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Speaker 1: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 1: can watch movie subscription pass that pays for itself in

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Speaker 1: Regal app or at the link in our description and

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Speaker 1: use code film spot twenty six to receive fifteen percent off.

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Speaker 2: What kind of a show you guys putting on here today?

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Speaker 1: You're not interested in art?

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Speaker 3: Now?

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Speaker 1: No, Look, we're going to do this thing.

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Speaker 3: We're going to have a.

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Speaker 4: Conversation from Chicago. This is film Spotting. I'm Adam Kempanar

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Speaker 4: and I'm Josh Larson.

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Speaker 1: Choose good health and the career.

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Speaker 4: Choose your thanks, Choose your future, Choose.

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Speaker 5: Life, Rent and Spud sick Boy, Tommy Begbie. It's been

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Speaker 5: thirty years since we were introduced to the Train Spotting Gang.

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Speaker 5: This week we take another look at Danny Boyle's Seminal

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Speaker 5: nineteen ninety six film.

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Speaker 1: And the twenty twenty six slate of nominees for the

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Speaker 1: Film Spotting Pantheon. That more ahead on film Spotting.

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Speaker 5: Welcome to Film Spotting. Later in the show, Josh nine

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Speaker 5: new nominees for the Film Spotting Pantheon are eclectic, Let's

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Speaker 5: go with eclectic movie Hall of Fame.

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Speaker 4: Are you ready?

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Speaker 1: I'm ready? How does one get into the Film Spotting Pantheon, Adam,

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Speaker 1: We will break it all down and yeah, then we'll

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Speaker 1: try to get to those nominees.

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Speaker 5: Yeah, Producer Sam will join us for that. We each

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Speaker 5: get three nominees, but only two films will enter the

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Speaker 5: Film Spotting Pantheon. Once the process is complete, we will

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Speaker 5: also have yet another very special edition of Massacre Theater.

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Speaker 5: This one is going to be accent Palooza.

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Speaker 4: Are you ready for that?

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Speaker 1: As ready as I ever am.

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Speaker 5: A quick reminder, Film Spotting is now available as video podcast.

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Speaker 5: You can watch the show on YouTube. For a link

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Speaker 5: to video episodes, go to film spotting dot net slash episodes,

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Speaker 5: or yes, go to YouTube YouTube dot com slash film Spotting.

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Speaker 5: But first, train spotting.

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Speaker 1: This is nuts, little money, it's.

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Speaker 4: A great odors. It's fish here. Look told me. We

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Speaker 4: know you're getting a hard time.

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Speaker 2: Off, Lizzie, but there's really no need to take.

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Speaker 1: Out on us.

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Speaker 4: Doesn't it mean you're plan to be Scottish? It's shypeing Scottish.

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Speaker 2: With the Lords of the Low the com of the

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Speaker 2: path most wretched, miserable, sad, vile, pathetic trash.

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Speaker 4: There was ever shine to civilization.

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Speaker 2: Some people hit in English, Ah don't, They're just wonkers.

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Speaker 2: We arenother handa colonized by wankers Josh.

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Speaker 5: When this movie was released in the US and the

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Speaker 5: summer of ninety six, it came out in the UK

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Speaker 5: thirty years ago this month, we would have been the

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Speaker 5: ideal age, just a handful of years younger than Ewan

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Speaker 5: McGregor's scar ink league gorgeous Mark Renton. Yes, I'm going

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Speaker 5: with skankily gorgeous to fully embrace the exhilarating and neolistic

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Speaker 5: charms of train spotting. After all, the film's legendary poster

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Speaker 5: has to remain one of the all time college guide

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Speaker 5: dorm accessories. And back in ninety six, we would have

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Speaker 5: been right on the precipice of having to choose life

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Speaker 5: and choose a job and choose a career. But here's

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Speaker 5: the thing. I'm going to propose that there may not

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Speaker 5: have been two people on the planet who had less

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Speaker 5: in common with Rent's sick boy Spud and the Lot

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Speaker 5: than us. We were too Midwestern. I mean, I didn't

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Speaker 5: know you. Then again, I'm proposing this. We were too midwestern,

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Speaker 5: small town slash suburban eighties kids who heard Nancy Reagan's

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Speaker 5: flimsy just say no plea and actually took it to heart. Okay,

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Speaker 5: so we weren't using heroin. Maybe our clothes were heroin chic. Yeah,

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Speaker 5: they didn't really sell that. Look at Maurice's in the mall.

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Speaker 5: After choosing life, a job, and a career, do you

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Speaker 5: remember what was next in that famous monologue, choose a family, health,

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Speaker 5: health insurance.

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Speaker 1: That's fifth you probably the health insurance before the family these.

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Speaker 5: Days, of course, right, considering you and Debbie got married

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Speaker 5: five minutes after graduation, I'd say that's exactly what you did.

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Speaker 5: For my part, I may not have had it all

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Speaker 5: figured out, but one word no one has ever used

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Speaker 5: to describe me is purposeless. If we couldn't connect, and

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Speaker 5: I mean at all with the material on a personal level,

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Speaker 5: then there must have been something so charged about the filmmaking,

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Speaker 5: so impressive about the choices Danny Boyle made that we

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Speaker 5: and all the other wankers like us were overwhelmed by it.

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Speaker 5: In Blank Chech's series on Boyle Trains Podcasting, Griffin Newman

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Speaker 5: references some DVD extras, Boyle offers some illuminating background. Boyle

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Speaker 5: says that he and partners John Hodge, the screenwriter and

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Speaker 5: Andrew MacDonald, the producer, whose first and previous collaboration was

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Speaker 5: nineteen ninety four Shallow Grave, were resolutely committed to two

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Speaker 5: things that they had to show the positive side of heroin.

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Speaker 5: The drugs at times were fun, and this one was

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Speaker 5: so important. It was a blood packed between them, the

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Speaker 5: movie couldn't exceed ninety minutes. Why, according to Griffin paraphrasing Boyle,

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Speaker 5: the energy of this film will not be able to

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Speaker 5: sustain over ninety minutes, and at a certain point the

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Speaker 5: audience will not want to spend more time with these characters. Josh,

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Speaker 5: what do you think was the best choice Boyle and

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Speaker 5: company made? Was it the under ninety minute blood packed,

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Speaker 5: the audacity to depict drug use as pleasurable?

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Speaker 4: Something else?

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Speaker 5: Or will you set aside the craft and actually tell

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Speaker 5: us that you identified more with these aimlessh aimless Scottish

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Speaker 5: lads than I let on.

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Speaker 1: I mean, it's worse, Adam, I had I had chosen

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Speaker 1: life so much earlier. We got married. Between Junior and

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Speaker 1: the senior year.

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Speaker 4: Oh man, it is worse.

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Speaker 1: You know, I forgot the time the kids came many

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Speaker 1: many years later. Okay, but yeah, I don't remember at

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Speaker 1: all having a shred of identification with these characters. Nor

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Speaker 1: was that necessarily what I was looking for. I mean,

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Speaker 1: I was, you know, just looking for I'm sure, I'm

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Speaker 1: sure I had heard the buzz and the excitement about

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Speaker 1: this movie by the time I got a chance to

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Speaker 1: see it, and that's what I was. I was looking

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Speaker 1: at this movie through the perspective of a film critic already.

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Speaker 1: So yeah, no poster on my wall, no poster on

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Speaker 1: our first apartment wall. But boy did I respond to

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Speaker 1: it as a film in the way that you're describing.

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Speaker 1: And I don't think this is at least my third watch,

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Speaker 1: now possibly the fourth, but third, I know for sure.

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Speaker 1: I don't think any watch, even though I still think

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Speaker 1: it's an incredibly good film, as we'll dig into, any

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Speaker 1: watch will match that first experience because of the filmmaking.

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Speaker 4: It's the first tie appropriately.

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Speaker 1: I'm with you, you know, I mean, it's kind of

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Speaker 1: in that experience as pulp fiction, Like the filmmaking is

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Speaker 1: so vibrant and so tactile, and you get whisked along

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Speaker 1: in it before you even have a chance to process

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Speaker 1: much what's happening except that you're enjoying the ride, and

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Speaker 1: that's there's some very intricate filmmaking techniques they employ to

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Speaker 1: get that effect that we will also spend some time on. Yeah,

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Speaker 1: that was my first experience with it. Now to your question,

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Speaker 1: I mean every movie, every time I see a movie,

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Speaker 1: one more movie in my life, I am more sure

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Speaker 1: that no movie needs to be over two hours. So

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Speaker 1: I want to say the ninety minute blood packed was

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Speaker 1: the best choice. I think for the narrative, propulsion reasons,

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Speaker 1: and perhaps character reasons you laid out, it's a good choice.

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Speaker 1: I think it's just a good choice aesthetically, you know

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Speaker 1: as well for a movie like this to be that short.

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Speaker 1: But I'm going to say the choice of choosing the

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Speaker 1: allure of drugs is what makes train Spotting perhaps not

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Speaker 1: the thrill ride or the dorm room poster type movie.

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Speaker 1: I don't think that's why it's a good choice. I

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Speaker 1: think it's a good choice because it makes the movie honest.

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Speaker 1: And I think if you had only had a film

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Speaker 1: all about the degradation, it may have been effective. We

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Speaker 1: have movies like that about addiction. But this is in

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Speaker 1: a way the whole package that allows me, someone who

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Speaker 1: has no association with a life like this. I don't

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Speaker 1: know where I would have found heroin if I wanted

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Speaker 1: to in nineteen ninety six, but I could then begin

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Speaker 1: to understand the trajectory that these characters were on and

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Speaker 1: understand I think more fully and thoroughly the degradation that

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Speaker 1: they reach. How they got there is because for someone

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Speaker 1: to choose, if you're putting this in a matter of choices,

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Speaker 1: and that's not always entirely appropriate when we're talking about addiction,

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Speaker 1: but if someone was to choose where most of these

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Speaker 1: characters end up, we have to understand why they would

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Speaker 1: choose what initially got them there. Yes, and I think

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Speaker 1: that Trainspotting does that without glorifying it. I think it

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Speaker 1: really balances this tight rope that there's no hypocrisy here.

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Speaker 1: There is just a commitment to wanting to honor what

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Speaker 1: drew these guys in and why they would give up

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Speaker 1: so much to achieve this experience, while also at the

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Speaker 1: same time being completely honest about what it costs them.

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Speaker 1: I think there's a crucial integrity to Trainspotting that was

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Speaker 1: its initial hallmark for me, and still I think is

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Speaker 1: its hallmark thirty years later.

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Speaker 4: Yeah, I'm with You.

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Speaker 5: Both are crucial choices to the success of this film,

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Speaker 5: and you alluded to this just in terms of the

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Speaker 5: propulsion that opening to just throwing us right into that

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Speaker 5: chase with the music, and of course that's throwing us

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Speaker 5: right into the middle of the film. We eventually catch

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Speaker 5: up to that point in the movie. Is another thing

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Speaker 5: that kind of makes this film special. We know we

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Speaker 5: are going to be along for a ride with this movie.

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Speaker 5: I Am with You, and I'd kind of forgotten this

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Speaker 5: because it has been long enough since I've seen this film,

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Speaker 5: and I think this is only the third time I've

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Speaker 5: seen it, watched it I think as you did to

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Speaker 5: prepare for the show Wed with Danny Boyle and the

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Speaker 5: T two review, and then I saw it back in

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Speaker 5: college when it came out, and that was it. So

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Speaker 5: it's not despite it being our namesake, if you will,

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Speaker 5: it's not a movie. I know that intimately, and I

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Speaker 5: was surprised all over again the extent to which McGregor's

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Speaker 5: character verbalizes it, and we see how pleasurable that hit

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Speaker 5: of heroin is because even in ninety six, I had

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Speaker 5: seen movies that had depicted characters who had had taken it,

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Speaker 5: who needed who needed a fix, and it was always

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Speaker 5: depicted as something that was just necessary and turned them

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Speaker 5: into and I'm going to come back to this, had

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Speaker 5: turned them into effectively a zombie, right, just kind of.

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Speaker 1: Not the craving. Yeah, emphasized the cra It was.

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Speaker 5: Something their body needed and if they didn't get it,

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Speaker 5: they were they were going to be sick. And that

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Speaker 5: is all true, and we see we see that in

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Speaker 5: this movie as well. Right, But as Renton says in

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Speaker 5: his narration, if we don't understand why you said it,

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Speaker 5: if we don't understand why they would be drawn to

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Speaker 5: it in the first place, then this movie doesn't work

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Speaker 5: at all. If we don't understand how it feels, then

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Speaker 5: then we're we're not going to go on this journey

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Speaker 5: with these characters. We're not going to understand why they

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Speaker 5: are going to choose this instead of like everyone else,

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Speaker 5: all the wankers. It'd be so much easier to choose life.

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Speaker 5: We have to see it, and that that first scene

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Speaker 5: where we really do watch all of these characters at

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Speaker 5: Mother Superiors get get their fix. You see it just

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Speaker 5: in the way Spud's body reacts to it right that

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Speaker 5: that they're they're having fun. There is pleasure there that

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Speaker 5: that did seem like a bold choice and even to

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Speaker 5: me at the time, and it feels bold now.

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Speaker 1: And I think there's also a technique they employ besides

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Speaker 1: showing the allure and the experience, they show once these

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Speaker 1: characters have had that the absence of it, which is

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Speaker 1: also key to our understanding, because then we know it's

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Speaker 1: not just that they're chasing something, they're running away from something.

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Speaker 1: What does Renon say early on when he decides, you know,

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Speaker 1: he's going to kick it again, and then he goes

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Speaker 1: to meet I think sick Boy, and the voiceover says

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Speaker 1: something like the horror, the horror of having to meet

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Speaker 1: my friends in full consciousness and something like that makes

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Speaker 1: us realize, you know, this should be one of the

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Speaker 1: pleasurable parts of your life, is hanging out with your mates.

