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Speaker 1: Hey, everybody, welcome to another episode. I saw what you did.

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Speaker 1: My name is Millie to Jericho and Darling.

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Speaker 2: I don't know why I go to extremes. I'm Danielle Henderson.

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Speaker 2: I've had that goddamn song in my fucking head all morning,

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Speaker 2: and I don't know why. I think it's because, like

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Speaker 2: when we were kids, Billy Joel was just always on

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Speaker 2: on the radio, on record, on whatever, like our parents

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Speaker 2: just love throwing us in a car, and that alcohol

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Speaker 2: soaked Troubadour was just always there.

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Speaker 1: This is so embarrassing what I'm about to say. But

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Speaker 1: when I heard that song for the first time as

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Speaker 1: a child, I thought it.

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Speaker 2: Went so hard. Well because he's a standing up Yeah,

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Speaker 2: in the video, he's standing up and playing the piano.

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Speaker 2: That's the fucking Toriema shit there. He's wearing like black jeans.

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Speaker 1: And sunglasses, and uh, he just doesn't know why he

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Speaker 1: goes to extremes.

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Speaker 2: Well, I'm doing.

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Speaker 1: Yeah, I'm I'm good.

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Speaker 2: I Uh.

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Speaker 1: Things are a little cuckoo around here, but that's just

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Speaker 1: because I've been doing a couple of things. I don't

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Speaker 1: know if I've talked about this, but I am teaching

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Speaker 1: a class this semester because I'm unemployed still, I was like,

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Speaker 1: why not, uh, teacher, Yeah, well, I'll tell you. It

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Speaker 1: doesn't pay very much, right teachers, Now I understand, But

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Speaker 1: it's just a nice way for me to kind of

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Speaker 1: get out of the house and chop it up about

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Speaker 1: film with people. Because that's the thing is that, like

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Speaker 1: I think that's the hardest part about being unemployed, is

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Speaker 1: just feeling like I'm not i don't know, engaging in

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Speaker 1: my field, if that's the way to put it. Like

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Speaker 1: we do the podcast and it honestly, the podcast has

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Speaker 1: saved my life really over the past eight or nine months, truly,

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Speaker 1: because it's just like it's just the thing that makes

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Speaker 1: me happy. It makes me feel like I'm showing up

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Speaker 1: to something, I feel accountable for something, and I just

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Speaker 1: I have so much fun doing it, and you know,

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Speaker 1: I don't know, I just it really has been the

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Speaker 1: thing that has really saved me.

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Speaker 2: We're happy to be here for you, and you have

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Speaker 2: your substack. Everyone should subscribe to you.

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Speaker 1: Yes, thank you. I started a substack recently because I

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Speaker 1: just wanted to write more and I remember, I talk

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Speaker 1: to you. I mean, honestly, anytime I write anything, I

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Speaker 1: call you, because I'm just like, you're the expert. You're

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Speaker 1: the one that told me not to quit when I

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Speaker 1: was writing that book.

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Speaker 2: Of our friend and my agent and our agent Christopher

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Speaker 2: Shelling would disagree with you, but I appreciate it.

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Speaker 1: No, It's true. I mean it was you and the Talisman.

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Speaker 1: Those are the only two things that helped me get

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Speaker 1: through that book. And I just think when I was

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Speaker 1: we were chatting about, you know, like, what am I

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Speaker 1: going to do kind of post TCM, and I said

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Speaker 1: something to the effect of I think I want to

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Speaker 1: write more, and you know, I just kind of I

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Speaker 1: don't know. I was just kind of exploring ideas about that.

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Speaker 1: And then I checked in with you and I was like,

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Speaker 1: what do you think about me starting a substack? And

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Speaker 1: you were like, dude, go for it. And it was

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Speaker 1: really just it's given me this like discipline to write

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Speaker 1: every week, which is this thing that I needed. I

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Speaker 1: know you do. I know you do it very regularly.

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Speaker 1: So now I just feel like the substack has given

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Speaker 1: me that so beautiful substack.

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Speaker 2: This class, how is the how is the class going?

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Speaker 2: Are we allowed to ask?

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Speaker 1: It's fine, It's totally fine. It's at a university that's

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Speaker 1: it's up north.

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Speaker 2: It don't tell these people where you work, you know,

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Speaker 2: they'll come find you.

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Speaker 1: Well. Up north can mean so many things. Do I

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Speaker 1: mean in Virginnieapolis? Do I mean North Carolina? But I

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Speaker 1: but I have I drive a lot more now, which

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Speaker 1: is interesting. So I've been downloading other podcasts and kind

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Speaker 1: of listening to listening to things. But yeah, it's it's

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Speaker 1: going great, you know, I don't know. I'm just like

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Speaker 1: I said, I'm just trying to stay nimble, you know,

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Speaker 1: just to be like take all the opportunities that I can.

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Speaker 1: At some point, I'm gonna have to find a full

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Speaker 1: time job with health insurance, which is really hard right

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Speaker 1: now for the entertainment industry. And we're all, we all,

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Speaker 1: we're all suffering from it right now as of this recording.

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Speaker 2: So totally.

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Speaker 1: But oh, it's it's bad, like and I keep reading

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Speaker 1: articles about it, Like people will send me articles about

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Speaker 1: like is entertainment done?

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Speaker 2: I'm like, good, Lord, is a box of nails attached

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Speaker 2: to a bomb? Jesus Christ? Like my whole fucking livelihood,

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Speaker 2: what do you mean? Is it done well?

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Speaker 1: And it's like that thing where I'm like, well, didn't

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Speaker 1: Barbie just make a billion dollars. How come? How is

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Speaker 1: it done? How is everybody that I know not working?

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Speaker 2: Pretty exactly? And that's the thing. Entertainment isn't done. Entertainment

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Speaker 2: has been siphoned into a horrible corral of the worst

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Speaker 2: people green lighting the worst things. Yeah, it's just become specialized,

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Speaker 2: which it was never meant to be. And we let

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Speaker 2: tech take over. And tech had no fucking idea what

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Speaker 2: they were doing with entertainment, and they fucked it. They

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Speaker 2: fucked it, and the government needs to get involved. And

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Speaker 2: that's all I'm going to say about that.

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Speaker 1: You know, I had experience helping to build a streaming

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Speaker 1: service once upon a time, okay, And it was a

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Speaker 1: lot of work. By the way, I'm not talking just

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Speaker 1: actual work of people who are having to you know,

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Speaker 1: input data into data bases, build systems. This kind of

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Speaker 1: shit I'm talking about, like the task of trying to

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Speaker 1: gather and buy content for the streaming services. Okay. And

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Speaker 1: I remember in my mind thinking, this is a lot

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Speaker 1: of work and will it payoff? Doesn't seem like it's

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Speaker 1: going to make a trillion kajillion dollars at the end

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Speaker 1: of the day.

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Speaker 2: I have been and I don't want to rail on

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Speaker 2: this too long, but like I sure have been standing

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Speaker 2: up in my guild meetings WGA union that I'm part of.

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Speaker 2: I've been standing up in meetings for about six or

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Speaker 2: seven years, and they kind of, you know, they always

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Speaker 2: talk about stuff, talk talk, talk, talk talk, and I

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Speaker 2: always stand up and say, Hey, when are we going

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Speaker 2: to address streaming residuals? And I've been saying that for

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Speaker 2: literally seven years. So the fact that they're doing it now,

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Speaker 2: I'm like, great, but too fucking late, because we have

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Speaker 2: all seen this coming for years. For almost a decade,

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Speaker 2: we've seen this coming, and now they're finally ready to

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Speaker 2: do something about it, and they're bumping in in with

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Speaker 2: all this other stuff, and I'm like, we have seen

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Speaker 2: the writing on the wall, Like we have been getting

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Speaker 2: shit residuals for streaming content four years. And the main

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Speaker 2: thing that bothers me about it is that none of

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Speaker 2: these streaming services are beholden to releasing their actual numbers.

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Speaker 2: We have no idea how many people are watching, what

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Speaker 2: they're watching or when, and they are not at all

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Speaker 2: under any obligation to tell us that residual checks for

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Speaker 2: cable used to be enough for people to retire on

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Speaker 2: where they could count on getting those two checks a

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Speaker 2: year and it would literally be a salary for their life.

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Speaker 2: Because the way that residuals worked in cable were much

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Speaker 2: more specific and based on the number of people the syndication,

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Speaker 2: like they had a better system. There's so many other

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Speaker 2: things I could talk about, mini rooms, just the way

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Speaker 2: that we're doing more work for less pay. And again,

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Speaker 2: I I'm a smart lady, and I've got a great

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Speaker 2: fucking business manager. I prep for this fucking strike, and

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Speaker 2: you know, we looked at my finances and she's like,

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Speaker 2: you live in the country. You hardly spend any money

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Speaker 2: on anything except when you travel. So she helped me

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Speaker 2: save enough to ride this out for at least a

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Speaker 2: year if I need to. Oh gosh, So I feel

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Speaker 2: very lucky about that. But that's just because I have

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Speaker 2: a good business person. It's not because I make a

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Speaker 2: shitload of money. It's because I have someone who helps

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Speaker 2: me figure out what to do with my money. But

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Speaker 2: the whole system is fucked, and it's based on the

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Speaker 2: fact that we're depending on these producers, these studios, these

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Speaker 2: streaming services to tell us the truth about who's watching

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Speaker 2: our shit and they're not doing it. They're giving us

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Speaker 2: the fair fucking minimum and hoping that we never caught on.

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Speaker 2: And you can't tell me that a show on a

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Speaker 2: streaming service that is the number one show for three

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Speaker 2: months running and you're only going to get a residual

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Speaker 2: check for six hundred dollars for an episode that you wrote,

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Speaker 2: when normally, if that was on cable, you'd be getting

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Speaker 2: a check for a couple hundred thousand dollars. Like, you

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Speaker 2: cannot tell me that they're not being intentionally obfuscating what

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Speaker 2: is happening behind the scenes. So I think, all right,

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Speaker 2: it's time. It is time. But since I've been saying

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Speaker 2: this for so long, I'm exhausted, I'm fucking tired. Like

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Speaker 2: I'm glad we're doing it, But this is how they

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Speaker 2: run this business from top to bottom. This is how

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Speaker 2: they get rid of programmers, this is how they start

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Speaker 2: leading on things that are not people oriented. Tech has

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Speaker 2: fucked the entire entertainment industry and it's time we fucking

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Speaker 2: take it back.

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Speaker 1: I'm really glad you talked about it from your perspective,

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Speaker 1: because I don't. I mean a lot of people probably

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Speaker 1: don't even know anybody in the writer's yet maybe some

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Speaker 1: people do. I know there's probably a lot of riders,

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Speaker 1: skilled people here that work at exactly right, So I

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Speaker 1: don't know. I like here in that perspective because I'm

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Speaker 1: not in a guild. I work on the corporate entertainment side,

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Speaker 1: which is just as bad, but it's really bad, like

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Speaker 1: for y'all, and I support what you're doing. I'm very

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Speaker 1: much pro labor, and I hope that things get resolved

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Speaker 1: and I hope we can all go back to work

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Speaker 1: because this is annoying as fuck.

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Speaker 2: It's so fucking annoying, truly, and it's Yeah, I could

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Speaker 2: rail on this for hours, but I will say my

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Speaker 2: guild is my union is great. I love being part

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Speaker 2: of a union. We renegotiate every three years. But I

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Speaker 2: think there's been so much there's just been so much

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Speaker 2: confusion and ill will out there about how we're basically

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Speaker 2: spoiled and we just want to get paid more for

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Speaker 2: no reason, and that's not at all what's happening like

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Speaker 2: we are not, and especially if if you're an entry

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Speaker 2: level writer. Entry level writers are super fucked because they

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Speaker 2: are still building a career and they're kind of feel

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Speaker 2: forced to take these horrible working conditions and run with

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Speaker 2: it because that's how they're going to build their career.

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Speaker 2: And a lot of entry level writers are on food stamps,

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Speaker 2: and a lot of entry level writers only get one

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Speaker 2: job a year that's supposed to sustain them for the

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Speaker 2: whole year, and they get paid thirty thousand dollars. And

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Speaker 2: it's just like that kind of shit where I feel

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Speaker 2: like it's not this is not the instance where we're

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Speaker 2: just being spoiled babies. We have been working under really terrible,

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Speaker 2: really terrible, terrible conditions, not like coal mine conditions, of course,

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Speaker 2: but like terrible conditions in terms of good and bad faith.

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Speaker 2: And we've watched tech just truly dismantle and destroy and

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Speaker 2: bring their mode of thinking in, which is, let's get

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Speaker 2: as much out of people as possible for as little

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Speaker 2: as possible. And they have brought that attitude to our

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Speaker 2: industry and made it impossible for people to earn a

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Speaker 2: living wage, is what they've done. So, you know, I've

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Speaker 2: been in so many situations where I basically had to

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Speaker 2: tell my agent and manager who are the people that

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Speaker 2: get jobs for me? And I pay them for that,

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Speaker 2: but they are the people that get jobs for me?

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Speaker 2: Which is again something people I don't think understand. Basically,

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Speaker 2: I have an entertainment lawyer. I have a business manager.

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Speaker 2: I have an agent, I have a manager, and all

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Speaker 2: four of them work together when I get a job,

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Speaker 2: So my agent manager bring the jobs to me. I

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Speaker 2: say yes or no. My lawyer works through the contract

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Speaker 2: to make sure I'm not only going to get paid,

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Speaker 2: but get paid in a timely fashion. When I first

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Speaker 2: started as a writer, a TV writer, I did not

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Speaker 2: get my first paycheck for three months and the show

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Speaker 2: was almost over before I got my first paycheck because

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Speaker 2: they disfigured, oh, well, you already have money. I'm like, no, no, no, no,

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Speaker 2: no no, I don't have any money, and I'm living

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Speaker 2: in New York and LA and I'm stressed. And they did. So,

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Speaker 2: you know, one of the negotiations we did over the

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Speaker 2: past couple of years with the uion was to make

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Speaker 2: sure we got paid within the first two weeks. Who

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Speaker 2: has to fucking say that? Who has to say that

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Speaker 2: to an entire business industry of like, hey, you should

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Speaker 2: pay your people within two weeks of them starting to work.

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Speaker 2: So it's that kind of shit where it's like, you know,

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Speaker 2: so I have these four people that work with me.

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Speaker 2: So because I have these four people who work with me,

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Speaker 2: and then my business manager again, she makes sure that

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Speaker 2: the paychecks come in, we look at my bank account together.

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Speaker 2: She pays my taxes, she pays my fees, because that's

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Speaker 2: the other thing. In order for me to get jobs

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Speaker 2: and have a viable career as a TV writer, I

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Speaker 2: kind of have to have these four people in my corner.

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Speaker 2: And that means that anything I get paid, you can

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Speaker 2: wave goodbye to fifty percent of it because they all

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Speaker 2: get a percentage, and then I have to pay taxes.

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Speaker 2: So whatever I'm earning, I'm actually earning half of what

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Speaker 2: I'm earning.

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Speaker 1: Yeah, that's just across the board. If you have of

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Speaker 1: your own business, period, I mean, if you don't have,

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Speaker 1: if you're not a W two, you take whatever you're

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Speaker 1: making and just basically cut about at least twenty five

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Speaker 1: percent if not more.

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Speaker 2: Exactly so, and then they get you know, ten five, ten,

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Speaker 2: fifteen percent on top of that, which again absolutely worth

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Speaker 2: it for me to pay them. They are wonderful people

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Speaker 2: who have actually made my career possible. But that's what

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Speaker 2: I have to think about when people are offering me jobs,

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Speaker 2: because The other thing is we're not all out here

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Speaker 2: being famous writers. The rest of us work on a scale,

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Speaker 2: and the scale for the Guild is set so you

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Speaker 2: earn a certain amount based on what your level is

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Speaker 2: as a writer, and it's very rare that you get

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Speaker 2: above and beyond that. So if you're, for example, a

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Speaker 2: co producer, you earn an amount of money that is

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Speaker 2: set in stone by the Guild, and it's supposed to

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Speaker 2: be protective so that you know, nobody's earning less than

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Speaker 2: their worth or what have you. But that is it,

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Speaker 2: like there is a cap on what you can earn

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Speaker 2: if you're not like Christopher fucking Nolan or something. You know.

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Speaker 2: So we're all working within these these minimums and this

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Speaker 2: scale that has been set, and what they're trying to

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Speaker 2: do is take take that away. They don't want to

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Speaker 2: pay us the minimums. And if they have to pay

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Speaker 2: us the minimums, they are going to put fewer and

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Speaker 2: fewer writers in the room so they don't have to

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Speaker 2: pay as many people. Right, They're going to have mini

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Speaker 2: rooms where they want you to write a full season

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Speaker 2: of TV, which usually takes twenty to forty weeks. They

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Speaker 2: want you to write a full season of TV in

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Speaker 2: ten weeks, and they want you working twenty hours a

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Speaker 2: day and they want three writers to do that. They're

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Speaker 2: not going to pay ten writers. They're going to pay

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Speaker 2: three writers to do that. So it's all this shit

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Speaker 2: where it's like, okay, and again, I'm sorry that I've

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Speaker 2: gone off on this for a while, but right, it's

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Speaker 2: really it's truly important to me that people see the

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Speaker 2: fact that it's not just spoiled writers and spoiled actors

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Speaker 2: is looking for a paycheck. Stop looking at the most

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Speaker 2: famous people in our ranks and look at the workers,

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Speaker 2: because the workers amongst us like me, we are not

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Speaker 2: out here making bank. We are out here earning minimums

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Speaker 2: and trying to keep that amount so that we can

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Speaker 2: fucking survive.

