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Speaker 1: Hello, everybody, Welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho.

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Speaker 3: I'm Danielle Henderson and we are.

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Speaker 1: Back back back to do more film film film.

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Speaker 2: What's going on, Danielle? How are you?

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Speaker 3: I'm doing well. How are you this week?

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Speaker 2: I'm just fine.

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Speaker 3: Yeah, nothing to report, Nope, don't know me.

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Speaker 1: Streets of Florida and those main streets Florida, there's nothing

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Speaker 1: going on as per usual. How's it going up there?

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Speaker 2: What's up? Can we get a Chauncey update?

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Speaker 3: What's up? What's uh? So? As listeners know, I bought

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Speaker 3: my first house and moved back to New York and

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Speaker 3: I'm living in my hometown on a tiny farm h

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Speaker 3: and just wandering around this house like a ghost. It

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Speaker 3: is great. My stuff got here yesterday, which is why

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Speaker 3: I'm sitting in my crazy chair. It is chaos behind me.

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Speaker 3: It is chaos behind me. But all my stuff got

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Speaker 3: here in one piece, and what I really love is

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Speaker 3: on the way here. The movers were packing. They packed

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Speaker 3: for me this time. Everyone keeps asking, like whenever they

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Speaker 3: know that I lived in Alaska, like all that move

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Speaker 3: must have been miserable, like it was the easiest move

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Speaker 3: of my life because I sold everything I owned, I

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Speaker 3: bought a car, and I drove to Alaska. This I

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Speaker 3: was taking furniture, I was taking my cat like it

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Speaker 3: was hard to do. But every single aspect of the movers,

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Speaker 3: the moving company, they made fun of me. So when

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Speaker 3: they were packing me, when the no, Yeah, when they

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Speaker 3: were packing me in LA They're like, you have more

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Speaker 3: books in this apartment than in the last three houses

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Speaker 3: we've packed combined. That's a bad thing, apparently, No, like sorry,

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Speaker 3: And they kept pulling books off the shelf and being like,

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Speaker 3: have you read this one? And I was like, yes,

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Speaker 3: have you read this one?

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Speaker 1: Yes, Okay, we're gonna We're gonna do a Zach Morris

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Speaker 1: time out for a moment. Are they allowed to be

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Speaker 1: like going over your shit and being like, what's this?

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Speaker 1: What's going on? Why am I picking this up and

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Speaker 1: commenting on it? What if this is from some dead person?

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Speaker 1: What if this is a book that meant like that?

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Speaker 1: Seems I know they picked up my grandpa's ashes.

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Speaker 2: You should at least be writing a letter to the company.

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Speaker 3: No, what I did instead was tip them graciously and

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Speaker 3: thank them for coming to my house.

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Speaker 2: Oh my shit, I guess, but.

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Speaker 3: They were going in and then when I got here,

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Speaker 3: the movers yesterday were like, you live here by yourself?

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Speaker 3: And I'm like, I don't want to tell you that,

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Speaker 3: because what have you come back to murder me? But yes,

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Speaker 3: I live here by myself right now my grandma will

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Speaker 3: be moving in with me. That's the whole reason I

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Speaker 3: bought this fucking house. And they kept looking around and

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Speaker 3: being like, not bad, not bad. But then the cool

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Speaker 3: thing about the movers in New York is that they

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Speaker 3: brought their New York flavor, so that at one point

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Speaker 3: they unwrapped one of my shelving units and he's like, Uh,

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Speaker 3: where do you want this to go? This nice one,

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Speaker 3: and I'm like, oh, not the piece of shit. Put

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Speaker 3: the nice shit ups there, and so the whole day

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Speaker 3: was just like nicer piece of shit. We just had

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Speaker 3: a language going by the end of the day and

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Speaker 3: it was great. But yeah, everything's cool. Chauncey, my gopher

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Speaker 3: has been out in the yard enjoying the freshly cut grass.

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Speaker 3: I met my landscaper today and found out within three

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Speaker 3: seconds about his divorce and his whole life. He's wonderful.

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Speaker 3: It's been a little less scary. I keep looking around corners,

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Speaker 3: but it's been a little less scary. I definitely didn't

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Speaker 3: call my brother crying this week, but he came over anyway.

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Speaker 3: He came over on Saturday, and he brought like a

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Speaker 3: case of beer and three friends. And I'm like, what

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Speaker 3: are you doing here? This is not the hangout spot.

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Speaker 3: We're not eighteen. What are you doing. I'm an adult

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Speaker 3: woman with a house. And he's like, I'm just coming

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Speaker 3: to make sure you're okay, and I'm like, no, you're not.

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Speaker 3: You're coming to get away from your wives.

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Speaker 1: Yeah, if your brother wants to bring me a sick

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Speaker 1: I will hang out with that dude anytime.

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Speaker 3: He's the best dude. Right. Oh, I love that guy.

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Speaker 3: I'm really happy that we're why.

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Speaker 1: I also have to ask because this has actually been

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Speaker 1: stressing me the fuck out since you mentioned it.

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Speaker 2: So did that bird escape, dude?

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Speaker 3: Yeah? Oh my god, it's the one thing I made

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Speaker 3: them do. I'm like, I don't need you to do anything.

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Speaker 3: Just relax, hang out. I have no chairs, I have

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Speaker 3: nothing to offer you but come here and get drunk. Fine,

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Speaker 3: but you have to go out in that garage and

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Speaker 3: make sure that bird or that bat or whatever the

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Speaker 3: hell that thing is is out of there, and they did.

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Speaker 1: That bird was named scientifically after eight Mile. We have

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Speaker 1: to make sure it leaves this.

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Speaker 3: The golden Mackay Pfeiffer is as left the building. Thank god.

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Speaker 2: I was really stressed the fuck out about that.

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Speaker 3: Macause I didn't know if it was a bird or

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Speaker 3: a bat. And my garbage is out there, and the

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Speaker 3: doors to the garage are barn doors, but it's like,

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Speaker 3: you know, sealed, and then I had to double check.

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Speaker 3: I went out today and double check because I had

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Speaker 3: to check that the door to the silo was closed.

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Speaker 3: And I actually talked to the town already because I'm

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Speaker 3: turning the silo into my office and I'm like, can I

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Speaker 3: do that? Can I get a permit for this? And

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Speaker 3: they were like, I don't give a fuck. Hell you girl,

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Speaker 3: this is the country. This is the country. You can

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Speaker 3: ban dancing. You really could ban dancing.

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Speaker 1: I know you joked about that the last time, but

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Speaker 1: you you got these people in your pocket.

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Speaker 2: Now you can ban dancing, but.

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Speaker 3: Loose and fancy free. I'm like, guess what, motherfuckers. I

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Speaker 3: haven't been here since I was seventeen, but I'm back

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Speaker 3: and nobody can dance, and I'm turning every building into

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Speaker 3: my office, and you're just gonna deal with it.

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Speaker 1: You can crump, you can crump, you cannot dance, and

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Speaker 1: don't you dare have professional dancers holding plastic cups because

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Speaker 1: we don't like that shit.

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Speaker 3: As we know, crumping is the side effect of dancing

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Speaker 3: being banned. Once dancing is banned, you instantly know how

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Speaker 3: to crump. According to Footloose two Electric Boogaloo. But the

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Speaker 3: other cool thing is I went, uh, so, you know,

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Speaker 3: I'm turning one of the back acres into an archery range.

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Speaker 3: I went down the road to one of my neighbors,

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Speaker 3: one of the other farms, and bought some hay, so

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Speaker 3: they're going to deliver some hay bales tomorrow. But I

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Speaker 3: went to the sports shop and got myself a new

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Speaker 3: bow that was my gift to myself for moving in,

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Speaker 3: and actually got two. I got a recurve bow and

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Speaker 3: a compound bow. So recurve is legalless from you, Lord

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Speaker 3: of the Rings, and the compound bow is what Burt

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Speaker 3: Reynolds used in Deliverance.

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Speaker 1: I was gonna ask because that's the only thing I

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Speaker 1: know about archery is deliverance, and you know.

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Speaker 3: He should not have been using that to catch fish.

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Speaker 3: It's a little intense to fish with.

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Speaker 1: Do you remember that part where Joan Voight puts that

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Speaker 1: glove on and it's like it's a glove that is

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Speaker 1: missing like seventy percent of the glove.

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Speaker 3: Is that right? That is actually useful for the recurve

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Speaker 3: bow because the way that it snaps back, it'll like

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Speaker 3: get you on your wrist every time, So that one

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Speaker 3: is useful. And a lot of people have the tough cut,

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Speaker 3: like they've got that big leather thing for the same reason,

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Speaker 3: but I just get bruised. I don't give a shit.

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Speaker 2: Wait a minute.

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Speaker 3: The tough cuff, yeah, all right, it is that I

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Speaker 3: was wearing a tough cuff and he was wearing a

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Speaker 3: tough but he was shooting with the opposite arm, so

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Speaker 3: I think he was literally wearing it as like a

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Speaker 3: tough guy cuff.

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Speaker 2: What about a rubber vest.

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Speaker 3: You need to calm down. I'm not wearing a rubber vest.

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Speaker 2: Shit is ornamental and gorgeous, all right.

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Speaker 3: If it has a pop, callar I'll entertain it. Now.

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Speaker 2: I'm just obsessed with you being an archer.

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Speaker 3: Come come visit I mean, you're gonna come visit. You're

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Speaker 3: gonna see in action that it has been raining for

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Speaker 3: the last few days. So the creek. I have a

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Speaker 3: creek on my property. It's really nice and full. If

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Speaker 3: there are any fish in there, I'm gonna shoot the

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Speaker 3: fuck out of him. We'll see what happens. I could

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Speaker 3: do that now, I keep I'm reluctant to call Chauncey

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Speaker 3: my gopher. I'm reluctant to call my pond my pond.

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Speaker 3: Like I just cannot get used to the fact that

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Speaker 3: I owned space that I owned, like a chunk of

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Speaker 3: the earth. It was never supposed to happen, and here

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Speaker 3: I am, but I'm into it. I'll use it. I'm

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Speaker 3: going to expend the summer. You know, we're taking a

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Speaker 3: couple of weeks off and after all this book stuff

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Speaker 3: is done, then I'm taking some time off this summer

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Speaker 3: and I'm just going to kayak and drink some beers.

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Speaker 3: Here's the other thing I've noticed though about being home.

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Speaker 3: I gotta say, and I don't know if it's because

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Speaker 3: I just left the loneliest place I've ever lived in

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Speaker 3: my life in Los Angeles. I was alone for four

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Speaker 3: years in La. All I did was work. I didn't

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Speaker 3: have any friends and date. I didn't do anything. When

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Speaker 3: I tell you that, I came back here when I

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Speaker 3: went to Low's to buy the washer and dryer, dishwasher,

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Speaker 3: all that shit. By the time I left that place,

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Speaker 3: I had three marriage reposals. Those guys could knock it over,

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Speaker 3: because you know I liked to supermarket sweep it. Yeah.

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Speaker 3: I went to Target, just fucking give me ever. I

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Speaker 3: need this, I need sure, give me whatever. Same thing.

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Speaker 3: At Low's. I went and prepared. I did my research,

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Speaker 3: and I'm like I want this, this and this, and

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Speaker 3: I'm like, oh that color is an a stock, great,

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Speaker 3: no problem, what about this, this and this? While they

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Speaker 3: were looking it up, I asked about where their belt

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Speaker 3: sanders were. Look, you's from me in the belt Sanders.

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Speaker 3: And he's like, what do you know about belt Sanders.

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Speaker 2: That's love language, baby, that's.

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Speaker 3: A love language. I know that I need one for

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Speaker 3: the project that I'm working on in my house. And

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Speaker 3: he was like, I want to get married. I don't.

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Speaker 3: I don't, sir, I don't hot commodity in New York, La,

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Speaker 3: I was a total loser New York. I'm back, baby,

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Speaker 3: I'm making that with everyone this summer landscaper Low's. I

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Speaker 3: don't give a fuck. Everyone's getting made out with you.

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Speaker 3: It's gonna be.

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Speaker 2: Like the Prince of Tides a serious.

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Speaker 3: It's going to be you.

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Speaker 1: And this Low's employee and a belt sander with the

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Speaker 1: sheets up to your chest, smoking a cigarette in your

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Speaker 1: light house like this is this is love, this is

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Speaker 1: our tour affairs.

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Speaker 3: It's like you've seen me in action, dude. I'm excited though.

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Speaker 3: I feel very much like myself here. That's what's important.

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Speaker 3: I feel like I'm meeting people, I'm chatting. I just

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Speaker 3: feel and it makes sense because this is the place

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Speaker 3: that raised me, the place that done raise me.

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Speaker 2: Love it. Like like I said, it seems charming as hell.

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Speaker 1: I've watched nobody's fool so I feel like I have

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Speaker 1: a little bit of information about what this could be.

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Speaker 2: So this is exciting. I can't wait to visit.

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Speaker 1: I can't wait to go to a home improvement store

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Speaker 1: and get numbers.

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Speaker 3: I'm excited it's gonna happen. Look, my brother, I know

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Speaker 3: that I know that he's I will never disparage my

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Speaker 3: sister in law. My brother's got friends though he's not available,

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Speaker 3: but he's got friends. They're all very cute, cool cool.

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Speaker 3: I can't do anything with them because I've known them

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Speaker 3: since they were five, but knock yourself out, come up

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Speaker 3: and hang out. But it's cool. I've actually like, I'm

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Speaker 3: really I'm settling in.

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Speaker 2: I love it.

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Speaker 3: I'm settling in. Speaking of settling in, hmmm, you want

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Speaker 3: to settle into this mail bag? Yes, we have a

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Speaker 3: mail bag? Did I do it? Did I do a segue?

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Speaker 2: Sort of?

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Speaker 3: We're not known for that on this show, but we

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Speaker 3: got a good one. Yeah we do.

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Speaker 1: Okay, we got a mail bag from a listener named Stephanie,

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Speaker 1: and Stephanie writes, hello, ladies. So I've watched a lot

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Speaker 1: of movies lately that are inspired by real life events,

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Speaker 1: like Hustlers, Bad Education.

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Speaker 2: And Just Mercy.

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Speaker 1: But they all seem like pretty straightforward stories that are

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Speaker 1: written as they actually happened. I can't imagine ever telling

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Speaker 1: my own story without making up names and making up

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Speaker 1: practically everything else except for what happened to me. I

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Speaker 1: wonder if you know of any movies that approach it

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Speaker 1: that way, where they are taking a true story and

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Speaker 1: fictionalizing everything around it. So I ask you what's a

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Speaker 1: great fictional movie that's based on a real life experience?

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Speaker 1: Thanks Stephanie.

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Speaker 3: That is a great question, Stephanie, thank you for writing in.

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Speaker 3: I'm sure there are several, but we had to bring

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Speaker 3: in the big guns for this. We had to call

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Speaker 3: on screenwriter producer Banana's podcast co host, the person who

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Speaker 3: wrote the movie Ma It's only exactly rights, little Scottie Landis.

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Speaker 4: Oh, hello, thank you for having me on your wonderful podcast.

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Speaker 4: I'm a huge fan.

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Speaker 1: Thanks for coming on this podcast. We were on Bananas

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Speaker 1: a while, yeah, and you know we were. We had

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Speaker 1: an amazing time, by the way, even though I was

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Speaker 1: coming off of my second COVID shot and I felt

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Speaker 1: I had a poor performance.

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Speaker 5: But we'll have you back.

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Speaker 4: We'll have you back together, We'll have you back individually,

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Speaker 4: whatever you want. Danielle was listening to episodes. You don't

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Speaker 4: laugh too much, laugh more. I encourage you to laugh more.

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Speaker 4: Everybody on the episode of Bananas you were on was like,

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Speaker 4: the four of you laughing at the same time is

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Speaker 4: great podcasting.

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Speaker 5: So don't hold back.

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Speaker 3: A cacophony of sound like we've never heard before.

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Speaker 4: That's right, and Millie say, simply as much as you want, simply,

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Speaker 4: non stop. I'm simply a gracious guest.

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Speaker 2: I simply thank you for that.

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Speaker 1: Well, we called you in because obviously you have some

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Speaker 1: expertise in the subject matter. Sure do you want to

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Speaker 1: tell everybody you know sort of maybe the story of Ma,

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Speaker 1: and like how you came into doing that story?

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Speaker 5: Sure, I'd be happy to.

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Speaker 4: So I wrote this horror movie called Ma that's starring

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Speaker 4: Octavia Spencer. Came out a couple of years ago yesterday,

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Speaker 4: actually anniversary. I didn't really thank you. I didn't know

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Speaker 4: I got. I got some tweets. Thank the Internet.

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Speaker 3: Lets you know, you can't hide from anything these days.

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Speaker 4: Yeah, the Internet's that person in high school that knows

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Speaker 4: your anniversaries for like dating for a month and you're.

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Speaker 5: Like, how did you? I didn't even know that. I

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Speaker 5: won't name names, but there were a couple. Yeah. So

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Speaker 5: MA was based on really two nights.

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Speaker 4: I grew up in a suburban town in Maryland, and

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Speaker 4: there are two parties, and basically the idea of MA,

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Speaker 4: without spoiling it too much, is is there is a

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Speaker 4: woman in town named Sue Anne who has pretty much

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Speaker 4: been on the outside her entire life. I wanted to

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Speaker 4: write a type of misery for popularity. I thought that

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Speaker 4: nobody was really talking about popularity as a vice and

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Speaker 4: a way that you.

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Speaker 5: Can lock your characters into one location.

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Speaker 3: That's a great elevator pitch. I'm so bad at those.

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Speaker 3: That's great.

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Speaker 5: It was.

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Speaker 4: I wrote the script before pitching it, so I actually

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Speaker 4: wrote it because I was known as a comedy writer,

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Speaker 4: and even my agents were like, dude, like, you're known

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Speaker 4: as a workahowgs guy, do that And I was like, no,

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Speaker 4: but I prefer watching horror movies. So MAS based on

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Speaker 4: these two nights.

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Speaker 5: One was.

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Speaker 4: A few friends from high school playing Hey mister where

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Speaker 4: they were and outside this liquor store called one Stop

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Speaker 4: and they were just asking anybody to go buy to

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Speaker 4: buy them beer, and this guy did and I don't

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Speaker 4: remember his name because I only really I went to

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Speaker 4: this party and my friends called on the landline like

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Speaker 4: we used to do and said, there's a party at

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Speaker 4: this guy's house and everybody's going.

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Speaker 5: So we went. I went with my best friend Andre.

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Speaker 5: We go.

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Speaker 4: We walk around this house. It was bad, like one

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Speaker 4: note that I would have given to the movie maz

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Speaker 4: Sueyenne's house is way nicer than I intended it to be.

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Speaker 3: When it was bad, do you mean like things hang

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Speaker 3: down or.

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Speaker 5: Just dirt or grime or great question.

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Speaker 4: It was a one story vinyl sided house with this

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Speaker 4: long stone driveway, and we walked around the back, cinderblock

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Speaker 4: wall on the back of the house and a door,

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Speaker 4: a no door, just an open door area onto dirt

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Speaker 4: floor al fresco.

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Speaker 3: I'm out of there, I'm out of there.

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Speaker 4: I was fifteen, drove and Eminem's first album had come out,

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Speaker 4: so that's blasting at full volume on a stereo, and

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Speaker 4: a bunch of white guys from my soccer team are

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Speaker 4: wrapping Eminem in my face as soon as I step in.

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Speaker 4: So I entered hell. You can see why this is

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Speaker 4: a horror movie and not a comedy. And smoke everywhere.

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Speaker 4: And earlier in the night, a girl that I dated

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Speaker 4: in high school, my girlfriend at the time, was like, oh,

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Speaker 4: I'm going to Danielle's. I'm not going to that party,

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Speaker 4: and then she was there talking to the guy that

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Speaker 4: bought the beer, who was felt like he was thirty

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Speaker 4: five in actuality was probably twenty four, but I was fifteen,

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Speaker 4: so he see him like an older guy and he's

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Speaker 4: wearing was he just looked old for the room, and

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Speaker 4: they were smoking cigarettes together. And my first fear was

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Speaker 4: that he was going that he liked my girlfriend, that

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Speaker 4: he saw me, that she was going to say something,

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Speaker 4: and that he was going to beat me up, like

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Speaker 4: a grown man was going to beat me up in

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Speaker 4: front of everybody.

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Speaker 5: I knew reasonable.

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Speaker 4: I mean, this is a guy that buys alcohol and

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Speaker 4: lets strange kids party in his basement and flirts with

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Speaker 4: fourteen or fifteen year old women.

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Speaker 3: So why wouldn't he beat one of them up?

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Speaker 4: Why what if he pulled out a gun? What if

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Speaker 4: he pulled out a knife? What if he locked the

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Speaker 4: door and killed us?

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Speaker 5: All? Like it was.

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Speaker 4: It was a true fear, And I like said, hey,

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Speaker 4: everybody like made eye contact.

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Speaker 5: With that girl.

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Speaker 4: She was like, oh shit, like she got busted in

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Speaker 4: a lie. Yeah, And so I just left. I was like,

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Speaker 4: andre wanago, He's like yeah, so we left. I combined

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Speaker 4: that fear, that innate fear of being singled out, being

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Speaker 4: in somebody's basement, an older person around younger people with

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Speaker 4: another woman in town. A friend of mine had an

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Speaker 4: aunt who was wealthy or at least well to do,

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Speaker 4: who had a really nice house with a really nice

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Speaker 4: finished basement. And when her husband, who's I think a businessman,

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Speaker 4: are traveling for his work, would go out of town,

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Speaker 4: she would let us hang out a party in her basement.

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Speaker 4: And at first it was like four or five of us,

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Speaker 4: which is very like ma that first time in their

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Speaker 4: basement is very similar experience. Yeah yeah, but the second

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Speaker 4: time she let it word spread and like fifty kids

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Speaker 4: showed up, like the bad kids showed up.

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Speaker 5: Thankfully.

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Speaker 4: I was cool with both sides of like the goodie

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Speaker 4: two shoes and the druggies. So I was I was

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Speaker 4: like Blade, I was like moving between the bad, the

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Speaker 4: detention kids and the Valedictorians.

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Speaker 3: Yeah.

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Speaker 5: Yeah.

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Speaker 4: And there was a couple hooking up in the bathroom,

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Speaker 4: a guy I knew and a girl I knew, and

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Speaker 4: I had to go and so and we weren't allowed upstairs,

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Speaker 4: like because valuables, not because she had a Munchausen by

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Speaker 4: proxy daughter up.

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Speaker 3: Yes. Yes, spoilers, spoilers.

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Speaker 4: Okay, at this point two years here, either sawd or

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Speaker 4: you didn't.

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Speaker 3: And that's how Millie feels.

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Speaker 2: They love spoilers, these listeners.

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Speaker 3: So my listeners love to tell the whole story.

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Speaker 4: I'll say no more, but I was allowed upstairs, so

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Speaker 4: packed party. Kids are making out under like fitted sheets

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Speaker 4: on the floor. People are shooting pool. She's like bartending.