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Speaker 1: But now he's reached a point where if he has

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Speaker 1: to do that sober, it sounds like hell to him

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Speaker 1: or think about. And here's where technique comes into play.

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Speaker 1: This is I think after the second time, he's given

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Speaker 1: it up for a while and he's at Bingo night

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Speaker 1: with his mom in a pub, sitting at a table,

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Speaker 1: and Boyle employs fast motion photography to show everyone around

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Speaker 1: him is having a fun time, they're gathering their social

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Speaker 1: and he's sober, and it's hell, he's the one sitting

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Speaker 1: at the table where slow motion, you know it's not

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Speaker 1: He's just still and everyone else is moving around. So

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Speaker 1: that's just another approach they use. It's like it's the absence.

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Speaker 1: Once they've had us experience the thrill through the filmmaking,

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Speaker 1: then Boyle gives us moments of the absence of it

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Speaker 1: through voice, sober and through fast motion, and we come

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Speaker 1: to understand their experience in a different way.

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Speaker 4: You're exactly right.

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Speaker 5: Regular life, regular everyday life can never match, can never

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Speaker 5: match that high right that they're that they're always chasing.

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Speaker 5: That all said, not that it matters, but if I was,

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Speaker 5: if I was ranking them, I might I might go

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Speaker 5: just opposite of you, Josh, and say, actually, the ninety

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Speaker 5: minute blood packed I think is even more important. I

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Speaker 5: think Boyle, Hodge and mc donald we're really smart. I

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Speaker 5: think Trainspotting could be a longer film. I don't know

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Speaker 5: what the max would be, and I don't need to speculate.

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Speaker 5: I think it could be a longer film and still

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Speaker 5: be very memorable, still be one that we're talking about

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Speaker 5: thirty years later. But I'll positive that for every minute

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Speaker 5: over ninety that it got, the returns would diminish proportionally.

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Speaker 5: I don't have to care about characters. I say this

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Speaker 5: all the time. I don't have to like them. I

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Speaker 5: don't have to find them sympathetic. I don't think that

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Speaker 5: Renton is very sympathetic, and he's the most sympathetic of

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Speaker 5: the lot. All that matters is are they interesting? Are

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Speaker 5: they interesting dramatically? And these characters, yes, even Rentin are

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Speaker 5: interesting for just about ninety minutes.

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Speaker 4: Think I think he and they.

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Speaker 5: As a group are a sufficient vessel to hang the

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Speaker 5: movie's central provocation around, the central provocative idea around And

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Speaker 5: maybe that's it. And the question am I invested enough

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Speaker 5: that when let's say, Begbie, when he shows up in London,

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Speaker 5: I'm I'm thinking the same exact thing that Renton is.

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Speaker 4: Oh no, yeah, I am?

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Speaker 5: And am I thinking about the consequences for Renton of

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Speaker 5: sliding back into addiction when he has to sample the heroin, Well,

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Speaker 5: he only has to sample it once, but he's going

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Speaker 5: to make sure that he gets that that second, that

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Speaker 5: that final there's final hits, he says, and then there's

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Speaker 5: final right, Yes, I'm thinking about that. So I'm invested

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Speaker 5: enough in the character. That's that's all you need. I

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Speaker 5: don't know that there's there's more depth than that. Even

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Speaker 5: with the ninety minute restriction, the movie kind of kind

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Speaker 5: of runs out of steam, you know, it needs something

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Speaker 5: like this, this shallow grave like conventional ending where we

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Speaker 5: get the crime factor, right, A betrayal in a bag

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Speaker 5: of money, that's what That's what kind of signals it

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Speaker 5: for me.

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Speaker 1: I would argue, and you know, maybe we should praise

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Speaker 1: it before we get to nitpicking. But I would argue,

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Speaker 1: there's even sections of this movie that could be caught

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Speaker 1: and we could get it to you know, eighty three

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Speaker 1: or something.

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Speaker 5: Yes like that, Yes, yeah, but I'll say, directly connected

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Speaker 5: to that, something else that stood out to me more

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Speaker 5: this time, And I say it's connected to the runtime

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Speaker 5: because these types of films are usually shorter. This is

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Speaker 5: something that I think everyone listening is probably aware of.

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Speaker 5: I don't think it's at all breaking news, but it's

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Speaker 5: something that maybe when I have watched it previously, I

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Speaker 5: didn't fully grasp and when I think about it in

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Speaker 5: my mind, when I think about Trainspotting, the space that

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Speaker 5: occupy sort of in my consciousness, I don't think about

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Speaker 5: it this way. And this time I got it. This

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Speaker 5: is a comedy. Train Spotting's a comedy. I think about it, though, Josh.

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Speaker 5: I think about it in terms of shooting up, and

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Speaker 5: I think about it in terms of griminess and dead

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Speaker 5: babies and the worst toilet in Scotland. And let's be clear,

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Speaker 5: that's all there and in fact the worst toilet in Scotland,

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Speaker 5: to the credit of Boile and his crew, the production designer,

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Speaker 5: everybody involved. You feel like you can smell that toilet

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Speaker 5: coming off the screen. You know, it's that batter slash

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Speaker 5: slash good right. The soundtrack and the posters may have

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Speaker 5: that upbeat, neon feel to them, but that isn't that's

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Speaker 5: not the experience of the movie itself. Maybe the overall

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Speaker 5: energy of it, the forward motion of it, the propulsion,

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Speaker 5: as we've said, but it's not really how the movie feels.

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Speaker 5: It's not how the movie looks. It all weighs so

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Speaker 5: heavily in my mind and I watch it this time,

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Speaker 5: and I realize how often it's going for jokes, and

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Speaker 5: some of them don't Land. You mentioned scenes that maybe

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Speaker 5: could be cut. I wonder if you're thinking about a

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Speaker 5: scene like when Spud wakes up at his girlfriend's house

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Speaker 5: and we get the scatological humor of the sheets and

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Speaker 5: spraying all over the room. That's a joke that isn't

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Speaker 5: necessarily all that funny. But many of the jokes, Josh

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Speaker 5: do Land. I'm gonna say the bit, the entire bit

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Speaker 5: around the videotape and the cross cutting during the sex scenes,

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Speaker 5: right and rent and saying I haven't felt that good

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Speaker 5: since Archie Gemmel scored against Holland in nineteen seventy eight.

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Speaker 4: Is inspired.

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Speaker 5: That's really good And another part and this will open

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Speaker 5: up maybe a conversation about the larger themes of the movie.

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Speaker 5: It's not subtle. This is where you can tell that

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Speaker 5: Boyle and Hodge are going for more comedy when he

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Speaker 5: is when Renton in his voiceover is early On is

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Speaker 5: talking about trying to go straight or thinking about it,

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Speaker 5: but he's explaining this allure, why he is, why he

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Speaker 5: has made the choices that he has made. Right, Remember

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Speaker 5: he I think he has said maybe to Begbee at

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Speaker 5: this point that he is going to he's going to

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Speaker 5: kick it. And what does Begbie say? He's like, you know,

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Speaker 5: it's about time you got to get off that poison.

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Speaker 5: And what does Boyle show Begbie taking a drink immediately

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Speaker 5: as he says, you got to kick that poison. And

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Speaker 5: then he cuts to the dad. You know these are

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Speaker 5: hard comedic cuts. Cut to the dad saying or Tommy,

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Speaker 5: actually it's Tommy next, and Tommy says, yeah, that's something

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Speaker 5: like that stuff terrible for you, as he takes a

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Speaker 5: hit off a cigarette. Right, So they're just using bad

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Speaker 5: substances too, while giving him grief for the substance he's taking.

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Speaker 5: And then the next cut is to his father sitting

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Speaker 5: at the table and the dad is giving rentin his

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Speaker 5: son grief for wasting his life. And the implication is, well, Dad,

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Speaker 5: all you do is sit at this table or sit

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Speaker 5: in this chair every day, right and stare at the TV.

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Speaker 5: You've you've made those other choices, but but all you're

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Speaker 5: doing is really wasting your life. The movie's pointing out

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Speaker 5: the hypocrisy of people like his dad, but also all

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Speaker 5: of his friends. He also notes in there, that is,

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Speaker 5: his mother has just found more socially acceptable ways to

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Speaker 5: be a drug addict. They all have, right again showcasing

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Speaker 5: that hypocrisy. But those are those are jokes, you know

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Speaker 5: that they're they're trying to make us laugh with the

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Speaker 5: script and also the visual matching.

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Speaker 1: Yeah, and it's it's the pacing establishes it as a comedy,

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Speaker 1: a very dark comedy obviously, as is clear from what

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Speaker 1: we've been discussing. But that's in the opening voiceover as well.

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Speaker 1: You know, it's a it's a snarky, sardonic yeah, trying

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Speaker 1: to expose these hypocrisies. Renton's whole voiceover about choosing life

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Speaker 1: is exactly setting that sort of you know, sardonic, balloon

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Speaker 1: popping tone. And you know too. And I want to

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Speaker 1: talk a little bit about McGregor's performance because it's interesting.

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Speaker 1: You said he's not sympathetic, but maybe the most sympathetic.

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Speaker 1: I came away so impressed by McGregor's commitment to being

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Speaker 1: a ghoul here, especially you know, someone early on in

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Speaker 1: his career. If someone's being a mercenary about it and

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Speaker 1: strategic might want to, especially someone with the charm magnitude

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Speaker 1: that McGregor has might want to maybe lace a little

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Speaker 1: more of that charm into the part, maybe get the

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Speaker 1: audience a little more on his side, you know, for

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Speaker 1: future projects or something like that. I don't think McGregor

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Speaker 1: does that at all. There's charm there because Renton is

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Speaker 1: It's naturally part of who the character is, right, It's

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Speaker 1: not something that I feel McGregor trying to dial up

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Speaker 1: to gain any sympathy. When he says I choose not

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Speaker 1: to choose life. It's you know, you talk about audiences,

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Speaker 1: Adam for a movie that broke out this big, it's

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Speaker 1: kind of needling that audience, right. It's basically saying he

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Speaker 1: addresses the audience. It doesn't he addresses us at the

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Speaker 1: very end, right when we return to the choose like speech,

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Speaker 1: and he's basically needling the squares, He's needling you and

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Speaker 1: me and saying, I choose, I choose something other than

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Speaker 1: what you've chosen. And the commitment MacGregor brings to that choice,

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Speaker 1: the gaze he has in the quiet moments as Renton,

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Speaker 1: that's when I think of him as a ghoul or

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Speaker 1: a step worse beyond that. There are times in this movie,

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Speaker 1: especially that montage when they're talking about having to you know,

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Speaker 1: petty crime to scrounge up their money. He comes across

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Speaker 1: as a straight up predator, right. He's out there and

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Speaker 1: he's coming after you to get what he needs to

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Speaker 1: get his next fix. So I do think it's in

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Speaker 1: the performance overall, but I think the voiceover and the

402
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Speaker 1: delivery of it is just crucial. It's so blisteringly honest.

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Speaker 1: He doesn't give an f what we think about him.

404
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Speaker 1: I also thought it was curious how he refers to

405
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Speaker 1: himself as renting a number of time.

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Speaker 4: I was going to say the third person.

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Speaker 5: The fact that he slips in at times to the

408
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Speaker 5: third person tells you that he has a sense of

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Speaker 5: his own grandiosity, which thinks also makes him less sympathetic.

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Speaker 1: Yeah, I think it's part of that. I think it's

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Speaker 1: also this is a story about storytelling. How many times

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Speaker 1: do we hear characters telling stories and then we'll get

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Speaker 1: the visual flashback to that. So to your point, the

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Speaker 1: grandiosity ren and sees himself as a character in this story.

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Speaker 1: I also think it indicates that he's lost himself in

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Speaker 1: a sense, like this experience and becoming an addict. He

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Speaker 1: is separated, he's been separated from his true self, and

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Speaker 1: I think using the third person reflects that as well.

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Speaker 1: And yeah, just to go back to giving you know,

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Speaker 1: McGregor credit, not just with the voiceover, but his his acting,

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Speaker 1: his face that moment, which is the least comedic moment

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Speaker 1: in the film, they realize that the baby has died

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Speaker 1: his face when he delivers, and this his voiceover. I

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Speaker 1: wish I could think of something to say, something human,

425
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Speaker 1: But then if you look at McGregor's face, it's not

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Speaker 1: only the line, but it's the ghoul is gone there

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Speaker 1: and there's a flicker of the human who wants to

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Speaker 1: come out, but because of his addiction you can't. So

429
00:25:37,405 --> 00:25:41,525
Speaker 1: I think it's the performance I was just more impressed

430
00:25:41,725 --> 00:25:43,565
Speaker 1: by than ever. Maybe on this.

431
00:25:43,525 --> 00:25:47,365
Speaker 5: Watch I had the same reaction. I was never so

432
00:25:47,645 --> 00:25:51,325
Speaker 5: focused on how good McGregor was, and that's because of

433
00:25:52,085 --> 00:25:56,245
Speaker 5: actually the range of the performance. Despite the fact, right,

434
00:25:56,285 --> 00:25:59,365
Speaker 5: because there is a lot of emotion on display in

435
00:25:59,405 --> 00:26:01,885
Speaker 5: this character. He does give us a full range of

436
00:26:01,885 --> 00:26:05,365
Speaker 5: a character despite the fact that there is so little

437
00:26:05,445 --> 00:26:09,045
Speaker 5: in terms of humanity in Rench. You're exactly right, Gul's

438
00:26:09,085 --> 00:26:12,925
Speaker 5: a good way to put it. But you know, it

439
00:26:13,005 --> 00:26:17,325
Speaker 5: is almost like he's a shark like character. Those eyes

440
00:26:17,485 --> 00:26:19,845
Speaker 5: even match it sometimes, you know, when you think about him,

441
00:26:19,845 --> 00:26:22,685
Speaker 5: when he looks at Kelly McDonald in the club, and

442
00:26:23,285 --> 00:26:26,805
Speaker 5: there's some great filmmaking there which would almost be like

443
00:26:26,845 --> 00:26:31,245
Speaker 5: a moment out of a movie when two starcross lovers

444
00:26:31,565 --> 00:26:34,805
Speaker 5: see each other in a romantic comedy even or a drama.