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Speaker 1: Yeah, I mean, I think that's kind of the thing

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Speaker 1: about SAG too, is that like there's a lot of

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Speaker 1: people who are in SAG, but they don't even make

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Speaker 1: enough money to have the insurance or the benefits of

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Speaker 1: the guilt. Really.

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Speaker 2: Oh yeah, that's the other thing, like you have. This

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Speaker 2: is why a lot of entry level writers also say

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Speaker 2: yes to these shitty job situations, is because you have

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Speaker 2: to earn a certain amount of money to qualify for

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Speaker 2: your health insurance every year, right, and if you don't

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Speaker 2: earn it, you literally don't get health insurance. So you

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Speaker 2: have to say yes to this shitty job where you're earning.

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Speaker 2: You're in a mini room and you're working twenty hours

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Speaker 2: a day and you're earning bare minimum because you want

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Speaker 2: health insurance, right. Soech So when you look at it again,

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Speaker 2: I'm a little bit different because I've been doing this

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Speaker 2: for a while at a different level. I've done development,

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Speaker 2: and also I have a whole other career as a

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Speaker 2: person who writes books. I have a whole other career

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Speaker 2: as an author, I podcast, like, I do other things

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Speaker 2: to bridge that gap, sometimes because I want to, but

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Speaker 2: also because I have to. Like, I don't feel comfortable

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Speaker 2: putting all my eggs in the TV writing basket because

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Speaker 2: I've seen how they treat us. So I can't earn

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Speaker 2: a living solely on TV writing because I would never

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Speaker 2: be able to earn a living. So when you see

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Speaker 2: me like, oh, well she has a house and she

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Speaker 2: goes on vacation, yeah, I plan for that shit just

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Speaker 2: like you do, just like everyone else does. But I

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Speaker 2: don't have kids and a husband to put my money

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Speaker 2: into so I'm a little bit more fortunate that I

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Speaker 2: can save a little bit more, but I'm still just

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Speaker 2: a worker. Yeah, you know, we want to be artisans,

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Speaker 2: we want to be crafts people. We want to be

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Speaker 2: able to focus and put all of our energy into something.

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Speaker 2: And I know that in my experience as a showrunner,

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Speaker 2: that's always been really important to me in terms of

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Speaker 2: like building the rooms with humanity in mind, because I

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Speaker 2: know that this is what people are going through because

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Speaker 2: I'm going through it. So you know, I want you

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Speaker 2: to spend time with your kids. I want you to

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Speaker 2: spend time on things that are important to you that

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Speaker 2: make you feel like when you're here you can actually

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Speaker 2: work in good faith because you're not worried about eighteen

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Speaker 2: other things. So that's just personally, like, I've never met

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Speaker 2: another showrunner who thinks that way, But I just personally

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Speaker 2: know that we want to be able to focus and

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Speaker 2: put our energy into the thing we're doing. And that

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Speaker 2: would be a lot easier if we were getting paid

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Speaker 2: a wage that was commensurate with the work we were

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Speaker 2: doing and the hours that were expected of us. And

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Speaker 2: that's you know, not just writing the show, but writers

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Speaker 2: are on set through production and that means when you're filming,

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Speaker 2: you know, you want writers on set for their episode

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Speaker 2: because sometimes you make changes or sometimes you have to

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Speaker 2: double check things, and they've taken that away too. A

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Speaker 2: lot of people come up now who have been writing

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Speaker 2: on TV shows that are deeply successful and they have

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Speaker 2: literally never been on a set, and what that means

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Speaker 2: because they won't because studios and production won't pay for

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Speaker 2: them to be on set. So what that means is

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Speaker 2: you could be a world class writer with a ton

361
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Speaker 2: of experience and a bunch of different shows, and you

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Speaker 2: are missing a key component that will help you rise

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Speaker 2: through the ranks. Because if you're never on a set,

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Speaker 2: you don't know how to become a showrunner. You don't

365
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Speaker 2: know how it works to film the show that you're writing,

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Speaker 2: and that is crucial to you advancing in this business.

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Speaker 2: So they've taken that away as well. And in your situation,

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Speaker 2: I think again, it's all tied together because you know,

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Speaker 2: we have this this industry that's now being run by

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Speaker 2: one entity. So in your position, you're like, yeah, I

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Speaker 2: wish I could have depended on one job. That's how

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Speaker 2: I when I started in the nineties, I thought, maybe

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Speaker 2: you know this job could be my career forever, for

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Speaker 2: as long as I wanted it to be, And now

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Speaker 2: your job literally doesn't exist anymore. Film programming has been

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Speaker 2: turned over to tech, so they have white out an

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Speaker 2: entire career track, and they've done that not just for you,

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Speaker 2: but across the fucking board. Everything that used to make

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Speaker 2: studios run and networks run is now being controlled by tech,

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Speaker 2: and they've wiped out the human element.

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Speaker 1: Yeah, I mean it is. It's crazy because when I,

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Speaker 1: you know, go out to job boards and look for

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Speaker 1: programming jobs, a lot of times programming and content managing

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Speaker 1: means something totally different than what I mean. When I

385
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Speaker 1: was a programming manager, right, it was a content manager,

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Speaker 1: meaning I was curating essentially, But now those things mean

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Speaker 1: other things, like a content manager could mean you're, you know,

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Speaker 1: running a social media campaign. A content manager means you're

389
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Speaker 1: literally making tiktoks for some brand. It's just so broad

390
00:21:02,200 --> 00:21:06,560
Speaker 1: and weird, but it's come into that because of technology

391
00:21:06,640 --> 00:21:10,679
Speaker 1: and the companies that are using those terms for other things.

392
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Speaker 1: And so yeah, I mean, I go into these job

393
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Speaker 1: boards and I'm like, oh, here's the job for a

394
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Speaker 1: programming manager. That was my title, but I'm qualified for

395
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Speaker 1: none of it because it has nothing to do with

396
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Speaker 1: what I've been doing, which I've been programming for television,

397
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Speaker 1: programming films for television. So it's just it's very it's

398
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Speaker 1: very weird. I'm I'm feeling dread. I have been this

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Speaker 1: entire year, Like this entire year, I've been like, what

400
00:21:40,840 --> 00:21:43,480
Speaker 1: is happening? And then of course getting the kind of

401
00:21:43,480 --> 00:21:46,639
Speaker 1: doom and gloom articles about how it's just getting worse.

402
00:21:46,720 --> 00:21:48,920
Speaker 1: It's just getting worse every day, doesn't seem like it's

403
00:21:48,920 --> 00:21:53,040
Speaker 1: gonna change. And I I'm sitting here going so do

404
00:21:53,119 --> 00:21:54,800
Speaker 1: I sit here forever and wait this out? Or do

405
00:21:54,840 --> 00:21:56,399
Speaker 1: I just try to just move on?

406
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Speaker 2: You know? It's yeah, And I'm very fully a move person,

407
00:22:00,640 --> 00:22:04,760
Speaker 2: like I stay, very nimble, and I am waiting for

408
00:22:04,800 --> 00:22:06,840
Speaker 2: nobody to show me the writing on the wall because

409
00:22:06,920 --> 00:22:11,600
Speaker 2: I know what's coming. And I feel like, you know,

410
00:22:11,640 --> 00:22:14,520
Speaker 2: I also have faith and confidence in the fact that

411
00:22:14,560 --> 00:22:16,439
Speaker 2: I can just go waitress, I can go do anything,

412
00:22:16,440 --> 00:22:19,160
Speaker 2: like I don't. I'm not beholden too living this life

413
00:22:19,160 --> 00:22:23,960
Speaker 2: if it's not working. But I also just feel like

414
00:22:23,960 --> 00:22:26,000
Speaker 2: there are too many people in our position now. We

415
00:22:26,080 --> 00:22:29,040
Speaker 2: can't all go be waitresses, you know, what I mean,

416
00:22:29,119 --> 00:22:30,919
Speaker 2: like we can't all go teach, we can't all go

417
00:22:32,040 --> 00:22:35,520
Speaker 2: do anything, like we can't all jump ship and we

418
00:22:35,520 --> 00:22:39,679
Speaker 2: shouldn't have to. And yeah, so it feels like a

419
00:22:39,720 --> 00:22:45,040
Speaker 2: realistic fight, but I definitely am. I'm tired. I'm tired

420
00:22:46,000 --> 00:22:50,080
Speaker 2: in my bones every day just trying to think of

421
00:22:50,920 --> 00:22:55,080
Speaker 2: how I can survive and maybe TV. And truly, I

422
00:22:55,119 --> 00:22:58,880
Speaker 2: have thought several times during this strike that maybe TV

423
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Speaker 2: writing is not in my future anymore, Like maybe it's

424
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Speaker 2: just not the thing I was meant to be doing.

425
00:23:03,680 --> 00:23:06,760
Speaker 2: I kind of stumbled into it anyway. But because I

426
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Speaker 2: don't know how I'm going to go back to work

427
00:23:08,160 --> 00:23:11,160
Speaker 2: for these fucking ghouls who say things like we hope

428
00:23:11,160 --> 00:23:13,560
Speaker 2: you lose your houses before we'll come back to negotiate

429
00:23:13,600 --> 00:23:17,199
Speaker 2: with you, and who have no good faith in who

430
00:23:17,280 --> 00:23:21,359
Speaker 2: cut down trees so protesters don't have shade outside of

431
00:23:21,480 --> 00:23:25,199
Speaker 2: Universal Studios who legally cut down trees ps just so

432
00:23:25,240 --> 00:23:29,040
Speaker 2: that like just this vindictive bullshit. So I don't know

433
00:23:29,080 --> 00:23:30,879
Speaker 2: if TV is the best place to tell the stories

434
00:23:30,920 --> 00:23:32,679
Speaker 2: I want to tell anymore, because I don't feel like

435
00:23:32,720 --> 00:23:38,880
Speaker 2: we're working with people who understand or value or appreciate

436
00:23:39,000 --> 00:23:42,160
Speaker 2: human stories. They want money. They want it fast. They

437
00:23:42,160 --> 00:23:44,680
Speaker 2: want to turn every toy into a movie, every comic

438
00:23:44,680 --> 00:23:47,320
Speaker 2: book into a movie. They're going for the cash grab,

439
00:23:47,920 --> 00:23:50,240
Speaker 2: and they're not as interested in telling the stories I

440
00:23:50,320 --> 00:23:50,840
Speaker 2: want to tell.

441
00:23:51,320 --> 00:23:57,840
Speaker 1: Yeah, I yeah, I don't know. I'm just just to

442
00:23:58,080 --> 00:24:00,960
Speaker 1: end it on this note. But it's just I think

443
00:24:01,720 --> 00:24:05,639
Speaker 1: this feels cathartic for both of us to talk about,

444
00:24:05,800 --> 00:24:09,080
Speaker 1: because I mean we kind of joke that we're both

445
00:24:09,119 --> 00:24:11,159
Speaker 1: unemployed right now, but it is like, oh, yeah, we

446
00:24:11,240 --> 00:24:13,840
Speaker 1: actually are, and I don't know what's going to happen.

447
00:24:14,080 --> 00:24:18,160
Speaker 1: And yeah, I you know, think for me, like I said,

448
00:24:18,160 --> 00:24:19,919
Speaker 1: thank God for this podcast because it gives me an

449
00:24:19,920 --> 00:24:23,000
Speaker 1: opportunity to like just chat about the thing that I

450
00:24:23,040 --> 00:24:27,800
Speaker 1: love and you know, be with other people who are

451
00:24:27,800 --> 00:24:30,000
Speaker 1: really great. I mean not just you, but Case, our

452
00:24:30,040 --> 00:24:32,040
Speaker 1: producer and the people that we work with. It's just

453
00:24:32,080 --> 00:24:36,080
Speaker 1: like a good environment. And so you know, I hope

454
00:24:36,080 --> 00:24:40,920
Speaker 1: that everything turns out okay. I hope that like things

455
00:24:40,960 --> 00:24:42,760
Speaker 1: pick up soon, but if not, I think you and

456
00:24:42,800 --> 00:24:46,600
Speaker 1: I specifically are really we know how to survive.

457
00:24:47,200 --> 00:24:51,160
Speaker 2: Yeah right, yeah, so we will always survive. And also

458
00:24:51,200 --> 00:24:53,359
Speaker 2: this is a good opportunity to remind people that they

459
00:24:53,440 --> 00:24:57,480
Speaker 2: can support us. You know, we put out merch and

460
00:24:57,520 --> 00:25:01,120
Speaker 2: we have things happening, and if you guys don't support

461
00:25:01,160 --> 00:25:04,440
Speaker 2: that stuff, then we can't keep doing it, which means

462
00:25:04,480 --> 00:25:06,360
Speaker 2: we also might not be able to keep doing this.

463
00:25:07,119 --> 00:25:10,199
Speaker 2: So like, support us if you can. If you like

464
00:25:10,240 --> 00:25:13,159
Speaker 2: what we're doing, you can write us a review, but truly, like,

465
00:25:13,200 --> 00:25:15,040
Speaker 2: if we put out merch and you can afford it,

466
00:25:15,080 --> 00:25:17,520
Speaker 2: please buy it. Like that, we again like we can't

467
00:25:17,600 --> 00:25:20,159
Speaker 2: keep we can't sustain this podcast and the way that

468
00:25:20,200 --> 00:25:23,600
Speaker 2: we would like to. If you are not directly supporting us,

469
00:25:23,680 --> 00:25:25,359
Speaker 2: just support us if you can in any way you

470
00:25:25,400 --> 00:25:27,480
Speaker 2: can if you have money by merch. If you don't

471
00:25:27,520 --> 00:25:30,520
Speaker 2: have any money, leave us five star review. Help us

472
00:25:30,560 --> 00:25:33,280
Speaker 2: keep doing this thing that we actually really enjoy doing

473
00:25:33,640 --> 00:25:38,480
Speaker 2: because everything's changing. Everything's changing, and there's no guarantee that

474
00:25:38,600 --> 00:25:44,679
Speaker 2: any part of entertainment, including podcasts, film, TV publishing, like

475
00:25:44,720 --> 00:25:47,880
Speaker 2: there's no guarantee that any of this will be sustainable

476
00:25:47,920 --> 00:25:55,800
Speaker 2: without your direct support. So that's right. And on that note,

477
00:25:56,040 --> 00:25:58,560
Speaker 2: should we just should we not even talk about movies today?

478
00:25:58,760 --> 00:26:04,920
Speaker 2: Like I'm bummed, my good guy, I need a nap.

479
00:26:09,720 --> 00:26:13,520
Speaker 1: Listen. We have a really fun theme this week despite

480
00:26:13,560 --> 00:26:17,880
Speaker 1: the first bit of this podcast. We've sort of done

481
00:26:17,920 --> 00:26:22,760
Speaker 1: this topic before if you listen to our previous episode,

482
00:26:22,800 --> 00:26:26,800
Speaker 1: which was called Don't Fill Up on Bread, obviously a

483
00:26:26,880 --> 00:26:29,880
Speaker 1: title that Daniel Henderson came up with, and she came

484
00:26:29,960 --> 00:26:33,960
Speaker 1: up with the episode title for this one too, Danyelle,

485
00:26:34,000 --> 00:26:35,720
Speaker 1: do you want to tell everybody what the theme is?

486
00:26:36,280 --> 00:26:39,679
Speaker 2: Yes? Our theme this week is I wish this popcorn

487
00:26:39,800 --> 00:26:43,600
Speaker 2: was a burger because we're talking about food movies. I

488
00:26:43,640 --> 00:26:46,679
Speaker 2: don't know about you, but I cannot watch food movies

489
00:26:46,720 --> 00:26:50,840
Speaker 2: without eating. Oh yeah, of course, Like I feel insane

490
00:26:50,880 --> 00:26:53,520
Speaker 2: when I'm watching them make all this delicious, beautiful food

491
00:26:53,600 --> 00:26:57,000
Speaker 2: on screen and I have nothing around me to snack on.

492
00:26:57,720 --> 00:27:00,399
Speaker 1: Oh I know when I watch your movie this week,

493
00:27:01,280 --> 00:27:04,200
Speaker 1: which I've never seen before, ooh the first time watch

494
00:27:04,240 --> 00:27:08,119
Speaker 1: for me? It was lovely. We'll get into it obviously

495
00:27:08,160 --> 00:27:13,360
Speaker 1: in just a second, but I was. I'm trying right

496
00:27:13,400 --> 00:27:17,399
Speaker 1: now because I'm unemployed, but also for other reasons too.

497
00:27:17,640 --> 00:27:21,880
Speaker 1: I'm trying not to use like food delivery services as

498
00:27:22,000 --> 00:27:25,359
Speaker 1: much because when I lived in LA I use that

499
00:27:25,480 --> 00:27:26,879
Speaker 1: shit all the time.

500
00:27:27,320 --> 00:27:28,480
Speaker 2: Did you really? Oh?

501
00:27:28,560 --> 00:27:33,280
Speaker 1: Yeah, I use Uber eats. What is all the other

502
00:27:33,359 --> 00:27:36,120
Speaker 1: stuff that out there, all those places that deliver your food.

