of community, love of humanity.

0:14:08.600 --> 0:14:12.680
<v Speaker 1>It never it's never able to. It doesn't have the

0:14:12.760 --> 0:14:16.480
<v Speaker 1>strength in the moment to stop anything that's terrible, but

0:14:16.559 --> 0:14:20.120
<v Speaker 1>it has the strength over time to continue to inspire

0:14:21.480 --> 0:14:24.480
<v Speaker 1>people over the long term.

0:14:25.000 --> 0:14:26.680
<v Speaker 3>And that's what it really got.

0:14:26.760 --> 0:14:29.160
<v Speaker 1>That's what really hit me in that in the middle

0:14:29.160 --> 0:14:33.440
<v Speaker 1>of that scene is like, look how people survive and

0:14:33.480 --> 0:14:39.560
<v Speaker 1>not just survive, but thrive under circumstances that are oppressed.

0:14:41.040 --> 0:14:41.520
<v Speaker 3>Imagine.

0:14:41.600 --> 0:14:44.240
<v Speaker 1>Yeah, and and to be able to put that in

0:14:44.280 --> 0:14:47.440
<v Speaker 1>the middle of a quote unquote genre film, it just

0:14:47.480 --> 0:14:51.240
<v Speaker 1>made me feel like we just joked about how it's

0:14:51.280 --> 0:14:53.640
<v Speaker 1>not good. You know, you're you saying it's going to

0:14:53.680 --> 0:14:56.440
<v Speaker 1>be horror Oscars twenty twenty six. It's not going to be, no,

0:14:56.480 --> 0:15:00.239
<v Speaker 1>but this is a this is a movie that absolute

0:15:00.400 --> 0:15:04.840
<v Speaker 1>like deletes the idea of genre. Yeah, yeah, yeah, that

0:15:05.280 --> 0:15:10.480
<v Speaker 1>genre is like less than or or should be less

0:15:10.520 --> 0:15:13.760
<v Speaker 1>than or shouldn't be thought of as something, you know,

0:15:13.840 --> 0:15:18.760
<v Speaker 1>intensely profound and meaningful, with something deeper to say than

0:15:18.840 --> 0:15:22.200
<v Speaker 1>just the stuff that's on the surface level text, which is,

0:15:22.240 --> 0:15:24.920
<v Speaker 1>you know, if you just whatever read the logline of

0:15:24.960 --> 0:15:27.840
<v Speaker 1>this movie or had somebody come out and just immediately

0:15:27.840 --> 0:15:30.360
<v Speaker 1>pitch you this movie after leaving the theater, it'd be like, okay,

0:15:30.440 --> 0:15:36.720
<v Speaker 1>this kind of genre bending vampire epic set in the

0:15:37.800 --> 0:15:40.240
<v Speaker 1>nineteen twenties South Like, you'd be like okay.

0:15:40.600 --> 0:15:42.240
<v Speaker 3>But there's so.

0:15:42.240 --> 0:15:45.560
<v Speaker 1>Much more to it than that. And I do hope that.

0:15:45.760 --> 0:15:48.480
<v Speaker 1>I do hope, and I do think that it is

0:15:48.560 --> 0:15:50.720
<v Speaker 1>going to be there in Awards season.

0:15:50.800 --> 0:15:52.600
<v Speaker 2>I do see a lot of it in a conversation

0:15:52.600 --> 0:15:54.360
<v Speaker 2>because I also don't think it's going to be out

0:15:54.400 --> 0:15:56.400
<v Speaker 2>of the movie fas for a long time. People want

0:15:56.400 --> 0:15:58.800
<v Speaker 2>to see this in imax exhibit as, want to play it,

0:15:59.200 --> 0:16:02.400
<v Speaker 2>someone like Tyn Tino could keep playing it at.

0:16:02.360 --> 0:16:04.120
<v Speaker 3>The Vista also as well.

0:16:04.160 --> 0:16:08.080
<v Speaker 2>I would say we've seen like Nope Is in continual

0:16:08.200 --> 0:16:10.760
<v Speaker 2>play in LA and sevent email and meters like every

0:16:10.760 --> 0:16:12.880
<v Speaker 2>few months. Everyone wants to see it that way as

0:16:12.880 --> 0:16:14.560
<v Speaker 2>it was, you know, meant to be seen, And I

0:16:14.560 --> 0:16:16.160
<v Speaker 2>would say Sinners and Note would.

0:16:15.920 --> 0:16:19.280
<v Speaker 5>Be a truly great double bill. But yeah, I'm very

0:16:19.320 --> 0:16:22.760
<v Speaker 5>excited for the future of this movie. I love thinking

0:16:22.800 --> 0:16:26.120
<v Speaker 5>about how I bet that Ryan Coogler and Michael B.

0:16:26.240 --> 0:16:29.680
<v Speaker 2>Jordan when this movie, like the lead into it, I

0:16:29.720 --> 0:16:33.440
<v Speaker 2>bet they were just sitting there like absolutely knowing, like shit,

0:16:33.520 --> 0:16:36.680
<v Speaker 2>we fucking like we really we really cooked at this.

0:16:36.800 --> 0:16:38.800
<v Speaker 2>So I'm like, I feel like I hope that they

0:16:38.800 --> 0:16:41.960
<v Speaker 2>were just like they knew that they had something that

0:16:42.080 --> 0:16:43.040
<v Speaker 2>was so special.

0:16:43.480 --> 0:16:47.240
<v Speaker 3>And I really I'm so happy to see the.

0:16:47.200 --> 0:16:49.520
<v Speaker 2>Way this has got people excited to go back to

0:16:49.600 --> 0:16:54.280
<v Speaker 2>movie theaters, excited to talk about movies, excited to make movies,

0:16:54.440 --> 0:16:55.200
<v Speaker 2>Like there's.

0:16:55.080 --> 0:16:56.840
<v Speaker 3>Just so much Rosie.

0:16:57.480 --> 0:17:03.080
<v Speaker 1>Is there anything about remis Vampire Pitch that had you

0:17:03.160 --> 0:17:06.560
<v Speaker 1>at any point thinking, you know, what if I was

0:17:07.040 --> 0:17:10.800
<v Speaker 1>out in the swamp somewhere and all of a sudden

0:17:11.400 --> 0:17:13.320
<v Speaker 1>we're under attacked by vampires.

0:17:13.320 --> 0:17:13.679
<v Speaker 6>But then the.

0:17:13.720 --> 0:17:17.880
<v Speaker 1>Vampire comes and makes and is playing some some jaunty

0:17:18.000 --> 0:17:20.280
<v Speaker 1>music and makes me a picture about eternal life, and

0:17:20.359 --> 0:17:23.120
<v Speaker 1>I come with a smile. I think about it would

0:17:23.160 --> 0:17:23.399
<v Speaker 1>you know.

0:17:23.600 --> 0:17:25.879
<v Speaker 2>I don't, no, no, no, I gotta tell you. I

0:17:25.920 --> 0:17:28.080
<v Speaker 2>would be like a number one sucker, like if.

0:17:27.920 --> 0:17:30.280
<v Speaker 3>A vampire, I just can't help it.

0:17:30.320 --> 0:17:33.119
<v Speaker 2>Ever since I was a little kid, I knew that

0:17:33.200 --> 0:17:37.359
<v Speaker 2>if a vampire came to me, I would say, let's go.

0:17:37.560 --> 0:17:38.000
<v Speaker 3>Let's go.

0:17:38.400 --> 0:17:42.080
<v Speaker 2>I like it is funny because like I relate deeply

0:17:42.160 --> 0:17:43.960
<v Speaker 2>to the kind of memes where people are like, I'm

0:17:44.000 --> 0:17:46.600
<v Speaker 2>all life, I've seen enough, like I don't need them all.

0:17:46.680 --> 0:17:49.840
<v Speaker 3>Yeah, But at the same time, it's like, yeah, I do.

0:17:50.040 --> 0:17:51.719
<v Speaker 2>I do want to be a little I do want

0:17:51.760 --> 0:17:53.119
<v Speaker 2>to be a little vampire. I want to just be

0:17:53.280 --> 0:17:58.119
<v Speaker 2>like hanging out and like dancing. Well, then, I'm not

0:17:58.160 --> 0:18:01.240
<v Speaker 2>a banjo music fan, so I don't think this particular

0:18:01.480 --> 0:18:03.439
<v Speaker 2>band of vampires would have sold me on it.

0:18:03.640 --> 0:18:07.679
<v Speaker 3>But generally I'm open to vampirism. Let me ask you this.

0:18:08.160 --> 0:18:11.960
<v Speaker 1>You're a vampire, Okay, how do you feed? Are you

0:18:12.000 --> 0:18:14.720
<v Speaker 1>doing like bad people? Or it's just like listen, I'm

0:18:14.800 --> 0:18:17.640
<v Speaker 1>I'm a creature of nature, like a lion doesn't think

0:18:17.680 --> 0:18:19.720
<v Speaker 1>about is that a good will to beast or a

0:18:19.760 --> 0:18:24.399
<v Speaker 1>bad will? They're just eating? Which which philosophy do you

0:18:24.440 --> 0:18:24.760
<v Speaker 1>go with?

0:18:24.880 --> 0:18:26.640
<v Speaker 3>Think that a rich.