445
00:26:35,485 --> 00:26:39,045
Speaker 5: The way he isolates, the way he isolates renting there

446
00:26:39,085 --> 00:26:40,805
Speaker 5: in the middle of the dance floor and has him

447
00:26:40,885 --> 00:26:43,445
Speaker 5: looking at her and the lights just on him, it

448
00:26:43,485 --> 00:26:46,365
Speaker 5: could be romantic, except it's not romantic at all, because

449
00:26:46,365 --> 00:26:49,205
Speaker 5: there's something almost menacing about the way he's looking at her.

450
00:26:49,405 --> 00:26:52,445
Speaker 5: You know, he only sees her as an object, sort

451
00:26:52,445 --> 00:26:55,565
Speaker 5: of like drugs. In this case, the sex, the potential

452
00:26:55,565 --> 00:26:58,965
Speaker 5: for sex is replacing what he would normally get the

453
00:26:59,045 --> 00:27:03,365
Speaker 5: high of drugs, and so there is something about just

454
00:27:04,005 --> 00:27:07,325
Speaker 5: I think you said it a predator. There is something

455
00:27:07,725 --> 00:27:10,765
Speaker 5: in his face, and you're right, McGregor doesn't shy away

456
00:27:12,125 --> 00:27:15,685
Speaker 5: from any of that. I think when I was suggesting too,

457
00:27:15,765 --> 00:27:19,845
Speaker 5: that the script isn't interested in making him sympathetic, and

458
00:27:19,925 --> 00:27:23,725
Speaker 5: McGregor then doesn't try to compensate for that. Think about

459
00:27:23,925 --> 00:27:28,925
Speaker 5: think about moments like and these both involved Tommy. There's

460
00:27:29,125 --> 00:27:32,365
Speaker 5: there's the whole bit with Tommy and is it is

461
00:27:32,405 --> 00:27:36,565
Speaker 5: it Vicky Tommy's girlfriend who leaves him, and and that

462
00:27:36,565 --> 00:27:40,725
Speaker 5: that precipitates or maybe precipitate isn't strong enough word, that

463
00:27:40,765 --> 00:27:46,045
Speaker 5: really causes the spiral for Tommy. Now Tommy, does you know?

464
00:27:46,205 --> 00:27:48,125
Speaker 5: Tommy does say, and here I I kind of wish

465
00:27:48,205 --> 00:27:50,605
Speaker 5: the script didn't do this. The script says, well, it

466
00:27:50,645 --> 00:27:52,565
Speaker 5: was iggy pop and it was other things, you know,

467
00:27:52,685 --> 00:27:54,765
Speaker 5: And we hear earlier that you know, Tommy's not the

468
00:27:54,765 --> 00:27:58,085
Speaker 5: perfect boyfriend, so of course it wasn't just one thing.

469
00:27:58,925 --> 00:28:04,245
Speaker 5: But certainly we get the idea that misplacing the sex

470
00:28:04,285 --> 00:28:09,525
Speaker 5: tape was the serious rift that led to her leaving him.

471
00:28:09,605 --> 00:28:13,085
Speaker 1: Right to go back to Renton. Let's blame it. Renton

472
00:28:13,205 --> 00:28:14,445
Speaker 1: is the reason it's rent This.

473
00:28:14,405 --> 00:28:15,085
Speaker 4: Is where I'm going.

474
00:28:15,405 --> 00:28:17,845
Speaker 5: Okay, where I'm going, Josh, So I agree, I'm going

475
00:28:17,845 --> 00:28:20,045
Speaker 5: with where I'm going with this is this is the

476
00:28:20,085 --> 00:28:27,165
Speaker 5: reason why Tommy is now depressed and unstable. And he

477
00:28:27,765 --> 00:28:31,565
Speaker 5: then right after this decides it's time to take a hit, right,

478
00:28:31,845 --> 00:28:34,805
Speaker 5: and he ends up maybe the most miserable of all. No,

479
00:28:34,885 --> 00:28:36,805
Speaker 5: he does end up the most miserable, in the worst

480
00:28:36,845 --> 00:28:39,805
Speaker 5: state of all the characters. At no point do we

481
00:28:39,885 --> 00:28:44,085
Speaker 5: see Renton go when he knows that he's in a

482
00:28:44,125 --> 00:28:46,565
Speaker 5: desperate state, even before that that it's about the tape.

483
00:28:46,685 --> 00:28:49,125
Speaker 5: At no point does he say, well, I took the tape,

484
00:28:49,125 --> 00:28:51,445
Speaker 5: I have it right. He has no interest in stepping

485
00:28:51,525 --> 00:28:54,045
Speaker 5: up and saying that I was the cause of that.

486
00:28:54,365 --> 00:28:56,405
Speaker 5: Maybe you could get her back. I can give you

487
00:28:56,485 --> 00:28:59,365
Speaker 5: the tape back, let's mend it. He has no interest

488
00:28:59,445 --> 00:29:01,205
Speaker 5: in doing that. And even at the end when he's

489
00:29:01,245 --> 00:29:03,685
Speaker 5: at the funeral, when he's at the funeral and the

490
00:29:03,725 --> 00:29:06,525
Speaker 5: guy is sitting there telling him how awful it was

491
00:29:07,005 --> 00:29:10,165
Speaker 5: and the state he ended up in, there's no sense

492
00:29:10,205 --> 00:29:14,325
Speaker 5: that Renton is actually ever being introspective about it, that

493
00:29:14,405 --> 00:29:20,045
Speaker 5: he's processing really any of this, that he really cares.

494
00:29:20,445 --> 00:29:23,245
Speaker 5: Of course he does on some level care. We understand

495
00:29:23,285 --> 00:29:26,645
Speaker 5: that Tommy was a mate, that he wishes Tommy was alive.

496
00:29:27,245 --> 00:29:30,485
Speaker 5: It doesn't feel like there's that much more depth than.

497
00:29:30,365 --> 00:29:33,845
Speaker 1: That, though, Yeah, I think that's fair. The only gesture

498
00:29:34,005 --> 00:29:37,765
Speaker 1: that comes anywhere near something like that is the scene

499
00:29:37,805 --> 00:29:40,325
Speaker 1: where he does go visit Tommy, who at this point

500
00:29:40,605 --> 00:29:44,925
Speaker 1: is is, you know, on death's door. His apartment is squalid,

501
00:29:45,605 --> 00:29:51,525
Speaker 1: and I sensed some ambivalence to you know, why was

502
00:29:51,565 --> 00:29:54,365
Speaker 1: he even there, because you could also see a rent

503
00:29:54,365 --> 00:29:56,325
Speaker 1: To who just never visited him again, right, that would

504
00:29:56,365 --> 00:29:59,045
Speaker 1: have been in character as well, So there's some gesture

505
00:29:59,125 --> 00:30:01,965
Speaker 1: being made. But to your point, he doesn't take that

506
00:30:02,045 --> 00:30:05,205
Speaker 1: occasion to really have any sort of heart to heart,

507
00:30:05,325 --> 00:30:09,805
Speaker 1: let alone acknowledge his role in Tommy's downward spiral. It's

508
00:30:09,805 --> 00:30:11,885
Speaker 1: the tragedy of Tommy. I think it's the most tragic

509
00:30:12,045 --> 00:30:14,965
Speaker 1: narrative in the movie actually, because we see a guy

510
00:30:15,005 --> 00:30:18,525
Speaker 1: who you know, wasn't a saint, but he had not

511
00:30:18,805 --> 00:30:21,965
Speaker 1: yet become an addict or or as far as we know,

512
00:30:22,165 --> 00:30:22,885
Speaker 1: tried heroin.

513
00:30:23,085 --> 00:30:25,805
Speaker 4: And I think that's the suggestion.

514
00:30:25,565 --> 00:30:29,285
Speaker 1: He had chosen, and we should say Kevin McKidd placed Tommy.

515
00:30:29,645 --> 00:30:33,965
Speaker 1: He had chosen a variation of the life that was square,

516
00:30:34,285 --> 00:30:37,165
Speaker 1: you know, and it seemed to be working for him.

517
00:30:37,925 --> 00:30:39,965
Speaker 1: He seemed to go back to this sense of Renton

518
00:30:40,085 --> 00:30:44,325
Speaker 1: being split and outside of himself. Tommy at least seemed

519
00:30:44,365 --> 00:30:47,125
Speaker 1: to know who he was in his choices and had

520
00:30:47,165 --> 00:30:51,285
Speaker 1: been a whole, if imperfect human, And well that's the

521
00:30:51,605 --> 00:30:55,845
Speaker 1: that's the guy who ends up dead. It's it is

522
00:30:56,005 --> 00:30:57,725
Speaker 1: like the tragedy of the film.

523
00:30:57,805 --> 00:31:03,165
Speaker 4: I think, I agree, I agree, Adam.

524
00:31:03,205 --> 00:31:05,645
Speaker 1: It seems like one of the first big movies that

525
00:31:05,725 --> 00:31:10,005
Speaker 1: everyone's talking about anticipating of the year is upon us.

526
00:31:10,005 --> 00:31:11,925
Speaker 1: It's Wuthering Heights. This is the kind of movie you

527
00:31:11,925 --> 00:31:13,285
Speaker 1: want to see in the theater. You want to be

528
00:31:13,365 --> 00:31:16,165
Speaker 1: with the crowd so that you can also then be

529
00:31:16,205 --> 00:31:20,245
Speaker 1: part of the discussion afterwards. If you had Regal Unlimited,

530
00:31:20,285 --> 00:31:23,765
Speaker 1: you could see Wathering Heights in a theater for free.

531
00:31:23,925 --> 00:31:26,805
Speaker 1: Regal Unlimited is the all you can watch movie subscription

532
00:31:26,885 --> 00:31:30,165
Speaker 1: pass that pays for itself in just two visits. Right now,

533
00:31:30,285 --> 00:31:34,205
Speaker 1: Regal is offering film spotting listeners endless movies for less.

534
00:31:34,645 --> 00:31:37,525
Speaker 1: If you sign up for Regal Unlimited using code film

535
00:31:37,565 --> 00:31:40,445
Speaker 1: spot twenty five, you'll get ten percent off a three

536
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Speaker 1: month subscription. Now Regal Unlimited is the only truly limitless

537
00:31:44,885 --> 00:31:48,085
Speaker 1: movie subscription pass. You can see any standard two D

538
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Speaker 1: movie anytime with no blackoutdates or restrictions that does cover

539
00:31:53,565 --> 00:31:56,605
Speaker 1: Weathering Heights. Also, with Regal Unlimited, you won't just save

540
00:31:56,645 --> 00:31:58,605
Speaker 1: money on tickets, You're also going to save on snacks.

541
00:31:58,605 --> 00:32:02,365
Speaker 1: Members get ten percent off all non alcoholic concessions, So

542
00:32:02,485 --> 00:32:05,445
Speaker 1: sign up now in the regal app, or you could

543
00:32:05,525 --> 00:32:08,405
Speaker 1: use the link in the description code and use code

544
00:32:08,565 --> 00:32:11,485
Speaker 1: film Spot twenty five to receive that disc.

545
00:32:16,925 --> 00:32:19,485
Speaker 5: I know that there are so many moments that we

546
00:32:19,525 --> 00:32:23,805
Speaker 5: could here and talk through in terms of the filmmaking

547
00:32:23,805 --> 00:32:26,485
Speaker 5: and all the tricks that boil employees. But actually what

548
00:32:26,525 --> 00:32:28,445
Speaker 5: I want to talk about, Joshua stood out to me

549
00:32:28,885 --> 00:32:30,565
Speaker 5: this time. And maybe it stood out to me so

550
00:32:30,645 --> 00:32:33,805
Speaker 5: much because you know, I was working on the graphics

551
00:32:33,845 --> 00:32:35,685
Speaker 5: that we're going to post on the show page and

552
00:32:35,685 --> 00:32:38,525
Speaker 5: that are going to go with the podcast when we

553
00:32:38,565 --> 00:32:40,525
Speaker 5: post it. But of course, when you think about the

554
00:32:40,525 --> 00:32:43,885
Speaker 5: poster for the show and you think about the art

555
00:32:44,165 --> 00:32:48,605
Speaker 5: that accompanied the movie, part of the branding of this movie,

556
00:32:48,685 --> 00:32:52,005
Speaker 5: it's that orange, and it's the green, and it's the purple,

557
00:32:52,085 --> 00:32:56,005
Speaker 5: it's the super vibrant colors. Because of that, that is

558
00:32:56,005 --> 00:33:00,125
Speaker 5: what you associate the movie with. And of course when

559
00:33:00,125 --> 00:33:04,725
Speaker 5: you watch the film, it is actually so much grimier

560
00:33:05,205 --> 00:33:09,205
Speaker 5: and so much more squalid than you would imagine based

561
00:33:09,245 --> 00:33:13,885
Speaker 5: on that. It is almost like it was intentionally the opposite,

562
00:33:13,965 --> 00:33:16,485
Speaker 5: you know, to try to mislead you into thinking that

563
00:33:16,525 --> 00:33:18,645
Speaker 5: the film is going to be something that it really isn't.

564
00:33:19,005 --> 00:33:20,365
Speaker 4: But what I noticed this time, and.

565
00:33:22,045 --> 00:33:24,485
Speaker 5: Someone can write in email us feedback at film spotting

566
00:33:24,485 --> 00:33:27,005
Speaker 5: dot net if you can point out other other scenes

567
00:33:27,005 --> 00:33:29,445
Speaker 5: in the movie where Boyle does this and I miss them.