503
00:27:36,280 --> 00:27:40,960
Speaker 1: Not Goldbilly, but uh door Dash, oh yeah, door Dash,

504
00:27:41,600 --> 00:27:46,639
Speaker 1: uber eats, any grub Hub, anybody that wanted to bring

505
00:27:46,680 --> 00:27:50,360
Speaker 1: me some food. Even though I lived in West Hollywood

506
00:27:50,400 --> 00:27:52,240
Speaker 1: and could technically walk to a lot of places, I

507
00:27:52,320 --> 00:27:53,760
Speaker 1: just was like, I'm too lazy.

508
00:27:53,920 --> 00:27:56,840
Speaker 2: That is bug I mean it's I know that that's normal.

509
00:27:56,920 --> 00:28:00,280
Speaker 2: I know that most people do that. I did didn't.

510
00:28:00,880 --> 00:28:03,959
Speaker 2: I've not been good for you. I've never really been

511
00:28:04,000 --> 00:28:06,760
Speaker 2: a big food delivery person. When I lived in New York,

512
00:28:07,359 --> 00:28:10,439
Speaker 2: I would get pizza delivered, but that's it, and that

513
00:28:10,480 --> 00:28:13,760
Speaker 2: was only once in a while. And I don't know.

514
00:28:13,800 --> 00:28:16,520
Speaker 2: I love cooking and I'm so cheap.

515
00:28:17,520 --> 00:28:19,680
Speaker 1: Yeah well see, and I also.

516
00:28:19,480 --> 00:28:21,879
Speaker 2: Love figuring out, like if I want a black bean burger,

517
00:28:21,960 --> 00:28:23,520
Speaker 2: I want I want to figure out how to make

518
00:28:23,560 --> 00:28:26,080
Speaker 2: it from scratch so that I always have that knowledge

519
00:28:26,119 --> 00:28:28,320
Speaker 2: of how to do it. But it was also such

520
00:28:28,320 --> 00:28:30,040
Speaker 2: a pain in the ass to get stuff delivered in

521
00:28:30,200 --> 00:28:32,240
Speaker 2: LA because they're like, well, we can't park on the street,

522
00:28:32,520 --> 00:28:34,800
Speaker 2: and we can't find your fucking apartment, and we can't

523
00:28:34,800 --> 00:28:36,520
Speaker 2: get in without being buzzed in, and it was just

524
00:28:36,560 --> 00:28:39,280
Speaker 2: such a hassle that I just never really did it good.

525
00:28:39,400 --> 00:28:44,120
Speaker 1: Good for you, because I probably have spent trillions of

526
00:28:44,160 --> 00:28:51,280
Speaker 1: dollars and all this, like on the the up charge

527
00:28:51,360 --> 00:28:55,320
Speaker 1: for food delivery. I mean, it's so I actually like

528
00:28:55,360 --> 00:28:59,480
Speaker 1: told myself, if you don't stop ordering food all the time,

529
00:28:59,520 --> 00:29:05,080
Speaker 1: you're gonna literally live inside of a gutter. Like You're

530
00:29:05,360 --> 00:29:07,200
Speaker 1: just gonna be a gutter.

531
00:29:07,520 --> 00:29:11,440
Speaker 2: The updated Old Lady who Lives in a shoe story

532
00:29:12,040 --> 00:29:13,960
Speaker 2: is the old lady who lives in a shoe because

533
00:29:13,960 --> 00:29:16,800
Speaker 2: she could not stop getting food delivered.

534
00:29:17,320 --> 00:29:19,960
Speaker 1: She went broke on grub Hub. But here's the thing.

535
00:29:20,080 --> 00:29:24,200
Speaker 1: So when I was watching your movie, I was like, damn,

536
00:29:24,280 --> 00:29:27,040
Speaker 1: I want some sushi, And I like went on to

537
00:29:27,360 --> 00:29:31,200
Speaker 1: a food delivery service and realized it was gonna cost

538
00:29:31,320 --> 00:29:36,719
Speaker 1: like seventy five dollars to have one sushi roll. And

539
00:29:36,760 --> 00:29:39,280
Speaker 1: then I was like, why am I trying to get

540
00:29:39,360 --> 00:29:43,120
Speaker 1: raw fish? Put in a car, drive it around for

541
00:29:43,120 --> 00:29:45,960
Speaker 1: about an hour and a half and then arriving at

542
00:29:46,040 --> 00:29:48,440
Speaker 1: my door. This is the stupidest idea, But it was

543
00:29:48,480 --> 00:29:52,600
Speaker 1: because your movie made everything look so goddamn delicious that

544
00:29:52,640 --> 00:29:54,680
Speaker 1: I was being hypnotized by that.

545
00:29:55,280 --> 00:29:58,400
Speaker 2: I know, I feel you. I was, it's so gorgeous,

546
00:29:58,560 --> 00:30:01,880
Speaker 2: and I I'm also in a position now where I

547
00:30:01,920 --> 00:30:04,040
Speaker 2: can't get food delivered, Like even though there are a

548
00:30:04,040 --> 00:30:06,560
Speaker 2: couple of restaurants in the main part of town, they

549
00:30:06,600 --> 00:30:08,960
Speaker 2: will not come out here to where I live. Oh wow,

550
00:30:09,200 --> 00:30:10,760
Speaker 2: And they will flat out tell you that, like in

551
00:30:10,800 --> 00:30:12,560
Speaker 2: the app, like we ain't going past this point. And

552
00:30:12,600 --> 00:30:15,960
Speaker 2: I'm like, all right, I got youa but good. What

553
00:30:16,000 --> 00:30:18,320
Speaker 2: I often do is when I'm at the grocery store.

554
00:30:18,360 --> 00:30:21,960
Speaker 2: There's like a sushi counter at my grocery store, and

555
00:30:22,000 --> 00:30:24,240
Speaker 2: I'll pick up some rolls and it's good. It's like

556
00:30:24,320 --> 00:30:28,880
Speaker 2: really good stuff. However, a few months ago, I'm parked

557
00:30:29,040 --> 00:30:31,600
Speaker 2: at the grocery store facing the side of the building,

558
00:30:32,520 --> 00:30:35,120
Speaker 2: and I frequently saw the guy who makes the sushi

559
00:30:35,920 --> 00:30:38,360
Speaker 2: just kind of like squatting down having a cigarette, you know,

560
00:30:38,400 --> 00:30:42,040
Speaker 2: on his break. Well, this time I saw him and

561
00:30:42,080 --> 00:30:43,560
Speaker 2: he was squatting down. I'm like, oh cool, he is

562
00:30:43,560 --> 00:30:46,520
Speaker 2: having a cigarette. I'll say, Hi. He was knuckled deep

563
00:30:46,520 --> 00:30:50,840
Speaker 2: in his nose so far that I will never eat

564
00:30:50,880 --> 00:30:55,160
Speaker 2: sushi there again. Like it was fucking disturbing how far

565
00:30:55,240 --> 00:30:56,520
Speaker 2: his finger was up his nose.

566
00:30:57,040 --> 00:30:58,560
Speaker 1: You mean you were about to get a booger roll?

567
00:30:58,720 --> 00:31:01,240
Speaker 2: Is that? What? Thank you? There's not enough gloves in

568
00:31:01,280 --> 00:31:04,800
Speaker 2: the world to erase this from my fucking memory. So

569
00:31:04,880 --> 00:31:06,760
Speaker 2: no more sushi for me unless I learn how to

570
00:31:06,760 --> 00:31:09,160
Speaker 2: make it at home, which I have yet not yet done.

571
00:31:09,840 --> 00:31:11,640
Speaker 2: But yeah, I was craving at the whole time I

572
00:31:11,720 --> 00:31:14,239
Speaker 2: was watching this movie, knowing that it would take I mean,

573
00:31:14,400 --> 00:31:15,800
Speaker 2: I'm gonna have to get it the next time I

574
00:31:15,800 --> 00:31:16,440
Speaker 2: go into the city.

575
00:31:16,800 --> 00:31:20,080
Speaker 1: Yeah, well that's the thing. I think. Both these movies

576
00:31:20,120 --> 00:31:22,959
Speaker 1: this week really just kind of made me want to

577
00:31:23,000 --> 00:31:27,960
Speaker 1: eat the food that they were talking about. And I'm

578
00:31:28,000 --> 00:31:30,840
Speaker 1: so excited to talk about these movies. You're going first.

579
00:31:30,960 --> 00:31:32,840
Speaker 2: I am going first. And I also have to say

580
00:31:32,880 --> 00:31:36,680
Speaker 2: watching your film was particularly painful because it was so

581
00:31:37,120 --> 00:31:40,960
Speaker 2: gorgeous to watch her make those pies and I'm not

582
00:31:41,000 --> 00:31:44,800
Speaker 2: eating processed sugar right now. Oh fuck this. So both

583
00:31:44,840 --> 00:31:46,840
Speaker 2: movies I was like, fuck this. So that's where I

584
00:31:46,880 --> 00:31:48,960
Speaker 2: wish this popcorn was a Burger comes in for me.

585
00:31:49,840 --> 00:31:52,520
Speaker 1: Absolutely, that's a perfect name.

586
00:31:53,480 --> 00:31:56,720
Speaker 2: So I'm gonna go ahead and jump in. I'm so

587
00:31:56,920 --> 00:31:59,080
Speaker 2: excited to hear what you think since you'd never seen

588
00:31:59,120 --> 00:32:03,280
Speaker 2: this before. My film was released in twenty eleven. It

589
00:32:03,360 --> 00:32:06,560
Speaker 2: was directed by David Gelb. It is a documentary called

590
00:32:06,760 --> 00:32:16,560
Speaker 2: Euro Dreams of Sushi. I fucking love this movie. I

591
00:32:16,600 --> 00:32:19,920
Speaker 2: saw it when it came out, and this is a

592
00:32:19,960 --> 00:32:24,560
Speaker 2: pre chef's table documentary, So this beautiful way of filming

593
00:32:24,640 --> 00:32:28,520
Speaker 2: food was not de rigour at the time it came out,

594
00:32:29,040 --> 00:32:31,080
Speaker 2: and I think it totally changed the game in a

595
00:32:31,080 --> 00:32:34,240
Speaker 2: lot of ways because the way that the narrative unfolds

596
00:32:34,360 --> 00:32:38,960
Speaker 2: in the midst of this beautiful imagery is just unparalleled.

597
00:32:39,360 --> 00:32:41,200
Speaker 2: So I'm going to give you a one sentence synopsis

598
00:32:41,200 --> 00:32:44,760
Speaker 2: and then we'll jump in. My one sentence synopsis is

599
00:32:45,880 --> 00:32:48,480
Speaker 2: a man dedicates his life to perfecting the art of

600
00:32:48,520 --> 00:32:52,960
Speaker 2: sushi in this complicated look at family, legacy and desire.

601
00:32:53,400 --> 00:32:54,000
Speaker 1: Excellent.

602
00:32:54,800 --> 00:33:00,800
Speaker 2: So our main subject of this documentary Tree is a

603
00:33:00,800 --> 00:33:04,760
Speaker 2: man named yero oh No who is eighty five years old,

604
00:33:05,600 --> 00:33:10,760
Speaker 2: and he is an absolute perfectionist. He is very stern.

605
00:33:11,920 --> 00:33:15,800
Speaker 2: He has the same routine every single day. He hates

606
00:33:15,840 --> 00:33:19,320
Speaker 2: holidays because he can't work. He wears a little tangle

607
00:33:19,400 --> 00:33:24,120
Speaker 2: hat on the subway, and he's really hard on himself,

608
00:33:24,120 --> 00:33:26,560
Speaker 2: but he's super hard on everyone else. And he just

609
00:33:26,600 --> 00:33:32,040
Speaker 2: so happens to run a three Michelin star restaurant in

610
00:33:32,280 --> 00:33:36,680
Speaker 2: a Tokyo subway station. It has ten seats. It has

611
00:33:36,760 --> 00:33:39,800
Speaker 2: ten seats. You have to book one month in advance.

612
00:33:39,840 --> 00:33:44,440
Speaker 2: At the time of this documentary coming out, reservations are mandatory.

613
00:33:45,200 --> 00:33:50,440
Speaker 2: They serve courses to you sushi only. There are no appetizers.

614
00:33:50,800 --> 00:33:53,640
Speaker 2: There's nothing else. You're not getting at a Mammy, You're

615
00:33:53,640 --> 00:33:56,560
Speaker 2: not getting a single fucking other thing. You're gonna sit down,

616
00:33:56,560 --> 00:33:58,120
Speaker 2: they're gonna put some sushi in front of your face,

617
00:33:58,120 --> 00:34:02,080
Speaker 2: and you're gonna leave and at about two hundred dollars

618
00:34:02,680 --> 00:34:06,360
Speaker 2: again the time of this filming. And so we come

619
00:34:06,400 --> 00:34:10,800
Speaker 2: into this film knowing that Yerro is what he calls

620
00:34:10,880 --> 00:34:14,920
Speaker 2: a shoken in, which is someone who focuses on quality.

621
00:34:15,040 --> 00:34:17,960
Speaker 2: Quality is key. They're not in it for the money

622
00:34:18,080 --> 00:34:22,320
Speaker 2: or the fame. And he believes that simplicity leads to purity.

623
00:34:22,440 --> 00:34:27,080
Speaker 2: So his sushi is gorgeous, it's simple, it looks amazing,

624
00:34:27,520 --> 00:34:31,960
Speaker 2: and his whole ethos in life is you have to

625
00:34:32,600 --> 00:34:36,320
Speaker 2: become you have to dedicate your life to mastering your skill.

626
00:34:37,560 --> 00:34:41,040
Speaker 2: Now he has been doing this. As with the movie

627
00:34:41,080 --> 00:34:42,719
Speaker 2: goes on, we find out that he has been doing

628
00:34:42,800 --> 00:34:45,319
Speaker 2: this since he was about nine years old. He's been

629
00:34:45,360 --> 00:34:47,719
Speaker 2: on his own since he was nine years old. His

630
00:34:47,800 --> 00:34:50,920
Speaker 2: father had a drinking problem and died young, and his

631
00:34:51,000 --> 00:34:54,560
Speaker 2: mom basically said, you have no home to come back to, like,

632
00:34:54,640 --> 00:34:57,040
Speaker 2: get out there and make it work. He joined the military,

633
00:34:57,080 --> 00:35:00,000
Speaker 2: he was in World War Two, and he loves his job.

634
00:35:00,280 --> 00:35:03,640
Speaker 2: He at one point says, I haven't achieved perfection yet,

635
00:35:03,640 --> 00:35:07,120
Speaker 2: but I'm a static all day. So he will not

636
00:35:07,239 --> 00:35:09,359
Speaker 2: quit his job ever. He's eighty five years old, he's

637
00:35:09,400 --> 00:35:14,239
Speaker 2: still overseeing everything. And the only problem with this is

638
00:35:14,360 --> 00:35:20,680
Speaker 2: that he has two sons who he has also insisted

639
00:35:21,320 --> 00:35:24,719
Speaker 2: also work in this restaurant and dedicate their life to

640
00:35:24,800 --> 00:35:31,480
Speaker 2: this now family craft and family legacy. So his older son, Yoshikazo,

641
00:35:32,760 --> 00:35:35,640
Speaker 2: thought Yeo would retire years ago. He's like, look when

642
00:35:35,680 --> 00:35:37,560
Speaker 2: that man had a heart attack at the fish market

643
00:35:37,680 --> 00:35:40,360
Speaker 2: at seventy years old, I thought he was done, but

644
00:35:40,440 --> 00:35:44,560
Speaker 2: he came back to work, like he has been waiting

645
00:35:44,600 --> 00:35:49,560
Speaker 2: for this man to retire forever. And we're also going

646
00:35:49,600 --> 00:35:54,719
Speaker 2: to get into the fish market. The it's called the Sukiji,

647
00:35:55,280 --> 00:35:58,120
Speaker 2: the Sukiji fish market, and all the vendors are experts

648
00:35:58,200 --> 00:36:01,520
Speaker 2: and they save the the best fish for euros. So

649
00:36:01,560 --> 00:36:04,680
Speaker 2: we kind of get into the whole process from start

650
00:36:04,719 --> 00:36:07,240
Speaker 2: to finish of how the fish are, you know, caught,

651
00:36:07,320 --> 00:36:10,040
Speaker 2: and who's buying them, And it's just this really interesting,

652
00:36:10,120 --> 00:36:14,560
Speaker 2: complicated system where everyone is an expert, everyone is an artist,

653
00:36:14,600 --> 00:36:17,560
Speaker 2: from even picking out the fish to making the actual sushi.

654
00:36:18,239 --> 00:36:20,879
Speaker 2: So Yoshi Kazo is like, I'm supposed to take over

655
00:36:20,920 --> 00:36:23,480
Speaker 2: this restaurant. I'm an old man now, like he has

656
00:36:23,480 --> 00:36:29,000
Speaker 2: a receding hairline and he's nearing retirement himself, and he

657
00:36:29,040 --> 00:36:31,880
Speaker 2: has not yet taken over this restaurant. He also has

658
00:36:31,920 --> 00:36:37,640
Speaker 2: a younger brother, Takashi. Now Takashi runs his own location

659
00:36:38,200 --> 00:36:42,720
Speaker 2: in Ropongi Hills, And it's kind of the way it's

660
00:36:44,440 --> 00:36:47,759
Speaker 2: presented to us is that it's a mirror image of

661
00:36:49,040 --> 00:36:53,120
Speaker 2: the sushi bar in the Tokyo subway station that his

662
00:36:53,200 --> 00:36:56,000
Speaker 2: dad runs, because his dad is left handed and he's not,

663
00:36:56,760 --> 00:37:00,600
Speaker 2: so he has this mirror image restaurant and there's no rivalry.