0:18:26.840 --> 0:18:30.080
<v Speaker 2>You know, early on, I think all of us are

0:18:30.080 --> 0:18:33.040
<v Speaker 2>going to try and live that kind of like we're

0:18:33.119 --> 0:18:37.000
<v Speaker 2>just killing bad people, like we're just drinking that blood,

0:18:37.280 --> 0:18:39.159
<v Speaker 2>like it's just bad. But I'm sure that at some

0:18:39.280 --> 0:18:41.639
<v Speaker 2>point then it starts getting like really small. You like

0:18:41.680 --> 0:18:43.960
<v Speaker 2>see someone litter after one hundred years and you're like

0:18:44.560 --> 0:18:48.119
<v Speaker 2>that bad, Like that's you could have recycled that shit, babe,

0:18:48.160 --> 0:18:51.080
<v Speaker 2>Like it's time you're off. I definitely I don't think

0:18:51.119 --> 0:18:54.679
<v Speaker 2>I could live like the the Twilight you only drink,

0:18:55.240 --> 0:18:58.400
<v Speaker 2>you know, animal blood kind of kind of situation.

0:18:58.720 --> 0:19:00.320
<v Speaker 3>How about you? What are you? Are?

0:19:00.359 --> 0:19:00.479
<v Speaker 7>You?

0:19:00.520 --> 0:19:03.359
<v Speaker 3>Are you just? You're just a stone called killer?

0:19:04.160 --> 0:19:09.480
<v Speaker 1>I think, well, first of all, I I think like

0:19:09.640 --> 0:19:13.320
<v Speaker 1>you that I would. I'm susceptible to the pitch. I'm

0:19:13.320 --> 0:19:15.959
<v Speaker 1>not gonna say one hundred percent no, I'm not going

0:19:16.040 --> 0:19:17.919
<v Speaker 1>to do it. But if I'm like you know what,

0:19:18.800 --> 0:19:21.720
<v Speaker 1>I don't have the feistiness to be fighting dozens of

0:19:21.800 --> 0:19:24.359
<v Speaker 1>vampires tonight, I don't think I'm gonna make it.

0:19:24.600 --> 0:19:27.919
<v Speaker 3>I like that just lazy. Yeah it sounds and it does.

0:19:28.080 --> 0:19:29.240
<v Speaker 3>It doesn't sound bad.

0:19:29.320 --> 0:19:32.760
<v Speaker 1>It sounds pretty good, like there are there's definitely upsides

0:19:32.800 --> 0:19:35.359
<v Speaker 1>to it. And then I think after the fact, should

0:19:35.400 --> 0:19:39.000
<v Speaker 1>I take the plunge? And my only you know, obviously,

0:19:39.119 --> 0:19:41.040
<v Speaker 1>like you, my only points of reference to what it

0:19:41.080 --> 0:19:44.040
<v Speaker 1>would be like are every vampire movie I've ever seen,

0:19:44.840 --> 0:19:47.480
<v Speaker 1>every story I've ever read about vampires, and then like

0:19:48.119 --> 0:19:50.960
<v Speaker 1>you know, allowing myself to be turned into a vampire

0:19:50.960 --> 0:19:53.640
<v Speaker 1>in Oblivion and Skyrim. So those are my only thing. Yeah,

0:19:53.760 --> 0:19:56.359
<v Speaker 1>those are my only touchdotes. I think like you, I

0:19:56.359 --> 0:19:59.399
<v Speaker 1>would be the same. I would be like, first, bad people,

0:19:59.440 --> 0:20:02.040
<v Speaker 1>I'm gonna just are going down the list, who's bad,

0:20:02.440 --> 0:20:05.639
<v Speaker 1>who's bad, who's like very loudly bad, and let me

0:20:05.640 --> 0:20:08.160
<v Speaker 1>see if I can stuck their blood and then and

0:20:08.200 --> 0:20:12.800
<v Speaker 1>not turn them. Yes, they don't get to be turned.

0:20:12.920 --> 0:20:15.800
<v Speaker 1>I think, you know, the turning is a very intimate thing,

0:20:15.880 --> 0:20:18.440
<v Speaker 1>and you I want to make sure that somebody's down

0:20:18.520 --> 0:20:21.359
<v Speaker 1>with it. Like really, I'd be like, listen, this is

0:20:21.359 --> 0:20:22.440
<v Speaker 1>gonna be a multi stage.

0:20:22.200 --> 0:20:25.359
<v Speaker 3>PROCESSU consensual vampire where.

0:20:25.200 --> 0:20:27.640
<v Speaker 1>It's really going to talk about what because you can't

0:20:28.119 --> 0:20:31.320
<v Speaker 1>there's no going back, so we're going to talk about it.

0:20:31.880 --> 0:20:34.720
<v Speaker 1>And then I think, like you listen, over time, over

0:20:34.880 --> 0:20:40.399
<v Speaker 1>hundreds of years, I can't. I can't promise that I

0:20:40.680 --> 0:20:42.959
<v Speaker 1>that standards wouldn't slip a little bit.

0:20:44.960 --> 0:20:47.520
<v Speaker 2>We would try our best, but after a while, you're

0:20:47.600 --> 0:20:48.600
<v Speaker 2>just like really hungry.

0:20:48.960 --> 0:20:52.760
<v Speaker 3>Humans are annoying. Yeah, you guys are so annoying.

0:20:52.920 --> 0:20:55.120
<v Speaker 2>But I would say, like, you know, as a vampire,

0:20:55.320 --> 0:20:58.160
<v Speaker 2>you could just like you could live off billion as

0:20:58.240 --> 0:21:00.879
<v Speaker 2>for a pretty long time with how many So I

0:21:00.920 --> 0:21:02.880
<v Speaker 2>think that would be like start at the top kind

0:21:02.920 --> 0:21:06.160
<v Speaker 2>of trickle downditors.

0:21:06.920 --> 0:21:09.960
<v Speaker 3>Were like jacking terrible billionaires.

0:21:10.200 --> 0:21:13.240
<v Speaker 2>Yeah, maybe maybe this If any vampires listening, let me

0:21:13.320 --> 0:21:14.680
<v Speaker 2>and Jason No, we might have a plan.

0:21:17.480 --> 0:21:30.200
<v Speaker 3>Okay, let's go to the Omlands and we're back.

0:21:30.920 --> 0:21:35.800
<v Speaker 1>Welcome to the Omnibus, where Lauren, analysis and understanding come together.

0:21:35.840 --> 0:21:39.480
<v Speaker 1>Today we're going to talk about kindred spirits, the Choctaw

0:21:40.240 --> 0:21:45.440
<v Speaker 1>Irish bond in real life, and its depiction here in Sinners.

0:21:46.000 --> 0:21:48.280
<v Speaker 1>In eighteen forty seven, as Ireland was ravaged by the

0:21:48.320 --> 0:21:52.160
<v Speaker 1>Great Famine, a remarkable act of compassion across the Atlantic,

0:21:52.240 --> 0:21:56.440
<v Speaker 1>A group of Choctaw leaders in Oklahoma, themselves survivors of

0:21:56.520 --> 0:21:59.720
<v Speaker 1>the Trail of Tears, forced March a decade prior, raised

0:21:59.720 --> 0:22:02.080
<v Speaker 1>a hunt undred and seventy dollars for quote, the relief

0:22:02.160 --> 0:22:05.800
<v Speaker 1>of the starving poor in Ireland, the equivalent today of

0:22:05.880 --> 0:22:08.960
<v Speaker 1>a bit more than sixty two hundred dollars. The Choctaws

0:22:09.040 --> 0:22:13.080
<v Speaker 1>people their resources were not great, but they gave what

0:22:13.200 --> 0:22:15.440
<v Speaker 1>they could to those who they saw as in great need.

0:22:16.040 --> 0:22:19.040
<v Speaker 1>The remarkableness of the gesture was noted even at the time.

0:22:19.160 --> 0:22:22.119
<v Speaker 1>Martin vent Shake, the chairman of the General Irish Relief

0:22:22.200 --> 0:22:24.960
<v Speaker 1>Committee of New York City, mentioned the donation specifically in

0:22:25.040 --> 0:22:28.560
<v Speaker 1>his report back to Ireland. As Choctaw historian Judy Allen

0:22:28.640 --> 0:22:31.400
<v Speaker 1>explained to the BBC quote, we had been through so much,

0:22:31.520 --> 0:22:33.800
<v Speaker 1>losing so many of our people through death because of

0:22:33.880 --> 0:22:37.320
<v Speaker 1>the weather, starvation, a disease that sixteen years later we

0:22:37.480 --> 0:22:39.840
<v Speaker 1>heard about the famine and the horrible situation that they

0:22:39.880 --> 0:22:40.480
<v Speaker 1>were going through.

0:22:40.920 --> 0:22:43.000
<v Speaker 3>We felt such empathy that we wanted to help.

0:22:43.400 --> 0:22:46.800
<v Speaker 1>The Choctaw donation during eighteen forty seven, what is known

0:22:46.840 --> 0:22:49.919
<v Speaker 1>as Black forty seven, the Famin's darkest year, forged an

0:22:50.000 --> 0:22:53.000
<v Speaker 1>unlikely bond between the two peoples who were separated by

0:22:53.040 --> 0:22:55.680
<v Speaker 1>an ocean. The only real link between them was a

0:22:55.760 --> 0:22:59.359
<v Speaker 1>common humanity, a common sense of another people's suffering, as

0:22:59.400 --> 0:23:01.400
<v Speaker 1>the Choctawn nation had suffered.

0:23:02.600 --> 0:23:03.360
<v Speaker 3>Yet that was enough.