568
00:33:29,445 --> 00:33:30,285
Speaker 4: There probably are.

569
00:33:30,725 --> 00:33:33,885
Speaker 5: But what stood out to me, Josh, is that is

570
00:33:33,925 --> 00:33:37,325
Speaker 5: that those colors weren't weren't just randomly chosen, you know,

571
00:33:37,445 --> 00:33:41,045
Speaker 5: for the for the movie poster to be to be

572
00:33:41,125 --> 00:33:44,725
Speaker 5: these glowing colors that would get our attention. There's a

573
00:33:44,845 --> 00:33:47,285
Speaker 5: there's a scene, maybe a third of the way through

574
00:33:47,285 --> 00:33:50,165
Speaker 5: the movie, I don't know, halfway through where where Rentin

575
00:33:50,405 --> 00:33:54,245
Speaker 5: is walking by an apartment complex, you know, a set

576
00:33:54,245 --> 00:33:59,485
Speaker 5: of flats and it's and it's still very gray and

577
00:33:59,685 --> 00:34:03,005
Speaker 5: very dingy, like the film as a whole looks. You

578
00:34:03,045 --> 00:34:05,765
Speaker 5: know this, there's nothing about this set of flats that

579
00:34:05,805 --> 00:34:10,965
Speaker 5: would say this is a glamorous lifestyle. And yet the

580
00:34:11,045 --> 00:34:13,924
Speaker 5: doors or maybe it's the curtains. It's either the doors

581
00:34:14,005 --> 00:34:17,005
Speaker 5: or the curtains. I'd have to get the scene back out.

582
00:34:17,325 --> 00:34:20,444
Speaker 5: One of them's purple, one of them's green, one of

583
00:34:20,485 --> 00:34:23,004
Speaker 5: them's orange. You know, I think there's a blue. It's

584
00:34:23,045 --> 00:34:26,565
Speaker 5: like Boyle still finds a way to inject some color

585
00:34:27,085 --> 00:34:31,085
Speaker 5: and some life and some vibrancy even into a shot

586
00:34:31,445 --> 00:34:33,765
Speaker 5: and and a scene a moment like that, and then

587
00:34:33,805 --> 00:34:38,125
Speaker 5: what about where where he then revisits that exact use

588
00:34:38,125 --> 00:34:41,285
Speaker 5: of color is at the end when they're in the

589
00:34:41,325 --> 00:34:45,325
Speaker 5: hotel room and they're they're doing the crime scene. They're

590
00:34:45,325 --> 00:34:48,285
Speaker 5: doing the not the crime scene, they're doing the exchange, right,

591
00:34:48,405 --> 00:34:51,885
Speaker 5: the drugs for money, the different some of the different

592
00:34:51,965 --> 00:34:55,085
Speaker 5: characters there in the scene, like the guy who stays

593
00:34:55,085 --> 00:34:56,725
Speaker 5: in the room with them when the other guys take

594
00:34:56,765 --> 00:34:59,805
Speaker 5: the drugs away. Right, he's wearing the purple shirt, you know,

595
00:34:59,845 --> 00:35:01,805
Speaker 5: and someone else is wearing like an orange shirt and

596
00:35:01,845 --> 00:35:04,965
Speaker 5: the green shirt. So he's he's still being playful and

597
00:35:05,005 --> 00:35:07,685
Speaker 5: being clever with those colors, you know, and finding ways

598
00:35:07,685 --> 00:35:10,925
Speaker 5: to have some symmetry between the scenes. But that's that's

599
00:35:10,965 --> 00:35:13,965
Speaker 5: where he's injecting the color into these otherwise like kind

600
00:35:14,005 --> 00:35:17,885
Speaker 5: of squalid and uh, you know, these these moments that

601
00:35:17,925 --> 00:35:20,605
Speaker 5: are not you know, I don't know what the right

602
00:35:20,645 --> 00:35:23,405
Speaker 5: word is to describe a moment, you know, like an exchange,

603
00:35:23,485 --> 00:35:26,125
Speaker 5: like a drug exchange like that, but it's it's not

604
00:35:26,845 --> 00:35:31,005
Speaker 5: it's not the typical type of moment we might expect

605
00:35:31,045 --> 00:35:33,085
Speaker 5: just based on certainly the marketing materials.

606
00:35:33,965 --> 00:35:37,805
Speaker 1: Yeah, and it's also an aesthetic reflection of the thematic

607
00:35:37,845 --> 00:35:40,605
Speaker 1: quality we were talking about at the start, vibrancy you

608
00:35:40,685 --> 00:35:43,565
Speaker 1: said you need, you know, just as we said, you

609
00:35:43,645 --> 00:35:47,005
Speaker 1: need the vibrancy of that experience of the high to

610
00:35:47,725 --> 00:35:50,885
Speaker 1: also make you fully understand the low that we'll get to.

611
00:35:51,365 --> 00:35:53,205
Speaker 1: And so in some of these frames and the use

612
00:35:53,245 --> 00:35:57,765
Speaker 1: of such colors, you're getting both in the composition at once.

613
00:35:58,365 --> 00:36:02,085
Speaker 1: And you know, I consider orange, green, purple, those can

614
00:36:02,205 --> 00:36:06,285
Speaker 1: be depending on how they're used, the hue, the the pigmentation,

615
00:36:06,685 --> 00:36:10,045
Speaker 1: those can be nauseous colors, you know, And I think

616
00:36:10,085 --> 00:36:13,125
Speaker 1: that's kind of in the combination with these squalid settings,

617
00:36:13,685 --> 00:36:17,605
Speaker 1: that's kind of how they're employed here. Let me give

618
00:36:17,605 --> 00:36:20,605
Speaker 1: you my quick maybe my nitpick, and maybe it deserves

619
00:36:20,605 --> 00:36:26,045
Speaker 1: a bigger, a bigger qualifier than that. Well, first of all,

620
00:36:26,125 --> 00:36:29,485
Speaker 1: you're right about the scatological scene with spud ew and

621
00:36:29,525 --> 00:36:33,005
Speaker 1: Bremer's you know, the morning after with his sheets. I mean,

622
00:36:33,005 --> 00:36:37,685
Speaker 1: that's just like the most disgusting toilet in Scotland works perfect,

623
00:36:37,845 --> 00:36:40,405
Speaker 1: you know, we need that that scene with Spud and

624
00:36:40,525 --> 00:36:42,845
Speaker 1: next morning. Okay, you're pushing it a little too fire.

625
00:36:43,245 --> 00:36:45,205
Speaker 1: I didn't need that. But you know what, I don't

626
00:36:45,245 --> 00:36:48,525
Speaker 1: know that we needed Kelly McDonald's Diane at all. And

627
00:36:49,205 --> 00:36:52,645
Speaker 1: this is no fault of Kelly McDonald, who I think

628
00:36:52,725 --> 00:36:55,365
Speaker 1: is you know, very talent, does fine work here and

629
00:36:55,405 --> 00:36:58,844
Speaker 1: has shown to do incredible work like No Country. Right,

630
00:36:58,925 --> 00:37:01,725
Speaker 1: She's like, right, yeah, maybe one of the best scenes

631
00:37:01,845 --> 00:37:07,245
Speaker 1: in No Country for Old Men and other films. I

632
00:37:07,285 --> 00:37:09,285
Speaker 1: don't know why she needs why Diane needs to be

633
00:37:09,405 --> 00:37:13,965
Speaker 1: underage here, And I haven't read the Irving Welsh novel.

634
00:37:14,165 --> 00:37:19,565
Speaker 1: Maybe it's there and they're just transferring, you know, narrative details.

635
00:37:20,485 --> 00:37:26,085
Speaker 1: It just you know, maybe you could argue. Debbie and

636
00:37:26,085 --> 00:37:28,805
Speaker 1: I were talking about this after watching it, like she said,

637
00:37:28,805 --> 00:37:31,245
Speaker 1: maybe it's supposed to be like another bad choice that

638
00:37:31,285 --> 00:37:32,685
Speaker 1: rented makes right and.

639
00:37:32,645 --> 00:37:36,165
Speaker 5: Other transgressions right, transcreations from the norm.

640
00:37:36,645 --> 00:37:38,725
Speaker 1: You could justify it that way. I just I think,

641
00:37:38,845 --> 00:37:42,045
Speaker 1: just like it's especially in my head just last week,

642
00:37:42,525 --> 00:37:45,805
Speaker 1: we had to address this because our Diane Keaton Top five,

643
00:37:45,845 --> 00:37:48,245
Speaker 1: you know, brings in Woody Allen, So the underage thing

644
00:37:48,605 --> 00:37:52,245
Speaker 1: you have to acknowledge. We're swimming in the Epstein shit still,

645
00:37:52,725 --> 00:37:55,005
Speaker 1: and it's just like I put in a movie like this,

646
00:37:55,725 --> 00:37:58,885
Speaker 1: and I'm just like, why is this everywhere? What's wrong

647
00:37:58,925 --> 00:38:02,445
Speaker 1: with us as human beings that we we even casually

648
00:38:02,925 --> 00:38:05,405
Speaker 1: in a movie like Trainspotty and have to have to

649
00:38:05,445 --> 00:38:07,885
Speaker 1: have that. So I don't know, maybe someone more familiar

650
00:38:07,925 --> 00:38:09,885
Speaker 1: with the novel, you know, can fill me in on

651
00:38:09,925 --> 00:38:10,685
Speaker 1: something I'm missing.

652
00:38:10,765 --> 00:38:13,725
Speaker 5: But well, I'm just gonna say taking out the distasteful

653
00:38:13,845 --> 00:38:16,805
Speaker 5: part of it, honestly, there's just the dramatic element.

654
00:38:16,885 --> 00:38:17,165
Speaker 4: Again.

655
00:38:17,645 --> 00:38:21,885
Speaker 5: It feels like that character is introduced and potentially be

656
00:38:22,765 --> 00:38:26,645
Speaker 5: I suppose Josh an interesting character, someone someone to play

657
00:38:26,845 --> 00:38:30,245
Speaker 5: off of Renton, but then she just disappears until she's

658
00:38:30,325 --> 00:38:31,685
Speaker 5: just abouts to near.

659
00:38:31,525 --> 00:38:32,205
Speaker 4: The end of the film.

660
00:38:32,245 --> 00:38:36,844
Speaker 5: You know, if any character seems like someone who gets

661
00:38:36,845 --> 00:38:40,845
Speaker 5: sacrificed because of the ninety minute runtime, it might be

662
00:38:41,045 --> 00:38:43,245
Speaker 5: that character. I don't know because I haven't seen those

663
00:38:43,285 --> 00:38:47,245
Speaker 5: deleted scenes, but I wonder if there are some good

664
00:38:47,285 --> 00:38:50,605
Speaker 5: scenes involving Kelly McDonald's character that were left on the

665
00:38:50,645 --> 00:38:54,364
Speaker 5: cutting room floor, because I don't know why otherwise that

666
00:38:54,525 --> 00:38:56,845
Speaker 5: character really is in the film. I think that's a

667
00:38:56,845 --> 00:38:57,405
Speaker 5: fair point.

668
00:38:57,605 --> 00:39:00,725
Speaker 1: Yeah, that makes sense. Back to the positive and back

669
00:39:00,765 --> 00:39:04,085
Speaker 1: to the techniques and the esthetic choices. Part of the

670
00:39:04,125 --> 00:39:07,045
Speaker 1: reason this movie moves like it does obviously is because

671
00:39:07,085 --> 00:39:10,765
Speaker 1: of the editing. So the editor on the film, Masahiro

672
00:39:11,085 --> 00:39:16,045
Speaker 1: Hira Kubo, looks like did TV before working on Boyle's

673
00:39:16,085 --> 00:39:19,205
Speaker 1: Shallow Grave and then also worked on the Beach with Boyle.

674
00:39:19,845 --> 00:39:22,725
Speaker 1: That's you know, that's why that opening sequence you call

675
00:39:22,805 --> 00:39:28,765
Speaker 1: that works the chase and bringing us through this headlong

676
00:39:29,525 --> 00:39:32,005
Speaker 1: experience of what life is like for these guys when

677
00:39:32,045 --> 00:39:35,844
Speaker 1: they're high. Is that where they there's the fast at

678
00:39:35,885 --> 00:39:37,924
Speaker 1: it's of the sucking down the milkshake. I just think

679
00:39:37,965 --> 00:39:40,605
Speaker 1: of that as like it's a little detail, but like

680
00:39:40,645 --> 00:39:43,404
Speaker 1: the multiple cuts for that one action is like that's

681
00:39:43,485 --> 00:39:46,605
Speaker 1: train spotting, right, That is that is capturing how this

682
00:39:46,685 --> 00:39:49,885
Speaker 1: movie moves. But even things like remember when Spud is

683
00:39:49,925 --> 00:39:52,884
Speaker 1: interviewing for the tourist job or whatever it is, Yeah,

684
00:39:52,925 --> 00:39:57,125
Speaker 1: and there's speed yeah yeah, so he's he's sped up,

685
00:39:57,245 --> 00:39:58,965
Speaker 1: and then we just get nice touches where there's an

686
00:39:59,045 --> 00:40:01,605
Speaker 1: establishing shot essentially of him in this big room from

687
00:40:01,645 --> 00:40:07,245
Speaker 1: fire away turquoise rug another potentially nauseous color, and while

688
00:40:07,285 --> 00:40:09,485
Speaker 1: he's talking, we cut to a medium shot of him

689
00:40:09,485 --> 00:40:11,285
Speaker 1: like we're suddenly up on him, and then we're back

690
00:40:11,325 --> 00:40:15,085
Speaker 1: away and stuff like that. And another cut that I love,

691
00:40:15,445 --> 00:40:17,925
Speaker 1: This is where Renton I think it might be after

692
00:40:17,965 --> 00:40:20,364
Speaker 1: the bingo night he goes out back. No, I think

693
00:40:20,405 --> 00:40:23,405
Speaker 1: it's after time his funeral. At any rate, he's clean.