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Speaker 4: She's telling all the girls they have cute but she's

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Speaker 4: telling all the boys like, hey, call me when you're eighteen,

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Speaker 4: like creepy amp. And so I went outside.

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Speaker 5: It was snowing. It was like not snowing hard, but

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Speaker 5: it was snowing because I had a pee.

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Speaker 4: So I walk out to the tree line behind their

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Speaker 4: yard and I'm peeing against a tree and I turned

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Speaker 4: around and she's standing in the sliding glass door staring

404
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Speaker 4: at me like furious. Like thirty minutes earlier, she's telling

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Speaker 4: me to call her when I'm eighteen, and now she's

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Speaker 4: looking at me like I need to die. And she's like,

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Speaker 4: what the fuck are you doing? And I was like,

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Speaker 4: I'm sorry. There are people in the bathroom, and she's like,

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Speaker 4: you're not allowed back in, and everyone's like, what happened?

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Speaker 5: What happened? I was like, I just peed out back.

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Speaker 4: She's like, if my husband sees pee in the snow,

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Speaker 4: like I get in trouble and you just did this

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Speaker 4: and mean, I mean, kids are like going insane inside

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Speaker 4: of her house. So I combined that woman and those parties,

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Speaker 4: which are more than two, with that weird old guy

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Speaker 4: that was like a one off in his basement, and

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Speaker 4: I was like, this has to have happened in every town,

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Speaker 4: and I'm going to pull my favorite parts and then

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Speaker 4: add some stuff.

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Speaker 5: So that's how my came to together.

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Speaker 3: That's fantastic, I have. I did not go to a

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Speaker 3: single party in high school. I'm riveted.

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Speaker 4: Oh I went to too many and they went insane.

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Speaker 4: And we had just we had a real mix of

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Speaker 4: the haves and the have nots.

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Speaker 5: We had a little bit of a mix of everybody.

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Speaker 5: We had. We had a couple famous parents who.

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Speaker 4: Would leave town and like had big houses where we

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Speaker 4: would throw parties that if you saw it, you would

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Speaker 4: think it was out of a movie. But at the

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Speaker 4: same time, you looked around and you were like, some

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Speaker 4: of these people are going to try to keep this

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Speaker 4: going forever. I'm out of here. So I just graduated

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Speaker 4: and went to school in another state. I was like,

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Speaker 4: you guys can have this.

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Speaker 3: So you're saying, there are probably still people partying in

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Speaker 3: that dirt basement.

438
00:20:38,960 --> 00:20:40,800
Speaker 5: Dead or partying or dead in the basement.

439
00:20:40,960 --> 00:20:43,760
Speaker 3: Yeah, absolutely, I love that.

440
00:20:44,320 --> 00:20:45,120
Speaker 2: Yeah, I love it too.

441
00:20:45,160 --> 00:20:48,520
Speaker 1: It's so funny because I, you know, just not to

442
00:20:48,600 --> 00:20:50,160
Speaker 1: freak you out, Scottie.

443
00:20:49,680 --> 00:20:52,640
Speaker 2: But Danielle and I have seen MA many many times.

444
00:20:52,840 --> 00:20:54,600
Speaker 5: Well thanks, Yes, we.

445
00:20:54,440 --> 00:20:58,560
Speaker 1: Were excited to find out that you were within access

446
00:20:58,760 --> 00:21:02,600
Speaker 1: of us to to project all of our feelings about MA.

447
00:21:03,320 --> 00:21:06,120
Speaker 1: But the thing that I love about it, and because

448
00:21:06,160 --> 00:21:09,879
Speaker 1: this is the fear for me, is the idea that

449
00:21:09,920 --> 00:21:13,840
Speaker 1: there is an older person who is basically trying to

450
00:21:13,880 --> 00:21:17,400
Speaker 1: like live vicariously through these like teenagers and it's kind

451
00:21:17,400 --> 00:21:19,960
Speaker 1: of showing up down like it's one thing to be like,

452
00:21:20,040 --> 00:21:21,159
Speaker 1: here's access.

453
00:21:20,800 --> 00:21:22,679
Speaker 2: To my basement and they all just hang out and

454
00:21:22,760 --> 00:21:24,280
Speaker 2: I'll see you. When I see you, just.

455
00:21:24,240 --> 00:21:24,879
Speaker 5: Lock the door.

456
00:21:25,160 --> 00:21:27,239
Speaker 1: But the fact that she's like in the mix and

457
00:21:27,280 --> 00:21:30,919
Speaker 1: she's like dancing and pouring jello shots and shit. That

458
00:21:31,080 --> 00:21:35,119
Speaker 1: to me because because at the time, yes, at the time,

459
00:21:35,680 --> 00:21:37,240
Speaker 1: I got to say, I don't even think I would

460
00:21:37,280 --> 00:21:40,440
Speaker 1: have thought that person was cool then, and I certainly

461
00:21:40,560 --> 00:21:44,399
Speaker 1: now am like working, you know, every day to not

462
00:21:44,440 --> 00:21:45,359
Speaker 1: be that person ever.

463
00:21:46,840 --> 00:21:47,760
Speaker 5: Yeah.

464
00:21:47,800 --> 00:21:50,639
Speaker 1: But so but for you, you, I think it seems

465
00:21:50,680 --> 00:21:54,119
Speaker 1: like you sense that that person was like you felt

466
00:21:54,400 --> 00:21:55,240
Speaker 1: a weirdness there.

467
00:21:55,880 --> 00:21:58,239
Speaker 4: I did feel weirdness there, and I felt like I

468
00:21:58,359 --> 00:22:01,000
Speaker 4: was the only one feeling the weirdness, which is why

469
00:22:01,000 --> 00:22:04,120
Speaker 4: I made the main character Maggie. I've always felt that way.

470
00:22:04,160 --> 00:22:05,760
Speaker 4: I think it's why I became a writer. I think

471
00:22:05,760 --> 00:22:08,480
Speaker 4: it's why I'm able to write for different actors and

472
00:22:08,560 --> 00:22:10,919
Speaker 4: genre like I'm I can stretch pretty good in a

473
00:22:10,920 --> 00:22:14,639
Speaker 4: few different directions. Is because I sometimes I feel like

474
00:22:14,680 --> 00:22:17,160
Speaker 4: I feel the things that nobody else is feeling. And

475
00:22:17,320 --> 00:22:19,120
Speaker 4: for a writer, that's a really good way to be

476
00:22:19,119 --> 00:22:21,560
Speaker 4: because when you write it, you actually find out that

477
00:22:21,680 --> 00:22:23,760
Speaker 4: tons of people have felt that way, but they didn't

478
00:22:23,800 --> 00:22:27,640
Speaker 4: know how to express it. And I for sure felt

479
00:22:27,680 --> 00:22:32,760
Speaker 4: uncomfortable with the first guy and then seeing I never

480
00:22:32,840 --> 00:22:35,600
Speaker 4: into And the reason I decided to write MA when

481
00:22:35,680 --> 00:22:38,600
Speaker 4: I in my thirties, you know, twenty years after this

482
00:22:38,600 --> 00:22:41,560
Speaker 4: thing happened, is because it stuck with me. And then

483
00:22:41,760 --> 00:22:43,959
Speaker 4: I started to see with the rise of cell phones,

484
00:22:44,119 --> 00:22:47,600
Speaker 4: parents who had way too much to do with their kids' lives,

485
00:22:47,640 --> 00:22:50,200
Speaker 4: like like not just texting your kids or calling kids,

486
00:22:50,200 --> 00:22:52,920
Speaker 4: but face some kids every single day, tracking your kids,

487
00:22:53,160 --> 00:22:55,840
Speaker 4: being on their apps, commenting on their photos, knowing, and

488
00:22:55,880 --> 00:22:58,679
Speaker 4: it's like that started to get really scary to me.

489
00:22:58,760 --> 00:23:02,639
Speaker 4: So I was like, I I don't think popularity with

490
00:23:02,720 --> 00:23:06,159
Speaker 4: teenagers is something any adult should ever aspire to or

491
00:23:06,280 --> 00:23:08,600
Speaker 4: welcome or even accept. Like they just like hanging out

492
00:23:08,640 --> 00:23:10,280
Speaker 4: with me, you should distance yourself.

493
00:23:12,359 --> 00:23:15,160
Speaker 3: I liked that. I think that part of it too.

494
00:23:15,200 --> 00:23:17,800
Speaker 3: I was wondering if, and this is something I would

495
00:23:17,840 --> 00:23:21,000
Speaker 3: never ask another writer. I will not make you answer

496
00:23:21,280 --> 00:23:25,200
Speaker 3: because it's just one of the most complicatedly annoying questions.

497
00:23:26,080 --> 00:23:28,159
Speaker 3: You come up with ideas and you write them. That

498
00:23:28,320 --> 00:23:32,760
Speaker 3: is the craft. But I did enjoy that Maggie's mom

499
00:23:33,359 --> 00:23:36,639
Speaker 3: was not present for a real reason. Yeah, she was

500
00:23:36,720 --> 00:23:39,960
Speaker 3: working and doing her thing. It wasn't neglect. It wasn't,

501
00:23:40,119 --> 00:23:42,879
Speaker 3: you know, just kind of this benign I don't know,

502
00:23:43,000 --> 00:23:46,200
Speaker 3: she's just a kid kind of Absolutely. That was really important,

503
00:23:46,240 --> 00:23:48,040
Speaker 3: I think to the fear as well, because you're like,

504
00:23:48,080 --> 00:23:51,080
Speaker 3: this isn't a kid who's going off the rails for

505
00:23:51,119 --> 00:23:55,080
Speaker 3: no reason. She's just kind of free to explore, and

506
00:23:55,119 --> 00:23:57,320
Speaker 3: she is exploring, and I.

507
00:23:57,320 --> 00:23:58,680
Speaker 5: Like that, Thank you.

508
00:23:58,960 --> 00:24:01,400
Speaker 4: That was important me too. I didn't want to make

509
00:24:03,240 --> 00:24:05,920
Speaker 4: it was not against parents or anything. I thought that

510
00:24:05,960 --> 00:24:08,600
Speaker 4: the story should be about a daughter and a mother reuniting,

511
00:24:08,840 --> 00:24:11,560
Speaker 4: and I thought that it was going to happen because

512
00:24:11,680 --> 00:24:15,680
Speaker 4: the daughter was going to learn that popularity doesn't matter.

513
00:24:15,880 --> 00:24:19,040
Speaker 4: It was basically a fifteen or six year old versus

514
00:24:19,119 --> 00:24:21,760
Speaker 4: a foty year old for the same friend group. I

515
00:24:21,800 --> 00:24:24,040
Speaker 4: thought that was really interesting, but I wanted to make

516
00:24:24,080 --> 00:24:27,200
Speaker 4: it about to a single mom recently divorced. I don't

517
00:24:27,200 --> 00:24:29,120
Speaker 4: think it's really talked about in the Oh that scene

518
00:24:29,119 --> 00:24:30,879
Speaker 4: got cut. There's a scene in the movie where the

519
00:24:31,800 --> 00:24:34,840
Speaker 4: Maggie and Andy, the love interest, the teenage love interest.

520
00:24:36,119 --> 00:24:39,479
Speaker 5: He's like, you know, what's your story?

521
00:24:39,520 --> 00:24:42,040
Speaker 4: Basically, and she was from San Diego and her dad

522
00:24:42,080 --> 00:24:44,480
Speaker 4: had been cheating on her mom, and her dad wasn't

523
00:24:44,480 --> 00:24:47,480
Speaker 4: like abusive or anything bad. But the mom's like, screw

524
00:24:47,560 --> 00:24:49,880
Speaker 4: this and they go back to their hometown. She'd never

525
00:24:49,920 --> 00:24:53,639
Speaker 4: really had friends there, Maggie, So the mom taking this

526
00:24:53,720 --> 00:24:56,439
Speaker 4: cocktail waitressing job. In the first draft of the script,

527
00:24:56,440 --> 00:24:58,679
Speaker 4: it was for like an under armour type of company

528
00:24:58,680 --> 00:25:00,640
Speaker 4: where she was going to be working corporate hours, really

529
00:25:00,720 --> 00:25:03,520
Speaker 4: late in sales. But we shot at Mississippi and it

530
00:25:03,680 --> 00:25:04,800
Speaker 4: just wasn't going to work that way.

531
00:25:05,440 --> 00:25:07,639
Speaker 5: But yes, I wanted an operation that was doing a

532
00:25:07,680 --> 00:25:08,760
Speaker 5: good job. It wasn't the.

533
00:25:08,760 --> 00:25:12,080
Speaker 4: Mom's fault, but it was the seduction of popularity and

534
00:25:12,119 --> 00:25:14,800
Speaker 4: how far people are willing to go and anybody. I'm

535
00:25:14,840 --> 00:25:16,840
Speaker 4: sure you have a lot of murderingo listeners too, just

536
00:25:16,840 --> 00:25:20,240
Speaker 4: like we do in Bananas, But there are a lot

537
00:25:20,359 --> 00:25:23,199
Speaker 4: of true crime cases where somebody just wanted to be

538
00:25:23,320 --> 00:25:25,680
Speaker 4: cool or fit in or be with the hotter person.

539
00:25:25,800 --> 00:25:26,960
Speaker 5: And like the lengths.

540
00:25:26,680 --> 00:25:31,480
Speaker 4: People will go to to not lose that cheerleader girlfriend

541
00:25:31,480 --> 00:25:34,280
Speaker 4: that they always wanted or that drinking buddy that's a

542
00:25:34,280 --> 00:25:36,840
Speaker 4: little cooler makes millions of dollars. Like people will go

543
00:25:36,880 --> 00:25:39,679
Speaker 4: to extremes to not be on the outside.

544
00:25:40,600 --> 00:25:43,800
Speaker 3: That is terrifying and truly again like these levels of

545
00:25:43,880 --> 00:25:46,560
Speaker 3: terror in this film, which is what I really appreciated

546
00:25:46,560 --> 00:25:50,320
Speaker 3: about it. And to answer Stephanie's question, yes, it's possible

547
00:25:50,359 --> 00:25:54,320
Speaker 3: that people can fictionalize moments, but they're not usually so

548
00:25:55,720 --> 00:25:59,960
Speaker 3: you know, so objectively tangible and I really like that.

549
00:26:00,040 --> 00:26:03,439
Speaker 3: I just really liked this notion that for me, my

550
00:26:03,480 --> 00:26:06,320
Speaker 3: favorite kind of horror is psychological horror. Yes, with someone

551
00:26:06,320 --> 00:26:09,480
Speaker 3: who likes Gore, so I ran the other way and

552
00:26:09,720 --> 00:26:12,040
Speaker 3: I like a psychological terror, and I think that when

553
00:26:12,080 --> 00:26:16,880
Speaker 3: you're fictionalizing real moments that comes through so much more

554
00:26:16,920 --> 00:26:20,640
Speaker 3: clearly and so loudly in such a great way, because,

555
00:26:20,800 --> 00:26:23,399
Speaker 3: like you said, everyone has felt something like that at

556
00:26:23,440 --> 00:26:24,320
Speaker 3: some point in their life.

557
00:26:24,920 --> 00:26:25,160
Speaker 5: Right.

558
00:26:25,760 --> 00:26:29,240
Speaker 4: The trick for horror writing or thriller writing is the

559
00:26:29,440 --> 00:26:33,200
Speaker 4: hero is can't go anywhere else. There comes a point

560
00:26:33,200 --> 00:26:36,960
Speaker 4: where they can't go anywhere else. And I knew that

561
00:26:37,119 --> 00:26:41,320
Speaker 4: if my especially when you're teenager and you're just your hormones,

562
00:26:41,359 --> 00:26:44,600
Speaker 4: you're raging, and your first kiss or your first whatever,

563
00:26:44,760 --> 00:26:48,000
Speaker 4: whenever that comes, it's just so it means so much

564
00:26:48,440 --> 00:26:50,640
Speaker 4: that that I could get a hero to keep going

565
00:26:50,680 --> 00:26:54,639
Speaker 4: into the kill zone basically by attaching her emotionally to

566
00:26:54,840 --> 00:26:57,679
Speaker 4: that friend group and that boyfriend. And so that was

567
00:26:58,040 --> 00:27:00,399
Speaker 4: I once that came in a flash. And as soon

568
00:27:00,400 --> 00:27:01,679
Speaker 4: as it came in a flash, I was sitting in

569
00:27:01,720 --> 00:27:04,080
Speaker 4: a hotel lobby in New Orleans with two friends, getting

570
00:27:04,080 --> 00:27:06,640
Speaker 4: ready to go on a flight, and somebody said something

571
00:27:06,800 --> 00:27:09,560
Speaker 4: that instantly I wrote down in my phone the entire

572
00:27:09,600 --> 00:27:11,800
Speaker 4: plot of MOD two paragraphs and sent it to my agent.

573
00:27:11,880 --> 00:27:15,040
Speaker 5: She's like, this could be cool, and but but it was.

574
00:27:15,080 --> 00:27:17,760
Speaker 4: Those two memories came back, and then the idea that

575
00:27:19,000 --> 00:27:23,560
Speaker 4: if your boyfriend, girlfriend, whatever, your partner was somewhere without

576
00:27:23,600 --> 00:27:24,920
Speaker 4: you would you go one.

577
00:27:24,760 --> 00:27:26,840
Speaker 5: More time, even if you were scared, and you you.

578
00:27:26,800 --> 00:27:30,320
Speaker 4: Probably would, most of us probably would.

579
00:27:31,280 --> 00:27:31,480
Speaker 2: Well.

580
00:27:31,560 --> 00:27:34,240
Speaker 1: I I appreciate it just coming from like a horror

581
00:27:34,240 --> 00:27:39,280
Speaker 1: movie fan perspective. I love that it was sort of

582
00:27:39,359 --> 00:27:42,400
Speaker 1: like a new entry into I don't know if you've

583
00:27:42,400 --> 00:27:48,160
Speaker 1: heard the term psycho biddy, so it's it's essentially a

584
00:27:48,200 --> 00:27:51,480
Speaker 1: little micro genre. We've talked about it many times on

585
00:27:51,600 --> 00:27:52,359
Speaker 1: this podcast.

586
00:27:52,520 --> 00:28:00,720
Speaker 2: Yeah, where an usually middle aged woman is like the

587
00:28:00,760 --> 00:28:05,200
Speaker 2: center of the horror for a horror film. And it largely.

588
00:28:06,320 --> 00:28:08,840
Speaker 1: Is you know, that deals with this idea of like

589
00:28:08,920 --> 00:28:13,160
Speaker 1: trapping relatives and like trapping people. And I mean there's

590
00:28:13,160 --> 00:28:15,800
Speaker 1: a grand tradition of it in the sixties and seventies.

591
00:28:15,800 --> 00:28:18,280
Speaker 1: And then the thing that I was so excited about

592
00:28:18,280 --> 00:28:20,040
Speaker 1: when I when I heard that this movie was coming

593
00:28:20,040 --> 00:28:22,080
Speaker 1: out was that it was going to be like another

594
00:28:23,359 --> 00:28:25,879
Speaker 1: back to form baby, like we're coming back to the

595
00:28:25,880 --> 00:28:29,760
Speaker 1: psychopaty And I love it me too, Yeah, and I

596
00:28:29,920 --> 00:28:32,399
Speaker 1: and and to me, like, I love that there is

597
00:28:32,960 --> 00:28:37,240
Speaker 1: an actual story behind it. It's like a true life thing,

598
00:28:37,720 --> 00:28:40,520
Speaker 1: but it's also like working on this like genre level.

599
00:28:40,920 --> 00:28:42,560
Speaker 2: It's great. It's a great movie.

600
00:28:42,880 --> 00:28:45,680
Speaker 5: And thanks. It means a lot, Yeah, you know it did.

601
00:28:46,440 --> 00:28:48,920
Speaker 4: They really pushed it really hard, which is cool, and

602
00:28:48,960 --> 00:28:50,440
Speaker 4: you could tell if they like your movie or not

603
00:28:50,480 --> 00:28:52,080
Speaker 4: by when they release it. So when they said it

604
00:28:52,120 --> 00:28:53,720
Speaker 4: was going to be a Memorial Day weekend release, I

605
00:28:53,720 --> 00:28:55,520
Speaker 4: was like, Oh, they think this is going to do great.

606
00:28:56,040 --> 00:28:59,440
Speaker 4: And then the main I don't ever read reviews ever,

607
00:28:59,560 --> 00:29:03,760
Speaker 4: literally never, and I just never even for TV stuff.

608
00:29:03,800 --> 00:29:08,280
Speaker 5: I stay out of it. But it was cool because

609
00:29:08,280 --> 00:29:09,960
Speaker 5: it's lived two years later.

610
00:29:10,040 --> 00:29:12,600
Speaker 4: It's so many memes, so many people are talking about

611
00:29:12,640 --> 00:29:15,200
Speaker 4: mos Basement, so many people are saying, don't make you

612
00:29:15,280 --> 00:29:17,880
Speaker 4: drink alone. Like it became a cult movie, which you

613
00:29:17,920 --> 00:29:20,080
Speaker 4: can never plan. But it was a combination of having

614
00:29:20,120 --> 00:29:22,880
Speaker 4: a director who never directs in the genre or Tay Taylor,

615
00:29:23,400 --> 00:29:26,080
Speaker 4: and then a script that was a really brutal script,

616
00:29:26,080 --> 00:29:27,600
Speaker 4: but because I was a comedy writer, I was going

617
00:29:27,640 --> 00:29:30,160
Speaker 4: to make the teenagers sound like teenagers. I hate when

618
00:29:30,200 --> 00:29:32,920
Speaker 4: adults right teenagers to be too smart or something like.

619
00:29:33,000 --> 00:29:34,960
Speaker 5: Just let them be kids. Yeah, but some.

620
00:29:35,160 --> 00:29:39,160
Speaker 4: And then Octavia being Octavia and also Diana playing Maggie

621
00:29:39,400 --> 00:29:40,120
Speaker 4: is great.

622
00:29:40,440 --> 00:29:41,680
Speaker 5: I thought she was great in that.

623
00:29:41,600 --> 00:29:46,040
Speaker 4: Movie, Like, yeah, I love all the kids and the

624
00:29:46,120 --> 00:29:47,920
Speaker 4: cast that Luke Evans as scary as hell.

625
00:29:47,960 --> 00:29:48,760
Speaker 5: Missy Pyle is.

626
00:29:48,800 --> 00:29:51,520
Speaker 4: Cool and as a writer, I have zero to say

627
00:29:51,520 --> 00:29:53,960
Speaker 4: about that, besides having a phone call with Octavia when

628
00:29:53,960 --> 00:29:55,200
Speaker 4: she said she wanted to do the part. And then

629
00:29:55,240 --> 00:29:57,360
Speaker 4: Alison Janney called and says she wanted to die because

630
00:29:57,400 --> 00:29:59,720
Speaker 4: she had never been killed in a movie before Sweet,

631
00:30:00,560 --> 00:30:00,880
Speaker 4: so we.