664
00:37:00,600 --> 00:37:02,480
Speaker 2: You would think there'd be a rivalry between the brothers,

665
00:37:02,520 --> 00:37:04,879
Speaker 2: but there's not because Takashi knew that he would never

666
00:37:04,960 --> 00:37:08,240
Speaker 2: inherit the restaurant. So he's learned and perfected this skill,

667
00:37:08,800 --> 00:37:12,200
Speaker 2: but he would never inherit the restaurant that made it famous.

668
00:37:12,719 --> 00:37:14,600
Speaker 2: And they both wanted to go to college, but Eyuro

669
00:37:14,719 --> 00:37:16,440
Speaker 2: said no. He's like, look, I let them finish. I

670
00:37:16,520 --> 00:37:18,839
Speaker 2: let them finish high school. But then it was time

671
00:37:18,880 --> 00:37:22,319
Speaker 2: to get involved in this fucking sushi enterprise. That's right.

672
00:37:23,120 --> 00:37:26,080
Speaker 2: So they've both kind of been co opted into this

673
00:37:26,320 --> 00:37:30,640
Speaker 2: life by a sense of duty, and it's a really

674
00:37:30,680 --> 00:37:35,000
Speaker 2: intense life, like an apprenticeship lasts for ten years. We

675
00:37:35,120 --> 00:37:38,680
Speaker 2: meet one of the current apprentices, Nakazawa, who had to

676
00:37:38,719 --> 00:37:43,440
Speaker 2: make two hundred eggs sushi rolls before he felt like

677
00:37:43,480 --> 00:37:47,080
Speaker 2: he got one right, and he burst into tears when

678
00:37:47,080 --> 00:37:49,799
Speaker 2: he did get it right. And then we also meet

679
00:37:49,840 --> 00:37:55,880
Speaker 2: like this this former apprentice, Mizutani, who thinks that Yoshi

680
00:37:55,880 --> 00:37:59,160
Speaker 2: should take over, but then we're there's also a restaurant

681
00:37:59,239 --> 00:38:03,200
Speaker 2: reviewer in the film who's like, yeah, but Yoshi's never

682
00:38:03,239 --> 00:38:07,680
Speaker 2: going to surpass Euro. So when Euro dies, the customers

683
00:38:07,719 --> 00:38:11,080
Speaker 2: are going to leave. And Yoshi feels pressure to like

684
00:38:11,160 --> 00:38:15,400
Speaker 2: continue this legacy, even though he knows he'll never measure

685
00:38:15,560 --> 00:38:21,239
Speaker 2: up to his dad. And there's like this historic sense

686
00:38:21,280 --> 00:38:23,480
Speaker 2: of obligation that comes through at one point in the

687
00:38:23,520 --> 00:38:26,359
Speaker 2: film when Yuro goes back to his hometown, and it's

688
00:38:26,400 --> 00:38:28,120
Speaker 2: so cute because he meets with all of his friends

689
00:38:28,160 --> 00:38:30,880
Speaker 2: and they're all so old and cute. But then he

690
00:38:30,920 --> 00:38:33,960
Speaker 2: goes to his parents' graves and he's like, I don't

691
00:38:34,000 --> 00:38:35,960
Speaker 2: know why I come here. They didn't take care of me.

692
00:38:37,160 --> 00:38:41,360
Speaker 2: So it's like this really poignant, incredibly complicated, but beautiful

693
00:38:41,400 --> 00:38:47,080
Speaker 2: film about again, like this this dedication, this obligation, almost

694
00:38:47,200 --> 00:38:50,120
Speaker 2: this historic obligation to family legacy and what does it

695
00:38:50,200 --> 00:38:53,000
Speaker 2: mean to be a family and continue in a craft.

696
00:38:53,600 --> 00:38:56,839
Speaker 2: And Yoshi is amazing at what he does, but he's

697
00:38:56,920 --> 00:38:59,680
Speaker 2: not going to get his due in this lifetime because

698
00:38:59,680 --> 00:39:01,520
Speaker 2: of who his father is and because of what his

699
00:39:01,520 --> 00:39:04,799
Speaker 2: father is built. And at one point in the film

700
00:39:04,840 --> 00:39:08,200
Speaker 2: there's kind of this incredible reveal which weirdly I don't

701
00:39:08,200 --> 00:39:12,440
Speaker 2: mind spoiling for you because it's really crucial to the

702
00:39:12,480 --> 00:39:17,120
Speaker 2: film itself to it, but at one point the reviewer

703
00:39:17,360 --> 00:39:21,680
Speaker 2: that is in the film says, you know, Yoshi or sorry,

704
00:39:21,800 --> 00:39:26,160
Speaker 2: Yiro is this Guinness World record holder. He's the first

705
00:39:26,200 --> 00:39:29,279
Speaker 2: person to get three michelin stars off right out of

706
00:39:29,320 --> 00:39:31,880
Speaker 2: the gate, Like usually you get one at a time,

707
00:39:32,400 --> 00:39:38,600
Speaker 2: he got three instantly. So he's this incredible man who's

708
00:39:38,640 --> 00:39:42,279
Speaker 2: like beaten all the odds and At one point, the

709
00:39:42,320 --> 00:39:45,960
Speaker 2: reviewer says, you know, I asked the people at Michelin

710
00:39:46,280 --> 00:39:49,520
Speaker 2: if Yiro was the one who made the sushi for

711
00:39:49,560 --> 00:39:51,800
Speaker 2: them when they came in, because they come in multiple times,

712
00:39:52,440 --> 00:39:55,760
Speaker 2: and every single time it was Yoshi who made the sushi.

713
00:39:56,760 --> 00:40:05,000
Speaker 2: Oh yeah, so Yoshi actually earned the Michelin stars, not Yero. Technically,

714
00:40:05,600 --> 00:40:08,320
Speaker 2: Euro earned it on a technicality because it's his restaurant,

715
00:40:08,320 --> 00:40:11,000
Speaker 2: but he did not cook for any of these people.

716
00:40:11,400 --> 00:40:15,440
Speaker 2: And the cooking is incredibly intense and complicated. Like you're watching,

717
00:40:15,960 --> 00:40:18,719
Speaker 2: it's simple, but the way that they're like caressing the

718
00:40:18,880 --> 00:40:22,480
Speaker 2: rice and picking the fish and like, oh, they'll taste everything.

719
00:40:22,520 --> 00:40:24,360
Speaker 2: And that's kind of Euro's role is like he tastes

720
00:40:24,360 --> 00:40:26,600
Speaker 2: everything and he's like, no, this needs to marinate a

721
00:40:26,600 --> 00:40:29,440
Speaker 2: little bit more in the vinegar. But it's done to

722
00:40:29,480 --> 00:40:33,040
Speaker 2: such a perfectionist point that when they finally like lay

723
00:40:33,080 --> 00:40:34,799
Speaker 2: the fish on top of the rice and kind of

724
00:40:34,840 --> 00:40:37,160
Speaker 2: coat it with a glaze or a little sauce or

725
00:40:37,200 --> 00:40:39,440
Speaker 2: a little soy sauce or something, it just looks like

726
00:40:39,480 --> 00:40:41,160
Speaker 2: a work of fucking art. And they just put it

727
00:40:41,200 --> 00:40:46,600
Speaker 2: on these little rectangular black stones, like these black stone plates,

728
00:40:47,080 --> 00:40:49,040
Speaker 2: and just like whatever they put in front of you, you

729
00:40:49,000 --> 00:40:51,520
Speaker 2: got to eat it. And I just think it's like,

730
00:40:51,880 --> 00:40:56,799
Speaker 2: it's such an incredible mix of fine dining elegance with simplicity,

731
00:40:57,120 --> 00:41:01,600
Speaker 2: with passion, with dedication, and it's all tied up in

732
00:41:01,640 --> 00:41:04,400
Speaker 2: the fact that this man Yoshi, who did not even

733
00:41:04,440 --> 00:41:08,440
Speaker 2: want to do this, learn this craft to such a point,

734
00:41:08,640 --> 00:41:11,720
Speaker 2: such a perfectionist point, that his father insisted he reach.

735
00:41:12,320 --> 00:41:17,160
Speaker 2: That he actually gained the restaurant three Michelin Stars first outing,

736
00:41:17,239 --> 00:41:21,680
Speaker 2: and will never get the respect or recognition that he

737
00:41:21,719 --> 00:41:24,400
Speaker 2: deserves for that. It's fucking fascinating. And just as in

738
00:41:24,440 --> 00:41:28,200
Speaker 2: a side in twenty twenty, they actually lost the Michelin

739
00:41:28,280 --> 00:41:33,600
Speaker 2: Stars because Michelin decided that the restaurant is not accessible

740
00:41:33,600 --> 00:41:36,000
Speaker 2: to the public, and they like to promote restaurants that

741
00:41:36,080 --> 00:41:40,359
Speaker 2: are accessible to the public. And Yiro got to say,

742
00:41:40,400 --> 00:41:42,680
Speaker 2: he's still alive, he's in his nineties, but he got

743
00:41:42,680 --> 00:41:49,160
Speaker 2: to such a point of popularity that like, you basically

744
00:41:49,160 --> 00:41:52,440
Speaker 2: couldn't get a reservation unless you were Barack Obama. Like

745
00:41:52,520 --> 00:41:54,360
Speaker 2: if you were President of Obama, you can get a reservation,

746
00:41:54,440 --> 00:41:55,759
Speaker 2: or if you were like a famous soccer star, you

747
00:41:55,760 --> 00:41:57,759
Speaker 2: can get a reservation. But if you were just a

748
00:41:57,800 --> 00:42:00,000
Speaker 2: dude walking and off the street. That one month, Thad

749
00:42:00,480 --> 00:42:03,319
Speaker 2: went out the window like he got so popular. And

750
00:42:03,320 --> 00:42:07,520
Speaker 2: this is again a ten seat restaurant in a train

751
00:42:07,600 --> 00:42:13,880
Speaker 2: station underground, where they are like making they're fucking prepping

752
00:42:13,920 --> 00:42:18,719
Speaker 2: the wraps like the seaweed wraps in the hallway over

753
00:42:18,760 --> 00:42:23,960
Speaker 2: an open flame. And that restaurant you could not get

754
00:42:24,000 --> 00:42:26,520
Speaker 2: a reservation for unless you were super famous, so they

755
00:42:26,560 --> 00:42:28,920
Speaker 2: took away the stars. They're like, well, nobody can go there,

756
00:42:28,960 --> 00:42:30,480
Speaker 2: so we're not going to recommend that they try.

757
00:42:31,120 --> 00:42:35,040
Speaker 1: Okay, I want to know your thoughts on that.

758
00:42:35,800 --> 00:42:39,880
Speaker 2: Personally, I think it's pure bullshit because and this is

759
00:42:39,920 --> 00:42:42,480
Speaker 2: a thing like I think I had to read about

760
00:42:42,480 --> 00:42:44,920
Speaker 2: and try to understand the Michelin Star system for this,

761
00:42:45,040 --> 00:42:47,320
Speaker 2: and I think that the way it developed was literally

762
00:42:47,360 --> 00:42:49,239
Speaker 2: from the Mitchel entire people, because they were trying to

763
00:42:49,239 --> 00:42:53,080
Speaker 2: get people to drive to different places to eat. So

764
00:42:53,120 --> 00:42:56,680
Speaker 2: I get that, but it has now reached this point

765
00:42:56,800 --> 00:42:59,560
Speaker 2: of such where it's it's such, it has set such

766
00:42:59,560 --> 00:43:05,440
Speaker 2: a stand for purely judging the elegance and deliciousness of

767
00:43:05,480 --> 00:43:09,080
Speaker 2: the food. It's no longer about traveling to it. Now

768
00:43:09,120 --> 00:43:11,640
Speaker 2: they're literally just rating food. So I feel like if

769
00:43:11,640 --> 00:43:15,480
Speaker 2: you're just rating food, get this man his stars. He's

770
00:43:15,480 --> 00:43:18,240
Speaker 2: in his fucking nineties, Like, let him have his fucking stars.

771
00:43:19,520 --> 00:43:21,919
Speaker 2: Like you can't take away the legacy of what he's

772
00:43:21,960 --> 00:43:24,919
Speaker 2: done simply because he's so good at what he does

773
00:43:24,960 --> 00:43:26,280
Speaker 2: that people can't get in anymore.

774
00:43:26,840 --> 00:43:29,200
Speaker 1: I know. And it's like, I'm of two minds about it,

775
00:43:29,200 --> 00:43:32,000
Speaker 1: because as much as I'm like, yo, euro deserves those stars,

776
00:43:32,040 --> 00:43:36,480
Speaker 1: I mean, what look at the craftsmanship, the artistry, like

777
00:43:36,520 --> 00:43:40,560
Speaker 1: all this stuff, I also get a little a little

778
00:43:40,640 --> 00:43:44,120
Speaker 1: cranky about not being able to ever eat there. Yeah,

779
00:43:44,160 --> 00:43:47,040
Speaker 1: Like I'm look, I think at the end of the day,

780
00:43:47,840 --> 00:43:54,879
Speaker 1: I you know, I have this thing about what would

781
00:43:54,920 --> 00:43:58,640
Speaker 1: I do to actually eat somewhere, Like if it's gonna

782
00:43:58,680 --> 00:44:01,279
Speaker 1: make me wait in line for four hours, no, no,

783
00:44:01,320 --> 00:44:02,480
Speaker 1: it's a no, you know.

784
00:44:02,920 --> 00:44:04,920
Speaker 2: But if iut have to wait four months for reservation

785
00:44:05,040 --> 00:44:07,120
Speaker 2: and I'm planning a trip and I know I'm going there,

786
00:44:07,120 --> 00:44:09,399
Speaker 2: I'll make that reservation sure that.

787
00:44:09,480 --> 00:44:15,920
Speaker 1: I think in this scenario, you know, it is probably

788
00:44:16,560 --> 00:44:20,120
Speaker 1: worth taking an actual trip to the other side of

789
00:44:20,160 --> 00:44:23,480
Speaker 1: the world just to eat at this place, right, And

790
00:44:23,480 --> 00:44:27,840
Speaker 1: that's why that Michelin Star system goes to three or

791
00:44:27,880 --> 00:44:31,160
Speaker 1: whatever is because they're saying, like, to you, this is

792
00:44:31,239 --> 00:44:35,319
Speaker 1: worth an actual journey, right, Like it's worth it. But

793
00:44:35,440 --> 00:44:37,759
Speaker 1: I'm just I always get a little like, Okay, well,

794
00:44:37,960 --> 00:44:39,680
Speaker 1: I gotta go through all these hoops to eat at

795
00:44:39,719 --> 00:44:42,080
Speaker 1: this place, Like do I want to go through the hoops?

796
00:44:42,120 --> 00:44:44,120
Speaker 1: Do I want to do this thing? But listen, in

797
00:44:44,160 --> 00:44:47,840
Speaker 1: the case of this, I was about to have shitty

798
00:44:47,880 --> 00:44:53,200
Speaker 1: sushi delivered to my house for seventy five dollars. That

799
00:44:53,320 --> 00:44:56,320
Speaker 1: was probably gonna give me, you know, food poisoning.

800
00:44:56,760 --> 00:44:58,759
Speaker 2: So about a booger rule.

801
00:45:00,960 --> 00:45:05,680
Speaker 1: So why not book a trip four months in advance

802
00:45:05,719 --> 00:45:07,880
Speaker 1: to be able to eat the best of it, the

803
00:45:07,920 --> 00:45:09,160
Speaker 1: best of the best.

804
00:45:09,000 --> 00:45:11,799
Speaker 2: Right right? But I agree, like I'm not fussy. I

805
00:45:11,800 --> 00:45:14,080
Speaker 2: don't like being fussy about food. I like good food,

806
00:45:14,160 --> 00:45:16,239
Speaker 2: but I am not usually the person who's like, oh,

807
00:45:16,239 --> 00:45:17,840
Speaker 2: I'm in San Francisco, so I have to go to

808
00:45:17,880 --> 00:45:19,400
Speaker 2: French laundry, Like, I don't give a shit. Give me

809
00:45:19,440 --> 00:45:23,400
Speaker 2: a good burrito and I'm fine. But there is something

810
00:45:23,560 --> 00:45:27,279
Speaker 2: about the way that they created the hype. That's the

811
00:45:27,400 --> 00:45:31,040
Speaker 2: other thing. They gave him three fucking stars off the bat.

812
00:45:31,120 --> 00:45:34,439
Speaker 2: They created the hype that made it impossible for people

813
00:45:34,480 --> 00:45:35,000
Speaker 2: to eat there.