694
00:40:23,885 --> 00:40:26,605
Speaker 1: He's balancing on top of a cinder black wall and

695
00:40:26,645 --> 00:40:30,125
Speaker 1: he decides he's going to go for a hit, jumps

696
00:40:30,205 --> 00:40:33,965
Speaker 1: up off the wall. Cut to him Spider Man style,

697
00:40:34,085 --> 00:40:36,445
Speaker 1: landing in the middle of Mother Superior's flat.

698
00:40:36,525 --> 00:40:38,925
Speaker 4: Right, yeah, I mean, just like.

699
00:40:38,885 --> 00:40:42,844
Speaker 1: That's the sort of stuff trains right, exactly ext that's

700
00:40:42,845 --> 00:40:44,685
Speaker 1: what we think of, we think of that, those kind

701
00:40:44,685 --> 00:40:49,285
Speaker 1: of magical realist moments that editing the editing provides.

702
00:40:49,405 --> 00:40:51,805
Speaker 5: Yeah, I think you're exactly right. And that reminds me too.

703
00:40:51,845 --> 00:40:55,125
Speaker 5: As you brought up the turquoise. We see pink. For example,

704
00:40:55,165 --> 00:40:59,925
Speaker 5: in the moment where Tommy, Tommy's telling the story of

705
00:40:59,965 --> 00:41:03,245
Speaker 5: what really happened with Begbie playing pool, he's lifting weights.

706
00:41:03,485 --> 00:41:08,884
Speaker 5: Talk about the degradation, the de evolution of Tommy as

707
00:41:08,925 --> 00:41:12,685
Speaker 5: a character as a man also obviously corresponds with his

708
00:41:12,765 --> 00:41:16,125
Speaker 5: apartment and when he's lifting weights, like his flat has

709
00:41:16,485 --> 00:41:19,245
Speaker 5: it's pink behind him, you know, it has this more

710
00:41:19,325 --> 00:41:22,245
Speaker 5: feminine sort of touch. Right has this woman in his life,

711
00:41:22,565 --> 00:41:25,125
Speaker 5: and and that all that all fades, so that that's

712
00:41:25,165 --> 00:41:28,045
Speaker 5: that injection of color again that's there, and that that

713
00:41:28,205 --> 00:41:32,645
Speaker 5: completely dissipates as as his life gets worse and worse.

714
00:41:33,125 --> 00:41:37,444
Speaker 5: The thing that inspired my my question that I set

715
00:41:37,525 --> 00:41:40,765
Speaker 5: up in the intro josh something I thought about and

716
00:41:40,765 --> 00:41:43,285
Speaker 5: and here again maybe this is this is really obvious,

717
00:41:43,285 --> 00:41:46,645
Speaker 5: but I was thinking about this movie as a generational movie,

718
00:41:46,845 --> 00:41:49,805
Speaker 5: just the fact that we were the age that in

719
00:41:49,965 --> 00:41:54,165
Speaker 5: theory this movie should have exactly appealed to Right. And

720
00:41:55,405 --> 00:41:57,205
Speaker 5: I'm gonna throw this out there and see what you

721
00:41:57,205 --> 00:41:59,685
Speaker 5: think about it. Also as I as I had the thought,

722
00:41:59,725 --> 00:42:02,965
Speaker 5: as it occurred to me that it really is more

723
00:42:03,005 --> 00:42:06,925
Speaker 5: than anything I think a comedy. My thought is this

724
00:42:07,805 --> 00:42:13,165
Speaker 5: that Trainspotting is to gen X what The Graduate was

725
00:42:13,205 --> 00:42:22,045
Speaker 5: to Baby Boomers, including the indelible soundtrack, Choose Life, reply, plastics,

726
00:42:23,165 --> 00:42:29,325
Speaker 5: and heroin replaces sex. Benjamin Braddock, he had the California Son,

727
00:42:29,365 --> 00:42:31,365
Speaker 5: and he had a swimming pool, and he had Missus

728
00:42:31,485 --> 00:42:36,485
Speaker 5: Robinson to numb himself with Right because he didn't know

729
00:42:36,565 --> 00:42:40,205
Speaker 5: what choices to make. He was overwhelmed by now having

730
00:42:40,245 --> 00:42:44,165
Speaker 5: to become an adult. By having to leave college and

731
00:42:44,245 --> 00:42:47,844
Speaker 5: go out into the world and not not know what

732
00:42:47,965 --> 00:42:51,805
Speaker 5: he should be, right, so he numbs himself with sex.

733
00:42:52,045 --> 00:42:54,485
Speaker 5: And you have a guy, you have the friend of

734
00:42:54,525 --> 00:42:58,925
Speaker 5: his dad famously telling him at the party, plastics is

735
00:42:58,965 --> 00:43:01,005
Speaker 5: the is the way to go because it will it

736
00:43:01,005 --> 00:43:02,605
Speaker 5: will make him, it will make him rich, and of

737
00:43:02,605 --> 00:43:04,205
Speaker 5: course if it makes you rich or if it makes

738
00:43:04,245 --> 00:43:06,565
Speaker 5: you money, that will be that will be the key

739
00:43:06,645 --> 00:43:11,365
Speaker 5: to happiness. And Trainspotting just updates that for our generation

740
00:43:11,565 --> 00:43:14,364
Speaker 5: and instead of plastics, it's it's choose life. Think about

741
00:43:14,405 --> 00:43:21,965
Speaker 5: how many things in that monologue are consumer related, almost

742
00:43:22,005 --> 00:43:25,525
Speaker 5: all of it. Television, washing machines, cars, compact disc players,

743
00:43:25,925 --> 00:43:29,485
Speaker 5: tin openers, mortgage payments, starter home, three piece suit. Right,

744
00:43:29,485 --> 00:43:31,685
Speaker 5: you could go on and on. It's all about what

745
00:43:31,845 --> 00:43:36,525
Speaker 5: you buy. The fear seems to be ultimately more than anything,

746
00:43:36,925 --> 00:43:42,444
Speaker 5: that adulthood equals consumerism, right, and that you're just going

747
00:43:42,485 --> 00:43:47,845
Speaker 5: to fall into whatever that rut, whatever that routine is,

748
00:43:47,885 --> 00:43:50,125
Speaker 5: And that's what he is trying, that's what he's trying

749
00:43:50,165 --> 00:43:52,245
Speaker 5: to avoid. And that's really the key, that's the key

750
00:43:52,285 --> 00:43:54,924
Speaker 5: to the character is not only are you not only

751
00:43:54,965 --> 00:43:58,645
Speaker 5: are you choosing heroin because it makes you feel really

752
00:43:58,725 --> 00:44:01,685
Speaker 5: really really good. But as Rentin says at one point

753
00:44:01,685 --> 00:44:05,125
Speaker 5: in the narration, you know, it's just another type of

754
00:44:05,765 --> 00:44:09,525
Speaker 5: full time job, which is hard. But at least there's

755
00:44:09,525 --> 00:44:12,765
Speaker 5: only one choice to make. That choice is every day,

756
00:44:12,805 --> 00:44:14,325
Speaker 5: I just have to do whatever I have to do

757
00:44:14,645 --> 00:44:18,925
Speaker 5: to get the next fix. When you choose life, you

758
00:44:18,965 --> 00:44:21,845
Speaker 5: have to choose all those other things. There's so many

759
00:44:21,885 --> 00:44:26,525
Speaker 5: more decisions. It's overwhelming. Who wants to make all those decisions?

760
00:44:26,565 --> 00:44:29,725
Speaker 5: It's so much easier to just make one decision, right,

761
00:44:29,765 --> 00:44:32,125
Speaker 5: And that's what that that's what that character has to do.

762
00:44:32,285 --> 00:44:34,045
Speaker 5: So I was thinking about the graduate a lot as

763
00:44:34,045 --> 00:44:36,005
Speaker 5: I was watching this film. But I'll throw one last

764
00:44:36,005 --> 00:44:38,765
Speaker 5: thing at you, two that is a little more out there.

765
00:44:39,565 --> 00:44:43,485
Speaker 5: Is it possible that we should think about this movie

766
00:44:43,525 --> 00:44:51,404
Speaker 5: Trainspotting as Danny Boyle's first zombie movie twenty days later?

767
00:44:51,565 --> 00:44:54,325
Speaker 1: Yeah, that's connected to the you know, Rented as a

768
00:44:54,365 --> 00:44:55,565
Speaker 1: ghoul for sure.

769
00:44:56,125 --> 00:44:57,445
Speaker 4: The goul part absolutely.

770
00:44:57,485 --> 00:45:00,085
Speaker 5: But you know, I think that that's a great way,

771
00:45:00,325 --> 00:45:01,965
Speaker 5: a great way to look at it. But if you

772
00:45:02,005 --> 00:45:08,325
Speaker 5: think about adulthood equaling consumerism, that's that's the allegory that

773
00:45:08,365 --> 00:45:12,005
Speaker 5: we have often seen zombies representing, right, in horror films,

774
00:45:12,165 --> 00:45:15,325
Speaker 5: and and you can be the zombie who makes all

775
00:45:15,365 --> 00:45:17,725
Speaker 5: of those choices, right, because they're not really choices at all,

776
00:45:17,925 --> 00:45:21,605
Speaker 5: they're they're predetermined, they're inevitable for you. Or what you

777
00:45:21,645 --> 00:45:25,485
Speaker 5: could be the junkie who shoots up and you basically

778
00:45:25,525 --> 00:45:29,205
Speaker 5: go into a comatose state. You're completely non functional. You're

779
00:45:29,245 --> 00:45:30,765
Speaker 5: a different kind of zombie.

780
00:45:31,165 --> 00:45:33,405
Speaker 1: I mean almost the one to one. The film that

781
00:45:33,485 --> 00:45:36,165
Speaker 1: picked up that idea and is even more of a

782
00:45:36,165 --> 00:45:40,685
Speaker 1: comedy is Shawn of the Dead, which almost literalizes that

783
00:45:40,765 --> 00:45:46,725
Speaker 1: idea right where the consumers are the zombies. And of course,

784
00:45:46,805 --> 00:45:49,645
Speaker 1: you know, Donna, the dad did that in pure horror form, yes,

785
00:45:50,165 --> 00:45:53,565
Speaker 1: a lot earlier. So yeah, I like the zombie connection

786
00:45:54,205 --> 00:45:56,205
Speaker 1: you mentioned with the Graduate. You know, the soundtrack, I

787
00:45:56,245 --> 00:45:58,765
Speaker 1: do have to say it definitely works for the movie.

788
00:45:59,325 --> 00:46:03,485
Speaker 1: But Trainspotting soundtrack, I should say, because the Graduate soundtrack

789
00:46:03,525 --> 00:46:06,205
Speaker 1: does not work this way. It's more wallpaper than I remembered.

790
00:46:06,605 --> 00:46:09,045
Speaker 1: I thought it was more. You know, we were talking

791
00:46:09,045 --> 00:46:11,685
Speaker 1: about that with our poll about the best nineties soundtrack

792
00:46:11,685 --> 00:46:15,125
Speaker 1: and the distinction between wallpaper soundtracks and those that are

793
00:46:15,165 --> 00:46:18,685
Speaker 1: integrated into the actual scenes and how they're working as

794
00:46:18,725 --> 00:46:21,965
Speaker 1: a scene I got to say, and this is it's

795
00:46:21,965 --> 00:46:23,605
Speaker 1: just a choice. It's a different way to use music.

796
00:46:23,645 --> 00:46:27,285
Speaker 1: It is more wallpaper here than I thought in terms

797
00:46:27,405 --> 00:46:32,484
Speaker 1: of how Boyle employed it. Before we go out, I gotta,

798
00:46:32,605 --> 00:46:36,205
Speaker 1: I gotta report back on. You know, this is Scottish

799
00:46:36,285 --> 00:46:39,245
Speaker 1: film set in Edinburgh, So you went there, Yeah, when

800
00:46:39,285 --> 00:46:42,525
Speaker 1: you went there for the weekend, what can you tell us? Well,

801
00:46:42,605 --> 00:46:46,605
Speaker 1: first of all, and doing toilet and you didn't walk in,

802
00:46:46,885 --> 00:46:50,005
Speaker 1: you didn't walk in in some terrible tourist gear to

803
00:46:50,485 --> 00:46:52,965
Speaker 1: some pub and go Hi, can I use your bathroom?

804
00:46:53,365 --> 00:46:54,005
Speaker 4: You look at him.

805
00:46:54,085 --> 00:46:57,965
Speaker 1: I was. I think I was there for almost twelve

806
00:46:58,005 --> 00:47:00,605
Speaker 1: hours and I held it the whole time, so I

807
00:47:00,605 --> 00:47:03,605
Speaker 1: would not encounter that toilet good Okay, yeah that's not

808
00:47:03,765 --> 00:47:08,245
Speaker 1: entirely true, but where I was worried about it. So yeah,

809
00:47:08,285 --> 00:47:10,885
Speaker 1: you know, research shows of course mostly this was shot

810
00:47:10,965 --> 00:47:15,205
Speaker 1: in Glasgow but set in Edinburgh, and they make use

811
00:47:15,245 --> 00:47:17,565
Speaker 1: of some crucial locations to kind of get that feel,

812
00:47:17,685 --> 00:47:21,565
Speaker 1: mostly in that opening chase sequence. Actually, so I was,

813
00:47:21,685 --> 00:47:23,005
Speaker 1: I was down there. I wanted to track a few

814
00:47:23,005 --> 00:47:26,844
Speaker 1: of these down. I have to thank Micah Rickard, a

815
00:47:26,845 --> 00:47:30,085
Speaker 1: film spotting listener. He's pursuing a master's degree here in

816
00:47:30,085 --> 00:47:33,765
Speaker 1: Scotland as well. Yeah, critic and I had the pleasure

817
00:47:33,805 --> 00:47:35,725
Speaker 1: to edit some of his stuff back at Think Christian.