632
00:30:00,840 --> 00:30:03,800
Speaker 3: Added a death thing for Jamie gets a lot of

633
00:30:03,800 --> 00:30:04,880
Speaker 3: love on this podcast.

634
00:30:05,040 --> 00:30:06,760
Speaker 5: Yes, understandable.

635
00:30:07,360 --> 00:30:11,080
Speaker 4: Yeah, it was a weird combination of things. And then

636
00:30:11,160 --> 00:30:13,120
Speaker 4: young people like it. But I think they like it

637
00:30:13,160 --> 00:30:16,640
Speaker 4: because people, young people know that there are events that

638
00:30:16,680 --> 00:30:18,560
Speaker 4: can happen that will draw you in that you know

639
00:30:18,600 --> 00:30:21,760
Speaker 4: you shouldn't be doing. And if there's one wacky adult,

640
00:30:21,840 --> 00:30:25,640
Speaker 4: if there's one middle aged bitty in there, you're in

641
00:30:25,840 --> 00:30:29,360
Speaker 4: deep shit. So it's stuck around, which is it's a

642
00:30:29,360 --> 00:30:33,000
Speaker 4: true miracle, and uh, I'm very happy. It's so hard

643
00:30:33,040 --> 00:30:35,680
Speaker 4: to get anything made, so I like it. I've only

644
00:30:35,680 --> 00:30:36,440
Speaker 4: seen it one time.

645
00:30:37,160 --> 00:30:40,600
Speaker 3: I've said, once we've seen it for you, then yeah,

646
00:30:40,960 --> 00:30:45,080
Speaker 3: we've covered the bases. I remember vividly we were at

647
00:30:45,080 --> 00:30:47,440
Speaker 3: the Arc Light Million and I and we were round

648
00:30:47,440 --> 00:30:48,920
Speaker 3: at the corner to go up the steps to see

649
00:30:48,960 --> 00:30:51,520
Speaker 3: the movie, and we saw the poster and without even

650
00:30:52,000 --> 00:30:54,880
Speaker 3: without even another word is said, we both said, we're

651
00:30:54,920 --> 00:30:59,320
Speaker 3: seeing that it was great. We love this movie.

652
00:30:59,360 --> 00:31:01,080
Speaker 5: But I think that's so much.

653
00:31:01,200 --> 00:31:02,960
Speaker 1: I don't watch a lot of new horror, and I

654
00:31:03,040 --> 00:31:05,440
Speaker 1: think a lot of it is like what you said,

655
00:31:05,560 --> 00:31:08,680
Speaker 1: was that sometimes with new horror, like the kids in

656
00:31:08,720 --> 00:31:11,960
Speaker 1: the movie are like too they're too smart, they're too

657
00:31:12,120 --> 00:31:15,840
Speaker 1: like trying to be funny. There's always like trying. I

658
00:31:15,880 --> 00:31:20,320
Speaker 1: think I just tried too hard to be like, you know, funny, or.

659
00:31:20,240 --> 00:31:22,400
Speaker 4: Trying to get the one letter, the Juno effect where

660
00:31:22,400 --> 00:31:25,800
Speaker 4: you're like how many Junos exist? One per state? And

661
00:31:25,840 --> 00:31:29,040
Speaker 4: it's like fun movie, but you can't have five Juno's,

662
00:31:29,200 --> 00:31:30,200
Speaker 4: Like what's going on?

663
00:31:30,320 --> 00:31:32,880
Speaker 3: But then on the flip side, I watch Euphoria and

664
00:31:32,880 --> 00:31:34,920
Speaker 3: it makes me want to crawl in a hole, like

665
00:31:35,000 --> 00:31:37,800
Speaker 3: if this is what children are actually like, I am

666
00:31:38,040 --> 00:31:42,239
Speaker 3: terrified in the whole different way. I liked it a lot.

667
00:31:42,320 --> 00:31:43,760
Speaker 2: Yeah, Yeah, the kids in MA are great.

668
00:31:43,920 --> 00:31:48,680
Speaker 1: They're the perfect amount of scared and hysterical and funny

669
00:31:48,840 --> 00:31:52,720
Speaker 1: and they sound like actual kids. Yeah, it's an amazing movie,

670
00:31:52,720 --> 00:31:55,200
Speaker 1: and I'm glad that Steffanie wrote in and gave us

671
00:31:55,200 --> 00:31:58,920
Speaker 1: something that you could answer because honestly, it's it's I

672
00:31:58,920 --> 00:32:01,480
Speaker 1: think it is like. And I'm not a writer, so

673
00:32:01,480 --> 00:32:04,040
Speaker 1: I don't really know what it's like to, you know,

674
00:32:04,480 --> 00:32:06,880
Speaker 1: come up with the script that's my own life, right,

675
00:32:06,920 --> 00:32:09,240
Speaker 1: and then it kind of goes through the machine a

676
00:32:09,280 --> 00:32:13,440
Speaker 1: little bit. But it sounds like you like the movie,

677
00:32:13,720 --> 00:32:16,520
Speaker 1: and you know, we love it and we think it's great,

678
00:32:16,640 --> 00:32:17,400
Speaker 1: So congrats.

679
00:32:17,480 --> 00:32:20,600
Speaker 4: I think it's fun. People liked going to it. That

680
00:32:20,720 --> 00:32:22,880
Speaker 4: was the people loved the movie experience of mind, because

681
00:32:22,920 --> 00:32:25,360
Speaker 4: people are laughing, they're cheering, they're screaming, Like a lot

682
00:32:25,360 --> 00:32:28,360
Speaker 4: of my buddies that went the opening weekend were like, Scotty,

683
00:32:28,520 --> 00:32:30,280
Speaker 4: I've never been to a movie where people are having

684
00:32:30,320 --> 00:32:32,920
Speaker 4: more fun. It felt like a roller coaster and that

685
00:32:33,000 --> 00:32:34,080
Speaker 4: meant that meant.

686
00:32:34,000 --> 00:32:37,200
Speaker 5: More to me than anything. And it's just a thrill.

687
00:32:37,320 --> 00:32:40,200
Speaker 4: I really never expected to get a movie made like

688
00:32:40,240 --> 00:32:41,960
Speaker 4: that was one of my goals when I was a

689
00:32:42,000 --> 00:32:44,160
Speaker 4: young person, and the fact that I even got one

690
00:32:44,200 --> 00:32:47,040
Speaker 4: in theaters now, especially with everything streaming, it's been a

691
00:32:47,080 --> 00:32:51,040
Speaker 4: tremendous Like everything else, just a pleasant surprise. So I'm

692
00:32:51,160 --> 00:32:54,200
Speaker 4: thrilled that you enjoy it, and I hope it ages

693
00:32:54,240 --> 00:32:56,480
Speaker 4: in a way that you watch it like you just

694
00:32:56,480 --> 00:32:57,920
Speaker 4: put it on when you want to have a good time.

695
00:32:58,000 --> 00:32:58,960
Speaker 5: That would be huge.

696
00:32:59,000 --> 00:33:02,480
Speaker 3: That's the story of my pandemic. I was like, I'm

697
00:33:02,520 --> 00:33:07,360
Speaker 3: not having fun today, Boob. I'm watching ma I'm watching it.

698
00:33:07,480 --> 00:33:10,600
Speaker 3: I'm watching all of these movies. This it's important. But

699
00:33:10,640 --> 00:33:13,680
Speaker 3: thank you so much. I please. You're writing more things,

700
00:33:13,720 --> 00:33:15,880
Speaker 3: You're writing more movies, You're putting more ths out in

701
00:33:15,920 --> 00:33:17,720
Speaker 3: the world. Do you want to promote anything.

702
00:33:18,160 --> 00:33:20,040
Speaker 4: I have a new movie getting shot right now called

703
00:33:20,040 --> 00:33:22,680
Speaker 4: The Machine. It's a big action comedy like The hangover

704
00:33:24,000 --> 00:33:26,719
Speaker 4: Bert Kreischer, who's a stand up comedian. It's his story

705
00:33:26,720 --> 00:33:29,800
Speaker 4: of the Machine. I wrote that last April, during the pandemic.

706
00:33:29,800 --> 00:33:32,080
Speaker 4: But they're shooting it already, so hopefully that'll be out

707
00:33:32,080 --> 00:33:35,880
Speaker 4: this fall. The biggest casting for that is Mark Hamill,

708
00:33:35,960 --> 00:33:39,240
Speaker 4: I think is playing Bert's dad in the very lead.

709
00:33:39,920 --> 00:33:40,520
Speaker 4: Pretty good.

710
00:33:40,600 --> 00:33:42,280
Speaker 3: I think you heard me say I never went to

711
00:33:42,320 --> 00:33:44,640
Speaker 3: parties in high schools because I was a fucking nerd,

712
00:33:45,200 --> 00:33:49,600
Speaker 3: and Mark Hamill, I'm I'm I'm dying about this news.

713
00:33:49,800 --> 00:33:50,680
Speaker 3: I don't know if I can handle this.

714
00:33:50,880 --> 00:33:53,200
Speaker 4: Nerds are cool, Nerds are rule the world now. So

715
00:33:53,360 --> 00:33:55,200
Speaker 4: it was just waiting for your time out weird. Aw

716
00:33:55,240 --> 00:33:59,000
Speaker 4: Yankovic is just Al Yankovic. Now he's just he's anymore.

717
00:33:59,120 --> 00:34:00,080
Speaker 3: He's just got a middle.

718
00:34:02,560 --> 00:34:03,160
Speaker 5: Anymore.

719
00:34:03,920 --> 00:34:07,360
Speaker 3: That is tremendous casting and Bert Kreischer talked about that,

720
00:34:07,360 --> 00:34:08,640
Speaker 3: that's like part of his stand up.

721
00:34:08,800 --> 00:34:12,080
Speaker 4: I believe his biggest special and everything is the story

722
00:34:12,080 --> 00:34:15,320
Speaker 4: of the machine. So they Legendary made it, which is cool,

723
00:34:15,400 --> 00:34:17,320
Speaker 4: and they said do you know this story? I said yes,

724
00:34:17,360 --> 00:34:19,120
Speaker 4: and then I pitched a Legendary and the I pitched

725
00:34:19,120 --> 00:34:21,120
Speaker 4: a Burt and they liked my take and they attached

726
00:34:21,160 --> 00:34:24,000
Speaker 4: a director, Peter Tensio, who's the key and Peel guy,

727
00:34:24,719 --> 00:34:28,960
Speaker 4: and uh so I'm not on set for many reasons probably,

728
00:34:29,120 --> 00:34:31,799
Speaker 4: but they're shooting it. So that should be out this

729
00:34:31,920 --> 00:34:34,279
Speaker 4: year within a year. And then I have a new

730
00:34:34,360 --> 00:34:38,800
Speaker 4: thriller with Jack Quad from The Boys that I wrote

731
00:34:38,840 --> 00:34:41,359
Speaker 4: for him, and it's more in the ma Vein where

732
00:34:41,360 --> 00:34:45,440
Speaker 4: it's more sort of taking something that I've been thinking

733
00:34:45,480 --> 00:34:47,319
Speaker 4: about for a long time and turned it into a

734
00:34:47,360 --> 00:34:50,560
Speaker 4: new emotional thriller. So hopefully that'll be out this time

735
00:34:50,600 --> 00:34:51,120
Speaker 4: next year.

736
00:34:51,280 --> 00:34:55,319
Speaker 3: Hopefully you're killing it. This is great. We love to

737
00:34:55,320 --> 00:34:55,759
Speaker 3: hear it.

738
00:34:55,880 --> 00:34:59,400
Speaker 5: I'm trying to It's fun.

739
00:35:00,120 --> 00:35:02,000
Speaker 4: YEA Other than that, I just stay busy and I

740
00:35:02,080 --> 00:35:04,920
Speaker 4: just write anything they send me, and it's fun.

741
00:35:05,360 --> 00:35:05,839
Speaker 5: It's good.

742
00:35:06,600 --> 00:35:08,480
Speaker 4: Yeah, I appreciate that you too. The way you talk

743
00:35:08,520 --> 00:35:11,759
Speaker 4: about movies, you actually love movies. A lot of critics,

744
00:35:11,760 --> 00:35:14,080
Speaker 4: which I know is not what y'all to doing, but

745
00:35:14,200 --> 00:35:16,640
Speaker 4: a lot of them seem to hate movies, and I

746
00:35:16,680 --> 00:35:19,320
Speaker 4: really truly enjoy that, even the dark movies. I was

747
00:35:19,360 --> 00:35:21,960
Speaker 4: listening to the Deliverance stand by Me episode, I was

748
00:35:22,040 --> 00:35:25,120
Speaker 4: listening to the Rear Window episodes, like you guys love movies,

749
00:35:25,160 --> 00:35:27,640
Speaker 4: and I love that so big fans.

750
00:35:28,080 --> 00:35:31,880
Speaker 3: Thanks Scottie the best. I'm not even gonna rank the

751
00:35:31,920 --> 00:35:33,520
Speaker 3: Banana Boys. You're both the best.

752
00:35:33,920 --> 00:35:36,239
Speaker 4: I'm number two for a reason. I'm banana boy number

753
00:35:36,239 --> 00:35:37,040
Speaker 4: two for a reason.

754
00:35:37,160 --> 00:35:39,680
Speaker 3: You're banana boy number one. And I saw what you did,

755
00:35:39,840 --> 00:35:44,080
Speaker 3: and Kurt can just deal with it. I used to

756
00:35:44,120 --> 00:35:48,800
Speaker 3: come back anytime. We absolutely thank you for answering this question. Stephanie,

757
00:35:48,800 --> 00:35:50,000
Speaker 3: go watch mo immediately.

758
00:35:50,360 --> 00:35:53,000
Speaker 4: Yes, Stephanie, go watch it five thousand times.

759
00:35:53,120 --> 00:35:53,920
Speaker 5: But now, thank you.

760
00:35:54,040 --> 00:35:56,480
Speaker 4: The honor is mine, and anytime, anytime I can help,

761
00:35:56,520 --> 00:35:57,319
Speaker 4: I'd be glad to be on.

762
00:35:57,440 --> 00:35:57,759
Speaker 5: Thank you.

763
00:35:58,120 --> 00:36:00,920
Speaker 3: Thank you so much for coming on our show. Scottie

764
00:36:00,960 --> 00:36:03,400
Speaker 3: Landis that guy's the best.

765
00:36:03,360 --> 00:36:05,760
Speaker 2: Bananas on exactly right media.

766
00:36:07,840 --> 00:36:11,640
Speaker 3: They're both, They're both banana boy number one in our hearts.

767
00:36:12,160 --> 00:36:14,440
Speaker 1: Let me tell you if I if I had that

768
00:36:14,600 --> 00:36:20,480
Speaker 1: unexpected banana hashtag many it is straight fire. Every time

769
00:36:20,520 --> 00:36:23,240
Speaker 1: I'm in their social media, I'm like, Yo, they're getting

770
00:36:23,520 --> 00:36:26,799
Speaker 1: lots and lots of people hashtagging unexpected banana and it's

771
00:36:26,800 --> 00:36:29,400
Speaker 1: all funny as hell. I crack up every single time

772
00:36:29,640 --> 00:36:31,160
Speaker 1: I'm flipping through Instagram.

773
00:36:31,480 --> 00:36:35,680
Speaker 3: It's hilarious. It's hilarious how many unexpected bananas are out there?

774
00:36:35,880 --> 00:36:37,839
Speaker 3: You don't you don't think about it, and then when

775
00:36:37,840 --> 00:36:39,759
Speaker 3: you see it, you're like, yeah, I see a lot

776
00:36:39,760 --> 00:36:41,760
Speaker 3: of bananas for no goddamn reason.

777
00:36:42,160 --> 00:36:43,960
Speaker 2: It's so it's so genius.

778
00:36:44,400 --> 00:36:46,600
Speaker 3: Love those dudes the best.

779
00:36:46,960 --> 00:36:49,560
Speaker 1: All right, let's take a quick break and we'll be

780
00:36:49,640 --> 00:36:57,640
Speaker 1: back to talk about some movies. Let's talk about the

781
00:36:57,640 --> 00:37:02,520
Speaker 1: theme this week, and would you mind giving the name

782
00:37:02,560 --> 00:37:04,880
Speaker 1: of the theme and then we can just get into.

783
00:37:04,680 --> 00:37:07,680
Speaker 3: It, of course, of course. And also I have to

784
00:37:07,680 --> 00:37:10,280
Speaker 3: say is this is a moment, momentary break to say.

785
00:37:10,800 --> 00:37:13,319
Speaker 3: When people write about our show, I'm always very thankful,

786
00:37:13,560 --> 00:37:15,680
Speaker 3: but I can always tell when they don't listen to

787
00:37:15,719 --> 00:37:18,680
Speaker 3: the episodes because they list the title as the theme. Yes,

788
00:37:19,560 --> 00:37:22,760
Speaker 3: and guess what, that's not it. The theme is now,

789
00:37:22,920 --> 00:37:27,680
Speaker 3: the theme is here, and this week's theme is Juliette

790
00:37:27,719 --> 00:37:35,480
Speaker 3: Lewis is the nineteen ninety's foremost murderous girlfriend. That's a theme, people,

791
00:37:35,480 --> 00:37:38,120
Speaker 3: That's not a title, that's right, that's.

792
00:37:37,920 --> 00:37:41,920
Speaker 1: A theme, baby, a theme. And look, we just had

793
00:37:42,280 --> 00:37:45,600
Speaker 1: Scottie Landisson. I just want to point this out. He

794
00:37:46,360 --> 00:37:50,040
Speaker 1: wrote the movie Ma and we talked about one of

795
00:37:50,040 --> 00:37:54,160
Speaker 1: the actors in law and that actor is the focus

796
00:37:54,560 --> 00:37:58,399
Speaker 1: of our episode today, which is a crazy coincidence, right,

797
00:37:59,040 --> 00:38:02,280
Speaker 1: just wanted to acknowledge that. Now all of our listeners

798
00:38:02,360 --> 00:38:05,000
Speaker 1: know by this point that you and I are roughly

799
00:38:05,000 --> 00:38:07,840
Speaker 1: the same age, and we kind of grew up in

800
00:38:07,880 --> 00:38:11,840
Speaker 1: the nineties, so we consider ourselves what jen xers. So

801
00:38:12,840 --> 00:38:16,240
Speaker 1: I want to know Juliette Lewis obviously is an actress.

802
00:38:16,360 --> 00:38:20,040
Speaker 1: She's been around for ages, she's still working. A lot

803
00:38:20,120 --> 00:38:25,160
Speaker 1: of people know her from her many, many, many amazing films,

804
00:38:25,200 --> 00:38:27,279
Speaker 1: and she was also like a musical artist and had

805
00:38:27,280 --> 00:38:30,319
Speaker 1: a band at one point. But I want to know

806
00:38:30,560 --> 00:38:33,080
Speaker 1: your opinion about her in the nineties because I feel

807
00:38:33,120 --> 00:38:35,439
Speaker 1: like there's a concentration of films that she was in

808
00:38:35,440 --> 00:38:37,880
Speaker 1: in the nineties when we were growing up, where she

809
00:38:38,120 --> 00:38:41,600
Speaker 1: kind of was this actress that was doing kind of

810
00:38:41,640 --> 00:38:45,440
Speaker 1: almost specific type of roles, but definitely like cool movies

811
00:38:45,520 --> 00:38:51,400
Speaker 1: quote unquote cool Braise for our teenagers and above right right.

812
00:38:51,320 --> 00:38:54,319
Speaker 3: And she's she's had an impressive career. I was looking

813
00:38:54,360 --> 00:38:56,600
Speaker 3: through her bio and like, wow, she's been in movies

814
00:38:56,640 --> 00:38:59,560
Speaker 3: with everyone and done everything and has been working since

815
00:38:59,560 --> 00:39:02,000
Speaker 3: she was and you know, she was she took that

816
00:39:03,120 --> 00:39:05,680
Speaker 3: the hiatus to focus on her band, but otherwise she's

817
00:39:05,719 --> 00:39:07,800
Speaker 3: been like earn her bands called Juliet and the licks was.

818
00:39:08,000 --> 00:39:09,799
Speaker 3: I think it's a great name. But she got like

819
00:39:09,880 --> 00:39:14,279
Speaker 3: legally emancipated when she was fourteen. And her dad was

820
00:39:14,320 --> 00:39:16,719
Speaker 3: an actor too. He's that he's a very famous character actor,

821
00:39:16,760 --> 00:39:19,160
Speaker 3: Jeffrey Lewis. So yeah, it's.

822
00:39:19,000 --> 00:39:22,120
Speaker 1: So funny because I was reading. I was reading about

823
00:39:22,160 --> 00:39:24,480
Speaker 1: our two movies, as I always do. I like to

824
00:39:24,520 --> 00:39:26,239
Speaker 1: read and you know, just kind of bulk up on

825
00:39:26,239 --> 00:39:29,239
Speaker 1: stuff because honestly, I have not seen either of our

826
00:39:29,280 --> 00:39:32,400
Speaker 1: movies since they came out, since nineteen ninety three to

827
00:39:32,480 --> 00:39:36,440
Speaker 1: nineteen eighty four, respectively, and I could not tell you

828
00:39:36,560 --> 00:39:39,600
Speaker 1: I was having like such a Russia nostalgia, so many

829
00:39:39,600 --> 00:39:40,759
Speaker 1: different types of feelings.

830
00:39:41,000 --> 00:39:43,560
Speaker 2: But there was like this moment where I was reading about,

831
00:39:43,760 --> 00:39:44,920
Speaker 2: you know, all Over Stone.

832
00:39:45,000 --> 00:39:46,640
Speaker 1: He's the director of one of the films we're going

833
00:39:46,680 --> 00:39:49,000
Speaker 1: to talk about today, and he was basically like talking

834
00:39:49,000 --> 00:39:52,680
Speaker 1: about why he cast you know, who he cast in

835
00:39:52,719 --> 00:39:54,320
Speaker 1: the movie that we're going to talk about today, and

836
00:39:54,360 --> 00:39:56,160
Speaker 1: he said that he was kind of looking for like

837
00:39:56,239 --> 00:39:59,360
Speaker 1: a white trash look quote unquote like basically he was

838
00:39:59,400 --> 00:40:03,439
Speaker 1: looking for some who would convey like a poor.

839
00:40:03,160 --> 00:40:06,919
Speaker 2: Southerner, you know, and she fit the bill.

840
00:40:07,800 --> 00:40:11,440
Speaker 1: And I just think that's so interesting because I mean

841
00:40:11,440 --> 00:40:14,360
Speaker 1: I could talked about this in the Sissy spacec episode.

842
00:40:14,400 --> 00:40:17,880
Speaker 2: Like Southerners a lot of times.