0:23:03.520 --> 0:23:06.920
<v Speaker 1>This unexpected kinship had been passed down through generations, entering

0:23:06.960 --> 0:23:09.680
<v Speaker 1>Irish and Choctaw folk memory. It planted seeds of a

0:23:09.760 --> 0:23:13.120
<v Speaker 1>future friendship that would be rekindled and honored many times over.

0:23:13.560 --> 0:23:15.760
<v Speaker 1>Irish communities walk the Trail of Tears in a six

0:23:15.920 --> 0:23:19.000
<v Speaker 1>hundred mile fund raising trek in nineteen ninety two, raising

0:23:19.040 --> 0:23:21.720
<v Speaker 1>one hundred and seventy thousand dollars for famine relief in Somalia,

0:23:22.600 --> 0:23:25.680
<v Speaker 1>one thousand dollars for every dollar the Choctaw gave. In

0:23:25.760 --> 0:23:28.760
<v Speaker 1>nineteen ninety five, Ireland's President Mary Robinson, the first woman

0:23:28.840 --> 0:23:32.000
<v Speaker 1>President of Ireland, traveled to Oklahoma to thank the Choctaw

0:23:32.040 --> 0:23:35.040
<v Speaker 1>in person, and more recently, in twenty twenty, tens of

0:23:35.119 --> 0:23:37.520
<v Speaker 1>thousands of Irish donors sent over a million dollars in

0:23:37.600 --> 0:23:41.680
<v Speaker 1>COVID nineteen relief to hard hit Native American reservations. The

0:23:41.760 --> 0:23:45.480
<v Speaker 1>Irish have enshrined this relationship in art. In a park

0:23:45.520 --> 0:23:49.400
<v Speaker 1>in Middleton County, Cork, a stunning monument called Kindred Spirits

0:23:49.440 --> 0:23:52.600
<v Speaker 1>stands as a tribute to the choctaws generosity. The sculpture

0:23:52.640 --> 0:23:56.439
<v Speaker 1>consists of nine twenty foot stainless steel eagle feathers arranged

0:23:56.440 --> 0:23:59.400
<v Speaker 1>in a circle, forming the shape of a giant empty bowl.

0:23:59.440 --> 0:24:02.800
<v Speaker 1>Each feather is unique a sign of respect, symbolizing those

0:24:02.880 --> 0:24:05.800
<v Speaker 1>used in Choctaw ceremonies. The empty bowl of feathers points

0:24:06.119 --> 0:24:09.360
<v Speaker 1>to both the famines, hunger and the nourishment given. Unveiled

0:24:09.359 --> 0:24:12.960
<v Speaker 1>in twenty seventeen with Chalktaw representatives in attendants, Kindred spirits

0:24:13.040 --> 0:24:16.360
<v Speaker 1>is an enduring expression of gratitude and empathy.

0:24:16.920 --> 0:24:17.200
<v Speaker 3>Quote.

0:24:17.480 --> 0:24:20.440
<v Speaker 1>These people were still recovering from their own injustice, and

0:24:20.480 --> 0:24:23.400
<v Speaker 1>they helped strangers, noted one Irish official at the dedication,

0:24:23.560 --> 0:24:26.520
<v Speaker 1>calling it a rare and selfless generosity that had to

0:24:26.600 --> 0:24:31.840
<v Speaker 1>be acknowledged. Alex Pentech, the Irish The Irish artist Alex Pentech,

0:24:31.920 --> 0:24:34.879
<v Speaker 1>the Irish artist who created a monument, said he aimed

0:24:34.880 --> 0:24:37.840
<v Speaker 1>to capture quote the courage for Jilly and humanity shown

0:24:37.880 --> 0:24:41.040
<v Speaker 1>by the Choctaw people. The memorial thus serves not only

0:24:41.080 --> 0:24:43.520
<v Speaker 1>as a reminder of a past charity, but as a

0:24:43.560 --> 0:24:47.320
<v Speaker 1>celebration of resilience had shared hope. And it's fitting then

0:24:47.760 --> 0:24:52.119
<v Speaker 1>that this legacy of mutual compassion intertwined history finds a

0:24:52.200 --> 0:24:56.560
<v Speaker 1>new life in Ryan Coogler's Sinners, a modern vampire film,

0:24:57.240 --> 0:25:01.040
<v Speaker 1>and it's a testament to the rich call research and

0:25:01.240 --> 0:25:05.080
<v Speaker 1>history that Kugler did. One thread of the film follows

0:25:05.480 --> 0:25:08.760
<v Speaker 1>an Irish immigrant named Remick played by Jack O'Connell, a

0:25:08.880 --> 0:25:12.600
<v Speaker 1>vampire who is being pursued by a band of Choctaw

0:25:12.720 --> 0:25:16.960
<v Speaker 1>vampire hunters. Beneath the horror action of the film, Kugler

0:25:17.080 --> 0:25:20.639
<v Speaker 1>is engaging with deep themes of hunger, of colonization, and

0:25:20.720 --> 0:25:24.520
<v Speaker 1>cross cultural kinship. The film's premise was directly inspired by

0:25:24.600 --> 0:25:28.879
<v Speaker 1>real history. Kugler, in researching nineteen thirties Mississippi, discovered that

0:25:29.400 --> 0:25:32.920
<v Speaker 1>Chinese chalked on Irish communities all had a hand and

0:25:33.160 --> 0:25:37.119
<v Speaker 1>influence in the Delta's cultural life and music. Quote all

0:25:37.200 --> 0:25:40.120
<v Speaker 1>of them appears in Sinners, he says, a deliberate choice

0:25:40.119 --> 0:25:42.800
<v Speaker 1>to reflect a richer reality than one commonly used to

0:25:42.880 --> 0:25:44.840
<v Speaker 1>depict the Jim Crow South. As he notes in an

0:25:44.880 --> 0:25:48.240
<v Speaker 1>interview with Phillyvoice dot com, quote, it's very easy to

0:25:48.280 --> 0:25:51.240
<v Speaker 1>flatten the Jim Crow South just because the signs and

0:25:51.880 --> 0:25:53.360
<v Speaker 1>had colored and white on them.

0:25:53.680 --> 0:25:55.399
<v Speaker 3>You think that's all the people that were there. But

0:25:55.520 --> 0:25:56.520
<v Speaker 3>that wasn't the case.

0:25:57.119 --> 0:26:01.280
<v Speaker 1>Remick, the vampire villain, embodies these themes in complex ways.

0:26:01.320 --> 0:26:03.120
<v Speaker 3>He arrives as an outsider.

0:26:02.680 --> 0:26:05.480
<v Speaker 1>From another world, an older world, one that pre existed

0:26:06.000 --> 0:26:09.520
<v Speaker 1>American racial hierarchies, and as an irishman turned on dead,

0:26:09.640 --> 0:26:13.040
<v Speaker 1>Remick carries the legacy of Ireland's own history of colonization

0:26:13.160 --> 0:26:16.919
<v Speaker 1>and famine. He is, in fact literally famished, literally starving,

0:26:16.960 --> 0:26:20.000
<v Speaker 1>a vampire driven by hunger, emerging from a nation that

0:26:20.119 --> 0:26:23.040
<v Speaker 1>new starvation. In one pivotal scene, Remic stands outside a

0:26:23.160 --> 0:26:25.679
<v Speaker 1>juke joint and begins to sing the Rocky Rote to Dublin,

0:26:25.840 --> 0:26:29.240
<v Speaker 1>a bouncy nineteenth century Irish folk ballad which tells the

0:26:29.280 --> 0:26:31.399
<v Speaker 1>story of an irishman who leaves home for Liverpool in

0:26:31.480 --> 0:26:34.680
<v Speaker 1>search of work, and once there he finds hardship, violence

0:26:35.400 --> 0:26:37.960
<v Speaker 1>and solace and protection in the kinship of his fellow

0:26:38.040 --> 0:26:41.399
<v Speaker 1>Irish immigrants. It's an ironic choice. Remick is using the

0:26:41.480 --> 0:26:44.560
<v Speaker 1>tune to tempt the patrons outside, offering them a chance

0:26:44.640 --> 0:26:49.040
<v Speaker 1>to escape Jim Crow Mississippi by joining him in immortality.

0:26:49.080 --> 0:26:51.760
<v Speaker 1>But as doctor Rachel Stewart of Brunell University in London

0:26:51.840 --> 0:26:55.000
<v Speaker 1>notes quote, the music he chooses, although catchy, is a

0:26:55.040 --> 0:26:57.800
<v Speaker 1>story of exchanging one form of suffering life in tu

0:26:57.920 --> 0:27:00.960
<v Speaker 1>him in Ireland during the height of English suppression, for

0:27:01.080 --> 0:27:04.080
<v Speaker 1>another life on the English Mainland, where the ballad tells

0:27:04.119 --> 0:27:07.920
<v Speaker 1>of victimization and violence, depicting in Sinners, Rocky wrote to

0:27:08.000 --> 0:27:11.400
<v Speaker 1>Dublin is the song of a predator promising escape while

0:27:11.480 --> 0:27:15.600
<v Speaker 1>secretly leading his victims into another form of exploitation. Coogler's

0:27:15.600 --> 0:27:19.440
<v Speaker 1>own love of Irish music and culture infuses this scene

0:27:20.000 --> 0:27:23.399
<v Speaker 1>and others with a genuine musical verve and dynamism, he

0:27:23.480 --> 0:27:28.080
<v Speaker 1>told the Filmmaker Toolkit podcast quote, I'm obsessed with Irish

0:27:28.080 --> 0:27:30.680
<v Speaker 1>folk music. My kids are obsessed with it. My first

0:27:30.760 --> 0:27:31.439
<v Speaker 1>name is Irish.