818
00:47:36,125 --> 00:47:39,365
Speaker 1: So Micah and I kind of scouted this out and

819
00:47:39,605 --> 00:47:43,045
Speaker 1: we did find from that opening chase. The first is

820
00:47:43,085 --> 00:47:46,404
Speaker 1: obvious when they're running down the shopping street. That's Princess Street,

821
00:47:46,445 --> 00:47:49,805
Speaker 1: which is like a major kind of tourist shopping street.

822
00:47:49,885 --> 00:47:53,085
Speaker 1: So that's obvious, not all that distinct. But there is

823
00:47:53,085 --> 00:47:58,085
Speaker 1: the stairway that Renton comes flying down just before the

824
00:47:58,125 --> 00:48:00,645
Speaker 1: tunnel that he runs under. I don't know if he

825
00:48:00,685 --> 00:48:02,845
Speaker 1: makes it. I think it's actually Spud who's making it

826
00:48:02,885 --> 00:48:05,605
Speaker 1: through the tunnel where Renton gets hit by the car.

827
00:48:05,485 --> 00:48:07,645
Speaker 4: Gets hit by the it's tackled. Yeah.

828
00:48:07,725 --> 00:48:11,325
Speaker 1: Yeah, that's leading to Waverley Station. So I got an

829
00:48:11,325 --> 00:48:15,525
Speaker 1: Instagram photo of myself standing there by that tunnel. It's

830
00:48:15,565 --> 00:48:17,645
Speaker 1: on my Instagram Larson on Film if people want to

831
00:48:17,685 --> 00:48:19,765
Speaker 1: check it out. And yeah, I think you know, I

832
00:48:19,765 --> 00:48:22,725
Speaker 1: think Boyle the location scouts, they do a good job

833
00:48:22,765 --> 00:48:27,925
Speaker 1: of capturing some of those distinct bridges, tunnel stairways of Edinburgh.

834
00:48:27,965 --> 00:48:30,805
Speaker 1: My only complaint, as I'm gonna call myself a pseudo

835
00:48:30,845 --> 00:48:36,165
Speaker 1: loco pseudo local about Trainspotting as a Scottish film. Not

836
00:48:36,325 --> 00:48:39,285
Speaker 1: enough rain in this movie, Adam, does it rain at all?

837
00:48:40,445 --> 00:48:42,565
Speaker 4: And I don't remember seeing It's that.

838
00:48:42,525 --> 00:48:47,245
Speaker 1: You said been raining since January two, so they should

839
00:48:47,245 --> 00:48:50,005
Speaker 1: have had at least a few scenes to really make

840
00:48:50,045 --> 00:48:51,645
Speaker 1: it authentic tomorrow.

841
00:48:51,365 --> 00:48:56,645
Speaker 5: Okay, at least okay, fair enough Trainspotting, it seems, didn't

842
00:48:56,685 --> 00:48:58,765
Speaker 5: learn this until a couple of days before we had

843
00:48:58,765 --> 00:49:03,205
Speaker 5: to watch it. Really difficult to find streaming or vod

844
00:49:03,525 --> 00:49:07,125
Speaker 5: at least in the United States. Hopefully if you're listening

845
00:49:07,205 --> 00:49:10,285
Speaker 5: from somewhere else in the world, you had a little

846
00:49:10,285 --> 00:49:14,365
Speaker 5: bit of an easier time finding it, and you could,

847
00:49:14,365 --> 00:49:16,565
Speaker 5: of course just stick with the soundtrack in your memories,

848
00:49:16,605 --> 00:49:18,605
Speaker 5: we recommend skipping the heroine.

849
00:49:18,885 --> 00:49:20,245
Speaker 4: We would love to hear.

850
00:49:20,085 --> 00:49:22,325
Speaker 5: Your thoughts about them if you did have a chance

851
00:49:22,365 --> 00:49:25,765
Speaker 5: to revisit it or not. Maybe it is so just

852
00:49:25,765 --> 00:49:30,005
Speaker 5: just imprinted on your brain whatever previous experience you had

853
00:49:30,045 --> 00:49:32,205
Speaker 5: with it. Feedback at film spotting dot net.

854
00:49:32,565 --> 00:49:35,125
Speaker 3: Listen to Laugh with Me a podcast with Jeremy Odom

855
00:49:35,325 --> 00:49:39,765
Speaker 3: right here on the iHeartRadio app, Apple podcast or wherever

856
00:49:40,085 --> 00:49:44,205
Speaker 3: you get your podcasts. I'm Jay Oh, I'm your host. Baby,

857
00:49:44,365 --> 00:49:47,565
Speaker 3: and here's a little taste of what you are gonna

858
00:49:47,605 --> 00:49:49,005
Speaker 3: find on Laugh.

859
00:49:48,765 --> 00:49:50,005
Speaker 4: With Me, and they're like, what happened.

860
00:49:50,005 --> 00:49:51,884
Speaker 3: I'm like, I got Pepper's brain and everybody's like, oh

861
00:49:51,885 --> 00:49:54,165
Speaker 3: my god, what happened? I got Pepper's brain. I just

862
00:49:54,205 --> 00:49:57,485
Speaker 3: told you And listen to Laugh with Me on the

863
00:49:57,605 --> 00:50:03,125
Speaker 3: iHeartRadio app, Apple Podcast or wherever you get your podcasts.

864
00:50:02,645 --> 00:50:04,525
Speaker 1: Adam, we like to take some time to thank our

865
00:50:04,525 --> 00:50:07,364
Speaker 1: Film Spotting family members here on the show. We even

866
00:50:07,405 --> 00:50:11,485
Speaker 1: more like to thank our Film Spotting Advisory board members,

867
00:50:11,605 --> 00:50:14,005
Speaker 1: those top of the tier folks who help us make

868
00:50:14,045 --> 00:50:18,285
Speaker 1: decisions about the show. And so let's thank Evelyn from Manhattan,

869
00:50:18,525 --> 00:50:20,844
Speaker 1: New York for supporting the show. Evelyn is on letter

870
00:50:21,365 --> 00:50:24,805
Speaker 1: if you'd like to follow her there, you can look

871
00:50:24,845 --> 00:50:30,605
Speaker 1: for so full seventy six, sof ull seven six. Evelyn

872
00:50:30,685 --> 00:50:34,565
Speaker 1: shared this with us. I had just seen Joss Whedon's Serenity.

873
00:50:34,605 --> 00:50:37,125
Speaker 1: It was looking for podcasts that reviewed it and found

874
00:50:37,245 --> 00:50:39,725
Speaker 1: Film Spotting. I liked it so much I went back

875
00:50:39,725 --> 00:50:42,125
Speaker 1: to listen to all the older episodes when it was

876
00:50:42,165 --> 00:50:45,245
Speaker 1: called Cinecast. If my memory serves so yes, I've been

877
00:50:45,245 --> 00:50:48,125
Speaker 1: listening for twenty years and it seemed time, as they say,

878
00:50:48,165 --> 00:50:50,725
Speaker 1: to pay the piper, but mostly to say thank you

879
00:50:51,045 --> 00:50:53,205
Speaker 1: for helping me keep my sinophilia alive.

880
00:50:53,685 --> 00:50:56,365
Speaker 5: Yeah, I am blanking on what episode that was, but

881
00:50:56,405 --> 00:51:01,005
Speaker 5: I want to say that's a pre Cincast twenty episode. Yeah,

882
00:51:01,045 --> 00:51:03,925
Speaker 5: it's going way back a favorite show segment. This might

883
00:51:04,005 --> 00:51:06,325
Speaker 5: be a bit self serving, but I never write into podcasts,

884
00:51:06,325 --> 00:51:07,725
Speaker 5: but I've been moved a few times to write to

885
00:51:07,765 --> 00:51:10,725
Speaker 5: Film Spotting when the subject is exactly my speed, and

886
00:51:10,805 --> 00:51:13,045
Speaker 5: each time I was lucky enough to get my emails

887
00:51:13,085 --> 00:51:15,925
Speaker 5: read first, and probably most infamously for the old school

888
00:51:16,005 --> 00:51:19,405
Speaker 5: fans the lake House, I wrote the email instigating the

889
00:51:19,565 --> 00:51:22,765
Speaker 5: entire discussion. Who knew it would get so heated. It

890
00:51:22,885 --> 00:51:24,965
Speaker 5: was also the first time I felt truly connected to

891
00:51:25,005 --> 00:51:28,364
Speaker 5: the Film Spotting family. Thanks Adam for being on my side. Well,

892
00:51:28,365 --> 00:51:32,245
Speaker 5: thank you and runner up years later the Judy Garland

893
00:51:32,245 --> 00:51:35,245
Speaker 5: Best Scenes episode. Being a hardcore Judy fan, I had

894
00:51:35,285 --> 00:51:37,844
Speaker 5: to write in about my favorite scene, the camera dip

895
00:51:37,885 --> 00:51:40,205
Speaker 5: in summer Stock with Gene Kelly. Apparently I wrote in

896
00:51:40,245 --> 00:51:42,565
Speaker 5: at the exact right time and swaye Adam's choice to

897
00:51:42,645 --> 00:51:45,525
Speaker 5: include that exact scene, listening to it being discussed and

898
00:51:45,565 --> 00:51:48,765
Speaker 5: having Michael Phillips agree with the choice Forever highlight. I

899
00:51:48,765 --> 00:51:50,565
Speaker 5: did go back Josh and I found that exchange and

900
00:51:50,605 --> 00:51:53,685
Speaker 5: I was debating between two scenes like the day before

901
00:51:53,725 --> 00:51:56,165
Speaker 5: we recorded. That was one of them, and so she

902
00:51:56,845 --> 00:51:59,765
Speaker 5: clinched it. There is something deeply touching about how film

903
00:51:59,805 --> 00:52:02,485
Speaker 5: spotting reads and engages with their listeners. Well, I've never

904
00:52:02,485 --> 00:52:04,445
Speaker 5: spoken to Adam, Josh or Sam or been able to

905
00:52:04,485 --> 00:52:07,285
Speaker 5: attend the events. I've always felt a part of this community,

906
00:52:07,325 --> 00:52:10,125
Speaker 5: and in times like this, making the choice to actively

907
00:52:10,205 --> 00:52:13,045
Speaker 5: join the community felt like a true necessity. Thank you

908
00:52:13,125 --> 00:52:15,245
Speaker 5: so much for your work for all these years.

909
00:52:15,565 --> 00:52:19,045
Speaker 1: Evelyn also shared a random film or filmmaker that she loves.

910
00:52:19,445 --> 00:52:21,485
Speaker 1: Link later in Wan kar Wai are a t faves,

911
00:52:21,525 --> 00:52:24,085
Speaker 1: but I'd like to highlight nineteen forty threes The More

912
00:52:24,165 --> 00:52:27,525
Speaker 1: the Merrier as it's such an unknown classic and I

913
00:52:27,565 --> 00:52:29,005
Speaker 1: want more people.

914
00:52:29,085 --> 00:52:29,765
Speaker 4: To watch it.

915
00:52:29,965 --> 00:52:33,685
Speaker 1: Unknown to me, Evelyn, so yeah, we'll have to track

916
00:52:33,685 --> 00:52:36,085
Speaker 1: that down. Sam put a note here that The More

917
00:52:36,125 --> 00:52:40,485
Speaker 1: the Merrier a housing shortage romantic comedy directed by George

918
00:52:40,605 --> 00:52:45,205
Speaker 1: Stevens and its stars Geene Arthur and Joel McCrae. The

919
00:52:45,245 --> 00:52:48,925
Speaker 1: movie that Evelyn credits with becoming a cinephile Vertigo. When

920
00:52:48,965 --> 00:52:51,485
Speaker 1: I was eight years old, my dad had it on

921
00:52:51,685 --> 00:52:54,165
Speaker 1: and I watched it with him, and my very soul

922
00:52:54,405 --> 00:52:56,645
Speaker 1: was rocked. I remembered it and didn't see it again

923
00:52:56,765 --> 00:52:58,845
Speaker 1: until I was a teenager, and it lived up to

924
00:52:58,885 --> 00:52:59,485
Speaker 1: my memory.

925
00:53:00,205 --> 00:53:00,405
Speaker 4: You know.

926
00:53:00,485 --> 00:53:03,005
Speaker 5: I'm just while we're talking, I'm looking this up briefly

927
00:53:03,045 --> 00:53:04,565
Speaker 5: to try to see if I can find a date,

928
00:53:05,485 --> 00:53:09,364
Speaker 5: because well it says February twenty Yeah, February twenty twenty five.

929
00:53:09,405 --> 00:53:10,765
Speaker 4: Maybe this was before.

930
00:53:11,365 --> 00:53:13,365
Speaker 5: Yeah, it was, in fact, Josh, because I'm reading this

931
00:53:13,405 --> 00:53:16,245
Speaker 5: and I'm going, wait a second, I've met Evelyn. So

932
00:53:16,245 --> 00:53:19,085
Speaker 5: so this intake form came in before I had a

933
00:53:19,165 --> 00:53:21,485
Speaker 5: chance to dot to Evelyn, which was actually like last

934
00:53:21,965 --> 00:53:25,245
Speaker 5: last July when I when I went out with Sarah,

935
00:53:25,285 --> 00:53:29,005
Speaker 5: we went out to New York City and saw the

936
00:53:29,405 --> 00:53:32,844
Speaker 5: Jake Gillen Hall and Denzel Washington Othello, met up with

937
00:53:33,005 --> 00:53:36,205
Speaker 5: some of our some of our trivia spotting Mafia, our

938
00:53:36,285 --> 00:53:39,325
Speaker 5: New York listeners out there. Evelyn joined us for a drink.