843
00:40:17,520 --> 00:40:21,439
Speaker 1: As actors, they're character actors because they get cast as

844
00:40:22,080 --> 00:40:24,600
Speaker 1: people like this, right, it's oh, you're from Texas, you're

845
00:40:24,600 --> 00:40:27,160
Speaker 1: from Georgia, you're from Kentucky. Why don't you play the

846
00:40:27,239 --> 00:40:31,080
Speaker 1: like gun totin redneck guy that you know is trying

847
00:40:31,080 --> 00:40:33,759
Speaker 1: to kill the two people, you know, the stars of

848
00:40:33,800 --> 00:40:34,720
Speaker 1: the movie or whatever.

849
00:40:34,840 --> 00:40:35,000
Speaker 3: Why?

850
00:40:35,520 --> 00:40:38,160
Speaker 1: But in her case, it's that thing where you're like, oh,

851
00:40:38,239 --> 00:40:41,680
Speaker 1: she was like type cast as she's not from the

852
00:40:41,760 --> 00:40:45,560
Speaker 1: South as far as that are from California, Right, Yeah,

853
00:40:45,600 --> 00:40:46,480
Speaker 1: she's an LA girl.

854
00:40:47,000 --> 00:40:48,840
Speaker 3: Well she's this is the thing, like she did so

855
00:40:48,920 --> 00:40:51,560
Speaker 3: many of these movies because I think she could play

856
00:40:51,640 --> 00:40:55,879
Speaker 3: to that stereotype. Yeah, but I don't know, looking back

857
00:40:55,920 --> 00:40:58,600
Speaker 3: in hindsight, which is always easier to do, I don't

858
00:40:58,760 --> 00:41:03,160
Speaker 3: know if that was a good move for her or

859
00:41:03,200 --> 00:41:05,640
Speaker 3: if that was a move. I mean it's it's definitely

860
00:41:05,680 --> 00:41:09,480
Speaker 3: put her in the spotlight of some pretty intense and

861
00:41:09,520 --> 00:41:12,200
Speaker 3: well recognized films, which I guess as an actor you

862
00:41:12,239 --> 00:41:16,520
Speaker 3: always want, but I just don't. I'm still struggling now

863
00:41:16,560 --> 00:41:19,960
Speaker 3: in twenty twenty one to understand the urge to just

864
00:41:20,000 --> 00:41:22,839
Speaker 3: like push her in that direction. And she could do it.

865
00:41:23,000 --> 00:41:25,000
Speaker 3: She could and did do it quite a lot.

866
00:41:25,600 --> 00:41:26,719
Speaker 2: Yeah, and also.

867
00:41:26,560 --> 00:41:32,440
Speaker 1: Too, just the ebb and flow of interest when it

868
00:41:32,480 --> 00:41:40,399
Speaker 1: comes to like these sort of class based regional depictions. Right,

869
00:41:40,520 --> 00:41:43,759
Speaker 1: So you're kind of like, Okay, we have many periods

870
00:41:43,840 --> 00:41:46,120
Speaker 1: in our I mean, we might have touched upon it

871
00:41:46,160 --> 00:41:51,160
Speaker 1: a little bit when we did the coal Miner's Daughter episode,

872
00:41:51,760 --> 00:41:55,160
Speaker 1: whereas like, oh, suddenly you have this proliferation of like

873
00:41:55,200 --> 00:41:57,880
Speaker 1: all these country music films. Suddenly you have films that

874
00:41:57,920 --> 00:42:03,120
Speaker 1: are all about like, you know, Southern people, Southern stereotypes,

875
00:42:03,200 --> 00:42:05,080
Speaker 1: like redneck culture.

876
00:42:06,520 --> 00:42:08,680
Speaker 2: And I just think that's so interesting because it was some.

877
00:42:08,880 --> 00:42:13,120
Speaker 1: Like, well then why suddenly were like we were obviously

878
00:42:13,280 --> 00:42:18,239
Speaker 1: in the nineties, you know, Silence of the Lambs came

879
00:42:18,239 --> 00:42:20,839
Speaker 1: out in nineteen ninety and it was a huge hit

880
00:42:21,120 --> 00:42:25,120
Speaker 1: one Oscars. Everybody was doing lots and lots of movies

881
00:42:25,160 --> 00:42:27,680
Speaker 1: about murder, about serial killers. It was kind of in

882
00:42:27,719 --> 00:42:32,239
Speaker 1: the era coupled with the idea that you have this like.

883
00:42:33,880 --> 00:42:38,640
Speaker 2: I would call maybe a counterculture of alternative music. Grunge

884
00:42:38,880 --> 00:42:39,239
Speaker 2: was in the.

885
00:42:39,200 --> 00:42:44,560
Speaker 1: Youth culture, movies about outsiders, movies about people that weren't pretty,

886
00:42:45,000 --> 00:42:48,840
Speaker 1: you know, like people who were looked a little quote

887
00:42:48,880 --> 00:42:49,760
Speaker 1: unquote trashy.

888
00:42:49,920 --> 00:42:52,480
Speaker 2: They were you know, smeared makeup.

889
00:42:52,400 --> 00:42:55,160
Speaker 1: Like torn babied all dresses like that was kind of

890
00:42:55,200 --> 00:42:56,880
Speaker 1: the aesthetic of one.

891
00:42:57,360 --> 00:42:59,960
Speaker 3: This is also before that kind of early two thousand

892
00:43:00,120 --> 00:43:04,080
Speaker 3: and jump into that aesthetic with you know, kid rock

893
00:43:04,239 --> 00:43:06,719
Speaker 3: and the Trucker hats and the Von Dutch and all

894
00:43:06,719 --> 00:43:09,399
Speaker 3: that stuff. Yeah, so it's kind of like this this

895
00:43:09,440 --> 00:43:13,480
Speaker 3: sub sect, or this stereotypical subsect of our culture has

896
00:43:13,520 --> 00:43:16,320
Speaker 3: always been vetishized in popular culture.

897
00:43:16,320 --> 00:43:17,440
Speaker 2: Both of these movies.

898
00:43:17,920 --> 00:43:20,439
Speaker 1: I know exactly where I was when both of these

899
00:43:20,480 --> 00:43:21,360
Speaker 1: movies were happening.

900
00:43:21,680 --> 00:43:22,520
Speaker 3: That's very rare.

901
00:43:22,719 --> 00:43:25,759
Speaker 1: I like, forget tons of shit right now, Like I'm like, yo,

902
00:43:25,840 --> 00:43:28,799
Speaker 1: I can barely remember college, but I remember exactly where

903
00:43:28,800 --> 00:43:29,120
Speaker 1: I was.

904
00:43:29,280 --> 00:43:31,640
Speaker 3: I remember where I was when I saw my movie

905
00:43:31,640 --> 00:43:33,120
Speaker 3: because it was one of the first movies that I

906
00:43:33,120 --> 00:43:34,239
Speaker 3: could drive myself to.

907
00:43:34,840 --> 00:43:36,560
Speaker 2: Ooh my god.

908
00:43:37,080 --> 00:43:39,080
Speaker 3: And again this is this is the very nineties thing

909
00:43:39,200 --> 00:43:42,880
Speaker 3: where nobody's checking IDs for R rated or NC seventeen

910
00:43:42,960 --> 00:43:46,359
Speaker 3: or whatever. Movies. You just walked in. Yeah, I just

911
00:43:46,400 --> 00:43:48,440
Speaker 3: walked in with my cabbage patch face and was like,

912
00:43:48,480 --> 00:43:51,480
Speaker 3: I'm here to see this murder movie. And they're like, great,

913
00:43:51,520 --> 00:43:56,239
Speaker 3: we don't give a fuck. Yeah, but it is. It

914
00:43:56,320 --> 00:43:58,880
Speaker 3: is also like I love any moment to dig into

915
00:43:59,080 --> 00:44:02,719
Speaker 3: the nineties because I am firmly gen X and I

916
00:44:02,800 --> 00:44:06,440
Speaker 3: definitely remember the nineties is the time that was. We

917
00:44:06,640 --> 00:44:10,359
Speaker 3: at the time classified it as politically correct, but when

918
00:44:10,440 --> 00:44:13,800
Speaker 3: you look back at this now like hyper politically correct

919
00:44:13,960 --> 00:44:16,720
Speaker 3: scenario that we live in, we were not politically correct

920
00:44:16,719 --> 00:44:19,880
Speaker 3: at all compared to now, because we were still using

921
00:44:19,920 --> 00:44:23,080
Speaker 3: tropes like this as like kind of a scapegoat for

922
00:44:23,120 --> 00:44:26,520
Speaker 3: talking about the ills of our society. So that wasn't cool.

923
00:44:26,600 --> 00:44:28,120
Speaker 3: But nobody was talking about that yet.

924
00:44:29,000 --> 00:44:32,040
Speaker 1: Yeah, I mean, I doubt that there was much intersectionality

925
00:44:32,520 --> 00:44:35,440
Speaker 1: in the early nineties, at least from my perspective.

926
00:44:36,000 --> 00:44:38,879
Speaker 2: I didn't really know, like, yeah, you're exactly right.

927
00:44:38,920 --> 00:44:42,600
Speaker 1: It's like, oh, we're gonna like package this social commentary

928
00:44:42,680 --> 00:44:46,200
Speaker 1: about violence and the media or violence and this, but

929
00:44:46,920 --> 00:44:48,279
Speaker 1: like the rest of the movie.

930
00:44:48,000 --> 00:44:51,160
Speaker 2: Is also like there's a lot going on, a lot.

931
00:44:51,760 --> 00:44:56,160
Speaker 1: I'm excited to talk about these movies. You're going first

932
00:44:56,160 --> 00:44:59,040
Speaker 1: this week. Yeah, and I'm bringing it to you.

933
00:44:59,200 --> 00:45:02,439
Speaker 3: Are you ready, baby, I'm ready. We are getting into

934
00:45:02,440 --> 00:45:06,160
Speaker 3: a movie that I we can decide together whether or

935
00:45:06,200 --> 00:45:10,480
Speaker 3: not it is aged well. But my film for this

936
00:45:10,520 --> 00:45:14,080
Speaker 3: week's theme of Juliet Lewis is the nineteen ninety's foremost

937
00:45:14,120 --> 00:45:18,400
Speaker 3: murderous girlfriend is Natural Born Killers, which is released in

938
00:45:18,480 --> 00:45:22,640
Speaker 3: nineteen ninety four and directed by Oliver Stone. Oliver Stone's

939
00:45:22,719 --> 00:45:29,720
Speaker 3: vision has changed the way we saw our past. Now.

940
00:45:29,880 --> 00:45:33,000
Speaker 2: He takes a look at where we are and where

941
00:45:33,040 --> 00:45:38,360
Speaker 2: we're going, and you will be shocked at what he sees.

942
00:45:39,560 --> 00:45:43,080
Speaker 3: So this is based on a story by Quentin Tarantino.

943
00:45:43,200 --> 00:45:47,760
Speaker 3: The screenplay was written by David the Laws. This is

944
00:45:48,400 --> 00:45:51,719
Speaker 3: all right, my synopsis. It's gonna be a real synopsis.

945
00:45:52,360 --> 00:45:56,960
Speaker 3: It's like real short good. But we've got two ools

946
00:45:57,880 --> 00:46:04,239
Speaker 3: in a row. So this film stars Woody Harrelson and

947
00:46:04,320 --> 00:46:08,480
Speaker 3: Juliet Lewis as Mickey and Mallory Knox, who are separately

948
00:46:08,520 --> 00:46:11,759
Speaker 3: two victims of different types of childhood abuse. And they

949
00:46:11,840 --> 00:46:15,120
Speaker 3: meet and then they go on a rampage and kill

950
00:46:15,160 --> 00:46:18,239
Speaker 3: fifty two people in three weeks, all while falling in love.

951
00:46:18,840 --> 00:46:21,920
Speaker 3: And this movie is supposed to be Oliver Stone's condemnation

952
00:46:22,239 --> 00:46:26,960
Speaker 3: of media and how we consume violence. So that's kind

953
00:46:27,000 --> 00:46:31,040
Speaker 3: of the setup. And the Juliet Lewis factor of this

954
00:46:31,200 --> 00:46:33,880
Speaker 3: movie is very interesting to me because she is playing

955
00:46:33,920 --> 00:46:37,400
Speaker 3: this kind of like she meets Mickey when she's a

956
00:46:37,440 --> 00:46:41,760
Speaker 3: teenager and she's in this incredibly abusive household. Her dad

957
00:46:42,120 --> 00:46:45,600
Speaker 3: is played by Rodney Dangerfield, which is a very weird casting,

958
00:46:45,920 --> 00:46:51,640
Speaker 3: very stunt casting, that's crazy casting, and he is a bastard.

959
00:46:53,040 --> 00:46:56,320
Speaker 3: But they meet when she's a teenager and then she's

960
00:46:56,360 --> 00:46:58,880
Speaker 3: being abused by her father, which is it's told in

961
00:46:58,920 --> 00:47:03,239
Speaker 3: the sitcom way, which is very disturbing. And the first

962
00:47:03,239 --> 00:47:07,200
Speaker 3: people that Mickey and Mallory kill are her parents. Mickey

963
00:47:07,280 --> 00:47:11,080
Speaker 3: goes to jail for stealing her dad's car, but then

964
00:47:11,120 --> 00:47:13,879
Speaker 3: he breaks this I mean the nineties, You'll never gonna

965
00:47:13,880 --> 00:47:16,200
Speaker 3: hear the sentence again. He breaks out of jail by

966
00:47:16,239 --> 00:47:19,800
Speaker 3: riding a horse into a tornado.

967
00:47:23,040 --> 00:47:23,880
Speaker 2: Seems legit.

968
00:47:24,200 --> 00:47:26,480
Speaker 3: I Love You, nineteen ninety four. And then he goes

969
00:47:26,480 --> 00:47:27,960
Speaker 3: to her house and they kill her parents and they

970
00:47:27,960 --> 00:47:30,239
Speaker 3: start this life of crime, and it's like they just

971
00:47:30,320 --> 00:47:33,399
Speaker 3: instantly become folk heroes and people are you know, these

972
00:47:33,400 --> 00:47:35,359
Speaker 3: little SoundBite things where people are saying, it's the best

973
00:47:35,400 --> 00:47:37,920
Speaker 3: thing to happen to murder since Charles Manson. And the

974
00:47:37,960 --> 00:47:41,680
Speaker 3: way that this film is is portrayed is very glitchy,

975
00:47:41,920 --> 00:47:45,400
Speaker 3: Like there's always the imagery is off the charts, like

976
00:47:45,440 --> 00:47:47,360
Speaker 3: you cannot look away for a second because you're going

977
00:47:47,440 --> 00:47:49,680
Speaker 3: to miss something. Every blink of an eye, they're showing

978
00:47:49,719 --> 00:47:53,520
Speaker 3: different imagery, whether it's you know, animated or you know,

979
00:47:54,000 --> 00:47:58,719
Speaker 3: strong color charts, and like glitchy, you know, quick flashes

980
00:47:58,800 --> 00:48:01,920
Speaker 3: of demons. It's just like it's got everything, like Oliver

981
00:48:02,000 --> 00:48:03,880
Speaker 3: Stone is just throwing it all out there.

982
00:48:04,120 --> 00:48:06,360
Speaker 1: Yeah, it turns from like black and white to color

983
00:48:06,560 --> 00:48:10,960
Speaker 1: very frequently. It's very stylized, very highly stylized. It looks

984
00:48:11,000 --> 00:48:13,480
Speaker 1: like an MTV music video basically.

985
00:48:13,200 --> 00:48:16,840
Speaker 3: Completely and at the beginning of this this film and

986
00:48:16,880 --> 00:48:20,360
Speaker 3: the opening scene, the opening scene really tells you everything

987
00:48:20,360 --> 00:48:22,120
Speaker 3: you need to know about Juliet Lewis in this movie

988
00:48:22,160 --> 00:48:25,440
Speaker 3: about Mallory Knox, because she's kind of They're in this

989
00:48:25,520 --> 00:48:30,360
Speaker 3: like you know, rest stop diner and out in the

990
00:48:30,360 --> 00:48:34,200
Speaker 3: middle of nowhere, and Mickey's reading a newspaper and on

991
00:48:34,239 --> 00:48:36,400
Speaker 3: the front it basically says that Mickey and Mallory have

992
00:48:36,480 --> 00:48:41,279
Speaker 3: killed six people at a slumber party, like a.

993
00:48:41,280 --> 00:48:43,320
Speaker 2: Massacre or was it a slumber party massacre?

994
00:48:43,520 --> 00:48:47,359
Speaker 3: Maybe it was a slumber party massacre perhaps, And then

995
00:48:47,480 --> 00:48:49,480
Speaker 3: she's dancing to this like she puts money in the

996
00:48:49,560 --> 00:48:52,560
Speaker 3: jukebox and she's dancing and she's like so snakelike and

997
00:48:52,680 --> 00:48:56,479
Speaker 3: writhing and it's just like she's just doing her thing,

998
00:48:56,840 --> 00:49:00,359
Speaker 3: and this guy aggressively starts to flirt with her, so

999
00:49:00,480 --> 00:49:03,080
Speaker 3: she pops into the face with a bottle and kills him,

1000
00:49:03,360 --> 00:49:06,560
Speaker 3: and then they just start killing everyone in the restaurant,

1001
00:49:06,840 --> 00:49:09,399
Speaker 3: and that's how you start the film. And then they're

1002
00:49:09,440 --> 00:49:11,640
Speaker 3: like dancing to like leve On Rose and like, you know,

1003
00:49:11,680 --> 00:49:15,080
Speaker 3: they love each other so much and it is bonker.

1004
00:49:15,160 --> 00:49:17,399
Speaker 3: So they kind of tell the story by going back

1005
00:49:17,400 --> 00:49:20,640
Speaker 3: in time and catching up with their childhoods to where

1006
00:49:20,680 --> 00:49:25,000
Speaker 3: they are now. But it is it's bonkers, it's bonkers.

1007
00:49:25,120 --> 00:49:28,160
Speaker 3: Robert Downey Junior, I forgot, plays a really important role

1008
00:49:28,160 --> 00:49:31,080
Speaker 3: in this film, and this is the nineties, so this

1009
00:49:31,160 --> 00:49:33,239
Speaker 3: is like, is this either I didn't look it up,

1010
00:49:33,280 --> 00:49:36,799
Speaker 3: but this is either right before or right after he

1011
00:49:37,040 --> 00:49:40,319
Speaker 3: was arrested for sleeping in someone's house, Like he was

1012
00:49:40,400 --> 00:49:43,400
Speaker 3: high and broke into someone's house and fell asleep.

1013
00:49:43,960 --> 00:49:47,400
Speaker 1: Yeah, that's I don't know the exact date, but that

1014
00:49:47,560 --> 00:49:50,560
Speaker 1: was him in the nineties, in the early nineties especially,

1015
00:49:50,640 --> 00:49:53,040
Speaker 1: like there there was like that was kind of like

1016
00:49:53,080 --> 00:49:55,120
Speaker 1: a big story yeah about him.

1017
00:49:55,440 --> 00:49:58,319
Speaker 3: If your only knowledge of Robert Downey Junr. Is iron Man,

1018
00:49:58,520 --> 00:50:03,839
Speaker 3: you have got a lot of Glinda exactly. And he

1019
00:50:04,040 --> 00:50:06,320
Speaker 3: his role in this film is kind of funny, like

1020
00:50:06,360 --> 00:50:09,400
Speaker 3: he plays the host of this show called American Maniacs,

1021
00:50:09,440 --> 00:50:11,040
Speaker 3: which I kind of wish existed.

1022
00:50:11,600 --> 00:50:15,360
Speaker 1: I know, I kept thinking there is a character in

1023
00:50:15,400 --> 00:50:17,920
Speaker 1: the background during one of the shoots, you know that

1024
00:50:17,960 --> 00:50:20,759
Speaker 1: he's on that's wearing an American Maniacs T shirt, and

1025
00:50:20,800 --> 00:50:23,480
Speaker 1: I'm like, can I have an American Maniacs T shirt?

1026
00:50:24,080 --> 00:50:25,160
Speaker 2: They had to have made that.

1027
00:50:25,320 --> 00:50:26,920
Speaker 3: They had to have made those, like there was a

1028
00:50:27,040 --> 00:50:28,280
Speaker 3: promo items or something.

1029
00:50:28,320 --> 00:50:31,680
Speaker 2: For sure there is somebody has redone them.

1030
00:50:32,520 --> 00:50:35,000
Speaker 3: If not, then we need to redo them. We will.

1031
00:50:35,600 --> 00:50:37,600
Speaker 3: We will re release them as part of our merch.

1032
00:50:39,840 --> 00:50:45,120
Speaker 3: Come at me Oliver Stone, and he does. He plays

1033
00:50:45,120 --> 00:50:47,560
Speaker 3: Wayne Gale and he's the host of this show, but

1034
00:50:47,600 --> 00:50:50,560
Speaker 3: he plays it with a weird with an Australian accent

1035
00:50:51,160 --> 00:50:54,040
Speaker 3: for literally no reason, I know, And I kept.

1036
00:50:53,920 --> 00:50:57,000
Speaker 1: Thinking he wasn't Did he have an Australian accent in

1037
00:50:57,040 --> 00:50:58,120
Speaker 1: Tropic Thunder too?

1038
00:50:58,600 --> 00:51:01,880
Speaker 2: I was like, is that where he just likes.

1039
00:51:01,719 --> 00:51:03,520
Speaker 3: Speaking in an Australia accent?

1040
00:51:03,680 --> 00:51:04,560
Speaker 5: That his accent.

1041
00:51:06,120 --> 00:51:07,600
Speaker 2: I'm good at it, so I might as well do

1042
00:51:07,640 --> 00:51:08,640
Speaker 2: it in multiple films.

1043
00:51:09,239 --> 00:51:14,480
Speaker 3: Why not? Ah, It's so bizarre, And it's just like

1044
00:51:14,560 --> 00:51:16,880
Speaker 3: the whole movie is as we get into these characters

1045
00:51:16,880 --> 00:51:21,560
Speaker 3: and everyone that's in their orbit, including uh this detective Scagnetti,

1046
00:51:22,600 --> 00:51:25,400
Speaker 3: who is I mean, there's it's it's Oliver Stone. So

1047
00:51:25,400 --> 00:51:28,600
Speaker 3: there's so many highly problematic people in characters and situations

1048
00:51:28,600 --> 00:51:32,960
Speaker 3: in this But Tom Sizemore plays detective Jack Scagnetti, who

1049
00:51:33,360 --> 00:51:36,640
Speaker 3: watched his mother get murdered by a serial killer. So

1050
00:51:36,719 --> 00:51:39,319
Speaker 3: that's why he hunts them, but it's also why he

1051
00:51:39,480 --> 00:51:42,480
Speaker 3: is one because he murders a sex worker in a

1052
00:51:42,520 --> 00:51:46,520
Speaker 3: hotel room while he's wearing a disturbing string.

1053
00:51:46,600 --> 00:51:53,840
Speaker 1: Thonge, God, that's scene that Wild Wild woled with it.