814
00:45:35,640 --> 00:45:39,120
Speaker 1: Yeah. Also when I was doing research because I was like,

815
00:45:39,880 --> 00:45:45,279
Speaker 1: what is Michelin. How did this start? I had literally

816
00:45:45,360 --> 00:45:49,360
Speaker 1: no idea it was French. I thought Michelin was from

817
00:45:49,440 --> 00:45:52,439
Speaker 1: Michigan or something like. I just was like, Oh, they're

818
00:45:52,520 --> 00:45:55,719
Speaker 1: like an American tire company from Michigan, and they called

819
00:45:55,760 --> 00:45:58,680
Speaker 1: it Michelan because they're trying to be funny. And then

820
00:45:58,719 --> 00:46:02,520
Speaker 1: they put this like rinking in guide to putting people's

821
00:46:02,680 --> 00:46:05,920
Speaker 1: glove compartments. And then they just started handing out stars

822
00:46:06,239 --> 00:46:09,120
Speaker 1: to fancy places. No, this is like a whole thing.

823
00:46:09,360 --> 00:46:10,920
Speaker 1: I went on the Wikipedia and I was like, oh,

824
00:46:10,920 --> 00:46:13,560
Speaker 1: it's from France. Oh, they've been around for over one

825
00:46:13,600 --> 00:46:16,200
Speaker 1: hundred years. Oh it's like a prestigious thing.

826
00:46:16,600 --> 00:46:24,040
Speaker 2: Yes. Ah, I love this waterfall of discovery.

827
00:46:29,320 --> 00:46:32,200
Speaker 1: I mean, I'm stupid. I've said this many times, but

828
00:46:32,239 --> 00:46:33,680
Speaker 1: I'm just saying like.

829
00:46:33,680 --> 00:46:36,360
Speaker 2: Nobody knows about the Michelin Star system unless you're actually

830
00:46:36,360 --> 00:46:38,399
Speaker 2: in the fucking restaurant business and you're trying to get

831
00:46:38,400 --> 00:46:39,400
Speaker 2: one right.

832
00:46:39,800 --> 00:46:44,040
Speaker 1: It's just like it is in this moment, In this

833
00:46:44,239 --> 00:46:46,719
Speaker 1: moment where they were trying to take away stars, I

834
00:46:46,760 --> 00:46:48,920
Speaker 1: was like, who the fuck do they think they are?

835
00:46:48,920 --> 00:46:49,359
Speaker 2: This like.

836
00:46:50,960 --> 00:46:54,840
Speaker 1: Podunk Michigan Company, and I'm like, oh, actually, it's like

837
00:46:54,880 --> 00:46:56,839
Speaker 1: a other, It's like a thing that.

838
00:47:00,000 --> 00:47:04,880
Speaker 2: What the fuck is Michigan had the goddamn nerve to

839
00:47:05,000 --> 00:47:11,279
Speaker 2: assault this aging, fucking elderly man in Tokyo who has

840
00:47:11,320 --> 00:47:13,239
Speaker 2: been on his own for in since he was nine

841
00:47:13,280 --> 00:47:16,560
Speaker 2: years old and went through a goddamn war. There was

842
00:47:16,600 --> 00:47:19,319
Speaker 2: one point where the kids were talking about how when

843
00:47:19,480 --> 00:47:23,120
Speaker 2: Era was first starting and like perfecting his craft, they

844
00:47:23,160 --> 00:47:25,080
Speaker 2: were so poor that they couldn't even buy a can

845
00:47:25,120 --> 00:47:28,600
Speaker 2: of coke, and when they finally bought one, they like

846
00:47:29,040 --> 00:47:31,080
Speaker 2: Yoshi said, he shook it up because he thought all

847
00:47:31,080 --> 00:47:33,279
Speaker 2: the flavor was in the bottom, and then it exploded

848
00:47:33,320 --> 00:47:37,480
Speaker 2: all over them. I know it was so bad he was.

849
00:47:37,680 --> 00:47:40,200
Speaker 1: That part was so cute because, first of all, I

850
00:47:40,280 --> 00:47:43,080
Speaker 1: watched this with my mom because my mom was in town,

851
00:47:43,680 --> 00:47:48,440
Speaker 1: and we watched the documentary together, and when they showed

852
00:47:48,440 --> 00:47:51,200
Speaker 1: that picture of the two of them as like little kids,

853
00:47:51,239 --> 00:47:54,680
Speaker 1: like with their arms around each other, we both squealed.

854
00:47:55,040 --> 00:47:57,560
Speaker 1: We were like, oh, look a bit, they're so cute.

855
00:47:58,000 --> 00:48:01,799
Speaker 2: Like they are, there's such and they're such a they're

856
00:48:01,840 --> 00:48:05,200
Speaker 2: clearly so close as brothers, and again there's none of

857
00:48:05,200 --> 00:48:08,480
Speaker 2: that rivalry that you expect. They're both just kind of like,

858
00:48:08,600 --> 00:48:11,480
Speaker 2: will our dad fucking retire or not? Like, if we've

859
00:48:11,520 --> 00:48:13,640
Speaker 2: been if this is the life that we've been given,

860
00:48:14,280 --> 00:48:15,880
Speaker 2: we want to be able to live it to the

861
00:48:15,880 --> 00:48:18,600
Speaker 2: fullest on our own terms. But we can't do that

862
00:48:18,680 --> 00:48:20,279
Speaker 2: until our dad gets out of the fucking kitchen and

863
00:48:20,320 --> 00:48:24,879
Speaker 2: he never will. Yeah, it's like so sweet to see

864
00:48:24,920 --> 00:48:27,560
Speaker 2: them still have a closeness and they're you know, see

865
00:48:27,560 --> 00:48:32,360
Speaker 2: them laughing and talking together and having each other because

866
00:48:32,760 --> 00:48:34,560
Speaker 2: he could not have been an easy person to grow

867
00:48:34,640 --> 00:48:36,319
Speaker 2: up with and even admits that at one point, he's like,

868
00:48:36,320 --> 00:48:38,160
Speaker 2: I wasn't a great dad when they were kids because

869
00:48:38,160 --> 00:48:40,600
Speaker 2: I wasn't there. I was trying to become a sushi master.

870
00:48:40,880 --> 00:48:44,719
Speaker 1: Yeah, yeah, oh my gosh, what did you think of this?

871
00:48:45,120 --> 00:48:46,719
Speaker 2: Overall? The like with you and your mom, Like did

872
00:48:46,760 --> 00:48:49,359
Speaker 2: you like it? Because is she never seen it either?

873
00:48:50,080 --> 00:48:53,040
Speaker 1: No, And my mom is real crunk about fish. Let

874
00:48:53,080 --> 00:48:57,959
Speaker 1: me tell you she this must be an Asian thing,

875
00:48:58,160 --> 00:49:01,520
Speaker 1: but it's like the quality of fish is very important

876
00:49:01,560 --> 00:49:04,800
Speaker 1: to her, Like she won't get fish pretty much anywhere

877
00:49:04,880 --> 00:49:09,800
Speaker 1: that's not near near the water. But she's not real, real,

878
00:49:10,120 --> 00:49:14,000
Speaker 1: real particular about it. And the entire time. She was like,

879
00:49:14,200 --> 00:49:16,160
Speaker 1: look at this fish. I mean, this is like the

880
00:49:16,160 --> 00:49:19,880
Speaker 1: best fish you could ever ever see. And I not

881
00:49:20,000 --> 00:49:23,680
Speaker 1: for nothing. My favorite part of this because the thing

882
00:49:23,680 --> 00:49:25,799
Speaker 1: I love about this documentary is that it is kind

883
00:49:25,800 --> 00:49:29,759
Speaker 1: of like a very intense look at just this business.

884
00:49:29,800 --> 00:49:32,360
Speaker 1: This like not just the restaurant business, but sort of

885
00:49:32,440 --> 00:49:37,680
Speaker 1: the businesses that exist, you know, right around it. And

886
00:49:38,480 --> 00:49:42,960
Speaker 1: I became obsessed with the fish market and I loved

887
00:49:44,280 --> 00:49:48,640
Speaker 1: the tune. A dealer guy who, oh, the tuna dealer

888
00:49:48,680 --> 00:49:54,319
Speaker 1: guy called himself anti establishment, and I was like, I

889
00:49:54,360 --> 00:50:00,000
Speaker 1: want to be an anti establishment tuna dealer. Fuck entertainment.

890
00:50:00,120 --> 00:50:02,719
Speaker 1: I'm gonna go into this world and just be like

891
00:50:02,760 --> 00:50:08,279
Speaker 1: a punk rock anti establishment guy that buys tuna with

892
00:50:08,360 --> 00:50:11,480
Speaker 1: his flashlight, like the flashlight thing. I was like, oh shit,

893
00:50:11,600 --> 00:50:12,600
Speaker 1: that's fascinating.

894
00:50:12,719 --> 00:50:16,400
Speaker 2: And he is. He is such a picky bitch. He

895
00:50:16,440 --> 00:50:18,760
Speaker 2: would look at someone's fish and tell them to their face,

896
00:50:18,840 --> 00:50:22,759
Speaker 2: this is crap. Yeah, like he and he's smoking a

897
00:50:22,760 --> 00:50:25,319
Speaker 2: cigarette the whole time. There's nothing I love more than

898
00:50:25,360 --> 00:50:28,520
Speaker 2: when someone who has built their life around tasting food

899
00:50:29,000 --> 00:50:34,239
Speaker 2: is a heavy smoker. I fucking love it so much

900
00:50:34,239 --> 00:50:36,160
Speaker 2: because I'm like, imagine what your palette would be if

901
00:50:36,200 --> 00:50:38,960
Speaker 2: you did not chain smoke all day. Yeah, but he's

902
00:50:38,960 --> 00:50:40,600
Speaker 2: like smoking over the fish. He's like, here's what I

903
00:50:40,600 --> 00:50:42,600
Speaker 2: think of your fucking fish. I'm gonna ash right on it.

904
00:50:42,640 --> 00:50:43,399
Speaker 2: I don't give a fuck.

905
00:50:44,480 --> 00:50:47,080
Speaker 1: And then they had that kind of what it was

906
00:50:47,160 --> 00:50:49,960
Speaker 1: kind of like an auction, the fish auction, which was

907
00:50:50,320 --> 00:50:54,120
Speaker 1: super interesting and I don't know that whole part of

908
00:50:54,200 --> 00:50:56,640
Speaker 1: the documentary was my favorite because I just was like,

909
00:50:57,360 --> 00:50:59,920
Speaker 1: I want to go to a tuna auction and hang

910
00:51:00,080 --> 00:51:04,080
Speaker 1: with these dudes with their flashlights looking in put peeling

911
00:51:04,160 --> 00:51:07,839
Speaker 1: back the belly parts and be like, what's it. What's

912
00:51:07,840 --> 00:51:10,319
Speaker 1: it looking like in there? Am I fucking with this thing?

913
00:51:10,400 --> 00:51:12,719
Speaker 1: Or not today? Because he was like, oh, the guy

914
00:51:12,760 --> 00:51:14,759
Speaker 1: the tuna dealer was like, if I don't like the

915
00:51:14,800 --> 00:51:17,520
Speaker 1: first one, it's a wrap exactly.

916
00:51:17,920 --> 00:51:20,400
Speaker 2: Oh yeah, he's out. His whole day is fucking done.

917
00:51:20,440 --> 00:51:23,000
Speaker 2: He's like, you better bring me that best fish right

918
00:51:23,040 --> 00:51:25,239
Speaker 2: away or I'm not even fucking with you for the

919
00:51:25,280 --> 00:51:26,000
Speaker 2: rest of the day.

920
00:51:27,120 --> 00:51:29,560
Speaker 1: It's so great. It's so great. Yeah, Oh, I.

921
00:51:29,480 --> 00:51:32,120
Speaker 2: Love the octopus guy. Like when the when we bought

922
00:51:32,120 --> 00:51:34,480
Speaker 2: the octopus and the guy kind of takes it out

923
00:51:34,520 --> 00:51:36,399
Speaker 2: of the bag and it starts crawling up his arm

924
00:51:36,480 --> 00:51:38,239
Speaker 2: and he's just kind of putting it in this bag

925
00:51:38,280 --> 00:51:41,000
Speaker 2: for Yoshi, because Yoshi ps rides his bike to the

926
00:51:41,000 --> 00:51:43,400
Speaker 2: fish market every single day to pick the fish for

927
00:51:43,440 --> 00:51:45,960
Speaker 2: the restaurant. So he goes and he's like talking to

928
00:51:45,960 --> 00:51:47,440
Speaker 2: this octopus guy and he's like, yeah, you know, like

929
00:51:47,440 --> 00:51:49,200
Speaker 2: I saved the best one for you and these are

930
00:51:49,560 --> 00:51:52,640
Speaker 2: a good size. And then Yoshi's talking about it. He's like, yeah,

931
00:51:52,719 --> 00:51:55,239
Speaker 2: like I bought this today, but it's gonna marinade. It's

932
00:51:55,239 --> 00:51:58,400
Speaker 2: gonna have to marinate for like forty eight hours, and

933
00:51:58,440 --> 00:52:00,000
Speaker 2: it's gonna we're gonna to prep it. We're gonna have

934
00:52:00,040 --> 00:52:03,080
Speaker 2: the taste it work. It's like it's just the forethought

935
00:52:04,160 --> 00:52:06,080
Speaker 2: of what you can do when you get the best

936
00:52:06,120 --> 00:52:09,480
Speaker 2: quality ingredients is amazing to me. But I just loved it.

937
00:52:10,239 --> 00:52:13,279
Speaker 1: Yeah, I know. Euro's like, oh, back in back when

938
00:52:13,320 --> 00:52:16,400
Speaker 1: I was a younger guy, I just massaged the octopus

939
00:52:16,400 --> 00:52:19,640
Speaker 1: for thirty minutes. Sure can you believe that? Now we

940
00:52:19,719 --> 00:52:21,960
Speaker 1: massage him for at least forty five minutes. And I'm like,

941
00:52:23,080 --> 00:52:25,360
Speaker 1: oh damn, they got a massage and octopus. Then a

942
00:52:25,440 --> 00:52:28,759
Speaker 1: person look at my mom and she's like, yeah, you

943
00:52:28,880 --> 00:52:31,319
Speaker 1: had to massage an octopus that long or else it's

944
00:52:31,320 --> 00:52:37,440
Speaker 1: gonna be as as rubbery as the Michelin tires, you know, Like,

945
00:52:37,960 --> 00:52:39,480
Speaker 1: and I was like, oh, I guess it's didn't occur

946
00:52:39,560 --> 00:52:42,480
Speaker 1: to me. I learned a lot actually when I watched this.

947
00:52:42,760 --> 00:52:45,000
Speaker 1: That's what I love about your movies. Sometimes I have

948
00:52:45,080 --> 00:52:47,719
Speaker 1: to go down these roads on the internet to find

949
00:52:47,719 --> 00:52:49,600
Speaker 1: out that I don't know shit.

950
00:52:50,920 --> 00:52:53,759
Speaker 2: And again, you're not a shoken in, Like, we're not

951
00:52:53,920 --> 00:52:57,919
Speaker 2: choking in. I might be able to roll up some rice,

952
00:52:57,920 --> 00:52:59,399
Speaker 2: but it's not gonna be the best thing you've ever

953
00:52:59,440 --> 00:53:02,400
Speaker 2: tasted in your fucking life. It's gonna be passable as sushi.

954
00:53:03,080 --> 00:53:05,799
Speaker 2: But these are people who like dedic like to know

955
00:53:05,880 --> 00:53:09,120
Speaker 2: the difference between massaging for thirty minutes to fifty minutes

956
00:53:09,280 --> 00:53:13,440
Speaker 2: is a skill that was developed over so much time. Yeah,

957
00:53:13,840 --> 00:53:16,360
Speaker 2: and it's beautiful to watch, like, it's truly beautiful. And

958
00:53:16,400 --> 00:53:18,879
Speaker 2: again this is pre Chef's Table, which is I love.

959
00:53:19,000 --> 00:53:23,200
Speaker 2: Oh my god, there's a Chef's Table episode with a

960
00:53:23,239 --> 00:53:28,640
Speaker 2: guy who runs a restaurant with his family and he

961
00:53:29,239 --> 00:53:33,520
Speaker 2: has some kind of like laryngitis like laryngeal issue, so

962
00:53:33,560 --> 00:53:37,720
Speaker 2: he whispers like he talks in a whisper. I don't

963
00:53:37,760 --> 00:53:41,880
Speaker 2: think food shows are supposed to make you horny, but like,

964
00:53:42,000 --> 00:53:45,480
Speaker 2: this dude is so fucking hot. He's like whispering to

965
00:53:45,560 --> 00:53:48,960
Speaker 2: the dirt and he's speaking like and he's like whispering

966
00:53:49,040 --> 00:53:52,120
Speaker 2: to his fucking food. And I'm like, this is very

967
00:53:52,160 --> 00:53:55,200
Speaker 2: hot and it should not be. But like that's what

968
00:53:55,320 --> 00:53:57,879
Speaker 2: Chef's Table does. There's another one, Oh my god, there's

969
00:53:57,920 --> 00:54:01,120
Speaker 2: another one with Alex what's his face in Brazil and

970
00:54:01,160 --> 00:54:03,680
Speaker 2: he's like, yeah, I'm a fucking chef, but I'm also

971
00:54:03,719 --> 00:54:06,799
Speaker 2: an environmentalist, so he's like jumping into the jungle to

972
00:54:06,920 --> 00:54:10,600
Speaker 2: like get a certain mushroom and save the trees while

973
00:54:10,640 --> 00:54:13,399
Speaker 2: he's there, Like it is, I can't watch Chef's Table

974
00:54:13,520 --> 00:54:14,279
Speaker 2: is too hot, but.