939
00:53:39,325 --> 00:53:40,605
Speaker 5: So I just did want to throw that in there,

940
00:53:40,605 --> 00:53:42,925
Speaker 5: and I'm like, I know, I know Evelyn. So this

941
00:53:43,365 --> 00:53:46,685
Speaker 5: came in just just before that actually, but we continue

942
00:53:47,045 --> 00:53:49,165
Speaker 5: with Evelyn's thoughts. She has a few more. She says,

943
00:53:49,325 --> 00:53:52,525
Speaker 5: a favorite book about movies or movie making five came

944
00:53:52,605 --> 00:53:56,285
Speaker 5: back by Mark Harris, and that is a good one.

945
00:53:56,565 --> 00:53:59,285
Speaker 5: I like all of Mark Harris's stuff. We thank Evelyn

946
00:53:59,405 --> 00:54:02,405
Speaker 5: for being an advisory board member and for all of

947
00:54:02,445 --> 00:54:05,045
Speaker 5: her years of listening. In addition to keeping us doing

948
00:54:05,085 --> 00:54:07,565
Speaker 5: what we're doing, membership comes with perks. You get to

949
00:54:07,605 --> 00:54:09,965
Speaker 5: listen early in ad free, You get our weekly newsletter.

950
00:54:10,045 --> 00:54:12,925
Speaker 5: You get exclusive opportunities like being part of the film

951
00:54:12,965 --> 00:54:16,484
Speaker 5: Spotting family discord. Heck, when I visit your town, maybe

952
00:54:16,525 --> 00:54:18,205
Speaker 5: you even get to meet up with me and have

953
00:54:18,245 --> 00:54:21,805
Speaker 5: a drink. That that's an exclusive opportunity, isn't it, Joshua.

954
00:54:21,845 --> 00:54:23,525
Speaker 5: You don't actually have to be a family member for that,

955
00:54:23,805 --> 00:54:27,285
Speaker 5: but I shouldn't say that that's true, Okay. And you

956
00:54:27,325 --> 00:54:31,325
Speaker 5: get monthly bonus shows our February bonus. As we're taping this,

957
00:54:31,405 --> 00:54:33,525
Speaker 5: we still have two days left in the voting and

958
00:54:33,565 --> 00:54:37,645
Speaker 5: it's pretty close. But we have four nineteen forties movies,

959
00:54:37,725 --> 00:54:41,805
Speaker 5: all pretty well regarded, that are vying for that Blind

960
00:54:42,005 --> 00:54:45,844
Speaker 5: Spotting spot. We are only going to pick one, and

961
00:54:46,645 --> 00:54:47,965
Speaker 5: that film is going to be the one that Me,

962
00:54:48,205 --> 00:54:51,605
Speaker 5: You and producer Sam discuss on a bonus episode. It

963
00:54:51,685 --> 00:54:54,365
Speaker 5: might be Kurasawa Drunken Angel is a cur of Sawa

964
00:54:54,405 --> 00:54:57,685
Speaker 5: that somehow the three of us haven't seen. Could be

965
00:54:57,685 --> 00:55:01,125
Speaker 5: that could be something else. More information about joining the

966
00:55:01,165 --> 00:55:05,165
Speaker 5: film Spotting Family is available at Filmspottingfamily dot com and

967
00:55:05,405 --> 00:55:09,165
Speaker 5: you can also rate us over at Apple Podcasts or Spotify.

968
00:55:09,325 --> 00:55:12,005
Speaker 5: It really does help us reach new listeners.

969
00:55:12,685 --> 00:55:16,565
Speaker 1: So kiss Me I s both be done.

970
00:55:20,645 --> 00:55:21,205
Speaker 4: Next t week.

971
00:55:21,205 --> 00:55:24,005
Speaker 5: On the show, Josh, we're going to be leaving drug

972
00:55:24,005 --> 00:55:27,925
Speaker 5: addled nineties era Edinburgh for the wild, windy and apparently

973
00:55:28,045 --> 00:55:30,725
Speaker 5: quite lusty moors of northern England.

974
00:55:30,725 --> 00:55:31,485
Speaker 4: Are you ready for that?

975
00:55:31,645 --> 00:55:32,325
Speaker 1: Oh boy?

976
00:55:32,645 --> 00:55:37,925
Speaker 5: Sure, Wuthering Heights quote unquote is here. We'll see if

977
00:55:37,925 --> 00:55:41,965
Speaker 5: we're ready for the discourse on that. Joining us to

978
00:55:42,005 --> 00:55:46,965
Speaker 5: be part of our discourse is going to be Mariah Gates.

979
00:55:47,045 --> 00:55:51,165
Speaker 5: We'll talk Emerald Finelle and Margot, Robbie and Jacob A. Lordie,

980
00:55:51,205 --> 00:55:53,045
Speaker 5: and we'll also talk a little bit about her book

981
00:55:53,045 --> 00:55:56,045
Speaker 5: that came out last year, Cinema Her Way.

982
00:55:56,485 --> 00:55:57,165
Speaker 4: That'll be fun.

983
00:55:57,405 --> 00:55:59,805
Speaker 1: I can't wait to do that. I think we were

984
00:55:59,845 --> 00:56:02,765
Speaker 1: hoping to have Mariah on last year and it didn't

985
00:56:02,765 --> 00:56:05,525
Speaker 1: work out. But yeah, we'll touch on the book, which

986
00:56:05,565 --> 00:56:10,685
Speaker 1: is great, which I enjoyed, and this movie, which people

987
00:56:10,685 --> 00:56:13,444
Speaker 1: seem to be interested in Adam. From what I can tell,

988
00:56:13,525 --> 00:56:17,085
Speaker 1: I've been avoiding as much as I can. Here's where

989
00:56:17,085 --> 00:56:19,645
Speaker 1: I'm at is just kind of scrolling letterbox, trying to

990
00:56:19,685 --> 00:56:24,485
Speaker 1: avoid the reactions. What I've been able to perceive is that,

991
00:56:24,845 --> 00:56:27,125
Speaker 1: and maybe I'm wrong on this. They seem to be

992
00:56:27,245 --> 00:56:30,085
Speaker 1: kind of all over the place, which I love. I

993
00:56:30,525 --> 00:56:33,765
Speaker 1: like to know that because then I have nothing going in.

994
00:56:34,125 --> 00:56:36,525
Speaker 1: I can feel like I'm at somewhat of a blank slate.

995
00:56:37,085 --> 00:56:40,165
Speaker 5: Okay, I truthfully haven't even seen that. I have not

996
00:56:40,285 --> 00:56:43,685
Speaker 5: been on letterbox much over the past week. Unfortunately, everything

997
00:56:43,765 --> 00:56:47,245
Speaker 5: I know is what Sam has put on this document

998
00:56:47,285 --> 00:56:49,525
Speaker 5: in front of the two of us. He's he's telling

999
00:56:49,605 --> 00:56:52,685
Speaker 5: us that Mariah, it seems as positive based on her

1000
00:56:52,765 --> 00:56:55,525
Speaker 5: letterbox blurb, but I don't have that in front of us.

1001
00:56:55,925 --> 00:56:58,565
Speaker 5: And then we have Alison Wilmore. We have our friend Allison,

1002
00:56:58,805 --> 00:57:02,525
Speaker 5: and this is her letterbox blurb. And I guess this

1003
00:57:02,725 --> 00:57:06,365
Speaker 5: sort of sums up maybe what you're saying, Josh, Wuthering

1004
00:57:06,445 --> 00:57:09,525
Speaker 5: Heights is Finelle's dumbest movie. And I say that with

1005
00:57:09,605 --> 00:57:12,605
Speaker 5: all admiration because it also happens to be her best

1006
00:57:12,645 --> 00:57:15,805
Speaker 5: to date. Well, I mean that kind of seems all

1007
00:57:15,805 --> 00:57:16,485
Speaker 5: over the place.

1008
00:57:16,965 --> 00:57:21,645
Speaker 1: I can hear Allison saying that for one day, and yeah, yeah,

1009
00:57:21,685 --> 00:57:25,045
Speaker 1: I think I think it's fair game at this point. Okay,

1010
00:57:25,085 --> 00:57:28,645
Speaker 1: so let's keep our blinders on. Go see it and

1011
00:57:29,365 --> 00:57:31,005
Speaker 1: we'll join Mariah to discuss.

1012
00:57:31,085 --> 00:57:31,485
Speaker 4: I'm down.

1013
00:57:32,045 --> 00:57:35,005
Speaker 5: Also next week Pantheon Review number one.

1014
00:57:35,765 --> 00:57:36,485
Speaker 4: What will that be?

1015
00:57:36,805 --> 00:57:40,605
Speaker 5: Well, you'll find out in just a bit and pull results.

1016
00:57:40,645 --> 00:57:44,405
Speaker 5: We're asking you to choose life, choose a nineties movie soundtrack.

1017
00:57:44,765 --> 00:57:47,445
Speaker 5: This was a fun one and it will be fun

1018
00:57:47,445 --> 00:57:49,805
Speaker 5: to reveal the results next week here on the show,

1019
00:57:49,885 --> 00:57:52,565
Speaker 5: Vote and leave a comment at filmspotting dot net.

1020
00:57:52,965 --> 00:57:55,165
Speaker 1: Adam, I want to put out one more call for

1021
00:57:55,205 --> 00:57:59,165
Speaker 1: a potential Copenhagen meet up. Haven't got any bites yet.

1022
00:57:59,245 --> 00:58:01,925
Speaker 1: I don't know how many listeners we have in the

1023
00:58:01,925 --> 00:58:03,965
Speaker 1: Copenhagen area, but I am going to be there the

1024
00:58:03,965 --> 00:58:07,565
Speaker 1: first week of March and would love to spend a

1025
00:58:07,645 --> 00:58:11,805
Speaker 1: night hanging out with any listeners who are nearby. So yeah,

1026
00:58:11,885 --> 00:58:15,365
Speaker 1: email us, feedback at film spotting dot net or find

1027
00:58:15,405 --> 00:58:18,325
Speaker 1: me on social Larsen on film Larsen with an e.

1028
00:58:18,565 --> 00:58:22,685
Speaker 1: I'm on Blue Sky, Instagram and face Book and let

1029
00:58:22,685 --> 00:58:26,525
Speaker 1: me know if you're in or near Copenhagen around the

1030
00:58:26,565 --> 00:58:29,765
Speaker 1: first week of March. We'll get together. Also wanted to

1031
00:58:29,805 --> 00:58:32,045
Speaker 1: share a quick note about our sister podcast, The Next

1032
00:58:32,085 --> 00:58:36,045
Speaker 1: Picture Show, looking at Cinema's present via its Past. They

1033
00:58:36,085 --> 00:58:39,125
Speaker 1: are offering part two of their Both Sides of the

1034
00:58:39,325 --> 00:58:44,885
Speaker 1: Ale pairing isl E, so they are onto discussing Sam

1035
00:58:45,005 --> 00:58:48,605
Speaker 1: Raimi's Send Help. Previously, they talked about Lena Vert Mueller's

1036
00:58:48,765 --> 00:58:51,845
Speaker 1: Swept Away from nineteen seventy four, so a lot of

1037
00:58:51,845 --> 00:58:55,645
Speaker 1: comparisons between those two films will be part of this

1038
00:58:55,805 --> 00:58:59,565
Speaker 1: most recent episode on Send Help. You can find new

1039
00:58:59,605 --> 00:59:02,445
Speaker 1: episodes of The Next Picture Show every Tuesday wherever you

1040
00:59:02,565 --> 00:59:07,165
Speaker 1: get your podcasts. Okay, deep breath, because it's time now

1041
00:59:07,605 --> 00:59:10,005
Speaker 1: for mascar Theater. This is where Adam and I perform

1042
00:59:10,005 --> 00:59:11,885
Speaker 1: a scene you get a chance to win a film

1043
00:59:11,965 --> 00:59:15,245
Speaker 1: spotting prize. Last time we mascred this scene.

1044
00:59:15,725 --> 00:59:16,565
Speaker 4: Boy did we? Ever?

1045
00:59:17,125 --> 00:59:19,365
Speaker 3: I want to say it is simple as I can

1046
00:59:20,165 --> 00:59:24,365
Speaker 3: so trying to share fitting towards the feelings.

1047
00:59:23,925 --> 00:59:29,805
Speaker 4: In my heart. I don't love you, I don't love

1048
00:59:29,845 --> 00:59:33,685
Speaker 4: you already already what already?

1049
00:59:33,725 --> 00:59:35,525
Speaker 1: How do you know that? How can you be sure

1050
00:59:35,685 --> 00:59:36,165
Speaker 1: so quick?

1051
00:59:36,685 --> 00:59:37,245
Speaker 4: I'm sure?

1052
00:59:39,045 --> 00:59:39,405
Speaker 1: Ouch.

1053
00:59:40,645 --> 00:59:45,205
Speaker 4: That hurts me. The cruelty of it they called bloodedness.

1054
00:59:45,685 --> 00:59:46,885
Speaker 4: You said what you wanted to say.

1055
00:59:46,885 --> 00:59:47,725
Speaker 2: I tried to stop here.

1056
00:59:47,765 --> 00:59:50,645
Speaker 4: That's it, I said part of what I wanted to say.

1057
00:59:51,005 --> 00:59:52,005
Speaker 1: I was in the middle of it.

1058
00:59:52,085 --> 00:59:58,565
Speaker 4: There is more no no, what will you will? You

1059
00:59:58,565 --> 00:59:58,965
Speaker 4: will give?

1060
01:00:01,645 --> 01:00:04,045
Speaker 1: That was LEAs say Do and Benicio del Toro in

1061
01:00:04,045 --> 01:00:07,805
Speaker 1: twenty twenty one's The French Dispatch, written and directed by

1062
01:00:07,885 --> 01:00:10,565
Speaker 1: Wes Anderson. Our massacre of that scene was part of

1063
01:00:10,605 --> 01:00:14,285
Speaker 1: our Oscar nominations reaction show came a couple of weeks back.