1054
00:51:53,880 --> 00:51:57,400
Speaker 3: And again, the nineties, we're so vigilant about certain things,

1055
00:51:57,440 --> 00:52:00,960
Speaker 3: but nobody was talking about how stereotypically problematic it was

1056
00:52:01,000 --> 00:52:04,520
Speaker 3: to constantly show sex workers in this light. And he's

1057
00:52:04,680 --> 00:52:08,800
Speaker 3: just he doesn't really have a narrative beyond being obsessed

1058
00:52:08,840 --> 00:52:12,799
Speaker 3: with Mickey and Mallory and murder. So he's part of

1059
00:52:12,800 --> 00:52:14,759
Speaker 3: that machine of like you know where a country and

1060
00:52:14,800 --> 00:52:19,080
Speaker 3: a culture consumed with violence, but he's also part of

1061
00:52:19,120 --> 00:52:19,720
Speaker 3: the violence.

1062
00:52:20,320 --> 00:52:21,520
Speaker 2: And then we also have.

1063
00:52:23,120 --> 00:52:25,439
Speaker 3: Huh again, the things I forget about this movie because

1064
00:52:25,440 --> 00:52:27,160
Speaker 3: I hadn't seen it since nineteen ninety four.

1065
00:52:27,400 --> 00:52:28,000
Speaker 2: Yeah, me too.

1066
00:52:28,440 --> 00:52:35,080
Speaker 3: Tommy Lee Jones plays the warden. I know we've already

1067
00:52:35,080 --> 00:52:39,759
Speaker 3: discussed him on this podcast. This is possibly his finest role.

1068
00:52:40,400 --> 00:52:43,080
Speaker 3: Tailj is incredible in this movie. I mean, he is

1069
00:52:43,160 --> 00:52:43,840
Speaker 3: a fucker.

1070
00:52:44,800 --> 00:52:47,640
Speaker 1: He's a prison warden, but like That's the thing that

1071
00:52:47,680 --> 00:52:51,719
Speaker 1: I love there those scenes of him and Skagnetti. Every

1072
00:52:51,719 --> 00:52:56,160
Speaker 1: time I say Skagnetty, I think about reservoir dogs, because

1073
00:52:56,200 --> 00:52:58,799
Speaker 1: I guess Tarantino likes the name Scagnetti and.

1074
00:52:58,760 --> 00:52:59,959
Speaker 2: He's used it multiple times.

1075
00:53:00,840 --> 00:53:03,680
Speaker 1: There's some kind of thing going on with the Scagnetti

1076
00:53:03,880 --> 00:53:11,600
Speaker 1: on Scagnetti, but him Tail Jay's character and Scagnetti are

1077
00:53:11,640 --> 00:53:14,880
Speaker 1: walking through the prison and they're both wearing it almost

1078
00:53:14,920 --> 00:53:17,560
Speaker 1: looks like they look like fucking game show hosts from

1079
00:53:17,560 --> 00:53:20,080
Speaker 1: the nineteen sixties. They've got these like suits on with

1080
00:53:20,120 --> 00:53:23,680
Speaker 1: these ties. Their hair is like styled in these like pompadours.

1081
00:53:24,000 --> 00:53:27,960
Speaker 1: They just look very stylized. It kind of reminds me

1082
00:53:28,000 --> 00:53:32,120
Speaker 1: of like, you know, honestly, music videos from the nineties

1083
00:53:32,120 --> 00:53:35,280
Speaker 1: where they were taking like old sixties kind of stock

1084
00:53:35,400 --> 00:53:37,680
Speaker 1: character looks and making them rock and roll like that

1085
00:53:37,800 --> 00:53:39,880
Speaker 1: was a thing. And that's kind of the way that

1086
00:53:39,920 --> 00:53:42,080
Speaker 1: they looked was those kind of like rock and roll

1087
00:53:42,360 --> 00:53:44,040
Speaker 1: sixties sleeves ball.

1088
00:53:44,000 --> 00:53:46,040
Speaker 3: Guys, you know what I mean. And they were doing

1089
00:53:46,040 --> 00:53:49,360
Speaker 3: that the Air and circin Walk and Talk before Sorkin

1090
00:53:49,400 --> 00:53:56,200
Speaker 3: gave us the Walking Talk exactly. He is truly wonderful

1091
00:53:56,200 --> 00:53:58,120
Speaker 3: to watch in this film. Even though it's a very

1092
00:53:58,400 --> 00:54:02,040
Speaker 3: it's a disturbing film, and I don't know, again, like

1093
00:54:02,280 --> 00:54:04,319
Speaker 3: it's hard to say and to look back on this

1094
00:54:04,400 --> 00:54:07,080
Speaker 3: with kind eyes, because you know, we're at a different time,

1095
00:54:07,239 --> 00:54:09,840
Speaker 3: But Juliet Lewis is fascinating in this movie. And I

1096
00:54:09,880 --> 00:54:11,960
Speaker 3: think part of what they're they're discussing here, and part

1097
00:54:11,960 --> 00:54:15,799
Speaker 3: of what's interesting about her is that we were kind

1098
00:54:15,800 --> 00:54:17,879
Speaker 3: of in the nineties at a point where you didn't

1099
00:54:17,920 --> 00:54:23,640
Speaker 3: hear a lot about women murdering people in terms of

1100
00:54:23,640 --> 00:54:26,440
Speaker 3: our pop culture, right there were always the murderrees and

1101
00:54:26,480 --> 00:54:30,120
Speaker 3: not the murderers. So that was kind of one of

1102
00:54:29,920 --> 00:54:33,520
Speaker 3: the driving fascinating forces of this film is that she

1103
00:54:33,719 --> 00:54:38,759
Speaker 3: is also killing people and when they have there's just

1104
00:54:38,800 --> 00:54:44,560
Speaker 3: so many scenes that showcase her bloodlust in a way

1105
00:54:44,600 --> 00:54:49,200
Speaker 3: that makes you think, well, she was really horribly abused

1106
00:54:49,320 --> 00:54:52,280
Speaker 3: for most of her life. And are they trying to say, basically,

1107
00:54:52,280 --> 00:54:55,960
Speaker 3: as Oliver Stone trying to say, this is what happens,

1108
00:54:56,080 --> 00:54:58,320
Speaker 3: like this is an extension of a different kind of violence.

1109
00:54:58,400 --> 00:55:00,359
Speaker 3: Is that you know, when you have violent and done

1110
00:55:00,400 --> 00:55:05,239
Speaker 3: upon you, you become violent. But he he really teases that

1111
00:55:05,320 --> 00:55:08,120
Speaker 3: out and a lot of her her killings in particular

1112
00:55:08,160 --> 00:55:11,680
Speaker 3: and even in Mickey's Murders where they flash back to

1113
00:55:11,760 --> 00:55:14,839
Speaker 3: him as a child and you know his abuse. But

1114
00:55:14,880 --> 00:55:17,840
Speaker 3: it's it's an interesting interplay here because she was really

1115
00:55:18,400 --> 00:55:20,879
Speaker 3: she's really primed to play this kind of character because

1116
00:55:20,920 --> 00:55:23,280
Speaker 3: let me tell you that Juliet Lewis in this movie

1117
00:55:24,400 --> 00:55:27,399
Speaker 3: goes ape shit in every scene. Like when she goes

1118
00:55:27,440 --> 00:55:31,080
Speaker 3: ape shit, she really goes all the way up.

1119
00:55:31,520 --> 00:55:33,960
Speaker 2: Yeah, oh my god, totally totally.

1120
00:55:33,760 --> 00:55:37,000
Speaker 3: Like all the way up, and it is fascinating to watch,

1121
00:55:37,000 --> 00:55:39,280
Speaker 3: and you kind of I think I kind of forgot

1122
00:55:39,320 --> 00:55:42,920
Speaker 3: that she's a good actress because she was stereotyped and

1123
00:55:42,960 --> 00:55:45,799
Speaker 3: playing these roles so much that I thought like, well,

1124
00:55:45,800 --> 00:55:47,560
Speaker 3: that's just you know, it's just what she does and

1125
00:55:47,560 --> 00:55:51,520
Speaker 3: who she is. But it's not. It's not like she's

1126
00:55:51,600 --> 00:55:54,440
Speaker 3: really good at playing that that archetype.

1127
00:55:54,600 --> 00:55:56,680
Speaker 1: Oh man, she I mean like there are so many

1128
00:55:56,680 --> 00:56:02,040
Speaker 1: scenes where she is so physical when she's doing the thing,

1129
00:56:02,160 --> 00:56:05,520
Speaker 1: Like it's not just like this isn't just like we're

1130
00:56:05,560 --> 00:56:08,520
Speaker 1: gonna get some like really crazy camera angles to make

1131
00:56:08,560 --> 00:56:10,759
Speaker 1: it look like she's punching a guy. She looks like

1132
00:56:10,800 --> 00:56:13,160
Speaker 1: she's fucking pushing a guy. Like she's like she is

1133
00:56:13,560 --> 00:56:16,720
Speaker 1: like her body is all over the frame, Like she's

1134
00:56:17,160 --> 00:56:21,480
Speaker 1: really physical and is using her arms and legs like

1135
00:56:21,600 --> 00:56:24,200
Speaker 1: very wildly, and she's just got a lot of that

1136
00:56:25,040 --> 00:56:25,920
Speaker 1: in this movie.

1137
00:56:26,200 --> 00:56:28,680
Speaker 2: It's crazy. And I'm with.

1138
00:56:28,560 --> 00:56:31,160
Speaker 1: You, like you forget like she's a great actress man,

1139
00:56:31,239 --> 00:56:32,480
Speaker 1: like she really knows what she's doing.

1140
00:56:32,560 --> 00:56:33,560
Speaker 2: Obviously, she grew.

1141
00:56:33,400 --> 00:56:36,759
Speaker 1: Up in the business and she had, you know, obviously

1142
00:56:36,840 --> 00:56:39,239
Speaker 1: a lot of probably a lot of observation, a lot

1143
00:56:39,280 --> 00:56:42,680
Speaker 1: of practice doing it. But yeah, you're right. I mean,

1144
00:56:43,239 --> 00:56:45,439
Speaker 1: I wouldn't cast her aside as being like, oh, she's

1145
00:56:45,560 --> 00:56:48,080
Speaker 1: just like you know, Mallory, She's just part of this

1146
00:56:48,200 --> 00:56:51,960
Speaker 1: like you know, lover on the Lover's on the Run duo.

1147
00:56:52,840 --> 00:56:55,320
Speaker 1: She's got her own thing going on in her own story,

1148
00:56:55,400 --> 00:56:58,320
Speaker 1: which is you know, like you said, it's very interesting.

1149
00:56:58,120 --> 00:57:00,960
Speaker 3: And that story includes this straight up jumping on people's

1150
00:57:00,960 --> 00:57:05,520
Speaker 3: backs and just like ripping their eyes out. She is

1151
00:57:05,600 --> 00:57:08,920
Speaker 3: truly very It's physical in a way that now we

1152
00:57:08,960 --> 00:57:12,520
Speaker 3: see that kind of physicality with women in action films

1153
00:57:12,560 --> 00:57:15,960
Speaker 3: and in violent roles where it's very well choreographed and

1154
00:57:16,000 --> 00:57:17,560
Speaker 3: you kind of see like like I'm thinking of like

1155
00:57:17,640 --> 00:57:20,920
Speaker 3: Charlie's they're on in Atomic Blonde or like, you know,

1156
00:57:21,000 --> 00:57:24,320
Speaker 3: you kind of get those stylized violence. Hers is the

1157
00:57:24,400 --> 00:57:26,680
Speaker 3: kind of violence that makes you think, oh, that would

1158
00:57:26,680 --> 00:57:27,800
Speaker 3: be me if I popped off.

1159
00:57:28,240 --> 00:57:32,280
Speaker 1: Yeah, there's no core there. It's not choreographed. It's very

1160
00:57:32,360 --> 00:57:35,000
Speaker 1: like this is naturally somebody who's fucking pissed off and

1161
00:57:35,040 --> 00:57:37,760
Speaker 1: wants to you know, wring your neck or whatever reatly.

1162
00:57:38,200 --> 00:57:39,919
Speaker 3: And there's the thing that the scene that I think

1163
00:57:39,960 --> 00:57:43,640
Speaker 3: about in this movie the most, or that I've remembered

1164
00:57:43,680 --> 00:57:46,680
Speaker 3: over the years the most, is they This is not

1165
00:57:46,760 --> 00:57:49,200
Speaker 3: really a spoiler because the movie continues after this point,

1166
00:57:49,200 --> 00:57:52,600
Speaker 3: but they do get arrested, and I got to say

1167
00:57:52,200 --> 00:57:56,400
Speaker 3: their arrest is absolutely hilarious when they get bitten by

1168
00:57:56,480 --> 00:58:02,560
Speaker 3: rattlesnakes after Oliver Stone has an incredible history of problematically

1169
00:58:02,880 --> 00:58:06,280
Speaker 3: using indigenous imagery in his films and indigenous people in

1170
00:58:06,280 --> 00:58:10,480
Speaker 3: his films. So they get bitten by rattlesnakes outside of

1171
00:58:11,280 --> 00:58:17,080
Speaker 3: this Native American man's home, and they just wander into

1172
00:58:17,120 --> 00:58:21,200
Speaker 3: this drugstore to look for like the antidote, the venom

1173
00:58:21,440 --> 00:58:26,160
Speaker 3: or whatever antidote, and they're just like dragging themselves around

1174
00:58:26,200 --> 00:58:31,280
Speaker 3: this empty pharmacy and that scene was very funny. They

1175
00:58:31,320 --> 00:58:34,720
Speaker 3: do get arrested, and there's this scene in prison where

1176
00:58:34,800 --> 00:58:40,480
Speaker 3: Juliette Lewis is by herself in her cell, and you know,

1177
00:58:40,520 --> 00:58:43,160
Speaker 3: Tommy Lee Jones and Tom Sizemore, these characters go up

1178
00:58:43,160 --> 00:58:46,400
Speaker 3: to her her cell and peek in, and she can

1179
00:58:46,440 --> 00:58:49,760
Speaker 3: hear her singing before you hit the cell, and she's

1180
00:58:49,800 --> 00:58:53,560
Speaker 3: singing that song born Bad, but she's doing it all

1181
00:58:53,600 --> 00:58:55,680
Speaker 3: a cappella and just like all on her own, and

1182
00:58:55,720 --> 00:58:59,040
Speaker 3: she has this great voice, and it's just so it's

1183
00:58:59,200 --> 00:59:01,800
Speaker 3: very evocative. That scene was very evocative. And then she

1184
00:59:02,000 --> 00:59:04,360
Speaker 3: runs at the door and slams her head into it. Yeah,

1185
00:59:04,440 --> 00:59:07,520
Speaker 3: like it is so over the top bonkers, but I

1186
00:59:07,600 --> 00:59:10,800
Speaker 3: thought in that scene that she was really telegraphing something

1187
00:59:11,080 --> 00:59:11,800
Speaker 3: very interesting.

1188
00:59:13,160 --> 00:59:15,960
Speaker 1: Oh my god, I gotta tell you. So, here's what

1189
00:59:16,000 --> 00:59:19,520
Speaker 1: I remember from watching it in nineteen ninety four. I

1190
00:59:19,560 --> 00:59:22,560
Speaker 1: remember Sweet Jane by the Cowboy Junkies being played multiple

1191
00:59:22,560 --> 00:59:24,880
Speaker 1: times yeah the movie, which is pretty much like the

1192
00:59:24,880 --> 00:59:26,600
Speaker 1: first time i'd heard the song. And then, of course

1193
00:59:26,920 --> 00:59:29,320
Speaker 1: now I just love it so much still to this day,

1194
00:59:29,320 --> 00:59:31,640
Speaker 1: I love that song, but it reminds me the most

1195
00:59:31,680 --> 00:59:33,560
Speaker 1: of just the that's the song that plays when.

1196
00:59:33,400 --> 00:59:37,440
Speaker 2: They're together, right, they're in love, and so there's that.

1197
00:59:37,600 --> 00:59:40,800
Speaker 1: I remember that, I remember the parts of them driving

1198
00:59:40,840 --> 00:59:44,120
Speaker 1: the car, which is even on a road it's like

1199
00:59:44,160 --> 00:59:47,680
Speaker 1: in front of like you know, rear projection, basically, because

1200
00:59:47,680 --> 00:59:50,320
Speaker 1: that's the thing that's so crazy about this film ultimately

1201
00:59:50,400 --> 00:59:52,760
Speaker 1: is that it is I think this is what happens

1202
00:59:52,800 --> 00:59:54,920
Speaker 1: a lot of times when people want to talk and

1203
00:59:54,960 --> 00:59:58,160
Speaker 1: think about controversial movies, and like, you know, you could

1204
00:59:58,200 --> 01:00:00,160
Speaker 1: go on the internet, and this is definitely one of

1205
01:00:00,240 --> 01:00:03,120
Speaker 1: the most controversial movies that I've ever been made. I mean,

1206
01:00:03,200 --> 01:00:04,920
Speaker 1: people talk about it a lot.

1207
01:00:05,440 --> 01:00:06,560
Speaker 2: I don't even want.

1208
01:00:06,320 --> 01:00:10,000
Speaker 1: To attempt we'd have to make like twenty episodes about

1209
01:00:10,000 --> 01:00:12,240
Speaker 1: this movie to really properly get.

1210
01:00:12,080 --> 01:00:13,160
Speaker 2: Into the weeds of it.

1211
01:00:14,560 --> 01:00:18,720
Speaker 1: But it's that thing where, like a lot of times,

1212
01:00:18,400 --> 01:00:22,920
Speaker 1: the excuse is, well, it's highly stylized, so it's a

1213
01:00:23,040 --> 01:00:27,439
Speaker 1: satire like we're taking the we're taking the nut meat.

1214
01:00:27,560 --> 01:00:31,120
Speaker 2: I say nut meat, We're.

1215
01:00:30,920 --> 01:00:40,360
Speaker 1: Taking you know, the foundational I want to say nutmeat.

1216
01:00:38,480 --> 01:00:39,720
Speaker 3: Meat meat.

1217
01:00:39,800 --> 01:00:40,560
Speaker 2: I can't.

1218
01:00:41,320 --> 01:00:46,080
Speaker 3: I don't want to use nutmeats, the nut meat.

1219
01:00:49,080 --> 01:00:51,280
Speaker 1: But what they do is that they're saying, oh, well,

1220
01:00:51,320 --> 01:00:56,160
Speaker 1: here's the like foundational message of the film, but we're

1221
01:00:56,200 --> 01:00:58,960
Speaker 1: gonna make it in this way that's very artistic and

1222
01:00:59,120 --> 01:01:04,600
Speaker 1: very you know, so very highly stylized, and it's now satire.

1223
01:01:04,640 --> 01:01:08,000
Speaker 1: It's something that like so you can remove the sort of,

1224
01:01:08,200 --> 01:01:12,800
Speaker 1: uh I guess, the initial shock of the subject material,

1225
01:01:13,120 --> 01:01:16,640
Speaker 1: and you can kind of it's being packaged and it's

1226
01:01:16,720 --> 01:01:18,600
Speaker 1: very very pretty rapping.

1227
01:01:18,320 --> 01:01:19,000
Speaker 2: In bo right.

1228
01:01:19,280 --> 01:01:23,800
Speaker 1: Yeah, and it's hard because this movie is so hard core.

1229
01:01:24,000 --> 01:01:26,800
Speaker 1: Like this movie is so hardcore it's been banned, and

1230
01:01:27,000 --> 01:01:31,040
Speaker 1: like it is so ridiculously violent. At the time, I

1231
01:01:31,080 --> 01:01:33,960
Speaker 1: did not have really a sense of what they were

1232
01:01:33,960 --> 01:01:37,640
Speaker 1: saying politically. I certainly didn't know Oliver Stone politically at all, right,

1233
01:01:39,120 --> 01:01:41,360
Speaker 1: but I definitely was freaked out by it. I was

1234
01:01:41,640 --> 01:01:44,720
Speaker 1: completely freaked out by the movie. I remember the cowboy junkies,

1235
01:01:45,000 --> 01:01:48,240
Speaker 1: I remember the artifice of it and just about how

1236
01:01:48,280 --> 01:01:51,160
Speaker 1: it was just kind of an overload of my senses

1237
01:01:51,200 --> 01:01:53,400
Speaker 1: and I was freaked out. And then I never watched

1238
01:01:53,400 --> 01:01:56,920
Speaker 1: it again, never watched it again, you know till now.

1239
01:01:57,720 --> 01:01:59,840
Speaker 3: Same And I think that they really they rested on

1240
01:01:59,880 --> 01:02:04,360
Speaker 3: the satire of it and the imagery of it, compounded

1241
01:02:04,440 --> 01:02:08,080
Speaker 3: by all their metaphorical moves to kind of make it like, No,

1242
01:02:08,160 --> 01:02:11,040
Speaker 3: this movie is cool. It's accessible because they kept doing

1243
01:02:11,080 --> 01:02:13,080
Speaker 3: these things, like there's this one scene in the prison

1244
01:02:13,520 --> 01:02:17,480
Speaker 3: where they literally exchange a gun for a camera and

1245
01:02:17,520 --> 01:02:20,400
Speaker 3: then kill the media. You know, like it's like they're

1246
01:02:20,400 --> 01:02:23,280
Speaker 3: doing all of these big moves to like shoot the

1247
01:02:23,320 --> 01:02:26,720
Speaker 3: camera and the camera is a weapon on its own,

1248
01:02:26,920 --> 01:02:28,960
Speaker 3: and like they're doing all these big moves to make

1249
01:02:29,000 --> 01:02:32,880
Speaker 3: this stuff accessible, and it just it didn't make me

1250
01:02:32,920 --> 01:02:34,040
Speaker 3: want to ever watch it again.

1251
01:02:35,320 --> 01:02:37,240
Speaker 1: Yeah, And you know what I gotta tell you from

1252
01:02:37,480 --> 01:02:42,680
Speaker 1: twenty twenty one's eyes, like I'm going to me, the

1253
01:02:42,720 --> 01:02:45,680
Speaker 1: movie is so over the top that I'm just like,

1254
01:02:46,640 --> 01:02:47,560
Speaker 1: irol do.

1255
01:02:47,480 --> 01:02:48,240
Speaker 3: You know what I'm saying.

1256
01:02:48,320 --> 01:02:52,960
Speaker 1: Yeah, Like, like it's a great movie in the sense

1257
01:02:53,000 --> 01:02:56,880
Speaker 1: that it really did create a stir, like it really

1258
01:02:56,920 --> 01:02:59,720
Speaker 1: did force people to like kind of go, God, this

1259
01:02:59,800 --> 01:03:03,080
Speaker 1: movie is crazy and we must watch it and form

1260
01:03:03,160 --> 01:03:05,280
Speaker 1: an opinion on it. And you know, it was something

1261
01:03:05,400 --> 01:03:09,080
Speaker 1: that ultimately I think Woody Harrelson and Julia Lewis should

1262
01:03:09,120 --> 01:03:11,200
Speaker 1: be proud of because they acted their fucking asses off

1263
01:03:11,240 --> 01:03:16,800
Speaker 1: in this movie. And as a movie visually it's so insane.