0:27:31.840 --> 0:27:32.440
<v Speaker 3>He continued.

0:27:32.520 --> 0:27:34.840
<v Speaker 1>I think it's not known how much crossover there is

0:27:34.920 --> 0:27:38.120
<v Speaker 1>between African American culture and Irish culture, and how much

0:27:38.200 --> 0:27:39.680
<v Speaker 1>that stuff is loved in our community.

0:27:40.680 --> 0:27:43.000
<v Speaker 3>See Sinners to really tap into that.

0:27:43.400 --> 0:27:47.359
<v Speaker 2>An incredible movie, unbelievable stuff, and I love Jason, you

0:27:47.480 --> 0:27:48.840
<v Speaker 2>are the king of omnibuses.

0:27:49.040 --> 0:27:49.879
<v Speaker 4>That was fantastic.

0:27:50.119 --> 0:27:50.399
<v Speaker 1>Thank you.

0:27:51.280 --> 0:27:55.000
<v Speaker 2>Let's go to a message from our sponsors, and afterwards,

0:27:55.160 --> 0:27:59.680
<v Speaker 2>I will be speaking to the directors of the Delightfully

0:28:00.480 --> 0:28:07.000
<v Speaker 2>grow Tesque Final Destination bloodline about their inspirations the franchise

0:28:07.160 --> 0:28:09.080
<v Speaker 2>and sending off horror legends.

0:28:09.440 --> 0:28:22.159
<v Speaker 4>Tony Todd, Hello, guys.

0:28:21.920 --> 0:28:23.280
<v Speaker 8>It's so great to speak to you.

0:28:23.520 --> 0:28:24.879
<v Speaker 9>Yeah, great to talk to you.

0:28:25.240 --> 0:28:26.720
<v Speaker 8>I absolutely loved the movie.

0:28:27.240 --> 0:28:29.920
<v Speaker 2>It was fantastic, and I was lucky enough to take

0:28:29.960 --> 0:28:33.359
<v Speaker 2>a friend who is a lifelong Final Destination superstar and.

0:28:33.520 --> 0:28:35.640
<v Speaker 8>He absolutely loved it amazing.

0:28:36.080 --> 0:28:38.040
<v Speaker 2>I want to because I'm kind of lucky to get

0:28:38.440 --> 0:28:40.320
<v Speaker 2>a little bit more time with you guys. I would

0:28:40.400 --> 0:28:44.479
<v Speaker 2>love to know, like, what's your first memory of watching

0:28:45.040 --> 0:28:45.960
<v Speaker 2>Final Destination?

0:28:46.120 --> 0:28:47.680
<v Speaker 8>When did that begin?

0:28:48.160 --> 0:28:51.760
<v Speaker 7>I think for me it was FD two, And you know,

0:28:51.840 --> 0:28:53.480
<v Speaker 7>I think for a lot of people, the logging truck

0:28:53.520 --> 0:28:56.080
<v Speaker 7>scene kind of scars you, especially if you saw it

0:28:56.200 --> 0:28:58.440
<v Speaker 7>back then at an early age of sort of wow,

0:28:58.520 --> 0:29:02.440
<v Speaker 7>driving on a highway could be extremely dangerous, especially for

0:29:02.560 --> 0:29:04.560
<v Speaker 7>me because I grew up in Vancouver, which is where

0:29:04.640 --> 0:29:06.800
<v Speaker 7>all the FT movies were shot except for number four,

0:29:07.240 --> 0:29:10.320
<v Speaker 7>and so that highway that they shot that scene, and

0:29:10.360 --> 0:29:12.520
<v Speaker 7>I've been down many times, and I've been on the

0:29:12.640 --> 0:29:14.840
<v Speaker 7>rollercoaster from FT three, and I've been on the bridge

0:29:14.840 --> 0:29:18.240
<v Speaker 7>of FT five, and so all of those set pieces

0:29:18.320 --> 0:29:20.959
<v Speaker 7>are very very real for me and my growing up

0:29:21.000 --> 0:29:21.520
<v Speaker 7>in that city.

0:29:21.840 --> 0:29:24.640
<v Speaker 10>I remember the plane scene, I mean, and to this day,

0:29:24.960 --> 0:29:29.560
<v Speaker 10>you know, whenever there's turbulence, I go probably because of

0:29:29.640 --> 0:29:34.200
<v Speaker 10>that scene. But you know, then as filmmakers, you know,

0:29:34.320 --> 0:29:38.520
<v Speaker 10>we really connected to the films even more because these

0:29:38.560 --> 0:29:42.320
<v Speaker 10>films are special. There's no antagonists like in other horror movies.

0:29:42.360 --> 0:29:45.280
<v Speaker 10>There's no monster in the woods, there's no guy in

0:29:45.360 --> 0:29:49.080
<v Speaker 10>a mask, you know, with a knife. It's really the

0:29:49.160 --> 0:29:53.719
<v Speaker 10>filmmaking that's creating the suspense. You know, those close up

0:29:53.800 --> 0:29:56.640
<v Speaker 10>shots that are all connected and that are cut in

0:29:56.680 --> 0:30:00.360
<v Speaker 10>the perfect way to create the maximums of suspense is

0:30:00.440 --> 0:30:03.800
<v Speaker 10>really something as filmmakers we've always relished and it was

0:30:03.840 --> 0:30:05.400
<v Speaker 10>such a joy to be able to create that.

0:30:05.520 --> 0:30:06.080
<v Speaker 7>In this movie.

0:30:06.440 --> 0:30:06.640
<v Speaker 9>Yeah.

0:30:06.680 --> 0:30:09.360
<v Speaker 2>Well, I at the screening that we went to in

0:30:10.200 --> 0:30:13.000
<v Speaker 2>La we did get a tease about how you guys

0:30:13.080 --> 0:30:15.600
<v Speaker 2>got this movie. So I would love if for our

0:30:15.640 --> 0:30:18.719
<v Speaker 2>listeners you could kind of explain what was your pitching

0:30:18.800 --> 0:30:21.360
<v Speaker 2>process like and how did you put together that really

0:30:21.480 --> 0:30:22.120
<v Speaker 2>unique pitch.

0:30:22.480 --> 0:30:22.680
<v Speaker 9>Yeah.

0:30:22.840 --> 0:30:26.760
<v Speaker 7>Well, yeah, your listeners may not know that directors often

0:30:26.840 --> 0:30:28.719
<v Speaker 7>have to audition just like actors zoo to get these

0:30:28.800 --> 0:30:32.080
<v Speaker 7>bigger jobs, and part of that process is putting images

0:30:32.120 --> 0:30:34.640
<v Speaker 7>together and all your thoughts on the scenes and new ideas.

0:30:34.760 --> 0:30:36.880
<v Speaker 6>And we did all that, but one of the.

0:30:37.000 --> 0:30:39.320
<v Speaker 7>Really hard things when you're pitching is to pitch tone

0:30:39.720 --> 0:30:42.640
<v Speaker 7>and Final Destination has a really unique tone. It's not

0:30:42.840 --> 0:30:46.239
<v Speaker 7>just scary, it's not just fun, it's all it's all

0:30:46.280 --> 0:30:48.040
<v Speaker 7>these things kind of mixed together, and so we wanted

0:30:48.080 --> 0:30:50.680
<v Speaker 7>to bring that to life for them, and we had

0:30:50.720 --> 0:30:53.680
<v Speaker 7>this crazy idea of basically having death come for us

0:30:53.720 --> 0:30:57.880
<v Speaker 7>at the end of our pitch and for the for

0:30:58.000 --> 0:31:00.480
<v Speaker 7>the executives watching, they had no idea any was going

0:31:00.560 --> 0:31:02.200
<v Speaker 7>to happen. So for them it was just as much

0:31:02.240 --> 0:31:04.040
<v Speaker 7>a surprise as it would be when you're in the

0:31:04.080 --> 0:31:07.000
<v Speaker 7>theater and we were pitching our the finale of what

0:31:07.080 --> 0:31:09.000
<v Speaker 7>we thought the end of the movie should be, while

0:31:09.040 --> 0:31:11.240
<v Speaker 7>the fireplace behind us was lighting the wall on fire,

0:31:11.560 --> 0:31:13.880
<v Speaker 7>and they all started pointing and being very concerned, and

0:31:14.480 --> 0:31:16.640
<v Speaker 7>we got up and quickly put the fire out and

0:31:16.760 --> 0:31:19.000
<v Speaker 7>turned on this big ceiling fan, and I'm running around

0:31:19.040 --> 0:31:20.200
<v Speaker 7>saying should I call nine one one?

0:31:20.280 --> 0:31:22.800
<v Speaker 6>And then then we like calmed down and they all.

0:31:22.760 --> 0:31:24.600
<v Speaker 7>Started up plouding, being like, oh, that's great, that was

0:31:24.720 --> 0:31:26.520
<v Speaker 7>very They kind of realized that it was a joke.