975
00:54:17,200 --> 00:54:19,440
Speaker 1: I think I'm gonna watch it. I haven't seen it, so.

976
00:54:19,600 --> 00:54:22,160
Speaker 2: Oh my god, I'm sending you a list of episodes

977
00:54:22,160 --> 00:54:25,160
Speaker 2: to watch immediately. I think euro dreams of sushi walks,

978
00:54:25,160 --> 00:54:28,279
Speaker 2: so Chef's Table could run, could fly. Yeah, and they

979
00:54:28,280 --> 00:54:30,479
Speaker 2: brought a level of corniness that was not needed because

980
00:54:30,480 --> 00:54:34,439
Speaker 2: the food was also already a horny endeavor. But it's

981
00:54:35,000 --> 00:54:36,640
Speaker 2: I don't know, I just I think I really just

982
00:54:36,760 --> 00:54:41,000
Speaker 2: appreciate I appreciate documentaries like this. I appreciate movies like

983
00:54:41,040 --> 00:54:44,520
Speaker 2: this because I think that, especially in America and food

984
00:54:44,560 --> 00:54:47,600
Speaker 2: culture right now, not enough people there are too many

985
00:54:47,600 --> 00:54:50,759
Speaker 2: people focusing on the kind of porny aspects of it

986
00:54:51,400 --> 00:54:55,920
Speaker 2: and being very rigid and shitty and elitist about food,

987
00:54:56,000 --> 00:54:59,320
Speaker 2: and I kind of appreciate anything that kind of focuses

988
00:54:59,360 --> 00:55:01,440
Speaker 2: on the fact that food can be simple and delicious

989
00:55:01,440 --> 00:55:03,719
Speaker 2: and everyone should have it, because I don't like it

990
00:55:03,760 --> 00:55:06,279
Speaker 2: when people are like, well, yeah, yeah, you can eat

991
00:55:06,280 --> 00:55:08,840
Speaker 2: here if you have seven hundred dollars for this cheese,

992
00:55:09,239 --> 00:55:12,919
Speaker 2: like funk off. I don't care. I don't care about

993
00:55:12,920 --> 00:55:14,960
Speaker 2: that shit. So I like the simplicity of it. I

994
00:55:15,000 --> 00:55:18,200
Speaker 2: like the dedication. The family dynamics are interesting. I just

995
00:55:18,200 --> 00:55:20,080
Speaker 2: think it's it's a beautiful fucking documentary.

996
00:55:20,880 --> 00:55:25,120
Speaker 1: Yeah. I loved it too, And maybe one day I'll

997
00:55:25,160 --> 00:55:26,040
Speaker 1: be able to eat there.

998
00:55:28,040 --> 00:55:31,960
Speaker 2: Look, we will always have Repangy Hills. Tekashia has always

999
00:55:32,000 --> 00:55:32,440
Speaker 2: got us.

1000
00:55:34,840 --> 00:55:37,520
Speaker 1: I'll go there. I'm okay with it. I'm like, if

1001
00:55:37,520 --> 00:55:38,800
Speaker 1: it's in the family.

1002
00:55:38,880 --> 00:55:41,719
Speaker 2: Yeah, that's fine. I'll show up to Yoshi's house and

1003
00:55:41,760 --> 00:55:43,840
Speaker 2: be like, what's up, roll me up a roll.

1004
00:55:46,680 --> 00:55:49,520
Speaker 1: Well, yeah, it's such a lovely doc. I'm so glad

1005
00:55:49,680 --> 00:55:52,239
Speaker 1: I finally got to watch it because of you. It

1006
00:55:52,280 --> 00:55:56,040
Speaker 1: fits the theme absolutely perfectly, and as.

1007
00:55:55,960 --> 00:55:58,920
Speaker 2: Does your movie. As does your movie.

1008
00:55:59,520 --> 00:56:03,000
Speaker 1: Oh my god, I have not seen this movie since

1009
00:56:03,000 --> 00:56:05,800
Speaker 1: it came out, and I have so much to say,

1010
00:56:06,640 --> 00:56:12,000
Speaker 1: but my movie for the theme, I wish this popcorn

1011
00:56:12,120 --> 00:56:16,080
Speaker 1: was a burger is a movie from two thousand and seven.

1012
00:56:16,760 --> 00:56:19,600
Speaker 1: It was written and directed by Adrian Shelley, and it's

1013
00:56:19,640 --> 00:56:20,680
Speaker 1: called Waitress.

1014
00:56:21,000 --> 00:56:21,560
Speaker 2: I don't care.

1015
00:56:21,680 --> 00:56:22,840
Speaker 1: She is a pa genius.

1016
00:56:22,960 --> 00:56:24,160
Speaker 2: Owen Drey places with you.

1017
00:56:24,800 --> 00:56:29,960
Speaker 1: So I first heard of the director of Waitress, Adrian

1018
00:56:30,040 --> 00:56:37,000
Speaker 1: Shelley through her acting right, specifically in the movies of

1019
00:56:37,680 --> 00:56:44,640
Speaker 1: Hal Hartley, the independent director. For me, Hal hartley movies

1020
00:56:44,880 --> 00:56:48,480
Speaker 1: were essential in my twenties, especially if you haven't heard

1021
00:56:48,480 --> 00:56:53,640
Speaker 1: of them. He was and is he's still around. He

1022
00:56:53,680 --> 00:56:57,040
Speaker 1: made these movies that were kind of these like romantic

1023
00:56:57,080 --> 00:56:59,080
Speaker 1: comedies for smart people, as.

1024
00:56:58,920 --> 00:57:00,200
Speaker 2: Is maybe the best way.

1025
00:57:00,080 --> 00:57:05,239
Speaker 1: To put it, primarily in the late eighties and nineties.

1026
00:57:05,880 --> 00:57:07,799
Speaker 1: I don't know if you really need a reference. It was.

1027
00:57:07,960 --> 00:57:11,160
Speaker 1: He kind of reminds me of like a male Long

1028
00:57:11,239 --> 00:57:16,600
Speaker 1: Island version of Nicole Haloffen Center or something right, just

1029
00:57:16,600 --> 00:57:24,240
Speaker 1: that kind of tempo of film. He's best known for

1030
00:57:24,960 --> 00:57:30,840
Speaker 1: I think this movie called Henry Fool, which starred James

1031
00:57:30,840 --> 00:57:35,200
Speaker 1: of Maniac and Parker Posey, and he tended to use

1032
00:57:35,240 --> 00:57:38,000
Speaker 1: a lot of the same actors in his films, like

1033
00:57:38,520 --> 00:57:42,920
Speaker 1: Parker Posey, Edie Falco, and Martin Donovan, who I just

1034
00:57:43,080 --> 00:57:49,800
Speaker 1: love to meet. Martin Donovan is and was kind of

1035
00:57:49,840 --> 00:57:53,360
Speaker 1: like the quintessential Hal Hartley it boy. Yeah, kind of

1036
00:57:53,400 --> 00:57:56,880
Speaker 1: like whence you say, I would say, I think Martin

1037
00:57:56,920 --> 00:58:01,240
Speaker 1: Donovan kind of embodies that kind of Hal Hartley character.

1038
00:58:03,080 --> 00:58:07,680
Speaker 1: He's kind of like Chris Eigman in the Witt Stillman movies,

1039
00:58:07,880 --> 00:58:11,600
Speaker 1: just kind of his go to dude. And Martin Donovan

1040
00:58:11,920 --> 00:58:14,400
Speaker 1: was in a movie with Adrian Shelley that I really

1041
00:58:14,440 --> 00:58:18,600
Speaker 1: love called Trust Hell Hartley Film, and then she was

1042
00:58:18,600 --> 00:58:22,200
Speaker 1: in a movie called The Unbelievable Truth, which is also

1043
00:58:22,240 --> 00:58:24,960
Speaker 1: really great. And by the way, if you have the

1044
00:58:25,000 --> 00:58:29,880
Speaker 1: Criterion Channel, by chance, Trust and The Unbelievable Truth are

1045
00:58:29,920 --> 00:58:33,080
Speaker 1: both on there as as of this recording. They're streaming

1046
00:58:33,120 --> 00:58:36,200
Speaker 1: as part of this Hell Hartley retrospective on the Criterion Channel,

1047
00:58:36,200 --> 00:58:39,040
Speaker 1: which is cool. There's four films in total, and it's

1048
00:58:39,120 --> 00:58:41,560
Speaker 1: kind of cool because hell, Hartley's kind of notorious for

1049
00:58:41,600 --> 00:58:45,520
Speaker 1: distributing his own films, So you know, I'm hoping that

1050
00:58:45,640 --> 00:58:48,040
Speaker 1: now that they're on the Criterion Channel, more people will

1051
00:58:48,120 --> 00:58:51,160
Speaker 1: kind of open up to them and discover them, hopefully

1052
00:58:51,440 --> 00:58:56,800
Speaker 1: like a new generation perhaps. But Adrian Shelley is is

1053
00:58:58,440 --> 00:59:01,720
Speaker 1: wonderful to me, Like she's a real indie film queen.

1054
00:59:01,920 --> 00:59:06,000
Speaker 1: She has this really cute, quirky energy to her, this

1055
00:59:06,240 --> 00:59:10,400
Speaker 1: fiery red hair, and I don't know, just really adorable.

1056
00:59:10,680 --> 00:59:13,760
Speaker 1: And the coolest thing is that she also directed films

1057
00:59:14,320 --> 00:59:17,160
Speaker 1: while she was acting in both TV and film all

1058
00:59:17,160 --> 00:59:20,320
Speaker 1: throughout the nineties and early two thousands, and she made

1059
00:59:20,840 --> 00:59:23,440
Speaker 1: short films, she made some feature length films, and then

1060
00:59:23,440 --> 00:59:25,960
Speaker 1: she wrote the script for Waitress while she was pregnant

1061
00:59:25,960 --> 00:59:29,680
Speaker 1: with her daughter, Sophie. And when I saw this movie

1062
00:59:29,680 --> 00:59:31,240
Speaker 1: in two thousand and seven when it came out, I

1063
00:59:31,240 --> 00:59:33,240
Speaker 1: mean it felt like her stamp was kind of all

1064
00:59:33,280 --> 00:59:35,600
Speaker 1: over it. She did the costumes and the sets, you know,

1065
00:59:36,280 --> 00:59:39,520
Speaker 1: obviously wrote and directed it. She's acting in the film.

1066
00:59:39,600 --> 00:59:42,320
Speaker 1: She plays Dawn, who is one of the waitresses at

1067
00:59:42,400 --> 00:59:49,400
Speaker 1: the diner. So when Waitress wrapped back in two thousand

1068
00:59:49,400 --> 00:59:53,200
Speaker 1: and six, I believe and it was about to make

1069
00:59:53,320 --> 00:59:57,400
Speaker 1: the rounds at you know, Sundance and kind of the

1070
00:59:57,440 --> 01:00:02,640
Speaker 1: film festival circuit. Adrian Shelley was tragically found dead by

1071
01:00:02,640 --> 01:00:06,080
Speaker 1: her husband in the bathroom of her office in New

1072
01:00:06,160 --> 01:00:09,400
Speaker 1: York City, where she was hanging from a shower rod,

1073
01:00:11,040 --> 01:00:16,400
Speaker 1: and initially it was labeled a suicide, but her husband

1074
01:00:17,160 --> 01:00:21,440
Speaker 1: insisted that it just couldn't have been. She had a

1075
01:00:21,480 --> 01:00:24,720
Speaker 1: young daughter, her movie was coming out, and he felt

1076
01:00:24,760 --> 01:00:28,680
Speaker 1: like that the suicide thing just didn't add up, and

1077
01:00:28,760 --> 01:00:32,880
Speaker 1: he persuaded the police to open an investigation, where they

1078
01:00:32,960 --> 01:00:38,440
Speaker 1: eventually discovered that Shelley had essentially walked into an attempted

1079
01:00:38,560 --> 01:00:43,080
Speaker 1: robbery of her office and the perpetrator was a nineteen

1080
01:00:43,120 --> 01:00:47,600
Speaker 1: year old Ecuadorian man who was working construction in the building,

1081
01:00:48,800 --> 01:00:55,160
Speaker 1: and over time he eventually confessed that he had panicked

1082
01:00:55,240 --> 01:00:58,800
Speaker 1: and strangled her and then hung her body in the

1083
01:00:58,800 --> 01:01:01,640
Speaker 1: bathroom to make it look like she died by suicide.

1084
01:01:02,040 --> 01:01:05,160
Speaker 1: And she was only forty years old. And it's just

1085
01:01:05,240 --> 01:01:08,040
Speaker 1: such a tragic story. It's like really hard for me

1086
01:01:08,120 --> 01:01:14,880
Speaker 1: to think about. Yeah, and I just kept I just

1087
01:01:14,960 --> 01:01:18,400
Speaker 1: keep thinking, like how many other movies she could have

1088
01:01:18,440 --> 01:01:22,920
Speaker 1: made if she had lived, and it's just extremely sad

1089
01:01:22,960 --> 01:01:23,200
Speaker 1: to me.

1090
01:01:23,600 --> 01:01:26,520
Speaker 2: That's the thing that hits me when I was watching

1091
01:01:26,560 --> 01:01:29,000
Speaker 2: this this time as well, is the writing in this

1092
01:01:29,080 --> 01:01:34,480
Speaker 2: film is so incredibly good. It's so fast, it's witty,

1093
01:01:35,240 --> 01:01:38,120
Speaker 2: it's like nothing is left on the bone, Like she

1094
01:01:38,320 --> 01:01:43,480
Speaker 2: was such an incredible writer and director, and we really

1095
01:01:43,760 --> 01:01:49,280
Speaker 2: truly lost something in her murder, Like we really lost

1096
01:01:49,600 --> 01:01:53,200
Speaker 2: somebody who again, who knows what could have what she

1097
01:01:53,280 --> 01:01:57,560
Speaker 2: could have done, but to have her have been murdered

1098
01:01:58,160 --> 01:02:00,000
Speaker 2: when she was on the cusp of being in her

1099
01:02:00,040 --> 01:02:03,000
Speaker 2: her prime, not just in her professional life but in

1100
01:02:03,000 --> 01:02:06,320
Speaker 2: her personal life, it's just it's tragic all around. And

1101
01:02:06,400 --> 01:02:09,720
Speaker 2: I'm I'm actually really proud of her husband for being

1102
01:02:10,040 --> 01:02:15,360
Speaker 2: so persistent because NYPD did not want to investigate. They're like, well,

1103
01:02:15,440 --> 01:02:17,240
Speaker 2: she's hanging from the shower rod at the suicide, and

1104
01:02:17,280 --> 01:02:19,480
Speaker 2: he's like, will you look at the fucking facts? And

1105
01:02:19,520 --> 01:02:21,720
Speaker 2: I think that when I was reading about it, one

1106
01:02:21,760 --> 01:02:25,480
Speaker 2: of the things that stood out was when they finally

1107
01:02:25,480 --> 01:02:28,880
Speaker 2: did investigate is there was a full footprint in the

1108
01:02:29,000 --> 01:02:33,960
Speaker 2: dust like surrounding the body, and it's like, how do

1109
01:02:34,000 --> 01:02:37,920
Speaker 2: you miss? Like just fucking upsetting. But I'm I'm just

1110
01:02:38,320 --> 01:02:41,160
Speaker 2: my heart goes out to her family and you know,

1111
01:02:41,200 --> 01:02:43,600
Speaker 2: to her husband, to her daughter, to everyone who loved her,

1112
01:02:43,760 --> 01:02:46,320
Speaker 2: and it's just we really lost something, We really lost

1113
01:02:46,320 --> 01:02:47,160
Speaker 2: something with her.

1114
01:02:47,320 --> 01:02:52,320
Speaker 1: Yeah, theme, this whole crime has been written about a lot,

1115
01:02:52,840 --> 01:02:57,360
Speaker 1: so if you if you just go on the internet,

1116
01:02:57,400 --> 01:03:00,920
Speaker 1: you can find a lot of things about it. Obviously

1117
01:03:00,960 --> 01:03:03,520
Speaker 1: I would like to go in more detail, but I

1118
01:03:03,560 --> 01:03:05,480
Speaker 1: just feel like we don't really have a lot of time.

1119
01:03:05,520 --> 01:03:08,200
Speaker 1: There's a lot a lot happened throughout the course of

1120
01:03:08,240 --> 01:03:11,080
Speaker 1: sort of like right after it happened, and then up

1121
01:03:11,080 --> 01:03:13,720
Speaker 1: and even until a few years ago. But you're right

1122
01:03:13,760 --> 01:03:19,480
Speaker 1: about her husband. Her husband after her death, created the

1123
01:03:19,600 --> 01:03:24,200
Speaker 1: Adrian Shelley Foundation, which gives scholarships and grants and other

1124
01:03:24,280 --> 01:03:28,240
Speaker 1: funds to women filmmakers. And what I thought was really

1125
01:03:28,280 --> 01:03:32,720
Speaker 1: interesting is that two of the two of the recipients

1126
01:03:32,760 --> 01:03:36,960
Speaker 1: from this award over the years include women who would

1127
01:03:37,000 --> 01:03:40,480
Speaker 1: go on to win Oscars for their films, And one

1128
01:03:40,480 --> 01:03:42,720
Speaker 1: of them was chloe's Ou who won Best Director for

1129
01:03:42,760 --> 01:03:45,760
Speaker 1: Nomadland in twenty twenty, and she was the first woman

1130
01:03:45,800 --> 01:03:48,440
Speaker 1: of color to win for Best Directors. So I just

1131
01:03:48,520 --> 01:03:53,920
Speaker 1: think that so much good came out of that tragic experience.