1264
01:03:16,840 --> 01:03:19,880
Speaker 1: I mean, they must have spent like so long editing it.

1265
01:03:20,240 --> 01:03:22,400
Speaker 1: I think they actually did, But I just can't even

1266
01:03:22,440 --> 01:03:23,400
Speaker 1: fathom how long.

1267
01:03:23,600 --> 01:03:26,960
Speaker 3: You know, it's so saturated. And this is also something

1268
01:03:26,960 --> 01:03:29,080
Speaker 3: to keep in mind too, is that this is Woody

1269
01:03:29,080 --> 01:03:31,840
Speaker 3: Harrelson basically went from Cheers, where he was playing the

1270
01:03:31,920 --> 01:03:34,480
Speaker 3: kind of lovable dumb guy to this like he was

1271
01:03:34,520 --> 01:03:37,840
Speaker 3: making like big moves in his career by making this film.

1272
01:03:38,160 --> 01:03:40,480
Speaker 1: Yeah, and I gotta tell you when you put this

1273
01:03:40,600 --> 01:03:43,760
Speaker 1: movie up next to my movie and you think about

1274
01:03:43,760 --> 01:03:46,680
Speaker 1: the male leads who are essentially the same person, like,

1275
01:03:47,240 --> 01:03:52,400
Speaker 1: you know, these are the character type is exactly the same, right, male.

1276
01:03:52,240 --> 01:03:55,800
Speaker 2: Serial killers who are poor and southern essentially.

1277
01:03:56,240 --> 01:03:58,920
Speaker 1: I think wood he's pulling it off like in a

1278
01:03:58,960 --> 01:04:01,400
Speaker 1: way that I don't think the character and my movie

1279
01:04:01,480 --> 01:04:02,760
Speaker 1: is pulling off as well well.

1280
01:04:02,640 --> 01:04:05,520
Speaker 3: Because he has like a subtle sleekness about him that

1281
01:04:05,800 --> 01:04:09,280
Speaker 3: he isn't. He doesn't say a lot and he doesn't

1282
01:04:09,720 --> 01:04:13,480
Speaker 3: overdo it in that way because he's not He's just

1283
01:04:13,560 --> 01:04:17,640
Speaker 3: not someone or this character isn't someone who is evocative

1284
01:04:17,680 --> 01:04:19,400
Speaker 3: in that way. He kind of lets his violence do

1285
01:04:19,440 --> 01:04:21,160
Speaker 3: the speaking for him.

1286
01:04:21,160 --> 01:04:24,000
Speaker 2: Right, And there's just so much energy in the rest

1287
01:04:24,040 --> 01:04:24,560
Speaker 2: of the film.

1288
01:04:24,600 --> 01:04:27,360
Speaker 1: There's just so much kind of like I don't know,

1289
01:04:27,440 --> 01:04:29,400
Speaker 1: I mean, it is kind of like there's too much

1290
01:04:29,440 --> 01:04:32,240
Speaker 1: going on and I can't really process it. So it's

1291
01:04:32,240 --> 01:04:35,160
Speaker 1: good that his his vibe seems to be a little

1292
01:04:35,280 --> 01:04:38,280
Speaker 1: less cartoonishan over the top. I mean, certainly he does

1293
01:04:38,320 --> 01:04:43,080
Speaker 1: have crazy moments, but it's not like his performance is not. Yeah,

1294
01:04:43,160 --> 01:04:46,280
Speaker 1: it's certainly not. Her performance like Juliett. Lewis's performance is

1295
01:04:46,320 --> 01:04:49,400
Speaker 1: way different, but I think it serves her character more than.

1296
01:04:49,280 --> 01:04:51,360
Speaker 3: It did for him, you know what I mean completely,

1297
01:04:51,360 --> 01:04:53,760
Speaker 3: But You're right, they're both acting their asses off in

1298
01:04:53,760 --> 01:04:57,640
Speaker 3: this film, and it is like, yeah, I really I

1299
01:04:57,680 --> 01:05:01,280
Speaker 3: picked this for her film, even though there were other options, because,

1300
01:05:01,320 --> 01:05:04,240
Speaker 3: like we've discussed, she played this stereotypical kind of character

1301
01:05:04,280 --> 01:05:06,480
Speaker 3: in a lot of films, but I picked this one

1302
01:05:06,520 --> 01:05:09,280
Speaker 3: because it's the one that, to me, had you got

1303
01:05:09,360 --> 01:05:11,880
Speaker 3: the most of her energy and the most of her

1304
01:05:13,120 --> 01:05:17,040
Speaker 3: kind of physicality and the most of her her acting

1305
01:05:17,080 --> 01:05:19,320
Speaker 3: ability in this came through to me the loudest.

1306
01:05:19,600 --> 01:05:19,960
Speaker 2: Yeah.

1307
01:05:20,040 --> 01:05:23,080
Speaker 1: I mean I think that, like I said, when you

1308
01:05:23,120 --> 01:05:25,160
Speaker 1: put my movie in your movie together, I think there's

1309
01:05:25,240 --> 01:05:27,880
Speaker 1: definite shift in things.

1310
01:05:28,520 --> 01:05:30,400
Speaker 2: And I'm really glad.

1311
01:05:30,160 --> 01:05:32,360
Speaker 1: You picked it though, because holy shit, I, like I said,

1312
01:05:32,480 --> 01:05:34,920
Speaker 1: I needed to see this movie again because, like I

1313
01:05:34,960 --> 01:05:36,520
Speaker 1: say this all the time, like you got to see

1314
01:05:36,520 --> 01:05:39,080
Speaker 1: movies again. You can't just watch a movie when you're fourteen,

1315
01:05:39,120 --> 01:05:41,600
Speaker 1: fifteen years old and then never see it again. You

1316
01:05:41,600 --> 01:05:43,520
Speaker 1: got it right, revisit it and see what you think

1317
01:05:43,560 --> 01:05:47,600
Speaker 1: of it. And there is a huge difference in just

1318
01:05:47,640 --> 01:05:49,640
Speaker 1: sort of what's going on in the film and how

1319
01:05:49,680 --> 01:05:53,640
Speaker 1: I view the film. I thought about it more, honestly,

1320
01:05:53,680 --> 01:05:54,360
Speaker 1: I really did.

1321
01:05:54,680 --> 01:05:56,240
Speaker 3: I did too, And I thought about that the way

1322
01:05:56,240 --> 01:05:59,080
Speaker 3: that we tend to make folk heroes out of people now,

1323
01:05:59,360 --> 01:06:02,160
Speaker 3: and how hype that has become with the Internet, and

1324
01:06:02,200 --> 01:06:06,200
Speaker 3: how we tend to, you know, give the celebrity treatment

1325
01:06:06,520 --> 01:06:08,560
Speaker 3: to people so much more than we used to, and

1326
01:06:08,600 --> 01:06:10,880
Speaker 3: some of these people who have done horrible things and

1327
01:06:10,920 --> 01:06:14,439
Speaker 3: who are terrible people at heart, and it is it's yeah,

1328
01:06:14,480 --> 01:06:18,320
Speaker 3: it's It was definitely useful to watch again as a

1329
01:06:18,360 --> 01:06:21,320
Speaker 3: forty three year old, because I don't think I would

1330
01:06:21,320 --> 01:06:24,240
Speaker 3: have just voluntarily just sat down on Sunday and watched it,

1331
01:06:24,280 --> 01:06:27,240
Speaker 3: you know, like it needed to be in this context.

1332
01:06:27,240 --> 01:06:28,680
Speaker 3: And I'm glad that. I'm glad that I did.

1333
01:06:29,040 --> 01:06:29,960
Speaker 2: Yeah, me too.

1334
01:06:32,320 --> 01:06:32,560
Speaker 5: Well.

1335
01:06:32,680 --> 01:06:37,640
Speaker 1: My movie for the theme of Juliet Lewis is the

1336
01:06:37,760 --> 01:06:43,640
Speaker 1: nineteen nineties. Foremost Murderous Girlfriend is a movie from nineteen

1337
01:06:43,680 --> 01:06:49,440
Speaker 1: ninety three. It's called California with Okay, directed by Dominic Sennam.

1338
01:06:49,880 --> 01:06:51,920
Speaker 3: Looking for somebody to take turns at the wheel and

1339
01:06:51,960 --> 01:06:55,160
Speaker 3: share expenses on a week long cross country blue Highways

1340
01:06:55,200 --> 01:06:57,680
Speaker 3: tour of historic murder site. Brian, who in the right

1341
01:06:57,720 --> 01:07:01,640
Speaker 3: mind is going to watch two days? Damn me more

1342
01:07:01,640 --> 01:07:02,800
Speaker 3: about California?

1343
01:07:03,480 --> 01:07:05,760
Speaker 2: Okay? So, I, uh, I don't even know where to begin.

1344
01:07:06,840 --> 01:07:09,800
Speaker 2: I honestly don't. I have so many feelings about this

1345
01:07:09,840 --> 01:07:10,520
Speaker 2: movie right now.

1346
01:07:10,840 --> 01:07:15,440
Speaker 1: I'm I truly might virtual Cornjolio off this chair, like I.

1347
01:07:15,600 --> 01:07:22,200
Speaker 6: Just she's levitating, folks, I am, like, so, I just

1348
01:07:22,320 --> 01:07:24,320
Speaker 6: I I need to give a little bit of like

1349
01:07:24,360 --> 01:07:26,200
Speaker 6: where I was when I first saw so, I when

1350
01:07:26,240 --> 01:07:26,880
Speaker 6: This Week came out.

1351
01:07:26,880 --> 01:07:30,040
Speaker 1: I was a freshman in high school, and I remember

1352
01:07:30,080 --> 01:07:32,520
Speaker 1: I didn't see it the weekend it came out or anything.

1353
01:07:32,560 --> 01:07:35,560
Speaker 1: I saw it like later when I was on VHS.

1354
01:07:35,600 --> 01:07:39,320
Speaker 1: So probably like the year after, right right, I was

1355
01:07:39,320 --> 01:07:41,840
Speaker 1: at a party and I was at this girl's house

1356
01:07:41,880 --> 01:07:45,480
Speaker 1: whom like we weren't really friend friends, Like she was

1357
01:07:45,600 --> 01:07:48,160
Speaker 1: way cooler than me, you know what I mean, Like

1358
01:07:48,200 --> 01:07:52,920
Speaker 1: she she dated a skater guy and she did ellesd

1359
01:07:53,200 --> 01:07:57,240
Speaker 1: like almost every day. Like she was like like she

1360
01:07:57,480 --> 01:08:01,280
Speaker 1: was literally like the most psych adelic person in our

1361
01:08:01,360 --> 01:08:03,600
Speaker 1: high school. But you know, at the time, like when

1362
01:08:03,640 --> 01:08:05,360
Speaker 1: I was in high school, I was kind of a stoner,

1363
01:08:05,400 --> 01:08:07,400
Speaker 1: so you know, we all just kind of all hung on.

1364
01:08:07,320 --> 01:08:11,760
Speaker 2: A loose, very loose group of like high school idiots, right.

1365
01:08:12,680 --> 01:08:14,280
Speaker 1: And I remember I was at this party and somebody

1366
01:08:14,280 --> 01:08:16,400
Speaker 1: put this movie on and I and I was watching

1367
01:08:16,400 --> 01:08:18,360
Speaker 1: it with like one eye because.

1368
01:08:18,240 --> 01:08:23,320
Speaker 2: Honestly, I was really paying attention to like so was.

1369
01:08:23,320 --> 01:08:24,720
Speaker 1: I went to the party with one of my really

1370
01:08:24,760 --> 01:08:27,880
Speaker 1: good friends who was like she was like cavorting with

1371
01:08:27,920 --> 01:08:31,160
Speaker 1: like some girl in the corner of the party, and I.

1372
01:08:31,200 --> 01:08:33,439
Speaker 2: Kept thinking, Man, she's gonna ditch me, and I'm not

1373
01:08:33,439 --> 01:08:35,519
Speaker 2: going to have a ride home when I want one.

1374
01:08:36,240 --> 01:08:37,920
Speaker 1: Uh, And this is gonna be a lesson to me

1375
01:08:38,000 --> 01:08:40,320
Speaker 1: for the rest of my fucking life, which is that

1376
01:08:41,560 --> 01:08:45,000
Speaker 1: I'll see you there. I'm gonna drive myself because I'm

1377
01:08:45,000 --> 01:08:48,960
Speaker 1: not ride with somebody who might go off and you know,

1378
01:08:49,920 --> 01:08:53,439
Speaker 1: bang somebody. I'm driving myself, you know what I mean?

1379
01:08:53,840 --> 01:08:58,040
Speaker 3: One percent the move always even now and I mid forties,

1380
01:08:58,160 --> 01:09:00,080
Speaker 3: I'm like I will get there on my own. I

1381
01:09:00,080 --> 01:09:03,559
Speaker 3: don't trust anyone. Our childhoods were designed to make us

1382
01:09:03,560 --> 01:09:05,080
Speaker 3: not trust people. It's really weird.

1383
01:09:05,320 --> 01:09:07,559
Speaker 1: I know, it's like, but that's the thing where it's like,

1384
01:09:07,560 --> 01:09:09,320
Speaker 1: if I'm going to a party, I leave what I

1385
01:09:09,400 --> 01:09:11,880
Speaker 1: want and no one's gonna no one's gonna make me

1386
01:09:11,920 --> 01:09:14,479
Speaker 1: stay somewhere that I don't want to stay. Because we're

1387
01:09:14,520 --> 01:09:18,479
Speaker 1: watching California right now exactly, and I don't really know

1388
01:09:18,520 --> 01:09:20,120
Speaker 1: what else is going on other than I'm about to

1389
01:09:20,160 --> 01:09:23,040
Speaker 1: not have a ride. But you know what's funny is

1390
01:09:23,080 --> 01:09:25,800
Speaker 1: that this movie was made in Georgia, Like a lot

1391
01:09:25,840 --> 01:09:28,080
Speaker 1: of it was made in Georgia. And there's a scene

1392
01:09:28,320 --> 01:09:31,800
Speaker 1: where they're driving through downtown Atlanta and you can see

1393
01:09:31,840 --> 01:09:34,120
Speaker 1: the Omni in the background.

1394
01:09:33,640 --> 01:09:35,240
Speaker 2: Which is where I saw Christian Latner.

1395
01:09:35,720 --> 01:09:42,160
Speaker 3: Oh my goodness, the line is connecting go through Georgia,

1396
01:09:42,240 --> 01:09:42,720
Speaker 3: that's right.

1397
01:09:43,840 --> 01:09:46,400
Speaker 1: So the director of this film is Dominic Senna, and

1398
01:09:46,439 --> 01:09:49,200
Speaker 1: he directed like kind of just a handful of feature

1399
01:09:49,200 --> 01:09:51,559
Speaker 1: films because he was primarily a music video director.

1400
01:09:52,080 --> 01:09:53,200
Speaker 2: And I don't know if you know.

1401
01:09:53,200 --> 01:09:55,879
Speaker 1: This, this was certainly news to me, but he directed

1402
01:09:56,040 --> 01:09:58,080
Speaker 1: like one of my favorite music videos of all time,

1403
01:09:58,479 --> 01:10:00,559
Speaker 1: and it's basically this video that's been in like a

1404
01:10:01,080 --> 01:10:04,519
Speaker 1: style and mood board for me my entire life, which

1405
01:10:04,560 --> 01:10:07,840
Speaker 1: is the Pleasure Principle by Jena Jackson, the one where

1406
01:10:07,840 --> 01:10:10,360
Speaker 1: she's in the warehouse and she directed that if he

1407
01:10:10,479 --> 01:10:14,800
Speaker 1: directed that video, so I was like, huh okay, Like,

1408
01:10:14,960 --> 01:10:16,320
Speaker 1: I love that video so much.

1409
01:10:16,479 --> 01:10:19,240
Speaker 2: I gotta wearnee pads over jeans all the time.

1410
01:10:19,680 --> 01:10:22,519
Speaker 3: That was such a look that in Rhythmnation eighteen fourteen.

1411
01:10:22,800 --> 01:10:25,799
Speaker 1: Yeah, yeah, this is when it had that like shag

1412
01:10:25,880 --> 01:10:29,679
Speaker 1: haircut thing with like the long bangs. Is so great.

1413
01:10:30,040 --> 01:10:32,280
Speaker 1: But remember the fact that he made music videos. In

1414
01:10:32,360 --> 01:10:34,160
Speaker 1: just a moment, I'm going to get back to that point.

1415
01:10:34,680 --> 01:10:37,240
Speaker 1: But he made at least two other movies that I

1416
01:10:37,280 --> 01:10:40,000
Speaker 1: think our listeners would recognize. So he made the remake

1417
01:10:40,080 --> 01:10:43,520
Speaker 1: of Gone in sixty Seconds with Nicholas Cage and Angelina

1418
01:10:43,600 --> 01:10:48,639
Speaker 1: Jolie and Swordfish starring Halle Berry. I think we all

1419
01:10:48,640 --> 01:10:51,240
Speaker 1: remember Swordfish. Maybe at least you remember the name, right

1420
01:10:51,520 --> 01:10:52,320
Speaker 1: and the memes.

1421
01:10:53,000 --> 01:10:55,839
Speaker 3: Yeah, and the memes.

1422
01:10:56,400 --> 01:11:02,080
Speaker 1: So let's get to California. Okay. Basically, you can say

1423
01:11:02,120 --> 01:11:05,080
Speaker 1: that this movie is like a two hour music video, right,

1424
01:11:05,439 --> 01:11:07,880
Speaker 1: It's like a two hour music video of hot people

1425
01:11:07,920 --> 01:11:08,600
Speaker 1: and crimes.

1426
01:11:09,320 --> 01:11:15,080
Speaker 2: And it's so interesting that we picked the movies that

1427
01:11:15,120 --> 01:11:16,519
Speaker 2: we picked for this week because I think they are

1428
01:11:16,600 --> 01:11:17,479
Speaker 2: both like this.

1429
01:11:17,640 --> 01:11:24,879
Speaker 1: They're both like highly stylized music video esque movies about

1430
01:11:25,600 --> 01:11:31,040
Speaker 1: serial slash mass murderers, one of whom is Juliet Lewis.

1431
01:11:31,720 --> 01:11:34,120
Speaker 3: They're both, I mean, they're essentially.

1432
01:11:33,560 --> 01:11:35,160
Speaker 1: The same movie if you want to get down to

1433
01:11:35,200 --> 01:11:37,280
Speaker 1: brass tacks, and in so many ways.

1434
01:11:37,000 --> 01:11:38,880
Speaker 3: There's a couple of different moving parts, but they're kind

1435
01:11:38,880 --> 01:11:39,519
Speaker 3: of the same.

1436
01:11:39,560 --> 01:11:40,240
Speaker 2: Kind of the same.

1437
01:11:40,800 --> 01:11:42,680
Speaker 1: But if you want to get down to it, this

1438
01:11:42,800 --> 01:11:45,400
Speaker 1: movie does look great. I mean, despite the fact that

1439
01:11:45,400 --> 01:11:48,759
Speaker 1: there's just like nasty stuff happening in it, Like everyone

1440
01:11:48,840 --> 01:11:52,280
Speaker 1: is sweating and covered in dirt, and I think at

1441
01:11:52,320 --> 01:11:56,280
Speaker 1: one point Brad Pitt calls someone, some random lady. He

1442
01:11:56,320 --> 01:12:01,000
Speaker 1: calls her a stanky bitch, and I'm like, holy, where

1443
01:12:01,000 --> 01:12:02,160
Speaker 1: did that come from?

1444
01:12:03,200 --> 01:12:06,720
Speaker 2: It's just Breadpitt is nasty in this movie in so

1445
01:12:06,760 --> 01:12:11,880
Speaker 2: many ways, Oh my god, And like yeah, and to my.

1446
01:12:11,880 --> 01:12:14,519
Speaker 1: Eyes now, I mean, obviously this movie looks super dated.

1447
01:12:14,600 --> 01:12:16,400
Speaker 1: I gotta say, like it looks like a stone.

1448
01:12:16,200 --> 01:12:19,960
Speaker 3: Tuble pilot's video something. It's like so insane.

1449
01:12:20,080 --> 01:12:23,439
Speaker 2: Yeah, but you know, like you know, I mean you

1450
01:12:23,600 --> 01:12:23,960
Speaker 2: know this.

1451
01:12:24,120 --> 01:12:26,640
Speaker 1: A lot of former music video directors were starting to

1452
01:12:26,640 --> 01:12:28,040
Speaker 1: make feature length.

1453
01:12:27,880 --> 01:12:28,799
Speaker 2: Films in the nineties.

1454
01:12:29,200 --> 01:12:31,839
Speaker 1: I mean, do you remember, do you remember that series

1455
01:12:31,880 --> 01:12:34,479
Speaker 1: that Palm Pictures put out. It was called The Director's Label,

1456
01:12:34,560 --> 01:12:37,400
Speaker 1: and it was like these DVDs of like all of

1457
01:12:37,439 --> 01:12:42,320
Speaker 1: the music videos from like Spike Jones, yeah, and like

1458
01:12:42,400 --> 01:12:45,400
Speaker 1: Michelle Gontry and like all these kind of like they

1459
01:12:45,400 --> 01:12:48,000
Speaker 1: were already doing films, but they had this.

1460
01:12:48,320 --> 01:12:51,120
Speaker 2: It was just collection of all of their their music

1461
01:12:51,200 --> 01:12:52,280
Speaker 2: video work, right.

1462
01:12:52,320 --> 01:12:54,040
Speaker 1: I think it came out in the early two thousands,

1463
01:12:54,080 --> 01:12:55,919
Speaker 1: But anyway, I missed those DVDs.

1464
01:12:55,960 --> 01:12:58,599
Speaker 2: I they were they were really great crucial.

1465
01:12:58,960 --> 01:13:01,040
Speaker 3: I love those DVDs. I love those. And I also

1466
01:13:01,080 --> 01:13:04,120
Speaker 3: when I was in high school, this is the weirdest

1467
01:13:04,439 --> 01:13:09,040
Speaker 3: memory that I'm going to going to convey, I had

1468
01:13:09,080 --> 01:13:12,080
Speaker 3: a poster. It was when Clinton and Gore were running

1469
01:13:12,080 --> 01:13:14,439
Speaker 3: the first time, so I had like a Clinton Gore

1470
01:13:14,520 --> 01:13:18,720
Speaker 3: poster on my wall, and then after they won, I

1471
01:13:18,880 --> 01:13:21,400
Speaker 3: used it. It was right when MTV started adding the

1472
01:13:21,479 --> 01:13:24,679
Speaker 3: directors to music videos. Oh I remember that, yeah, yeah,

1473
01:13:24,800 --> 01:13:27,120
Speaker 3: because for years they didn't and then all of a sudden,

1474
01:13:27,160 --> 01:13:29,760
Speaker 3: one day, directors of music videos popped up. So I

1475
01:13:29,760 --> 01:13:32,680
Speaker 3: would write them on this poster and I made like

1476
01:13:32,680 --> 01:13:35,799
Speaker 3: a ven diagram, like one of those weird spider things

1477
01:13:36,200 --> 01:13:39,160
Speaker 3: of like Michelle Gondry directed this and this and this,

1478
01:13:39,320 --> 01:13:41,400
Speaker 3: and I just kept a list. I wish I still

1479
01:13:41,439 --> 01:13:43,200
Speaker 3: had that poster, but it was just like a weird

1480
01:13:43,640 --> 01:13:46,760
Speaker 3: Clinton Gore background to this list of directors I was

1481
01:13:46,800 --> 01:13:49,720
Speaker 3: tracking for no reason, no reason. It was just like

1482
01:13:49,800 --> 01:13:50,519
Speaker 3: fascinating to me.