0:31:27.320 --> 0:31:28.960
<v Speaker 7>And then right at that moment, there was sparks that

0:31:29.040 --> 0:31:30.680
<v Speaker 7>came from the ceiling fan and it fell off the

0:31:30.720 --> 0:31:32.560
<v Speaker 7>ceiling and I jumped out of the way, and it

0:31:32.640 --> 0:31:35.400
<v Speaker 7>chopped Adham's head off and his blood went sprang everywhere,

0:31:35.520 --> 0:31:38.920
<v Speaker 7>and it was quite a surprise for them, and it

0:31:39.000 --> 0:31:42.200
<v Speaker 7>gave them the experience of watching Final Destination, and so

0:31:42.560 --> 0:31:44.360
<v Speaker 7>that was really important because we wanted them to know

0:31:44.520 --> 0:31:46.880
<v Speaker 7>that we knew how to build these types of set pieces.

0:31:47.880 --> 0:31:49.400
<v Speaker 8>What was it like, top of your head chopped on that?

0:31:49.600 --> 0:31:53.800
<v Speaker 9>You know, I know he's always trying to get rid

0:31:53.840 --> 0:31:54.000
<v Speaker 9>of me.

0:31:54.200 --> 0:31:59.720
<v Speaker 2>So why was it so important for you guys to

0:32:00.200 --> 0:32:03.240
<v Speaker 2>not just showcase that you understand the tone, which is important,

0:32:03.440 --> 0:32:05.920
<v Speaker 2>but also you brought something else in that moment, which was, hey,

0:32:06.000 --> 0:32:08.280
<v Speaker 2>we can do VFX, we can make this look real.

0:32:08.360 --> 0:32:10.120
<v Speaker 2>Could you talk a little bit about kind of putting

0:32:10.160 --> 0:32:11.160
<v Speaker 2>that on the screen.

0:32:11.320 --> 0:32:12.960
<v Speaker 9>You know what it was for me?

0:32:13.400 --> 0:32:17.360
<v Speaker 10>It was the joy bringing the joy in and showing

0:32:17.440 --> 0:32:20.560
<v Speaker 10>them that like, not only do we get how to

0:32:20.680 --> 0:32:25.440
<v Speaker 10>do this technically, but that we can bring our sort

0:32:25.480 --> 0:32:30.840
<v Speaker 10>of creativity to the franchise in unexpected ways. Kind Of

0:32:30.920 --> 0:32:34.640
<v Speaker 10>when you're pitching sometimes, I'm sure you know filmmakers in

0:32:34.920 --> 0:32:37.240
<v Speaker 10>your audience or actors in your audience can relate to this.

0:32:38.560 --> 0:32:40.880
<v Speaker 10>It can kind of feel like a slog. You know,

0:32:41.000 --> 0:32:43.000
<v Speaker 10>you're trying to get these jobs. You're trying to do

0:32:43.160 --> 0:32:43.840
<v Speaker 10>self tapes.

0:32:44.400 --> 0:32:46.720
<v Speaker 8>Everything's inn ip you're trying.

0:32:46.520 --> 0:32:49.280
<v Speaker 10>To you're trying to prove that you can do it

0:32:50.080 --> 0:32:54.080
<v Speaker 10>and to bring our joy of filmmaking into that process

0:32:54.560 --> 0:32:57.480
<v Speaker 10>and make like a little mini movie that we could

0:32:58.760 --> 0:33:01.440
<v Speaker 10>entertain them with. That's I think what made it feel

0:33:01.480 --> 0:33:02.040
<v Speaker 10>so special.

0:33:02.520 --> 0:33:05.080
<v Speaker 8>The most incredible thing about that I think I heard

0:33:05.200 --> 0:33:05.640
<v Speaker 8>is there.

0:33:05.600 --> 0:33:08.120
<v Speaker 2>Was no one recording it right, even though most pictures

0:33:08.160 --> 0:33:10.280
<v Speaker 2>are recorded, so it's never going on the Blu ray.

0:33:10.560 --> 0:33:13.040
<v Speaker 10>They've been kicking themselves because I think they you know,

0:33:13.560 --> 0:33:15.680
<v Speaker 10>they hit record on some of the pitches and they

0:33:15.760 --> 0:33:17.280
<v Speaker 10>just forgot to do ours or something.

0:33:17.400 --> 0:33:17.800
<v Speaker 8>I love that.

0:33:19.320 --> 0:33:22.040
<v Speaker 10>And the fact that it was a live experience, I

0:33:22.120 --> 0:33:24.960
<v Speaker 10>think is what also made it feel special. That like

0:33:25.520 --> 0:33:27.960
<v Speaker 10>those you know, twenty people who were on that zoom

0:33:28.320 --> 0:33:31.600
<v Speaker 10>are the only people who could ever expecience exactly made

0:33:31.680 --> 0:33:33.960
<v Speaker 10>it feel you know, extra special.

0:33:34.240 --> 0:33:36.680
<v Speaker 8>Well, you kind of touched on the joy. I think

0:33:36.720 --> 0:33:38.760
<v Speaker 8>this is the funniest final destination.

0:33:38.960 --> 0:33:40.880
<v Speaker 2>I think it's it has some of the most brutal,

0:33:41.000 --> 0:33:43.960
<v Speaker 2>scary kills, but it also has the most kind of

0:33:44.840 --> 0:33:48.440
<v Speaker 2>on screen, non contextual, non tongue in cheek kind of laughs.

0:33:48.760 --> 0:33:50.880
<v Speaker 2>So could you talk about kind of bringing after you know,

0:33:51.040 --> 0:33:54.320
<v Speaker 2>fourteen years, like kind of bringing that new layer to

0:33:54.440 --> 0:33:54.920
<v Speaker 2>the films.

0:33:55.080 --> 0:33:57.360
<v Speaker 7>I think we always wanted to create a film where

0:33:57.400 --> 0:34:00.520
<v Speaker 7>you're watching it through your fingers because it's super intense,

0:34:00.560 --> 0:34:02.080
<v Speaker 7>but you also have a huge smile on your face.

0:34:03.080 --> 0:34:04.960
<v Speaker 7>And I think Adam and I just have an incredibly dark,

0:34:05.000 --> 0:34:08.400
<v Speaker 7>twisted sense of humor, where the darker it gets, the

0:34:08.440 --> 0:34:10.560
<v Speaker 7>funnier we think it gets. And I think a lot

0:34:10.640 --> 0:34:13.719
<v Speaker 7>of the humor that we wanted to bring out aren't

0:34:13.760 --> 0:34:17.040
<v Speaker 7>necessarily jokes. They're not necessarily one liners. They're just the

0:34:17.160 --> 0:34:20.120
<v Speaker 7>emergent humor that comes out of how insane the situation is.

0:34:20.160 --> 0:34:22.359
<v Speaker 7>And we always kind of keep asking ourselves when we're

0:34:22.360 --> 0:34:23.360
<v Speaker 7>working on those scenes, like.

0:34:23.920 --> 0:34:26.040
<v Speaker 6>What would it feel like to be in the situation?

0:34:26.160 --> 0:34:27.640
<v Speaker 6>And what would you say? And what would you do?

0:34:27.840 --> 0:34:31.200
<v Speaker 7>And if you knew that you could only you know,

0:34:32.239 --> 0:34:34.799
<v Speaker 7>live for the years of however much someone had if

0:34:34.840 --> 0:34:36.440
<v Speaker 7>you killed them, well, wouldn't you try and kill the

0:34:36.480 --> 0:34:39.600
<v Speaker 7>youngest person possible? And wouldn't that and wouldn't that be

0:34:39.680 --> 0:34:41.800
<v Speaker 7>hilarious to put in the movie? And like, just like

0:34:41.920 --> 0:34:43.960
<v Speaker 7>those types of things, it all comes from the that

0:34:44.080 --> 0:34:46.520
<v Speaker 7>emerge the humor emerges out of the situation, and I think.

0:34:46.480 --> 0:34:49.840
<v Speaker 10>People especially now want to be in the theater having

0:34:49.920 --> 0:34:53.520
<v Speaker 10>that experience with it in a communal way, you know,

0:34:54.000 --> 0:34:56.359
<v Speaker 10>to scream when everyone else is screaming, and laugh when

0:34:56.360 --> 0:34:59.120
<v Speaker 10>everyone else is laughing, and feel all of those feelings.

0:35:00.040 --> 0:35:02.759
<v Speaker 10>If the crowd is such a special, special thing.

0:35:03.280 --> 0:35:05.520
<v Speaker 2>Yeah, Well, in twenty twenty five, when a lot of

0:35:05.600 --> 0:35:07.759
<v Speaker 2>movies are not going to theaters, and obviously we are

0:35:07.840 --> 0:35:10.040
<v Speaker 2>currently living in a moment where everyone is loving to

0:35:10.120 --> 0:35:12.560
<v Speaker 2>go to the theater because of a horror movie with sinners,

0:35:13.080 --> 0:35:15.320
<v Speaker 2>what was it like for you guys to make a

0:35:15.440 --> 0:35:18.200
<v Speaker 2>movie that was exactly always going to be for that.

0:35:18.360 --> 0:35:20.120
<v Speaker 2>It's not going to streaming, it's not going to be

0:35:20.160 --> 0:35:22.920
<v Speaker 2>second screen. It is about the people in the cinema

0:35:23.040 --> 0:35:24.920
<v Speaker 2>going like, oh, Mike, well I can't watch that, or

0:35:24.960 --> 0:35:27.479
<v Speaker 2>everyone kind of laughing when you think somebody's gotten away,

0:35:28.080 --> 0:35:30.560
<v Speaker 2>And there are many many moments like that in this movie.

0:35:30.840 --> 0:35:32.239
<v Speaker 2>So how fun was it to be able to go

0:35:32.360 --> 0:35:35.200
<v Speaker 2>into it knowing you're making a cinematic experience.