1132
01:03:54,000 --> 01:03:56,919
Speaker 1: With this foundation, and you know, it's just a really

1133
01:03:57,000 --> 01:04:00,000
Speaker 1: good way to honor her legacy.

1134
01:04:00,800 --> 01:04:07,280
Speaker 2: And yeah, there's also a documentary about on HBO about

1135
01:04:07,280 --> 01:04:10,520
Speaker 2: her death. Her husband produced it and he actually talks

1136
01:04:10,560 --> 01:04:11,880
Speaker 2: with the person who killed her.

1137
01:04:12,440 --> 01:04:16,960
Speaker 1: Yeah, that I was I was unsure if I if

1138
01:04:17,000 --> 01:04:22,040
Speaker 1: I was like emotionally ready to watch that. Yeah, I

1139
01:04:22,080 --> 01:04:25,480
Speaker 1: know it's there and I probably will at some point

1140
01:04:25,760 --> 01:04:28,480
Speaker 1: do it, but yeah, I mean it just it's a

1141
01:04:28,600 --> 01:04:33,560
Speaker 1: very very heavy story and at any rate, there's a

1142
01:04:33,600 --> 01:04:35,360
Speaker 1: lot of a lot out there if you want to

1143
01:04:35,400 --> 01:04:38,760
Speaker 1: look into it. So I'll do a one sentences of

1144
01:04:38,760 --> 01:04:43,360
Speaker 1: anopsis of Waitress. A woman working as a waitress in

1145
01:04:43,400 --> 01:04:46,680
Speaker 1: a small town diner who dreams of escaping her abusive

1146
01:04:46,720 --> 01:04:52,960
Speaker 1: marriage finds out that she's pregnant. So the lead of

1147
01:04:52,960 --> 01:04:56,640
Speaker 1: this film is named Jenna. She's played by Carrie Russell.

1148
01:04:56,920 --> 01:04:59,960
Speaker 1: I think you know who she is. Jenna is a

1149
01:05:00,040 --> 01:05:03,960
Speaker 1: waitress who was working at this diner named Joe's Pie Diner,

1150
01:05:04,240 --> 01:05:07,400
Speaker 1: which is located in a small town somewhere in the South.

1151
01:05:07,560 --> 01:05:11,440
Speaker 1: I thought it might be maybe Mississippi or Louisiana or

1152
01:05:11,480 --> 01:05:14,000
Speaker 1: something just and my only reason why I thought this

1153
01:05:14,120 --> 01:05:16,040
Speaker 1: is because there's this brief shot of one of the

1154
01:05:16,080 --> 01:05:18,720
Speaker 1: characters reading a newspaper, and it was the newspaper was

1155
01:05:18,760 --> 01:05:22,040
Speaker 1: like the blank pickyune, which I feel like is only

1156
01:05:22,080 --> 01:05:25,440
Speaker 1: a Southern thing. I don't know about that, so it

1157
01:05:26,040 --> 01:05:27,919
Speaker 1: definitely takes place in the South. Now, I will say

1158
01:05:27,920 --> 01:05:31,840
Speaker 1: to that end that I feel like Carrie Russell has

1159
01:05:31,840 --> 01:05:34,280
Speaker 1: a mostly believable Southern accent.

1160
01:05:35,440 --> 01:05:36,680
Speaker 2: Yeah, it didn't FaZe me at all.

1161
01:05:37,480 --> 01:05:43,760
Speaker 1: Yeah, I will say that Jeremy Cisto does not have

1162
01:05:43,800 --> 01:05:48,840
Speaker 1: a believable at all at all. I always noticed that

1163
01:05:48,920 --> 01:05:51,280
Speaker 1: in films, because hey, I'm from the South. I noticed

1164
01:05:51,320 --> 01:05:55,400
Speaker 1: these things. But I want to ask, I have never

1165
01:05:55,880 --> 01:05:58,000
Speaker 1: seen a pie diner? Have you Have you ever been

1166
01:05:58,000 --> 01:06:02,600
Speaker 1: to a pie diner? Yeah, road trips is that a thing? Yeah,

1167
01:06:02,840 --> 01:06:03,960
Speaker 1: small and smaller towns.

1168
01:06:04,040 --> 01:06:06,400
Speaker 2: Yeah, in smaller towns it is usually and it's usually

1169
01:06:06,440 --> 01:06:09,919
Speaker 2: like a diner, like I've been to probably two or three,

1170
01:06:09,960 --> 01:06:12,520
Speaker 2: and it's like a diner, a proper diner, but they

1171
01:06:12,680 --> 01:06:15,800
Speaker 2: specialize in like a daily pie or something like that. Yeah.

1172
01:06:16,000 --> 01:06:19,880
Speaker 1: Well, there's House of Pies in La Yeah, but I

1173
01:06:20,000 --> 01:06:22,240
Speaker 1: wasn't sure if that meant, like, I wasn't sure if

1174
01:06:22,280 --> 01:06:25,160
Speaker 1: that was an actual pie diner where they only served pie.

1175
01:06:26,000 --> 01:06:29,600
Speaker 2: Well they didn't only serve pie in the movie either, okay,

1176
01:06:29,680 --> 01:06:32,040
Speaker 2: because you know, and when Andy Griffith ordered, he ordered

1177
01:06:32,040 --> 01:06:35,320
Speaker 2: like a full meal. Ok So, I think it's more

1178
01:06:35,360 --> 01:06:37,640
Speaker 2: of like if pie is the focus, like we have

1179
01:06:37,720 --> 01:06:39,480
Speaker 2: good pies here. That's kind of what my idea of

1180
01:06:39,480 --> 01:06:42,439
Speaker 2: a pie diner is. Okay, So I think I think

1181
01:06:42,640 --> 01:06:43,600
Speaker 2: the pies will qualify.

1182
01:06:43,920 --> 01:06:46,200
Speaker 1: Okay, I guess he did order tomatoes. I guess I

1183
01:06:46,480 --> 01:06:49,240
Speaker 1: thought he ordered only pie, but I could be wrong. Okay, Well,

1184
01:06:49,440 --> 01:06:51,040
Speaker 1: now I want to go to a pie diner like

1185
01:06:51,160 --> 01:06:53,800
Speaker 1: that only serves pies and everything on the menu is

1186
01:06:53,840 --> 01:06:56,840
Speaker 1: a pie. Even the drinks. I'm kidding.

1187
01:06:58,400 --> 01:06:59,920
Speaker 2: The drinks couple a crust around the top.

1188
01:07:00,160 --> 01:07:04,080
Speaker 1: The it's baked in like a cup and the cup

1189
01:07:04,160 --> 01:07:07,880
Speaker 1: is a crust. Come on, people, let's make some money

1190
01:07:07,960 --> 01:07:12,160
Speaker 1: if that doesn't exist yet. So Jenna works with these

1191
01:07:12,200 --> 01:07:14,680
Speaker 1: two co workers who are played by Cheryl Hines and

1192
01:07:14,680 --> 01:07:17,320
Speaker 1: Adrian Shelley, and they're all very good friends. They're all

1193
01:07:17,360 --> 01:07:20,360
Speaker 1: very supportive. It kind of has this like Alice type

1194
01:07:20,360 --> 01:07:23,920
Speaker 1: of vibe to it. It's very cute. But so Jenna

1195
01:07:24,080 --> 01:07:27,600
Speaker 1: is she just happens to be really, really talented at

1196
01:07:27,600 --> 01:07:31,560
Speaker 1: making amazing pies right, and people all over tell lover pies.

1197
01:07:32,080 --> 01:07:34,240
Speaker 1: You also find out that Jenna is married to a

1198
01:07:34,640 --> 01:07:39,640
Speaker 1: real piece of shit named Earl, who is played by

1199
01:07:39,760 --> 01:07:42,600
Speaker 1: Jeremy Sisto. As I mentioned, he's.

1200
01:07:42,480 --> 01:07:45,160
Speaker 2: Like, again, just like William Ficknurl. I feel like he

1201
01:07:45,320 --> 01:07:47,720
Speaker 2: has a faith that will he will always play the

1202
01:07:47,760 --> 01:07:48,800
Speaker 2: creep or the shthead.

1203
01:07:49,080 --> 01:07:51,240
Speaker 1: I was thinking that too. I was like, God, he's such.

1204
01:07:51,360 --> 01:07:55,560
Speaker 1: He plays a lot of shitty men and he's great

1205
01:07:55,600 --> 01:07:59,400
Speaker 1: at it. So that's that's great for him. I hope

1206
01:07:59,440 --> 01:08:00,680
Speaker 1: he's not that life.

1207
01:08:01,440 --> 01:08:03,080
Speaker 2: I doubt it. I think he's probably a sweetheart in

1208
01:08:03,120 --> 01:08:04,760
Speaker 2: real life, but he just has one of those faces

1209
01:08:04,800 --> 01:08:06,800
Speaker 2: and he's so good at it because he does that glare.

1210
01:08:06,960 --> 01:08:09,400
Speaker 2: He's got a really like a ten yard stare that's

1211
01:08:09,440 --> 01:08:10,840
Speaker 2: really cruel.

1212
01:08:10,960 --> 01:08:15,400
Speaker 1: Yeah. Well, and that's the thing is that Earl essentially

1213
01:08:15,680 --> 01:08:21,000
Speaker 1: controls Jenna's entire life and is forces her to kind

1214
01:08:21,040 --> 01:08:23,200
Speaker 1: of tend to him twenty four hours a day, which

1215
01:08:23,240 --> 01:08:27,639
Speaker 1: is so obnoxious. And he makes her give him all

1216
01:08:27,680 --> 01:08:30,120
Speaker 1: the money that she makes with the diner, which is

1217
01:08:30,160 --> 01:08:34,680
Speaker 1: awful and not for nothing. But he's the kind of

1218
01:08:34,680 --> 01:08:38,320
Speaker 1: guy who honks his car horn over and over again

1219
01:08:38,360 --> 01:08:42,240
Speaker 1: when there are people around, and I'm like, that is

1220
01:08:42,240 --> 01:08:44,479
Speaker 1: maybe one of the most psycho things you could ever

1221
01:08:44,520 --> 01:08:45,280
Speaker 1: do as a person.

1222
01:08:45,680 --> 01:08:47,400
Speaker 2: Nothing raises my hackles more.

1223
01:08:48,320 --> 01:08:54,040
Speaker 1: God, it's just so aggressively fucked up. And I'm like, Okay, yep,

1224
01:08:54,680 --> 01:08:56,840
Speaker 1: I know all I need to know about him, but again,

1225
01:08:56,960 --> 01:08:57,559
Speaker 1: like fucking.

1226
01:08:57,400 --> 01:09:00,320
Speaker 2: Over and over, what a beautiful detail to put in

1227
01:09:00,360 --> 01:09:02,240
Speaker 2: a script to describe a character.

1228
01:09:02,240 --> 01:09:07,760
Speaker 1: Absolutely, oh, definitely, definitely definitely, And listen, Jenna hates his

1229
01:09:07,840 --> 01:09:10,960
Speaker 1: guts too, She lows having sex with him, and she

1230
01:09:11,000 --> 01:09:13,559
Speaker 1: didn't even want to be around him. Her dream, her

1231
01:09:13,640 --> 01:09:15,519
Speaker 1: ultimate dream, is that she wants to go to this

1232
01:09:15,800 --> 01:09:18,920
Speaker 1: pie contest out of town where she can win twenty

1233
01:09:18,960 --> 01:09:21,920
Speaker 1: five thousand dollars, which she would love to put towards

1234
01:09:22,320 --> 01:09:25,120
Speaker 1: leaving his ass and starting a new life. But of

1235
01:09:25,160 --> 01:09:28,799
Speaker 1: course he won't let her. She doesn't have a car

1236
01:09:29,479 --> 01:09:32,960
Speaker 1: and he controls her life. So that's the situation for Jenna,

1237
01:09:33,080 --> 01:09:37,480
Speaker 1: And of course all of this stuff converges into basically

1238
01:09:37,520 --> 01:09:39,800
Speaker 1: the absolute worst case scenario for her, which is that

1239
01:09:39,880 --> 01:09:44,639
Speaker 1: she finds out that she's pregnant with his baby. And

1240
01:09:44,960 --> 01:09:47,880
Speaker 1: what's interesting about this is that you know she I

1241
01:09:47,920 --> 01:09:53,120
Speaker 1: mean obviously she's not happy about being pregnant. And I

1242
01:09:53,160 --> 01:09:55,760
Speaker 1: remember seeing this movie in two thousand and seven and

1243
01:09:55,840 --> 01:09:58,799
Speaker 1: I was just like, wow, this is kind of bold.

1244
01:09:58,880 --> 01:10:01,320
Speaker 1: I think for there to be a movie where a

1245
01:10:01,360 --> 01:10:04,960
Speaker 1: pregnant woman has this steady inner dialogue for pretty much

1246
01:10:05,000 --> 01:10:07,639
Speaker 1: the entire film about hating the fact that she's pregnant

1247
01:10:07,840 --> 01:10:09,559
Speaker 1: and how she doesn't want to deal with this thing

1248
01:10:09,560 --> 01:10:11,080
Speaker 1: that's living inside of her. I mean, I feel like,

1249
01:10:11,400 --> 01:10:15,519
Speaker 1: obviously you don't really see that perspective a lot. So no,

1250
01:10:16,320 --> 01:10:18,559
Speaker 1: but some people don't want to be pregnant, some people

1251
01:10:18,560 --> 01:10:20,479
Speaker 1: don't want to have kids, and I don't know, I

1252
01:10:20,520 --> 01:10:22,920
Speaker 1: just felt like, in a way, I mean, to see

1253
01:10:22,920 --> 01:10:25,920
Speaker 1: this perspective in a film in a character was pretty

1254
01:10:25,960 --> 01:10:26,880
Speaker 1: notable and fresh.

1255
01:10:26,920 --> 01:10:30,360
Speaker 2: So well, it's also the circumstances by which she got pregnant,

1256
01:10:30,400 --> 01:10:32,000
Speaker 2: where she keeps saying like, oh my god, it had

1257
01:10:32,000 --> 01:10:33,559
Speaker 2: to have been that night that he got me drunk,

1258
01:10:33,720 --> 01:10:36,920
Speaker 2: and like she's just the circumstances of her life are

1259
01:10:37,000 --> 01:10:39,799
Speaker 2: more the reason why she doesn't want to be pregnant,

1260
01:10:39,840 --> 01:10:43,360
Speaker 2: and I think that's also important to focus on, Like she's, yeah,

1261
01:10:43,439 --> 01:10:46,000
Speaker 2: she isn't tied to this baby, she doesn't have any

1262
01:10:46,040 --> 01:10:50,479
Speaker 2: maternal feelings as this pregnancy progresses. But she also, I think,

1263
01:10:50,680 --> 01:10:53,719
Speaker 2: isn't really given space to have those maternal feelings because

1264
01:10:53,720 --> 01:10:57,040
Speaker 2: she's in the shittiest possible living situation. She can't imagine

1265
01:10:57,040 --> 01:10:58,920
Speaker 2: bringing a baby into her life.

1266
01:10:58,720 --> 01:11:02,400
Speaker 1: One hundred percent good to point out, So in order

1267
01:11:02,439 --> 01:11:05,719
Speaker 1: to escape reality, Jenna dreams about making pies in her head.

1268
01:11:05,960 --> 01:11:07,599
Speaker 1: And this is like a runner in the film. It's

1269
01:11:07,680 --> 01:11:10,280
Speaker 1: very cute. She like lays out the recipe for each

1270
01:11:10,800 --> 01:11:13,200
Speaker 1: pie and she calls it something that has to do

1271
01:11:13,240 --> 01:11:15,519
Speaker 1: with something that's going on in her life. It's I

1272
01:11:15,560 --> 01:11:20,679
Speaker 1: love it. So Jenna eventually has her first doctor's appointment

1273
01:11:20,760 --> 01:11:24,120
Speaker 1: with her doctor and realizes that her regular doctor is

1274
01:11:24,160 --> 01:11:27,719
Speaker 1: on leave and that she's been replaced with this new

1275
01:11:27,840 --> 01:11:31,719
Speaker 1: person who just mote to town. It's a doctor named

1276
01:11:31,720 --> 01:11:37,160
Speaker 1: doctor Pometer, and he's played by Nathan Fillion of Castle

1277
01:11:37,960 --> 01:11:43,920
Speaker 1: Fame and what's that show? That one famous sci fi show. Oh,

1278
01:11:44,439 --> 01:11:48,120
Speaker 1: and it's like a dusty planet. That's all I remember.

1279
01:11:48,400 --> 01:11:50,680
Speaker 2: Firefly. Thank you, Kathy fayre.

1280
01:11:51,080 --> 01:11:54,920
Speaker 1: Fly, thank you, Casey said firefly like he knew it

1281
01:11:55,120 --> 01:11:58,040
Speaker 1: have Do you see any firefly, either of you? Of course, yeah,

1282
01:11:58,640 --> 01:12:02,639
Speaker 1: I saw a couple episodes, but I'm sure everybody listening

1283
01:12:02,640 --> 01:12:05,040
Speaker 1: knows who Nathan Fillion is because he's kind of a hunk.