1483
01:13:50,760 --> 01:13:51,559
Speaker 2: That's my type.

1484
01:13:51,880 --> 01:13:55,400
Speaker 1: I love people who are like cataloging, you know, things

1485
01:13:55,439 --> 01:13:59,280
Speaker 1: as children, like cataloging favorite films or directors or music videos.

1486
01:13:59,520 --> 01:14:01,240
Speaker 2: Yeah, there's a lot. I think they did one on

1487
01:14:01,280 --> 01:14:05,479
Speaker 2: like Mark Romanek, and I can't remember. There was so

1488
01:14:05,520 --> 01:14:05,960
Speaker 2: many others.

1489
01:14:06,000 --> 01:14:07,840
Speaker 1: I think there was a hype Williams one, or there

1490
01:14:07,840 --> 01:14:11,479
Speaker 1: was supposed to have been a hype Williams one. Anton Corbige,

1491
01:14:12,360 --> 01:14:18,440
Speaker 1: Yeah yeah, yeah, his last name. So okay, so California.

1492
01:14:18,600 --> 01:14:21,400
Speaker 1: This film stars.

1493
01:14:22,200 --> 01:14:22,839
Speaker 2: A quad.

1494
01:14:23,560 --> 01:14:25,600
Speaker 3: Right, there's like four people.

1495
01:14:27,200 --> 01:14:30,960
Speaker 1: I included, like most everybody including me, remembers this movie

1496
01:14:31,320 --> 01:14:37,719
Speaker 1: for our murderous girlfriend, Juliet Lewis and Brad Pitt right now.

1497
01:14:38,160 --> 01:14:41,920
Speaker 2: This is the beginning of the high.

1498
01:14:41,640 --> 01:14:46,400
Speaker 1: Brad Pitt era, right right, And they Julia Lewis and

1499
01:14:46,439 --> 01:14:50,240
Speaker 1: Brad Pitt were actually dating when they filmed this movie.

1500
01:14:50,040 --> 01:14:53,680
Speaker 3: And ps they met on a TV movie called Too

1501
01:14:53,720 --> 01:14:56,000
Speaker 3: Young to Die when she was sixteen and he was

1502
01:14:56,000 --> 01:14:59,880
Speaker 3: twenty six and she she was legally emancipaid when she

1503
01:14:59,920 --> 01:15:01,920
Speaker 3: was fourteen, and it didn't seem like it was a

1504
01:15:01,920 --> 01:15:05,840
Speaker 3: destructive relationship, but it's still should be known that that

1505
01:15:05,920 --> 01:15:06,799
Speaker 3: was what was happening.

1506
01:15:07,320 --> 01:15:10,559
Speaker 1: And that movie, too, is also about Like, isn't that

1507
01:15:10,600 --> 01:15:12,680
Speaker 1: movie about kind of like lovers on the run or

1508
01:15:12,680 --> 01:15:15,160
Speaker 1: some kind of scenario where they were like criminals in

1509
01:15:15,200 --> 01:15:16,360
Speaker 1: love or something like that.

1510
01:15:17,160 --> 01:15:20,160
Speaker 2: I feel like or maybe he just plays.

1511
01:15:19,800 --> 01:15:23,599
Speaker 1: Like a she's doing crimes and he's like a shitty boyfriend.

1512
01:15:23,680 --> 01:15:24,400
Speaker 2: I don't remember.

1513
01:15:25,120 --> 01:15:27,880
Speaker 1: I actually meant to watch it when we were through

1514
01:15:27,960 --> 01:15:30,680
Speaker 1: this episode because I've I've never seen it, and I

1515
01:15:30,720 --> 01:15:33,519
Speaker 1: think it's like, I think it's probably on a YouTube

1516
01:15:34,040 --> 01:15:35,400
Speaker 1: channel a couple of different parts.

1517
01:15:35,400 --> 01:15:36,439
Speaker 2: I gotta I gotta find it.

1518
01:15:36,520 --> 01:15:40,080
Speaker 1: But it's weird because from what I understand, they basically

1519
01:15:40,200 --> 01:15:43,160
Speaker 1: like are the same characters in that TV movie as

1520
01:15:43,160 --> 01:15:46,240
Speaker 1: they are here, And it's very strange.

1521
01:15:46,280 --> 01:15:48,679
Speaker 3: But they were dating, and they dated for four years,

1522
01:15:48,680 --> 01:15:50,880
Speaker 3: and I think they broke up after this movie, not

1523
01:15:51,000 --> 01:15:53,080
Speaker 3: directly after, but they broke up in nineteen ninety three,

1524
01:15:53,080 --> 01:15:54,639
Speaker 3: and this movie came out in nineteen ninety three.

1525
01:15:55,080 --> 01:15:56,479
Speaker 2: Yeah.

1526
01:15:56,520 --> 01:15:59,000
Speaker 1: But the funny thing is that I've read that the director,

1527
01:15:59,120 --> 01:16:01,519
Speaker 1: like dominic Setup, apparently didn't even know that they were

1528
01:16:01,600 --> 01:16:04,400
Speaker 1: dating when he casts them, which I think it seems

1529
01:16:04,439 --> 01:16:08,479
Speaker 1: impossible now, but I know that we're in a pre

1530
01:16:08,560 --> 01:16:09,240
Speaker 1: internet world.

1531
01:16:09,320 --> 01:16:10,840
Speaker 2: I don't know, maybe like no one knew.

1532
01:16:11,160 --> 01:16:14,160
Speaker 3: And also Brad Pitt was not hyper famous at this point.

1533
01:16:14,280 --> 01:16:15,400
Speaker 2: Absolutely yep.

1534
01:16:15,920 --> 01:16:17,800
Speaker 3: So this is also like a strange kind of like

1535
01:16:17,800 --> 01:16:21,000
Speaker 3: when I was talking about Woody Harrelson and National Born Killers.

1536
01:16:21,360 --> 01:16:23,280
Speaker 3: This was a real turn for Brad Pitt where he

1537
01:16:23,320 --> 01:16:25,320
Speaker 3: kind of burst onto the scene as like the young

1538
01:16:25,400 --> 01:16:28,519
Speaker 3: sexy heart throb in Thelma and Louise and that was

1539
01:16:28,560 --> 01:16:32,400
Speaker 3: his big entree into film. And I think he's always

1540
01:16:32,400 --> 01:16:36,200
Speaker 3: struck me as someone who's like wanted to scratch the

1541
01:16:36,240 --> 01:16:39,599
Speaker 3: surface more and attain more depth. So he instantly pivoted.

1542
01:16:39,640 --> 01:16:41,559
Speaker 3: He's like, I'll show you my chest, but I'm gonna

1543
01:16:41,560 --> 01:16:44,439
Speaker 3: be a dirt bag, like I will not just rest

1544
01:16:44,479 --> 01:16:45,680
Speaker 3: on these hot laurels.

1545
01:16:46,400 --> 01:16:51,720
Speaker 1: I mean, listen, in nineteen ninety three, you absolutely had

1546
01:16:51,760 --> 01:16:55,960
Speaker 1: to have Brad Pitt digging a hole shirtless, okay, and.

1547
01:16:55,880 --> 01:16:57,559
Speaker 3: Then he climbs out of the hole with.

1548
01:16:57,680 --> 01:17:00,680
Speaker 2: Fucking no clothes on and we see his cheeks in

1549
01:17:00,720 --> 01:17:03,839
Speaker 2: the distance. I'm like, he's buck naked.

1550
01:17:04,439 --> 01:17:07,400
Speaker 1: Yeah, I mean, dare I say he was a little

1551
01:17:07,400 --> 01:17:09,519
Speaker 1: bit of a himbo in his early days. And you

1552
01:17:09,520 --> 01:17:12,360
Speaker 1: know what, I don't know, Like good for you, dude,

1553
01:17:12,680 --> 01:17:16,120
Speaker 1: I certainly wasn't able to like be some like hoty

1554
01:17:16,200 --> 01:17:20,680
Speaker 1: hotty like digging a hole, cupboarding in like mud, and

1555
01:17:20,760 --> 01:17:25,280
Speaker 1: like maybe there was some kind of like maybe there

1556
01:17:25,280 --> 01:17:27,519
Speaker 1: was some kind of sewage treatment and shit going on

1557
01:17:27,560 --> 01:17:27,960
Speaker 1: there too.

1558
01:17:28,000 --> 01:17:28,400
Speaker 5: Who knows.

1559
01:17:28,680 --> 01:17:29,719
Speaker 2: This movie is gross.

1560
01:17:29,720 --> 01:17:32,839
Speaker 1: There's a lot of scenes where Brad Pitt is hot

1561
01:17:33,360 --> 01:17:34,360
Speaker 1: but disgusting.

1562
01:17:34,680 --> 01:17:37,320
Speaker 3: He's like picking his feet at the dinner table through

1563
01:17:37,360 --> 01:17:38,760
Speaker 3: some holy socks.

1564
01:17:39,000 --> 01:17:43,040
Speaker 1: Yes, I mean that's what I'm like, Wow, can people

1565
01:17:43,120 --> 01:17:46,519
Speaker 1: be hot enough? Like sometimes people are so hot that

1566
01:17:46,560 --> 01:17:48,240
Speaker 1: you don't give a shit that they're like they've got

1567
01:17:48,240 --> 01:17:52,800
Speaker 1: like indigestion and they're like picking like crap out of

1568
01:17:52,800 --> 01:17:53,880
Speaker 1: the middle of their feet.

1569
01:17:54,760 --> 01:17:58,640
Speaker 3: What is that like? And it is fascinating because he

1570
01:17:58,720 --> 01:18:01,320
Speaker 3: kind of this is part of the the digging into

1571
01:18:01,360 --> 01:18:03,920
Speaker 3: the Southern stereotype and what's interesting is I think his

1572
01:18:03,920 --> 01:18:06,280
Speaker 3: family is like from the Ozarks or something, right, I

1573
01:18:06,520 --> 01:18:07,360
Speaker 3: don't know where.

1574
01:18:07,160 --> 01:18:09,400
Speaker 1: Exactly, but I think that, like I've heard an interview

1575
01:18:09,439 --> 01:18:11,920
Speaker 1: with him where he was talking about how he's from

1576
01:18:12,120 --> 01:18:13,800
Speaker 1: that region, from the Ozarks.

1577
01:18:13,840 --> 01:18:17,240
Speaker 3: So he's eschewing his hotness to play a stereotype of

1578
01:18:17,400 --> 01:18:19,519
Speaker 3: something he might have been familiar with.

1579
01:18:19,920 --> 01:18:23,680
Speaker 1: Yeah, and just also like to dare to dare to

1580
01:18:23,760 --> 01:18:25,880
Speaker 1: do it, to be like, let's take the most like

1581
01:18:25,920 --> 01:18:31,240
Speaker 1: the hottest young sensation and just make him disgusting and mean.

1582
01:18:31,439 --> 01:18:35,479
Speaker 3: He's so cruel and so mean nasty, and yeah, it's very.

1583
01:18:35,439 --> 01:18:40,840
Speaker 1: Nasty in every way, right, but hot, baby, he looks

1584
01:18:40,920 --> 01:18:45,040
Speaker 1: kind of like a Hemsworth in this movie, right, He's

1585
01:18:45,120 --> 01:18:47,360
Speaker 1: not a Hemsworth in a trucker hat.

1586
01:18:48,640 --> 01:18:50,680
Speaker 3: Brad Pitt was the proto Hemsworth.

1587
01:18:51,040 --> 01:18:52,479
Speaker 2: It's true. It's true.

1588
01:18:52,680 --> 01:18:54,840
Speaker 1: I mean, and listen, let me just tell you before

1589
01:18:54,880 --> 01:18:57,800
Speaker 1: we go too far down the Brad Pitt road.

1590
01:18:58,479 --> 01:19:01,520
Speaker 2: I completely forgot that David do Coveny.

1591
01:19:01,160 --> 01:19:04,519
Speaker 1: Is also in this film, and he's maybe even at

1592
01:19:04,520 --> 01:19:07,959
Speaker 1: the star of the film, considering that he like narrates

1593
01:19:08,000 --> 01:19:10,960
Speaker 1: the entire film, which so annoying.

1594
01:19:11,240 --> 01:19:11,800
Speaker 2: I hated it.

1595
01:19:11,920 --> 01:19:16,320
Speaker 3: Yes, thank you so annoying. From the first minute, I'm like, oh,

1596
01:19:16,320 --> 01:19:18,519
Speaker 3: I can't do this. We can't. We can't go down

1597
01:19:18,520 --> 01:19:20,040
Speaker 3: this road with you this whole fucking movie.

1598
01:19:20,080 --> 01:19:24,559
Speaker 1: Do cove me, dude, Like sometimes listen, there's there's moments

1599
01:19:24,560 --> 01:19:27,080
Speaker 1: where I like narration. There are a lot of times,

1600
01:19:27,080 --> 01:19:28,600
Speaker 1: though I think it's a cop out, Like I'm like,

1601
01:19:28,640 --> 01:19:30,120
Speaker 1: don't explain what's.

1602
01:19:29,960 --> 01:19:30,759
Speaker 3: About to happen.

1603
01:19:30,800 --> 01:19:32,800
Speaker 1: I don't want to learn about this, you know, Like,

1604
01:19:32,800 --> 01:19:34,880
Speaker 1: why are you telling me about I don't know? To me,

1605
01:19:34,920 --> 01:19:36,760
Speaker 1: I'm like, I get it because he's a writer, and

1606
01:19:36,760 --> 01:19:38,400
Speaker 1: maybe that was how they were trying to do it,

1607
01:19:38,439 --> 01:19:39,479
Speaker 1: but I was like, this is annoying.

1608
01:19:39,560 --> 01:19:42,759
Speaker 3: I don't want this guy to talk. And from his perspective,

1609
01:19:42,880 --> 01:19:45,400
Speaker 3: his was not the most interesting perspective to have on

1610
01:19:45,439 --> 01:19:47,760
Speaker 3: this journey that they were on, and that's why it

1611
01:19:47,800 --> 01:19:51,360
Speaker 3: was also annoying. I'm like, I would jump out of

1612
01:19:51,400 --> 01:19:53,200
Speaker 3: the car. I would have rolled out of that car

1613
01:19:53,400 --> 01:19:55,719
Speaker 3: if I had heard him talking when he's he's also

1614
01:19:56,080 --> 01:19:59,639
Speaker 3: talking into one of those like handheld recorders. Yes, because

1615
01:19:59,720 --> 01:20:01,320
Speaker 3: you have a given this synopsis of the film yet,

1616
01:20:01,360 --> 01:20:03,600
Speaker 3: but the basic premise is that like they're on the

1617
01:20:03,720 --> 01:20:07,120
Speaker 3: road together, right, like they're all on the road because

1618
01:20:07,240 --> 01:20:10,200
Speaker 3: David ducoveny wants to go to these murder spots and

1619
01:20:10,280 --> 01:20:13,080
Speaker 3: research them for a book, and his photographer girlfriend's going

1620
01:20:13,120 --> 01:20:15,240
Speaker 3: to go with him and take photos, and they're gonna

1621
01:20:15,479 --> 01:20:17,080
Speaker 3: get a couple of people to join them to help

1622
01:20:17,280 --> 01:20:19,320
Speaker 3: take care, take up some of the expenses. And the

1623
01:20:19,360 --> 01:20:23,559
Speaker 3: people they get are Brad Pitt and Julians right exact,

1624
01:20:23,600 --> 01:20:27,519
Speaker 3: He's like narrating every murder spot as they're stopping. And

1625
01:20:27,560 --> 01:20:29,439
Speaker 3: I would have just run into a field at the

1626
01:20:29,439 --> 01:20:31,479
Speaker 3: first stop once I heard him doing that, like it

1627
01:20:31,560 --> 01:20:32,639
Speaker 3: was so annoying, so.

1628
01:20:32,600 --> 01:20:35,080
Speaker 1: Annoying, and I I'm this is controversial, but I'm just

1629
01:20:35,080 --> 01:20:37,360
Speaker 1: gonna say it. I don't mean any disrespect to you,

1630
01:20:37,439 --> 01:20:40,840
Speaker 1: mister d' coveney, sir, but you are always going to

1631
01:20:40,880 --> 01:20:41,679
Speaker 1: be Fox Mulder.

1632
01:20:41,800 --> 01:20:44,920
Speaker 2: I don't care what movie you're in, Like I have tried.

1633
01:20:45,080 --> 01:20:49,080
Speaker 1: I have tried, so I've seen probably like eighty percent

1634
01:20:49,120 --> 01:20:50,760
Speaker 1: of your films and television work.

1635
01:20:51,120 --> 01:20:54,200
Speaker 3: You are Fox Mulder from You're Too Good. You were

1636
01:20:54,200 --> 01:20:56,120
Speaker 3: too good as Fox Mulder good. I don't care how

1637
01:20:56,120 --> 01:20:59,559
Speaker 3: many earrings you put in. I don't care like your

1638
01:20:59,680 --> 01:21:00,880
Speaker 3: fuck goddamn older.

1639
01:21:01,040 --> 01:21:04,719
Speaker 1: Yeah, even when you were in fucking Zoolander, like trying

1640
01:21:04,760 --> 01:21:07,880
Speaker 1: to be like you are Fox Moulder. I'm sorry, I can't.

1641
01:21:08,280 --> 01:21:11,280
Speaker 1: I wish, I wish you were different, but for me,

1642
01:21:12,960 --> 01:21:13,280
Speaker 1: for me.

1643
01:21:13,280 --> 01:21:14,479
Speaker 2: It's not. I can't help it.

1644
01:21:16,360 --> 01:21:19,200
Speaker 1: Okay, So the premise of the movie, like you said,

1645
01:21:19,280 --> 01:21:21,680
Speaker 1: is that the Fox Molder, I mean David E.

1646
01:21:21,760 --> 01:21:30,200
Speaker 3: Kevy sorry, shit, just desproves the point, just proves the point.

1647
01:21:30,400 --> 01:21:31,320
Speaker 2: Yes, exactly.

1648
01:21:31,360 --> 01:21:34,799
Speaker 1: But he is a PhD student and he's studying serial

1649
01:21:34,880 --> 01:21:36,280
Speaker 1: killers murder.

1650
01:21:36,560 --> 01:21:37,320
Speaker 2: He's a writer.

1651
01:21:38,240 --> 01:21:45,120
Speaker 1: His girlfriend is played by the impossibly attractive Michelle Forbes. Okay,

1652
01:21:45,840 --> 01:21:49,000
Speaker 1: and her character is like this provocative photographer. She takes

1653
01:21:49,040 --> 01:21:51,439
Speaker 1: pictures of like priests getting blow.

1654
01:21:51,320 --> 01:21:54,160
Speaker 2: Jobs and that kind of stuff. It's very, uh.

1655
01:21:54,000 --> 01:21:56,160
Speaker 1: It was apparently based on like a real artist of

1656
01:21:56,200 --> 01:21:58,320
Speaker 1: the time, but you know, it's like she's taken sexy,

1657
01:21:58,400 --> 01:22:01,719
Speaker 1: provocative photography and she's helping him out.

1658
01:22:01,760 --> 01:22:04,280
Speaker 2: Basically, she wants to take the photography for this murder

1659
01:22:04,479 --> 01:22:06,000
Speaker 2: house book that he wants to write.

1660
01:22:06,040 --> 01:22:06,360
Speaker 3: Okay.

1661
01:22:07,200 --> 01:22:10,120
Speaker 1: You have this setup right where there's like two sets

1662
01:22:10,120 --> 01:22:12,720
Speaker 1: of couples, and really when it comes down to it,

1663
01:22:12,720 --> 01:22:15,240
Speaker 1: it's like a city couple and a country couple.

1664
01:22:15,880 --> 01:22:18,639
Speaker 2: And I think you already know who is who. Let's

1665
01:22:18,680 --> 01:22:19,479
Speaker 2: just get serious.

1666
01:22:19,840 --> 01:22:25,839
Speaker 1: I mean, you know that David d'coveni and Michelle Forbes, okay,

1667
01:22:26,040 --> 01:22:28,639
Speaker 1: are the city couple and the country couple is Brad

1668
01:22:28,680 --> 01:22:36,120
Speaker 1: Pinton and Juliet Lewis, which Juliette Okay. I don't even

1669
01:22:36,120 --> 01:22:39,040
Speaker 1: know what to say about her because unlike the movie

1670
01:22:39,400 --> 01:22:42,280
Speaker 1: that you've just talked about, where she seemed to have

1671
01:22:42,439 --> 01:22:45,439
Speaker 1: some agency, like she was actually killing people in kicking

1672
01:22:45,439 --> 01:22:49,120
Speaker 1: people's ass, she is not doing that in this movie, right,

1673
01:22:49,320 --> 01:22:53,320
Speaker 1: She's very passive her like her character's name Adele, brad

1674
01:22:53,360 --> 01:22:57,200
Speaker 1: Pitt's character is name Early, and Early is the killer.

1675
01:22:57,720 --> 01:23:00,479
Speaker 1: She actually does not murder anybody in this movie, I believe.

1676
01:23:00,520 --> 01:23:03,479
Speaker 1: So it would be kind of false to call her

1677
01:23:03,479 --> 01:23:08,240
Speaker 1: a murderous girlfriend, maybe more like a murderer's girlfriend in California.

1678
01:23:08,280 --> 01:23:10,839
Speaker 3: But I'm gonna push back a little bit and say

1679
01:23:11,000 --> 01:23:14,080
Speaker 3: that she is still to me a murderous girlfriend in

1680
01:23:14,080 --> 01:23:16,519
Speaker 3: this movie because she knows what he's doing and just

1681
01:23:16,680 --> 01:23:18,000
Speaker 3: tries to block it out.