0:35:35.440 --> 0:35:39.279
<v Speaker 10>That was our first and foremost goal the entire time,

0:35:39.440 --> 0:35:42.799
<v Speaker 10>is make this a movie that's so special to experience

0:35:42.880 --> 0:35:45.000
<v Speaker 10>with other people that you have to see it in theaters.

0:35:46.200 --> 0:35:48.680
<v Speaker 10>A big part of that was actually working with Imax people.

0:35:48.960 --> 0:35:50.840
<v Speaker 10>From the very beginning, we knew this movie was going

0:35:50.920 --> 0:35:53.719
<v Speaker 10>to be in Imax. We were crafting it for the

0:35:53.760 --> 0:35:57.320
<v Speaker 10>big screen to have that intensity and that delight of

0:35:57.840 --> 0:36:01.480
<v Speaker 10>how intense it could be on a big screen and

0:36:01.640 --> 0:36:04.279
<v Speaker 10>also craft. You know, one of the things that was

0:36:04.520 --> 0:36:06.799
<v Speaker 10>really fun while working with the Imax people is they

0:36:06.840 --> 0:36:10.680
<v Speaker 10>really encouraged us to use that aspect ratio change as

0:36:10.719 --> 0:36:14.239
<v Speaker 10>a creative tool, not just you know, suddenly cut to it,

0:36:14.400 --> 0:36:16.839
<v Speaker 10>but how can you guys use this as a creative tool.

0:36:16.880 --> 0:36:19.960
<v Speaker 10>And we had the idea to use it as a

0:36:20.200 --> 0:36:24.759
<v Speaker 10>signal of death being present. So we designed for each

0:36:24.880 --> 0:36:28.680
<v Speaker 10>death sequence a specific shot that pushes in in a

0:36:28.800 --> 0:36:32.040
<v Speaker 10>very creepy, slow way, and that's when it expands to

0:36:32.200 --> 0:36:35.520
<v Speaker 10>Imax and it gives you that feeling that death is here,

0:36:35.920 --> 0:36:38.600
<v Speaker 10>and you know, for people who don't know to look

0:36:38.680 --> 0:36:41.920
<v Speaker 10>out for it, it just has this feeling of extra

0:36:42.080 --> 0:36:45.800
<v Speaker 10>ominous intensity. But for fans who know to look for that,

0:36:46.640 --> 0:36:49.440
<v Speaker 10>it's similar to the way death arrives on the wind

0:36:49.680 --> 0:36:51.880
<v Speaker 10>or with a music cue, except now there's a visual

0:36:52.040 --> 0:36:55.680
<v Speaker 10>symbol too. There's a moment where you can actually see

0:36:55.840 --> 0:36:58.640
<v Speaker 10>death arrive on the scene, which is just so much fun.

0:36:59.040 --> 0:37:00.879
<v Speaker 2>Yeah, that's amazing, and I've feel like people are extra

0:37:01.000 --> 0:37:05.480
<v Speaker 2>prime to understand Imax understand those aspect ratios because of Ryan.

0:37:05.320 --> 0:37:06.520
<v Speaker 8>And Sinners, which is amazing.

0:37:07.200 --> 0:37:09.600
<v Speaker 2>Something else that I really loved about this film is

0:37:09.760 --> 0:37:14.799
<v Speaker 2>I am like a law lover, like lor Everyone.

0:37:14.000 --> 0:37:14.759
<v Speaker 8>Always rags on me.

0:37:14.800 --> 0:37:16.520
<v Speaker 2>They're like, oh, you love the law. I'm like, it's

0:37:16.600 --> 0:37:19.520
<v Speaker 2>not that kind of law. This is a movie that's

0:37:19.560 --> 0:37:23.480
<v Speaker 2>heavily invested in final destination law. So, as fans, what

0:37:23.719 --> 0:37:25.680
<v Speaker 2>was it like to get to play in the sandbox

0:37:25.760 --> 0:37:29.080
<v Speaker 2>but also expand it because we get new backstories here

0:37:29.160 --> 0:37:31.440
<v Speaker 2>for fan favorite characters, we get a new understanding of

0:37:31.520 --> 0:37:32.360
<v Speaker 2>how death works.

0:37:32.400 --> 0:37:34.440
<v Speaker 8>So could you talk a little bit about that.

0:37:36.360 --> 0:37:39.920
<v Speaker 2>That kind of expansion while also getting to pull from

0:37:40.000 --> 0:37:41.920
<v Speaker 2>so many different sources, because I think a lot of

0:37:41.960 --> 0:37:44.000
<v Speaker 2>the early reviews are like, wow, I did not expect

0:37:44.040 --> 0:37:46.440
<v Speaker 2>that reference. I did not expect you to care about

0:37:46.480 --> 0:37:48.800
<v Speaker 2>this one, which is my favorite movie, you know, So

0:37:48.920 --> 0:37:49.880
<v Speaker 2>could you talk a little bit.

0:37:50.040 --> 0:37:52.200
<v Speaker 7>Yeah, that was very much by design from the beginning.

0:37:52.280 --> 0:37:54.120
<v Speaker 7>You know, We're we come at it as fans of

0:37:54.160 --> 0:37:57.759
<v Speaker 7>the franchise and FT five had one of the best

0:37:57.880 --> 0:38:00.920
<v Speaker 7>endings that felt like it wrapped up even the franchise

0:38:01.000 --> 0:38:03.359
<v Speaker 7>so well. So when we heard they were making another one,

0:38:03.560 --> 0:38:07.680
<v Speaker 7>our kind of primary question was why what are they.

0:38:07.680 --> 0:38:10.359
<v Speaker 6>Doing here that it deserves to have another one?

0:38:11.000 --> 0:38:14.799
<v Speaker 7>And we really approached it from the perspective of, let's

0:38:14.880 --> 0:38:18.880
<v Speaker 7>make sure that it doesn't break anything from the previous movies,

0:38:19.080 --> 0:38:21.520
<v Speaker 7>but it's adding and twisting it in a way that's

0:38:21.640 --> 0:38:25.640
<v Speaker 7>new because we want the audience, especially the super fans

0:38:25.680 --> 0:38:28.960
<v Speaker 7>of the franchise, to never know where a movie's going next.

0:38:29.120 --> 0:38:31.440
<v Speaker 7>That's what makes you lean forward, that's what makes we

0:38:31.560 --> 0:38:33.880
<v Speaker 7>think for a really great experience in the theater is

0:38:34.000 --> 0:38:37.400
<v Speaker 7>I have no idea where this is going. And Final

0:38:37.440 --> 0:38:40.840
<v Speaker 7>Listenation has a structure to it that is very well understood.

0:38:41.040 --> 0:38:44.080
<v Speaker 7>You have an opening set piece, it's a premonition. All

0:38:44.120 --> 0:38:46.160
<v Speaker 7>these people are marked for death, and it goes one

0:38:46.200 --> 0:38:47.960
<v Speaker 7>by one all the way through that list, and we

0:38:48.040 --> 0:38:51.399
<v Speaker 7>wanted to make sure to take that structure and then

0:38:51.560 --> 0:38:55.160
<v Speaker 7>twist it and bend it in new ways that feel

0:38:55.280 --> 0:38:58.320
<v Speaker 7>like they break the cannon. But then slowly, as the

0:38:58.400 --> 0:39:00.680
<v Speaker 7>movie progresses, you realize it doesn't break the canon. It

0:39:00.760 --> 0:39:04.000
<v Speaker 7>actually borrows on all sorts of delicious rules that we

0:39:04.160 --> 0:39:08.360
<v Speaker 7>know and love, and that was really exciting to us

0:39:08.400 --> 0:39:11.160
<v Speaker 7>as fans of the franchise to both kind of honor

0:39:11.200 --> 0:39:13.160
<v Speaker 7>the movies that have come before it, but also offer

0:39:13.239 --> 0:39:13.680
<v Speaker 7>something new.

0:39:13.840 --> 0:39:16.239
<v Speaker 10>We also filled it chock full of Easter eggs for

0:39:16.320 --> 0:39:20.920
<v Speaker 10>the fans. You know, every license plate, every little little

0:39:21.280 --> 0:39:24.040
<v Speaker 10>note scrawled in in the book or in the maitre

0:39:24.120 --> 0:39:27.120
<v Speaker 10>D's book or on the wall of the tattoo parlor,

0:39:27.160 --> 0:39:31.040
<v Speaker 10>they're all just filled with Easter eggs that that you know,

0:39:31.520 --> 0:39:35.160
<v Speaker 10>fans will We'll see, maybe maybe you take multiple viewings

0:39:35.320 --> 0:39:36.400
<v Speaker 10>to really unpack.

0:39:36.640 --> 0:39:37.879
<v Speaker 9>We're still discovering things.

0:39:38.080 --> 0:39:39.759
<v Speaker 2>I was going to say because so many people who

0:39:39.840 --> 0:39:42.839
<v Speaker 2>made it must and fans, so those people impost.

0:39:42.560 --> 0:39:43.719
<v Speaker 9>That Easter well.