1284
01:12:05,640 --> 01:12:10,479
Speaker 1: At first, Jenna is like, who are you? I don't

1285
01:12:10,520 --> 01:12:15,840
Speaker 1: like you. You're a new doctor. But then over time, you know,

1286
01:12:16,720 --> 01:12:20,960
Speaker 1: probably out of a desperation really to escape her shitty life,

1287
01:12:20,960 --> 01:12:24,240
Speaker 1: and maybe because it's just this, she calls him a cute, acute,

1288
01:12:24,320 --> 01:12:26,640
Speaker 1: nervous guy. Like she's like, why I have to be

1289
01:12:26,680 --> 01:12:29,600
Speaker 1: so cute and nervous, which I thought was cute. She

1290
01:12:29,720 --> 01:12:32,920
Speaker 1: develops a crush on doctor Pometer and they eventually make

1291
01:12:33,000 --> 01:12:37,200
Speaker 1: out one morning when she's visiting in his office, and

1292
01:12:37,920 --> 01:12:41,400
Speaker 1: you know, she sort of dreams about this kind of

1293
01:12:42,040 --> 01:12:46,480
Speaker 1: just to get her through the day, right, Yeah. And meanwhile,

1294
01:12:47,520 --> 01:12:52,080
Speaker 1: Earle eventually finds out about the baby, and he predictably

1295
01:12:52,479 --> 01:12:57,760
Speaker 1: reacts like an absolute serial killer, like insane, Like he's like,

1296
01:12:58,600 --> 01:13:00,800
Speaker 1: promise me you'll never love the baby, maybe more than me.

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01:13:01,680 --> 01:13:05,040
Speaker 2: U like oh, like oh yeah.

1298
01:13:05,760 --> 01:13:10,560
Speaker 1: So, as you can imagine, Jenna starts a full on

1299
01:13:10,680 --> 01:13:13,760
Speaker 1: affair with doctor Popter at this point, and then they

1300
01:13:13,840 --> 01:13:16,360
Speaker 1: kind of dream of leaving their partners and starting a

1301
01:13:16,400 --> 01:13:20,160
Speaker 1: new life. And this is all happening too while her

1302
01:13:20,200 --> 01:13:24,080
Speaker 1: other coworkers, the Cheryl Hines character and the Adrian Shelley character,

1303
01:13:24,120 --> 01:13:28,080
Speaker 1: are also kind of finding love and crushes and stuff

1304
01:13:28,080 --> 01:13:31,160
Speaker 1: like that, so everyone's kind of got this crush energy

1305
01:13:31,320 --> 01:13:35,000
Speaker 1: going on. And then of course I wouldn't I would

1306
01:13:35,000 --> 01:13:37,479
Speaker 1: be remiss if I did not mention the star cameo

1307
01:13:37,520 --> 01:13:41,800
Speaker 1: of the film, Andy Griffith, who plays Joe, the owner

1308
01:13:41,840 --> 01:13:46,160
Speaker 1: of this pie shop, and all the girls working at

1309
01:13:46,160 --> 01:13:48,360
Speaker 1: the shop are like, I don't want to deal with him.

1310
01:13:48,400 --> 01:13:53,960
Speaker 1: You take him, Jenna, because he's a notorious crank. Sorry,

1311
01:13:54,000 --> 01:13:54,679
Speaker 1: what'd you say?

1312
01:13:54,960 --> 01:13:55,960
Speaker 2: Oh he's so mean?

1313
01:13:56,400 --> 01:14:01,519
Speaker 1: Yeah, a notorious crank. And Jenna ends up really liking

1314
01:14:01,600 --> 01:14:04,559
Speaker 1: him though, and they developed this really lovely friendship where

1315
01:14:05,200 --> 01:14:07,280
Speaker 1: he gives her a lot of advice about her situation

1316
01:14:07,800 --> 01:14:11,479
Speaker 1: and helps her out. It's kind of great. And I

1317
01:14:11,520 --> 01:14:14,559
Speaker 1: obviously won't kind of reveal what happens at the end

1318
01:14:14,600 --> 01:14:16,320
Speaker 1: of the film because I feel like it's actually like

1319
01:14:16,360 --> 01:14:19,040
Speaker 1: a really wonderful surprise that I feel like everybody should

1320
01:14:19,040 --> 01:14:21,640
Speaker 1: discover on their own. Yeah, but I just love this

1321
01:14:21,760 --> 01:14:25,719
Speaker 1: movie so much. It's just it's so light and full

1322
01:14:25,720 --> 01:14:31,680
Speaker 1: of heart. Even though it's about sad, desperate situations. It

1323
01:14:31,760 --> 01:14:35,519
Speaker 1: has this levity to it at the same time, which

1324
01:14:35,560 --> 01:14:41,240
Speaker 1: is obviously a testament to Adrian Shelley and her talent completely.

1325
01:14:41,400 --> 01:14:43,880
Speaker 2: There are so many lines in this film that are

1326
01:14:44,040 --> 01:14:48,639
Speaker 2: fucking hilarious and just said so quickly that you barely

1327
01:14:48,640 --> 01:14:50,920
Speaker 2: have a chance to laugh before she moves on to

1328
01:14:51,000 --> 01:14:54,800
Speaker 2: the next funny line. Like any conversation that Becky, Don

1329
01:14:54,880 --> 01:14:57,880
Speaker 2: and Jenna are all having together is guaranteed to just

1330
01:14:58,560 --> 01:15:02,400
Speaker 2: level you with laughter. And it's just that the delivery

1331
01:15:02,479 --> 01:15:05,080
Speaker 2: is perfect because they're just talking. They're not like stopping

1332
01:15:05,240 --> 01:15:09,120
Speaker 2: and laughing themselves or just like having real conversations that

1333
01:15:09,200 --> 01:15:11,360
Speaker 2: made me remember what it was like to work in

1334
01:15:11,400 --> 01:15:14,680
Speaker 2: restaurants and like have that closeness with people, And it's

1335
01:15:14,720 --> 01:15:17,320
Speaker 2: just it's just so fucking funny, like the way that

1336
01:15:18,120 --> 01:15:20,519
Speaker 2: Becky is constantly talking about how one of her boobs

1337
01:15:20,560 --> 01:15:25,480
Speaker 2: is lower than the other one, and like it's just

1338
01:15:25,479 --> 01:15:28,280
Speaker 2: just so sweet and funny the way that their friendship

1339
01:15:28,320 --> 01:15:31,760
Speaker 2: develops and they're trying to find ways to support her

1340
01:15:31,840 --> 01:15:35,559
Speaker 2: through what is really an uncertain time in her life.

1341
01:15:35,600 --> 01:15:37,559
Speaker 2: So I think I really appreciated seeing that as well,

1342
01:15:37,560 --> 01:15:39,200
Speaker 2: Like they weren't pushing her one way or the other,

1343
01:15:40,720 --> 01:15:42,920
Speaker 2: but they were just finding ways to be supportive while

1344
01:15:42,920 --> 01:15:48,800
Speaker 2: going through their own hilarious love and sex mishaps.

1345
01:15:49,600 --> 01:15:52,960
Speaker 1: Yeah, and that's that's ultimately, like what I love about

1346
01:15:53,000 --> 01:15:55,800
Speaker 1: the movie is that it's these women who are kind

1347
01:15:55,800 --> 01:16:01,400
Speaker 1: of supporting each other the men around them, and they

1348
01:16:01,439 --> 01:16:03,360
Speaker 1: know that and they're just trying to you know, lift

1349
01:16:03,400 --> 01:16:05,799
Speaker 1: each other up. I mean, that's just such a great

1350
01:16:06,040 --> 01:16:09,280
Speaker 1: world to be in in a movie. And then you know,

1351
01:16:09,439 --> 01:16:13,920
Speaker 1: part of this movie kind of has like magical moments almost.

1352
01:16:13,960 --> 01:16:18,519
Speaker 1: It's very very cute, and you know the style of it,

1353
01:16:18,560 --> 01:16:21,120
Speaker 1: there's kind of this like kind of retro style with

1354
01:16:21,200 --> 01:16:25,320
Speaker 1: like the waitress outfits and you know, Adrian Shelley's wearing

1355
01:16:25,360 --> 01:16:29,280
Speaker 1: these like cati ish fifties glasses that I would have

1356
01:16:29,360 --> 01:16:33,040
Speaker 1: died for back then, I used to wear vintage glasses

1357
01:16:33,040 --> 01:16:36,240
Speaker 1: all the time, and it was just it's just so cute.

1358
01:16:36,280 --> 01:16:39,519
Speaker 1: And you know, after this movie came out, it was

1359
01:16:39,560 --> 01:16:42,639
Speaker 1: obviously after the death of Adrian Shelley, so it came out,

1360
01:16:42,800 --> 01:16:47,000
Speaker 1: you know, after she passed, and it became a musical

1361
01:16:47,040 --> 01:16:50,920
Speaker 1: on Broadway, which was very successful. And as much as

1362
01:16:51,000 --> 01:16:54,400
Speaker 1: there is this tragic story that's wrapped up in this film,

1363
01:16:54,520 --> 01:16:57,920
Speaker 1: it also is like a wonderful legacy for her. It's

1364
01:16:58,120 --> 01:17:01,120
Speaker 1: just like there's a scene towards the end with her

1365
01:17:01,280 --> 01:17:05,519
Speaker 1: actual daughter, you know, it's her actual daughter in the film,

1366
01:17:05,560 --> 01:17:09,840
Speaker 1: and I don't know. It's just such a lovely, lovely movie.

1367
01:17:10,000 --> 01:17:13,280
Speaker 1: It'll make you want to eat all kinds of pies,

1368
01:17:13,400 --> 01:17:15,519
Speaker 1: not just sweet ones, but savory ones. I was like,

1369
01:17:15,680 --> 01:17:18,960
Speaker 1: I want a savory pie right fucking now.

1370
01:17:19,760 --> 01:17:22,680
Speaker 2: I did consider making a keish for dinner after I

1371
01:17:22,680 --> 01:17:26,640
Speaker 2: watched this movie, yes, but I didn't have time to

1372
01:17:26,720 --> 01:17:31,439
Speaker 2: roll out that dough. Yeah, but I love it. It's

1373
01:17:31,479 --> 01:17:36,240
Speaker 2: just it's whimsical and delightful and deep and funny and

1374
01:17:36,800 --> 01:17:41,040
Speaker 2: makes me cry and it just has like so many

1375
01:17:41,479 --> 01:17:46,600
Speaker 2: wonderful elements that really showcase the narrative of this of

1376
01:17:46,680 --> 01:17:49,439
Speaker 2: Jenna's life at one of her lowest moments. I think

1377
01:17:49,479 --> 01:17:51,559
Speaker 2: it takes real talent to be able to do that.

1378
01:17:52,200 --> 01:17:57,200
Speaker 2: And again, Adrian Shelley could have given us so much more. Yeah,

1379
01:17:57,280 --> 01:17:58,559
Speaker 2: I'm so glad that we have this.

1380
01:17:59,760 --> 01:18:04,000
Speaker 1: I am too, And you know, just to shout out

1381
01:18:04,120 --> 01:18:08,880
Speaker 1: Carrie Russell, you know, I didn't watch Felicity back when

1382
01:18:08,920 --> 01:18:10,800
Speaker 1: it was on and I and I haven't watched The

1383
01:18:10,840 --> 01:18:15,000
Speaker 1: Americans so, I I know she's a great actress, but

1384
01:18:15,040 --> 01:18:17,120
Speaker 1: it's just that I'm not I don't really have a

1385
01:18:17,160 --> 01:18:21,600
Speaker 1: lot of experience watching her work. But she's such a

1386
01:18:21,720 --> 01:18:24,960
Speaker 1: she's so good in this She's a perfect, you know,

1387
01:18:25,080 --> 01:18:31,360
Speaker 1: person to be Jenna. She's beautiful and sweet and you know,

1388
01:18:31,600 --> 01:18:34,080
Speaker 1: just I don't know, I just I just loved everybody

1389
01:18:34,080 --> 01:18:37,960
Speaker 1: in this film. Yeah, I really did. So. Yeah, that's

1390
01:18:38,040 --> 01:18:41,639
Speaker 1: it for this week. I thought, what a great pairing

1391
01:18:41,840 --> 01:18:45,599
Speaker 1: for food films. I mean, now we're gonna have to

1392
01:18:45,640 --> 01:18:49,000
Speaker 1: make sushi and then chase it with a giant pie.

1393
01:18:49,400 --> 01:18:53,200
Speaker 2: I'm up for the task. I will clear my schedule.

1394
01:18:56,439 --> 01:18:59,120
Speaker 1: Well, look, if you want to email us, we are

1395
01:18:59,160 --> 01:19:01,360
Speaker 1: at I saw she did pod at gmail dot com.

1396
01:19:01,479 --> 01:19:04,759
Speaker 1: Please send us questions for the bonus episodes. Of course,

1397
01:19:05,280 --> 01:19:07,800
Speaker 1: we also have a peel box if you want to

1398
01:19:07,840 --> 01:19:09,480
Speaker 1: send us handwritten letters.

1399
01:19:10,120 --> 01:19:12,600
Speaker 2: And don't forget that we are doing something new for

1400
01:19:12,720 --> 01:19:16,080
Speaker 2: our listener questions. In addition to sending us an email,

1401
01:19:16,120 --> 01:19:19,000
Speaker 2: you can also now send a voicemail and we will

1402
01:19:19,040 --> 01:19:21,920
Speaker 2: play it on the air. It can be a question,

1403
01:19:22,080 --> 01:19:25,080
Speaker 2: a comment, a fart story, anything you want. Just know

1404
01:19:25,160 --> 01:19:27,680
Speaker 2: that if you send it in we're assuming we can

1405
01:19:27,680 --> 01:19:32,599
Speaker 2: play it on the show. Make it sixty seconds or less, okay,

1406
01:19:32,640 --> 01:19:35,439
Speaker 2: sixty seconds or less, and record in a quiet space.

1407
01:19:36,040 --> 01:19:37,679
Speaker 2: All you have to do is record a voice memo

1408
01:19:38,240 --> 01:19:40,880
Speaker 2: on your phone and email it to I Saw what

1409
01:19:40,960 --> 01:19:42,920
Speaker 2: you Did Pod at gmail dot com.

1410
01:19:43,800 --> 01:19:47,800
Speaker 1: That is right. Also, we're on social media. We are

1411
01:19:48,720 --> 01:19:53,720
Speaker 1: I Saw Pod on Instagram at x and we also

1412
01:19:53,840 --> 01:19:57,080
Speaker 1: have merch. Hey, come get a B of the D shirt,

1413
01:19:57,520 --> 01:20:02,599
Speaker 1: get the hoodies, get whatever you want. We are over

1414
01:20:02,680 --> 01:20:06,160
Speaker 1: at the exactly Right Shop at exactly Rightmedia dot com.

1415
01:20:06,680 --> 01:20:09,880
Speaker 2: And we have new bonus episodes once a month, every

1416
01:20:10,000 --> 01:20:13,000
Speaker 2: third Thursday of the month, but our old bonus episodes

1417
01:20:13,080 --> 01:20:15,920
Speaker 2: are kind of repopulating the main feed once a week,

1418
01:20:16,080 --> 01:20:21,639
Speaker 2: so every Wednesday, every couple of weeks on Wednesdays, you'll

1419
01:20:21,680 --> 01:20:25,320
Speaker 2: find old bonus episodes that are no longer behind a paywall.

1420
01:20:26,400 --> 01:20:32,040
Speaker 1: That is right. All right, let's talk next episode, Danielle.

1421
01:20:32,439 --> 01:20:36,120
Speaker 2: Yeah, the movies. Your movies for next week are The

1422
01:20:36,160 --> 01:20:39,559
Speaker 2: Hours from two thousand and two and Poison IVY from

1423
01:20:39,600 --> 01:20:40,639
Speaker 2: nineteen ninety two.

1424
01:20:41,960 --> 01:20:50,800
Speaker 1: Wow. Wow, guess the thing what a combo? Yeah? Well, Danielle, listen.

1425
01:20:50,960 --> 01:20:54,040
Speaker 1: As always a fucking pleasure doing this podcast with you.

1426
01:20:54,640 --> 01:20:55,240
Speaker 2: I love it.

1427
01:20:55,960 --> 01:21:04,440
Speaker 3: I don't know why I go to extremes, to Hi Toulo, Therey,

1428
01:21:04,840 --> 01:21:16,040
Speaker 3: No in between, Bye Bye.

1429
01:21:20,520 --> 01:21:23,599
Speaker 2: This has been an exactly right production produced by Casey O'Brien,

1430
01:21:23,880 --> 01:21:27,439
Speaker 2: episode mixing and theme music by Tom Bryfogel, artwork by

1431
01:21:27,439 --> 01:21:31,439
Speaker 2: Garrett Ross. Our executive producers are Georgia Hartstark, karenkle Gareff,

1432
01:21:31,479 --> 01:21:34,200
Speaker 2: and Daniel Kramer. You can follow us on Instagram and

1433
01:21:34,280 --> 01:21:37,120
Speaker 2: Twitter at I Saw pod, and you can email us

1434
01:21:37,160 --> 01:21:39,240
Speaker 2: at I Saw What You Did Pod at gmail