1682
01:23:18,120 --> 01:23:20,400
Speaker 1: Yeah, there is a moment where you do wonder I

1683
01:23:20,400 --> 01:23:23,400
Speaker 1: think she is turning a blind eye to it. Yeah,

1684
01:23:23,560 --> 01:23:25,760
Speaker 1: But then in this movie too, she's got a lot

1685
01:23:25,800 --> 01:23:28,720
Speaker 1: of childhood trauma. She talks about it. She was, you know,

1686
01:23:29,280 --> 01:23:32,280
Speaker 1: raped at a very early age. And she talks about

1687
01:23:32,320 --> 01:23:34,920
Speaker 1: because there's a scene where her and the Michelle Forbes

1688
01:23:35,000 --> 01:23:37,720
Speaker 1: character in the hotel and they're just kind of like

1689
01:23:38,080 --> 01:23:41,679
Speaker 1: doing girly stuff like painting each other's nails, while David

1690
01:23:41,720 --> 01:23:44,960
Speaker 1: Ducoveny and Brad Pitt are like out at a really

1691
01:23:45,040 --> 01:23:47,760
Speaker 1: weird biker goth industrial bar.

1692
01:23:48,080 --> 01:23:50,320
Speaker 2: I don't know where this bar is, insane bar.

1693
01:23:52,479 --> 01:23:55,600
Speaker 3: I could not understand what that clientele it was for

1694
01:23:55,680 --> 01:23:58,680
Speaker 3: the life of me. You have a black guy with

1695
01:23:58,800 --> 01:24:02,200
Speaker 3: like no air except for the ponytail and their long, long,

1696
01:24:02,240 --> 01:24:05,559
Speaker 3: long breieds hanging down the back, but also wearing leather,

1697
01:24:06,040 --> 01:24:09,360
Speaker 3: and then like it was just the strangest clientele for

1698
01:24:09,439 --> 01:24:12,760
Speaker 3: like what is supposed to be a deep Southern kind

1699
01:24:12,760 --> 01:24:13,760
Speaker 3: of situation.

1700
01:24:14,240 --> 01:24:16,120
Speaker 2: Yeah, I had no idea where they were at.

1701
01:24:16,200 --> 01:24:18,200
Speaker 1: I was basically like, this looks like a strip club,

1702
01:24:18,240 --> 01:24:20,840
Speaker 1: but it's also a biker bar. Everybody in here is

1703
01:24:20,880 --> 01:24:24,160
Speaker 1: wearing like Betsy Johnson's dresses. I don't understand what's happening.

1704
01:24:25,040 --> 01:24:28,479
Speaker 1: But as there as Michelle Forbes's character and Julia Lewis's

1705
01:24:28,560 --> 01:24:30,760
Speaker 1: character are back in the hotel, you know, Julia Lewis

1706
01:24:30,840 --> 01:24:34,360
Speaker 1: kind of reveals her her self, which is that basically

1707
01:24:34,439 --> 01:24:36,960
Speaker 1: she's trauma bonded with early because she's had such a

1708
01:24:37,040 --> 01:24:41,879
Speaker 1: terrible childhood. She does, you know, obviously, has experienced like massive,

1709
01:24:42,320 --> 01:24:46,880
Speaker 1: horrible aggression from men, and now she's with him, and

1710
01:24:46,920 --> 01:24:50,320
Speaker 1: I think there's a moment where she believes that, you know,

1711
01:24:50,840 --> 01:24:51,800
Speaker 1: he's a good guy.

1712
01:24:52,400 --> 01:24:54,120
Speaker 3: She even says that that he's a good guy and

1713
01:24:54,160 --> 01:24:55,560
Speaker 3: he makes her feel safe.

1714
01:24:55,320 --> 01:24:58,040
Speaker 1: Right, But it's like because the aggression is happening outside

1715
01:24:58,120 --> 01:25:01,720
Speaker 1: of their relationship, even though she does say to her

1716
01:25:01,800 --> 01:25:04,600
Speaker 1: to Michelle Forbes's character that he does beat up on

1717
01:25:04,640 --> 01:25:06,519
Speaker 1: her and doesn't want her to smoke and doesn't want

1718
01:25:06,520 --> 01:25:07,599
Speaker 1: her to drink and do things.

1719
01:25:07,760 --> 01:25:08,880
Speaker 2: So it's very problematic.

1720
01:25:09,000 --> 01:25:12,040
Speaker 1: It's very like wow, like okay, you know, and you

1721
01:25:12,080 --> 01:25:14,800
Speaker 1: can tell it's because here's the thing I gotta say

1722
01:25:15,439 --> 01:25:19,280
Speaker 1: right now, at this very moment, I like to state

1723
01:25:19,320 --> 01:25:22,639
Speaker 1: for the record that Michelle Forbes's character is the best

1724
01:25:22,680 --> 01:25:23,519
Speaker 1: part of this movie.

1725
01:25:23,640 --> 01:25:25,080
Speaker 3: She's only with any common sense.

1726
01:25:25,320 --> 01:25:27,679
Speaker 1: She's not only like literally one of the hottest women

1727
01:25:27,720 --> 01:25:34,040
Speaker 1: ever with her swing out sister haircut, not breakout hair

1728
01:25:35,280 --> 01:25:37,800
Speaker 1: look at like a background dancer on Club MTV with

1729
01:25:38,080 --> 01:25:39,200
Speaker 1: Downtown Julie Brown.

1730
01:25:39,840 --> 01:25:41,320
Speaker 3: Do you did I even tell you that? Like a

1731
01:25:41,320 --> 01:25:43,439
Speaker 3: couple of years ago, I listened to break Out like

1732
01:25:43,680 --> 01:25:47,599
Speaker 3: every day for three months. That song is still great.

1733
01:25:47,800 --> 01:25:48,519
Speaker 3: It's still great.

1734
01:25:49,439 --> 01:25:53,800
Speaker 1: Challenge me if you don't think it's great. But she

1735
01:25:54,160 --> 01:25:57,839
Speaker 1: is like hot in a way that I was like enamored.

1736
01:25:58,320 --> 01:26:00,479
Speaker 1: I would have like if I saw a girl like this,

1737
01:26:00,640 --> 01:26:03,360
Speaker 1: like just out in the world when I was a teenager,

1738
01:26:03,400 --> 01:26:05,360
Speaker 1: I would have been like, I want to be her.

1739
01:26:05,800 --> 01:26:09,320
Speaker 1: She looks like a downtown kind of New York artist type, Okay,

1740
01:26:09,600 --> 01:26:11,840
Speaker 1: but which is like it begs a question ultimately, why

1741
01:26:11,880 --> 01:26:14,040
Speaker 1: is she dating this like PhD student?

1742
01:26:14,439 --> 01:26:17,200
Speaker 2: Like, girl, you're too hot for Kentucky.

1743
01:26:17,800 --> 01:26:19,599
Speaker 1: You need to get you need to move to New

1744
01:26:19,680 --> 01:26:21,800
Speaker 1: York and go to the Limelight or some shit like

1745
01:26:21,840 --> 01:26:27,320
Speaker 1: you don't need to be here with David d'coveney. And honestly,

1746
01:26:27,400 --> 01:26:29,880
Speaker 1: she is the smartest in this movie because she's the

1747
01:26:29,920 --> 01:26:33,479
Speaker 1: first person to be like, yo, ditch these people. They

1748
01:26:33,479 --> 01:26:38,320
Speaker 1: are nuts. Why did you ask him to share a car? Yeah,

1749
01:26:38,360 --> 01:26:39,839
Speaker 1: like get get.

1750
01:26:39,760 --> 01:26:40,160
Speaker 2: Rid of him.

1751
01:26:40,200 --> 01:26:42,559
Speaker 1: And you know, of course, like David ducoveney is like

1752
01:26:42,600 --> 01:26:45,800
Speaker 1: becoming more and more enchanted by Early. He doesn't get it,

1753
01:26:45,840 --> 01:26:48,479
Speaker 1: so he doesn't listen to her, which pisses me off.

1754
01:26:48,600 --> 01:26:51,800
Speaker 1: But to me, like, I like, I see her as

1755
01:26:52,120 --> 01:26:54,320
Speaker 1: she's basically the hero.

1756
01:26:54,200 --> 01:26:55,280
Speaker 2: Of the movie in my opinion.

1757
01:26:55,320 --> 01:26:58,040
Speaker 1: She's got this kind of slightly butch quality to her.

1758
01:26:58,520 --> 01:27:01,679
Speaker 1: You know, she's she's very uh, she knows exactly what's

1759
01:27:01,680 --> 01:27:06,320
Speaker 1: going on at all times. She has physical and like

1760
01:27:06,400 --> 01:27:08,840
Speaker 1: kind of emotional power in the movie. She's not, you know,

1761
01:27:08,880 --> 01:27:10,920
Speaker 1: obviously not the Juliet Lewis character who has like no

1762
01:27:11,040 --> 01:27:15,160
Speaker 1: agency whatsoever. And she's smoking cigarettes and she's wearing all black,

1763
01:27:15,640 --> 01:27:17,800
Speaker 1: and she's that's just so cool, and I'm like, yes,

1764
01:27:17,880 --> 01:27:20,000
Speaker 1: she is the best character in this movie. I don't

1765
01:27:20,040 --> 01:27:24,240
Speaker 1: know why everybody focuses on Brad Pitt, because she's right there, guy,

1766
01:27:24,439 --> 01:27:28,479
Speaker 1: she's the best. But of course, you know, this is

1767
01:27:28,520 --> 01:27:30,479
Speaker 1: all like she could come in and protest all she

1768
01:27:30,520 --> 01:27:33,240
Speaker 1: wants to, it's too late because they're on the road.

1769
01:27:33,479 --> 01:27:36,240
Speaker 1: Early kills a guy in a bathroom and he's basically

1770
01:27:36,280 --> 01:27:42,519
Speaker 1: covered in like colostomy bag toilet water, you know, tinted

1771
01:27:42,560 --> 01:27:44,720
Speaker 1: with blood for the rest of the trip, like he's

1772
01:27:44,800 --> 01:27:46,080
Speaker 1: just flattered with blood.

1773
01:27:46,080 --> 01:27:48,439
Speaker 3: In the car or the rest of the trip.

1774
01:27:48,760 --> 01:27:50,880
Speaker 1: Yeah, he literally kills a guy in like a gas

1775
01:27:50,920 --> 01:27:53,880
Speaker 1: station bathroom who I believe was emptying his colostomy bag

1776
01:27:54,040 --> 01:27:58,840
Speaker 1: and there's like blood and the bag and the toilet overflowing,

1777
01:27:58,920 --> 01:28:00,680
Speaker 1: and then he just gets back in the like what's up,

1778
01:28:00,760 --> 01:28:06,000
Speaker 1: y'a already like like And also there's a moment where

1779
01:28:06,240 --> 01:28:09,479
Speaker 1: him and Adele have sex in their car. Yes, while

1780
01:28:09,479 --> 01:28:12,000
Speaker 1: they're going off and looking at the murder house. I'm like, yo,

1781
01:28:12,120 --> 01:28:15,800
Speaker 1: this guy really sucks. Like he's getting in this car

1782
01:28:15,840 --> 01:28:20,759
Speaker 1: and is making it stanky, speaking of sanky, like multiple times.

1783
01:28:22,320 --> 01:28:27,240
Speaker 1: Scenario Brad Peary, stanky, bitch, thank you. But you know,

1784
01:28:28,360 --> 01:28:30,760
Speaker 1: this is the premise. The premise is that you've got

1785
01:28:30,800 --> 01:28:34,880
Speaker 1: two people from the city. Obviously they're both in the

1786
01:28:35,000 --> 01:28:38,640
Speaker 1: murder business in their own way. Like as a photographer,

1787
01:28:38,680 --> 01:28:42,920
Speaker 1: she's dealing with very provocative subjects. He's obviously fascinated with murder,

1788
01:28:42,960 --> 01:28:45,640
Speaker 1: and like that's you know, the crux of his studies

1789
01:28:45,680 --> 01:28:47,080
Speaker 1: and his profession.

1790
01:28:47,960 --> 01:28:49,920
Speaker 2: And so this movie is like a commentary.

1791
01:28:50,160 --> 01:28:54,280
Speaker 1: It's a very obvious commentary honestly about the relationship between

1792
01:28:54,280 --> 01:28:57,320
Speaker 1: people who are fascinated or curious about like the dark

1793
01:28:57,360 --> 01:29:00,040
Speaker 1: side of life and people who actually.

1794
01:28:59,640 --> 01:29:00,880
Speaker 2: Are the dark set of life, like.

1795
01:29:00,960 --> 01:29:05,240
Speaker 1: Murderers right right right, And that is again like another

1796
01:29:05,400 --> 01:29:08,040
Speaker 1: thing that I think people were really thinking about in

1797
01:29:08,080 --> 01:29:13,000
Speaker 1: this era. It's why Juliet Lewis came to this movie again.

1798
01:29:13,080 --> 01:29:15,400
Speaker 1: I mean, this was obviously made before Natural Born Killers,

1799
01:29:15,400 --> 01:29:17,920
Speaker 1: but she was you know, she's obviously playing a character

1800
01:29:18,240 --> 01:29:22,559
Speaker 1: where she's again playing this poor Southern woman who is

1801
01:29:22,800 --> 01:29:27,360
Speaker 1: in a relationship with a very violent man, you know,

1802
01:29:28,120 --> 01:29:33,240
Speaker 1: and they're both kind of like hot, gross, violent people,

1803
01:29:33,720 --> 01:29:35,559
Speaker 1: just like your movie, and.

1804
01:29:35,479 --> 01:29:39,240
Speaker 3: They're both in both instances she's escaping violence by running

1805
01:29:39,280 --> 01:29:40,479
Speaker 3: towards more violence.

1806
01:29:41,000 --> 01:29:41,200
Speaker 5: Right.

1807
01:29:41,439 --> 01:29:44,320
Speaker 3: There was just a real, a real fascination that the

1808
01:29:44,400 --> 01:29:49,160
Speaker 3: nineties had with modern outlaws, and it just doesn't hold

1809
01:29:49,240 --> 01:29:52,760
Speaker 3: up for me. Yeah, not in a bad way. Like

1810
01:29:52,760 --> 01:29:55,479
Speaker 3: I enjoyed watching these movies. There are two hysterical points

1811
01:29:55,560 --> 01:29:58,840
Speaker 3: of this film though, that I'd be remiss not to mention,

1812
01:29:58,920 --> 01:30:00,960
Speaker 3: because you know me, I'm always in for the humor.

1813
01:30:01,640 --> 01:30:06,000
Speaker 3: At one point, David Dukevney is driving a truck through

1814
01:30:06,000 --> 01:30:11,680
Speaker 3: the desert and he just crashes it, like it just

1815
01:30:11,720 --> 01:30:14,080
Speaker 3: flips over, and I'm like, what what is happening? We

1816
01:30:14,160 --> 01:30:17,000
Speaker 3: just watched this man drive five thousand miles and now

1817
01:30:17,000 --> 01:30:19,200
Speaker 3: he can't drive down a straight road. And then he

1818
01:30:19,320 --> 01:30:21,960
Speaker 3: just hangs out in the car overnight all bust it

1819
01:30:22,080 --> 01:30:24,920
Speaker 3: up in a truck that he flipped for over nothing.

1820
01:30:26,680 --> 01:30:29,200
Speaker 3: Oh my god. Yeah, it's awesome.

1821
01:30:29,360 --> 01:30:30,000
Speaker 2: It's awesome.

1822
01:30:30,160 --> 01:30:33,360
Speaker 3: And then there's another point where Brad Pitt and Juliet

1823
01:30:33,400 --> 01:30:37,320
Speaker 3: Lewis are living in a trailer. And also, I gotta say,

1824
01:30:37,320 --> 01:30:40,280
Speaker 3: there's too much teeth being brushed in this film for me.

1825
01:30:40,960 --> 01:30:43,120
Speaker 3: I forgot about that, but that's probably the main reason

1826
01:30:43,120 --> 01:30:45,160
Speaker 3: I haven't ever seen it again, because someone's brushing their

1827
01:30:45,160 --> 01:30:48,519
Speaker 3: goddamn teeth every ten seconds in this fucking movie. So

1828
01:30:48,560 --> 01:30:51,720
Speaker 3: he's like outside brushing his teeth and she comes out

1829
01:30:51,720 --> 01:30:54,439
Speaker 3: and hanging out of the door of the trailer and

1830
01:30:54,479 --> 01:30:57,080
Speaker 3: she puts she pulls her shirt down, and he just goes,

1831
01:30:57,600 --> 01:30:59,080
Speaker 3: put your chitty back up, Adil.

1832
01:31:00,120 --> 01:31:03,400
Speaker 2: Yeah, God, stomach turning.

1833
01:31:03,439 --> 01:31:07,400
Speaker 1: I was like, come on, that's just too two back up.

1834
01:31:09,360 --> 01:31:12,080
Speaker 3: Oh my god, I can't. But yeah, this is it's

1835
01:31:12,280 --> 01:31:17,479
Speaker 3: fascinating and weird, and we're a very very weird outlook

1836
01:31:17,520 --> 01:31:20,559
Speaker 3: on Outlaws in the nineties, and Juliette Lewis was at

1837
01:31:20,560 --> 01:31:21,760
Speaker 3: the forefront of all of it.

1838
01:31:21,920 --> 01:31:24,320
Speaker 1: She just happened to be the actress to be in

1839
01:31:24,360 --> 01:31:27,160
Speaker 1: all these films. Like and you're right about Drew Barrymore,

1840
01:31:27,200 --> 01:31:29,600
Speaker 1: She's probably another type that was in a lot of

1841
01:31:29,640 --> 01:31:32,519
Speaker 1: these movies. These were women who were like really really

1842
01:31:32,560 --> 01:31:35,280
Speaker 1: popular in the nineties and they were like major movie stars.

1843
01:31:35,840 --> 01:31:37,839
Speaker 1: You know, I think with you were right about Juliet

1844
01:31:37,880 --> 01:31:41,400
Speaker 1: Lewis being kind of type cast in a very specific way.

1845
01:31:42,600 --> 01:31:44,480
Speaker 2: When it comes down to it, Like, man.

1846
01:31:44,520 --> 01:31:47,280
Speaker 1: Like having to watch both of these movies after not

1847
01:31:47,360 --> 01:31:51,720
Speaker 1: seeing them for what almost thirty years.

1848
01:31:51,680 --> 01:31:57,280
Speaker 2: Yeah, I was like, man, they they were.

1849
01:31:57,160 --> 01:31:59,920
Speaker 1: On one in the in the early to mid nineties.

1850
01:32:00,000 --> 01:32:03,200
Speaker 1: They were fucking on one. And Wow, I don't even

1851
01:32:03,240 --> 01:32:03,800
Speaker 1: know what to say.

1852
01:32:04,160 --> 01:32:05,960
Speaker 3: I don't know how we turned out like this?

1853
01:32:08,560 --> 01:32:09,200
Speaker 5: How was this?

1854
01:32:09,280 --> 01:32:11,760
Speaker 3: I mean the ultimate commentary that they were trying to

1855
01:32:11,760 --> 01:32:14,760
Speaker 3: make in the nineties is us, like we watched all

1856
01:32:14,880 --> 01:32:19,560
Speaker 3: this shit and turned out just fine, and everything.

1857
01:32:19,280 --> 01:32:22,479
Speaker 1: Was real great and everything it all it went back

1858
01:32:22,520 --> 01:32:25,439
Speaker 1: to normal. We're we live in a totally violent, free

1859
01:32:25,439 --> 01:32:29,479
Speaker 1: society completely, y'all. No bad things happened.

1860
01:32:29,560 --> 01:32:32,200
Speaker 3: It definitely didn't get worse exactly.

1861
01:32:33,600 --> 01:32:36,360
Speaker 1: Well, you know, I have to say again, like Juliette.

1862
01:32:36,360 --> 01:32:40,280
Speaker 1: We salute you. We're big fans. We love what you did,

1863
01:32:40,320 --> 01:32:43,200
Speaker 1: we love your career. You know you were kind of

1864
01:32:43,240 --> 01:32:46,200
Speaker 1: the queen of this of this era of definitely one

1865
01:32:46,200 --> 01:32:48,080
Speaker 1: of the queens, if not the queen, and that is

1866
01:32:48,400 --> 01:32:49,080
Speaker 1: quite a feat.

1867
01:32:49,479 --> 01:32:52,679
Speaker 3: Absolutely agree. So you want to tell us the movies

1868
01:32:52,680 --> 01:32:53,320
Speaker 3: for next week?

1869
01:32:54,080 --> 01:32:54,559
Speaker 5: Oh do?

1870
01:32:54,760 --> 01:32:58,640
Speaker 2: I have never wanted to do anything more. So the

1871
01:32:58,680 --> 01:32:59,200
Speaker 2: movies for.

1872
01:32:59,200 --> 01:33:04,760
Speaker 1: Next week are are The Shining from nineteen eighty and

1873
01:33:05,040 --> 01:33:08,280
Speaker 1: A Place in the Sun from nineteen fifty one.

1874
01:33:09,240 --> 01:33:10,439
Speaker 3: What a double feature.

1875
01:33:10,920 --> 01:33:14,840
Speaker 1: Well, I guess we'll see everybody next week. Thanks again,

1876
01:33:14,920 --> 01:33:18,360
Speaker 1: Danielle for going back in time with me once again.

1877
01:33:18,920 --> 01:33:21,000
Speaker 3: It is my absolute favorite thing in the world.

1878
01:33:21,200 --> 01:33:23,880
Speaker 2: I love talking about us as teenagers. It literally is fit.

1879
01:33:24,560 --> 01:33:26,280
Speaker 3: We would have been such good friends.

1880
01:33:26,479 --> 01:33:27,240
Speaker 2: Let's make that happen.

1881
01:33:27,320 --> 01:33:31,920
Speaker 1: Let's go into it Oliver Stone esque alternate universe where

1882
01:33:31,960 --> 01:33:33,280
Speaker 1: we were friends in high school.

1883
01:33:33,479 --> 01:33:35,320
Speaker 3: I would never leave you at a party. Let's just

1884
01:33:35,360 --> 01:33:37,960
Speaker 3: say that, thank you, thank you.

1885
01:33:38,360 --> 01:33:40,400
Speaker 1: I really do appreciate that I'm still driving, though I'm

1886
01:33:40,400 --> 01:33:42,040
Speaker 1: still driving.

1887
01:33:42,439 --> 01:33:52,439
Speaker 3: Bye everybody. By This has been an exactly right production.

1888
01:33:52,720 --> 01:33:56,400
Speaker 3: Our producers alexis a Marissi, our engineers Annalise Nelson. Our

1889
01:33:56,439 --> 01:33:59,679
Speaker 3: theme songs by Tom bry Fogel, artwork by Garrett Ross.

1890
01:34:00,000 --> 01:34:03,799
Speaker 3: Our executive producers are Georgia Hardstark, Karen Kilgareth and Danielle Kramer.

1891
01:34:04,240 --> 01:34:06,800
Speaker 3: Follow us on Instagram and Twitter at I saw pod

1892
01:34:07,240 --> 01:34:09,599
Speaker 3: email us at I Saw what you did pod at Gmail,

1893
01:34:09,840 --> 01:34:12,400
Speaker 3: and please don't forget to listen, subscribe, leave us a

1894
01:34:12,439 --> 01:34:15,639
Speaker 3: review on Apple Podcast, Stitcher, or wherever you listen