0:39:43.960 --> 0:39:46.800
<v Speaker 10>And in the art department, you know, we encouraged everyone

0:39:47.000 --> 0:39:49.120
<v Speaker 10>to put in Easter eggs without even telling us I

0:39:49.239 --> 0:39:51.759
<v Speaker 10>love this, so that you know there could always be

0:39:52.000 --> 0:39:55.279
<v Speaker 10>multiple layers that you're unpacking. And you mentioned, you know,

0:39:55.440 --> 0:39:58.359
<v Speaker 10>you hinted at Bloodworth's character. Another thing that was really

0:39:58.400 --> 0:40:01.600
<v Speaker 10>important for us as we were working with Tony, you

0:40:01.680 --> 0:40:05.160
<v Speaker 10>know and the writers on the script, is to give

0:40:05.320 --> 0:40:10.080
<v Speaker 10>him more of a backstory and more of an understanding

0:40:10.200 --> 0:40:13.760
<v Speaker 10>of where blood Worth came from and why he cares

0:40:13.840 --> 0:40:16.640
<v Speaker 10>so much about death, why he knows so much, why

0:40:16.680 --> 0:40:19.920
<v Speaker 10>he's so focused on understanding the premonitions of all the

0:40:20.000 --> 0:40:22.560
<v Speaker 10>characters in the previous movies, and to do it in

0:40:22.640 --> 0:40:25.640
<v Speaker 10>a way that you know, made him more than just

0:40:25.719 --> 0:40:29.160
<v Speaker 10>a mysterious mentor figure yes that comes in and gives

0:40:29.200 --> 0:40:33.160
<v Speaker 10>advice and disappears. How do we really understand him more

0:40:33.320 --> 0:40:35.520
<v Speaker 10>on a human level? And that was something he was

0:40:35.560 --> 0:40:38.359
<v Speaker 10>really excited about. You know, he's always relished the fan

0:40:38.560 --> 0:40:41.840
<v Speaker 10>theories of who blood Worth is, but also it was

0:40:41.920 --> 0:40:46.240
<v Speaker 10>just so excited to kind of explore him as an

0:40:46.280 --> 0:40:47.439
<v Speaker 10>individual and as a person.

0:40:47.560 --> 0:40:47.719
<v Speaker 9>Yeah.

0:40:47.920 --> 0:40:50.480
<v Speaker 2>I have a friend, a really fantastic Cora or the

0:40:50.560 --> 0:40:53.360
<v Speaker 2>Good Endship and Fitzpatrick, and she loves these movies. But

0:40:53.600 --> 0:40:55.840
<v Speaker 2>her one big thing has always been I want to

0:40:55.920 --> 0:40:57.919
<v Speaker 2>know more about blood Worth, Like does he fit into

0:40:58.000 --> 0:41:00.160
<v Speaker 2>a trope of just being someone who helps? Does he

0:41:00.200 --> 0:41:03.719
<v Speaker 2>ever just say like go away, yeah please, I've had enough?

0:41:04.000 --> 0:41:06.160
<v Speaker 2>And does he ever get to like have his own story?

0:41:06.200 --> 0:41:07.600
<v Speaker 2>And I texted her as soon as I go out

0:41:07.600 --> 0:41:08.719
<v Speaker 2>of the movie there, and I was like, you were

0:41:08.760 --> 0:41:10.680
<v Speaker 2>going to love this movie, and I, like you had

0:41:10.719 --> 0:41:13.600
<v Speaker 2>been absolutely love it, and I do think it's one

0:41:13.640 --> 0:41:15.680
<v Speaker 2>of the coolest parts of the movie. And I would

0:41:15.680 --> 0:41:17.120
<v Speaker 2>love to talk to you a little bit about that,

0:41:17.280 --> 0:41:19.040
<v Speaker 2>Like what was it like to work with Tony to

0:41:19.080 --> 0:41:21.640
<v Speaker 2>get to collaborate, because we also learned at the screening

0:41:21.719 --> 0:41:24.440
<v Speaker 2>that his final words those are his words, right, So

0:41:24.520 --> 0:41:26.239
<v Speaker 2>could you talk a little bit about getting to kind

0:41:26.280 --> 0:41:28.200
<v Speaker 2>of Yeah, it was pay homage to him, but also

0:41:28.280 --> 0:41:29.080
<v Speaker 2>collaborate with him.

0:41:29.280 --> 0:41:30.879
<v Speaker 9>He's such an icon, he's such an honor.

0:41:31.040 --> 0:41:34.239
<v Speaker 7>Yeah, he came to set and it was a really

0:41:34.280 --> 0:41:36.360
<v Speaker 7>special moment for a bunch of reasons, all at the

0:41:36.440 --> 0:41:39.800
<v Speaker 7>same time. He was so charming and so excited to

0:41:39.880 --> 0:41:43.600
<v Speaker 7>be there and cracking jokes, and everyone was just amazed

0:41:43.640 --> 0:41:46.440
<v Speaker 7>at kind of the vitality that he had despite the

0:41:46.520 --> 0:41:49.360
<v Speaker 7>fact that he physically was obviously extremely weak. So we

0:41:49.440 --> 0:41:51.360
<v Speaker 7>knew going into this movie when we were crafting the

0:41:51.440 --> 0:41:55.200
<v Speaker 7>story that he was ill, and so all of the

0:41:55.280 --> 0:41:57.520
<v Speaker 7>details of sort of his character were with that in

0:41:57.640 --> 0:42:00.520
<v Speaker 7>mind and working with him very closely to figure out

0:42:01.160 --> 0:42:02.719
<v Speaker 7>like we were just saying, not only do how do

0:42:02.760 --> 0:42:04.560
<v Speaker 7>we give him a beginning, but how do we give

0:42:04.600 --> 0:42:05.040
<v Speaker 7>him an end?

0:42:05.400 --> 0:42:08.440
<v Speaker 6>How do we say goodbye to this character, and how

0:42:08.480 --> 0:42:09.320
<v Speaker 6>does he want to do that?

0:42:09.840 --> 0:42:11.479
<v Speaker 7>And in that moment that you were just talking about,

0:42:11.560 --> 0:42:15.160
<v Speaker 7>when at the very end of that scene there was

0:42:15.200 --> 0:42:17.160
<v Speaker 7>stuff we'd written in planned, but we just wanted to

0:42:17.200 --> 0:42:18.759
<v Speaker 7>give him a chance to just speak from the heart

0:42:19.520 --> 0:42:21.800
<v Speaker 7>because the experience we'd been having him with him that

0:42:21.960 --> 0:42:24.480
<v Speaker 7>day was so meaningful and we could tell that he

0:42:24.600 --> 0:42:27.320
<v Speaker 7>had so many different emotions going on, just said, what

0:42:27.400 --> 0:42:29.799
<v Speaker 7>has this all been about? You know, what is life about?

0:42:29.840 --> 0:42:32.400
<v Speaker 7>What is death about? What are you thinking about? Just

0:42:32.640 --> 0:42:35.600
<v Speaker 7>speak to the audience, And that take that's in the

0:42:35.680 --> 0:42:38.440
<v Speaker 7>film is him speaking from the heart. And you can

0:42:38.520 --> 0:42:42.080
<v Speaker 7>really tell when you watch that scene that there's an

0:42:42.320 --> 0:42:44.800
<v Speaker 7>icon kind of saying goodbye to the audience there and

0:42:44.920 --> 0:42:47.439
<v Speaker 7>leaving us with a message of hope and beauty, which

0:42:47.520 --> 0:42:50.919
<v Speaker 7>is something that we've really taken after that moment.

0:42:51.200 --> 0:42:53.560
<v Speaker 8>Yeah, I thought it was such a special moment. It

0:42:53.680 --> 0:42:54.560
<v Speaker 8>was so much fun.

0:42:55.200 --> 0:42:58.520
<v Speaker 2>And also it's like kind of I love how in

0:42:59.719 --> 0:43:03.160
<v Speaker 2>conversation it is with like the audience, with fans, but

0:43:03.320 --> 0:43:06.480
<v Speaker 2>also it's got a dark hilarity to it because then

0:43:06.520 --> 0:43:08.240
<v Speaker 2>you go on to some of the worst deaths.

0:43:08.280 --> 0:43:10.520
<v Speaker 8>Like the most so it's not like denying what the

0:43:10.600 --> 0:43:13.120
<v Speaker 8>films are, but it gives him that moment which is

0:43:13.200 --> 0:43:15.200
<v Speaker 8>really just completely lovely.

0:43:16.000 --> 0:43:18.759
<v Speaker 2>How does it feel now you've done the work, you've

0:43:18.800 --> 0:43:21.360
<v Speaker 2>worked with the legends, How does it feel for the

0:43:21.480 --> 0:43:24.759
<v Speaker 2>movie to almost be out there and to be a

0:43:24.880 --> 0:43:27.160
<v Speaker 2>tangible thing that fans are going to see, that people

0:43:27.160 --> 0:43:29.000
<v Speaker 2>are going to get to throw popcorn up in the air.

0:43:29.080 --> 0:43:32.520
<v Speaker 2>You're starting to see those first responses of the audiences.

0:43:32.640 --> 0:43:33.399
<v Speaker 8>How does that feel?

0:43:33.560 --> 0:43:36.640
<v Speaker 10>I mean, my favorite thing is to is to hear

0:43:36.719 --> 0:43:40.239
<v Speaker 10>from people who are big fans who really love the movie,

0:43:40.360 --> 0:43:43.879
<v Speaker 10>you know, because because you know, it's a bit nerve

0:43:43.920 --> 0:43:46.920
<v Speaker 10>wracking to make a new installment of such a beloved

0:43:47.040 --> 0:43:50.840
<v Speaker 10>franchise and not know how people are going to respond

0:43:50.920 --> 0:43:54.040
<v Speaker 10>to it, and to start hearing from people who saw

0:43:54.160 --> 0:43:56.839
<v Speaker 10>the movie and absolutely loved it, just you know, I mean,

0:43:56.960 --> 0:43:57.600
<v Speaker 10>what more can.

0:43:57.480 --> 0:43:57.880
<v Speaker 9>You ask for?

0:43:58.520 --> 0:43:59.919
<v Speaker 8>Yeah? How does it feel?

0:44:00.120 --> 0:44:00.160
<v Speaker 1>You?

0:44:00.880 --> 0:44:01.799
<v Speaker 6>It's a dream come true?

0:44:01.800 --> 0:44:04.440
<v Speaker 7>I mean, as filmmakers, you start making movies when you're

0:44:04.840 --> 0:44:07.600
<v Speaker 7>in your house with your friends running around with the

0:44:07.680 --> 0:44:11.680
<v Speaker 7>camera and spring tomato sauce over them as they die horribly,

0:44:11.840 --> 0:44:16.080
<v Speaker 7>and to kind of be able to bring to life

0:44:16.400 --> 0:44:20.120
<v Speaker 7>a beloved franchise and kind of doing it from the

0:44:20.200 --> 0:44:22.239
<v Speaker 7>perspective of a fan wanting other fans to love it.

0:44:22.320 --> 0:44:25.160
<v Speaker 7>It's so much fun to see those fans now getting

0:44:25.200 --> 0:44:27.400
<v Speaker 7>to enjoy it and being thankful that they get a.

0:44:27.400 --> 0:44:30.279
<v Speaker 6>Little bit more of what they love. Is really really

0:44:30.320 --> 0:44:31.320
<v Speaker 6>special as a filmmaker.

0:44:31.480 --> 0:44:34.360
<v Speaker 2>Yeah, the title of my review was like final Destination.

0:44:34.600 --> 0:44:37.319
<v Speaker 2>Bloodlines knows exactly what we want and gives it to us.

0:44:37.480 --> 0:44:39.359
<v Speaker 4>So I think you guys deliver it on that front.

0:44:39.640 --> 0:44:44.160
<v Speaker 2>Awesome when you're going back rewatching the movies, just kind

0:44:44.200 --> 0:44:45.839
<v Speaker 2>of immersing yourself in the world.

0:44:46.280 --> 0:44:47.680
<v Speaker 8>Was there like a moment or.

0:44:47.680 --> 0:44:49.600
<v Speaker 2>A movie that kind of stood out for you more

0:44:49.640 --> 0:44:53.879
<v Speaker 2>than you expected when you were revisiting from the original franchises.

0:44:54.160 --> 0:44:54.799
<v Speaker 6>You know what, we.

0:44:56.920 --> 0:45:00.000
<v Speaker 10>Were big fans, and we became even more super nerves

0:45:00.520 --> 0:45:02.040
<v Speaker 10>just because the first thing we did when we were

0:45:02.120 --> 0:45:05.480
<v Speaker 10>hired was break down every single death on a spreadsheet

0:45:06.520 --> 0:45:09.920
<v Speaker 10>exactly how many omens it had, how many dominoes to

0:45:10.000 --> 0:45:11.799
<v Speaker 10>the route Goldberg, you.

0:45:11.840 --> 0:45:14.839
<v Speaker 9>Know how successful it was on a scale of one

0:45:14.880 --> 0:45:15.239
<v Speaker 9>to ten.

0:45:15.600 --> 0:45:18.239
<v Speaker 10>And we put the deaths into categories and made sure

0:45:18.280 --> 0:45:20.920
<v Speaker 10>that we never repeated ourselves and all that stuff. But

0:45:21.000 --> 0:45:24.720
<v Speaker 10>there were several deaths that became kind of touch points

0:45:25.560 --> 0:45:29.160
<v Speaker 10>some of our favorite deaths that inspired some of the

0:45:29.200 --> 0:45:32.360
<v Speaker 10>set pieces. So for example, the screw on the balance

0:45:32.400 --> 0:45:35.919
<v Speaker 10>beam from FD five, which is just such a delightful

0:45:36.680 --> 0:45:42.480
<v Speaker 10>exercise masterclass in suspense. You're watching a screw, the tiniest

0:45:42.480 --> 0:45:45.960
<v Speaker 10>thing possible. You're watching a bunch of feet miss the screw.

0:45:46.800 --> 0:45:50.359
<v Speaker 10>Nothing's happening, and you're just cringing and on the edge

0:45:50.400 --> 0:45:55.480
<v Speaker 10>of your seat watching. That really was inspirational for the

0:45:55.560 --> 0:45:59.399
<v Speaker 10>barbecue sying with the glass and the cup and how

0:45:59.480 --> 0:46:03.759
<v Speaker 10>can we make the audience cringe but then bring that

0:46:04.160 --> 0:46:08.400
<v Speaker 10>object in in an unexpected way into the roupe goldbrigs.

0:46:08.480 --> 0:46:10.400
<v Speaker 10>You can't just swallow the glass, you can't just step

0:46:10.480 --> 0:46:12.520
<v Speaker 10>on the screw. You have to bring it in in

0:46:12.640 --> 0:46:14.040
<v Speaker 10>a way that nobody expected.

0:46:14.120 --> 0:46:14.680
<v Speaker 9>So that was one.

0:46:15.200 --> 0:46:17.600
<v Speaker 10>Another one was this what we call the spaghetti death

0:46:17.640 --> 0:46:20.560
<v Speaker 10>and FT two, where the guy throws the spaghetti out

0:46:20.560 --> 0:46:23.880
<v Speaker 10>the window. A bunch of other stuff happens, you completely

0:46:23.960 --> 0:46:27.080
<v Speaker 10>forget about the spaghetti and then he at the very end,

0:46:27.160 --> 0:46:29.319
<v Speaker 10>he slips on the spaghetti and that's what kills him.

0:46:29.560 --> 0:46:30.080
<v Speaker 9>So that was.

0:46:30.680 --> 0:46:34.480
<v Speaker 10>Inspirational for let's say the hospital death sees that comes

0:46:34.560 --> 0:46:37.680
<v Speaker 10>later where you set something up and then you kind

0:46:37.719 --> 0:46:39.480
<v Speaker 10>of forget about it, and then it comes in at

0:46:39.480 --> 0:46:42.320
<v Speaker 10>the very end. So we definitely were inspired by a

0:46:42.400 --> 0:46:45.920
<v Speaker 10>lot of the deaths that came before, but using them

0:46:45.960 --> 0:46:50.720
<v Speaker 10>in new ways, you know, and uh, you know, all

0:46:50.800 --> 0:46:52.200
<v Speaker 10>to keep the audience on their toes.

0:46:52.280 --> 0:46:55.239
<v Speaker 2>Yeah, I would love to see those breakdowns. That's incredibly fun.

0:46:55.360 --> 0:46:56.080
<v Speaker 2>That's real fun.

0:46:59.000 --> 0:47:02.919
<v Speaker 8>Is there a no context spoiler that you are most

0:47:03.040 --> 0:47:04.879
<v Speaker 8>excited for people to see?

0:47:06.520 --> 0:47:09.120
<v Speaker 6>No context spoiler for me would be the poster of

0:47:09.239 --> 0:47:09.719
<v Speaker 6>FT five.

0:47:12.400 --> 0:47:15.839
<v Speaker 8>Yeah, okay, I love this. Thank you both so much.

0:47:15.920 --> 0:47:18.000
<v Speaker 2>I appreciate you for joining us. The movie is great

0:47:18.480 --> 0:47:20.239
<v Speaker 2>and it was a total joy to talk to you guys,

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<v Speaker 2>so thank.

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<v Speaker 9>You so much.

0:47:21.800 --> 0:47:24.960
<v Speaker 2>Next week on x ray Vision, Tuesday, we take one

0:47:25.000 --> 0:47:27.240
<v Speaker 2>final visit to Jackson Hall as we review the season

0:47:27.320 --> 0:47:30.880
<v Speaker 2>two finale of The Last of Us. Wednesday, we're reacting

0:47:31.000 --> 0:47:34.880
<v Speaker 2>to Mission Impossible, The Final Reckoning. Thursday, the Council gathers

0:47:34.920 --> 0:47:36.240
<v Speaker 2>to discuss season two.

0:47:36.400 --> 0:47:37.440
<v Speaker 3>Of the Last of Us.

0:47:37.640 --> 0:47:40.640
<v Speaker 2>Friday, we're diving deep into the action set pieces of

0:47:40.760 --> 0:47:42.520
<v Speaker 2>Mission Impossible, The Final Reckoning.

0:47:42.719 --> 0:47:43.960
<v Speaker 3>Saturday News.

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<v Speaker 1>X ray Vision is hosted by Jesus Upson and Rosie Knight.

0:47:53.120 --> 0:47:56.920
<v Speaker 1>And is a production of Iheard Podcasts. Our Executive producers

0:47:56.920 --> 0:48:00.239
<v Speaker 1>are Jeelle Smith and Aaron Kaufman are super as in

0:48:00.280 --> 0:48:05.000
<v Speaker 1>producer is a Booze Afar. Our producers are Carmen Lawn

0:48:05.760 --> 0:48:09.360
<v Speaker 1>and Mia Taylor. Our theme song is by Brian Basquez.

0:48:09.880 --> 0:48:14.160
<v Speaker 2>Special thanks to Soul Rubin and Chris Laude, Kenny Goodman

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<v Speaker 2>and Heidi our discord moderator.