1064
01:00:14,765 --> 01:00:16,965
Speaker 1: Also on that show, we did a Sacred Cow review

1065
01:00:17,005 --> 01:00:20,725
Speaker 1: of Paul Thomas Anderson's One Battle After Another. Yes, a

1066
01:00:20,765 --> 01:00:24,365
Speaker 1: say Cow review the twenty twenty five film. We did it.

1067
01:00:24,645 --> 01:00:26,845
Speaker 1: We're proud of it. There's always a tie in to

1068
01:00:27,005 --> 01:00:31,845
Speaker 1: Masacre theater. So why that scene from The French Dispatch.

1069
01:00:32,525 --> 01:00:35,965
Speaker 5: Here's Mark Chorney in Portland, Oregon. Although the scene didn't

1070
01:00:35,965 --> 01:00:37,885
Speaker 5: sound familiar to me, I'm going to take a guest

1071
01:00:37,925 --> 01:00:41,165
Speaker 5: based on clues from the episode The French Dispatch. I'm

1072
01:00:41,165 --> 01:00:45,685
Speaker 5: thinking this because the character of the dialogue sounded Andersonian Wes.

1073
01:00:45,805 --> 01:00:48,565
Speaker 5: That is, I only saw this once when it was released,

1074
01:00:48,565 --> 01:00:50,485
Speaker 5: but I seem to remember one of the narratives being

1075
01:00:50,485 --> 01:00:54,325
Speaker 5: about French student revolutionaries, which connects to one battle. Del

1076
01:00:54,405 --> 01:00:57,605
Speaker 5: Toro stars in both films. They're both directed by Anderson's

1077
01:00:58,045 --> 01:01:01,645
Speaker 5: twenty twenty six Best Actor frontrunner Timothy Schalomey is in

1078
01:01:01,725 --> 01:01:05,885
Speaker 5: the French Dispatch, and he says to sign offs, Josh

1079
01:01:06,045 --> 01:01:07,565
Speaker 5: Long live Massacre theater.

1080
01:01:09,285 --> 01:01:13,925
Speaker 1: Wow, we're really getting the write in vote on Mascar theater, Adam, Yeah,

1081
01:01:14,565 --> 01:01:17,405
Speaker 1: I dare take a note. Here's a good old Tory

1082
01:01:17,485 --> 01:01:20,925
Speaker 1: light cap from Topeka, Kansas. The scene is from the

1083
01:01:21,045 --> 01:01:26,245
Speaker 1: French Dispatch, specifically the Concrete Masterpiece section, as Rosenthaler played

1084
01:01:26,245 --> 01:01:29,245
Speaker 1: by Benicio del Toro and Simone played by LEAs Se

1085
01:01:29,285 --> 01:01:33,405
Speaker 1: dou Banter a bit before Rosenthaler proposes marriage. The superficial

1086
01:01:33,405 --> 01:01:37,005
Speaker 1: Benizio del Toro connection is immediate and obvious, but look deeper.

1087
01:01:37,485 --> 01:01:40,405
Speaker 1: In one Battle. In the clip you played, Bob says,

1088
01:01:40,605 --> 01:01:43,085
Speaker 1: Freedom's a funny thing, isn't it. When you have it,

1089
01:01:43,125 --> 01:01:46,165
Speaker 1: you don't appreciate it, and when you miss it, it's gone.

1090
01:01:46,685 --> 01:01:49,765
Speaker 1: In French Dispatch, in the same segment, In fact, as

1091
01:01:49,845 --> 01:01:54,085
Speaker 1: Rosenthaler and Simone, the character of Bearnson observes how women

1092
01:01:54,325 --> 01:01:58,005
Speaker 1: enjoy incarcerated men because quote something about the captivity of

1093
01:01:58,045 --> 01:02:01,485
Speaker 1: others enhances the experience of their own freedom, seemingly two

1094
01:02:01,565 --> 01:02:04,845
Speaker 1: sides of the same philosophical coin.

1095
01:02:05,405 --> 01:02:06,845
Speaker 4: Did we look that deep? Josh?

1096
01:02:06,845 --> 01:02:07,525
Speaker 2: Whoo?

1097
01:02:07,605 --> 01:02:10,885
Speaker 1: Holy? I don't know if anyone else ever ever looked

1098
01:02:11,205 --> 01:02:15,845
Speaker 1: that deep into a massacre theater connection. Nice work, Tory.

1099
01:02:15,965 --> 01:02:19,605
Speaker 5: Here's Danny Hensel offending the French, which I think I did.

1100
01:02:19,685 --> 01:02:22,565
Speaker 5: And this director is own for his precision, which I

1101
01:02:22,605 --> 01:02:24,845
Speaker 5: think I also said made me think it would be

1102
01:02:24,925 --> 01:02:27,325
Speaker 5: this movie. And then the rhythm of the dialogue has

1103
01:02:27,445 --> 01:02:30,085
Speaker 5: performed really recalled Anderson's work.

1104
01:02:31,125 --> 01:02:32,285
Speaker 4: Danny did it?

1105
01:02:32,365 --> 01:02:36,405
Speaker 1: I mean that's either praise for us or an insult

1106
01:02:36,485 --> 01:02:37,285
Speaker 1: to Wes Anderson.

1107
01:02:37,325 --> 01:02:39,005
Speaker 4: I don't know which exactly.

1108
01:02:39,965 --> 01:02:45,125
Speaker 1: All right, here's Henry Kinson in Maidstone, UK. Gentlemen, we

1109
01:02:45,165 --> 01:02:47,885
Speaker 1: don't come to your performances because they are oscar or

1110
01:02:47,885 --> 01:02:51,965
Speaker 1: even brickworthy. It's your daring, your nerve, your ability to

1111
01:02:52,085 --> 01:02:54,925
Speaker 1: jump into a tangle of foreign words with no prop

1112
01:02:55,685 --> 01:02:57,925
Speaker 1: Where else do you get that, bless you both?

1113
01:02:58,485 --> 01:03:02,205
Speaker 5: Indeed, where else do you get that Finally, here's Botond

1114
01:03:02,405 --> 01:03:06,845
Speaker 5: from Budapest, Hungary. This was especially painful. Here's a counter

1115
01:03:07,045 --> 01:03:11,205
Speaker 5: to Henrik. This was especially painful to listen to since

1116
01:03:11,245 --> 01:03:14,405
Speaker 5: that scene is probably in my top five Wes Anderson's

1117
01:03:14,405 --> 01:03:17,605
Speaker 5: scenes of all time. It resonates with me so much.

1118
01:03:18,365 --> 01:03:19,925
Speaker 5: You know, what do you have a would you like

1119
01:03:19,965 --> 01:03:21,645
Speaker 5: to issue an apolo too?

1120
01:03:22,365 --> 01:03:28,765
Speaker 1: I'm apologized to Botond, and yes, all Wes Anderson fans everywhere.

1121
01:03:28,885 --> 01:03:37,845
Speaker 5: All Wes Anderson fans. Everyone was French everywhere, cinema fans indeed. Okay, Josh,

1122
01:03:37,885 --> 01:03:41,205
Speaker 5: despite all the clues I gave and how Andersonian are

1123
01:03:41,485 --> 01:03:47,325
Speaker 5: are banter apparently sounded we didn't have a lot of entries. No,

1124
01:03:48,085 --> 01:03:52,645
Speaker 5: it's not. It's not overflowing. What kind of has would

1125
01:03:52,765 --> 01:03:54,045
Speaker 5: be Wes Anderson character?

1126
01:03:54,165 --> 01:03:54,445
Speaker 4: Where?

1127
01:03:55,125 --> 01:03:58,485
Speaker 1: Oh? Come on, I mean there's so many options. I

1128
01:03:58,525 --> 01:04:01,165
Speaker 1: know there's not a signature hat, what's tweet? I know

1129
01:04:01,245 --> 01:04:04,125
Speaker 1: we need something tweet? Well, come reach into it and

1130
01:04:04,165 --> 01:04:09,085
Speaker 1: pick out this week's winner. Robert Gibbons from Kaysville, Utah.

1131
01:04:09,365 --> 01:04:12,845
Speaker 5: Congratulations Robert. Email feedback at film spotting dot net and

1132
01:04:12,885 --> 01:04:15,365
Speaker 5: we will set you over your very own film Spotting

1133
01:04:15,405 --> 01:04:18,965
Speaker 5: t shirt, tote bag or trial membership to the film

1134
01:04:18,965 --> 01:04:20,085
Speaker 5: Spotting Family.

1135
01:04:21,125 --> 01:04:22,245
Speaker 1: To simple.

1136
01:04:24,365 --> 01:04:29,845
Speaker 3: Would them would the it was a sad.

1137
01:04:29,725 --> 01:04:31,245
Speaker 1: Why do you say that? Why do you say tour?

1138
01:04:31,725 --> 01:04:33,285
Speaker 4: Will you say say like I said?

1139
01:04:36,125 --> 01:04:38,725
Speaker 5: We move on now to this week's edition of Massacre Theater,

1140
01:04:38,845 --> 01:04:41,445
Speaker 5: and yes, Massacre Theater. It's there in the title. It's

1141
01:04:41,445 --> 01:04:45,165
Speaker 5: always been about performing badly, about embarrassing ourselves. But but

1142
01:04:45,245 --> 01:04:50,325
Speaker 5: producer Sam really seems like like he's on a mission now, Josh,

1143
01:04:50,845 --> 01:04:53,125
Speaker 5: like it's really about just killing us.

1144
01:04:53,525 --> 01:04:57,205
Speaker 1: He's definitely on a roll. That's why he's throwing accents

1145
01:04:57,245 --> 01:05:00,405
Speaker 1: our way this time. We both have to do accents now.

1146
01:05:01,165 --> 01:05:04,045
Speaker 1: You know. In our train Spotting review, I describe myself

1147
01:05:04,085 --> 01:05:07,765
Speaker 1: as a pseudo local, having lived here in Scotland for

1148
01:05:07,845 --> 01:05:10,165
Speaker 1: you know months. Now, I'm gonna offer you a cent

1149
01:05:10,445 --> 01:05:12,645
Speaker 1: of accent, a pseudo accent.

1150
01:05:12,805 --> 01:05:17,765
Speaker 5: Oh yes, I can't wait. I I don't know what

1151
01:05:17,805 --> 01:05:18,525
Speaker 5: I'm going to do.

1152
01:05:19,085 --> 01:05:20,365
Speaker 4: We'll see this.

1153
01:05:20,365 --> 01:05:20,925
Speaker 1: This will be bad.

1154
01:05:21,125 --> 01:05:21,645
Speaker 4: You call then?

1155
01:05:22,165 --> 01:05:27,005
Speaker 5: Yeah, okay, you started off. I'm gonna give you the action.

1156
01:05:27,285 --> 01:05:28,325
Speaker 5: Are you Are you ready?

1157
01:05:28,965 --> 01:05:29,885
Speaker 1: Nope, let's do it.

1158
01:05:29,965 --> 01:05:32,245
Speaker 4: Okay, here we go and action.

1159
01:05:33,325 --> 01:05:34,205
Speaker 1: You're muttering.

1160
01:05:35,285 --> 01:05:38,085
Speaker 4: I don't mutter, ah, you do your.

1161
01:05:38,045 --> 01:05:40,205
Speaker 1: Muter lass when something's troubling you.

1162
01:05:41,005 --> 01:05:45,605
Speaker 5: I blame you stubbornness. It's entirely from your side of

1163
01:05:45,605 --> 01:05:46,125
Speaker 5: the family.

1164
01:05:46,685 --> 01:05:49,805
Speaker 1: Who I take it the talk didn't go too well, then,

1165
01:05:50,125 --> 01:05:53,245
Speaker 1: I don't know what to do. Speak to her, dear.

1166
01:05:54,005 --> 01:05:56,685
Speaker 4: I do speak to her, she just doesn't listen.

1167
01:05:57,485 --> 01:06:00,405
Speaker 1: Come on, now, pretend I'm Karla Jeane. Speak to me.

1168
01:06:00,725 --> 01:06:04,045
Speaker 4: What't you say? Okay, I can't do.

1169
01:06:04,005 --> 01:06:08,325
Speaker 1: This, Sure you can. There, that's my queen right here

1170
01:06:08,365 --> 01:06:08,685
Speaker 1: you go.

1171
01:06:09,685 --> 01:06:10,925
Speaker 4: I don't want to get married.

1172
01:06:11,045 --> 01:06:13,245
Speaker 1: I want this single lemm my hair blow and the

1173
01:06:13,285 --> 01:06:16,085
Speaker 1: wind is arrived to the gain, firing airs into this

1174
01:06:16,165 --> 01:06:19,245
Speaker 1: hanset and scene.

1175
01:06:20,445 --> 01:06:25,765
Speaker 5: I don't see like that. That's a bad impression of me. Sorry,

1176
01:06:26,365 --> 01:06:27,085
Speaker 5: I don't see good.

1177
01:06:27,205 --> 01:06:27,925
Speaker 4: I feel good.

1178
01:06:27,965 --> 01:06:29,245
Speaker 1: I think we did well, Adam.

1179
01:06:29,765 --> 01:06:32,445
Speaker 4: I think yeah, let's don't worry about.

1180
01:06:32,205 --> 01:06:34,525
Speaker 1: What comments are coming our way. Just feel this moment

1181
01:06:34,565 --> 01:06:35,645
Speaker 1: of pride and enjoy it.

1182
01:06:36,285 --> 01:06:39,245
Speaker 5: Yeah, of course we did give you. I don't know,

1183
01:06:39,445 --> 01:06:41,205
Speaker 5: we maybe gave you a little bit of a clue.

1184
01:06:41,205 --> 01:06:42,925
Speaker 5: We had to throw you off the scent a little

1185
01:06:43,005 --> 01:06:45,845
Speaker 5: bit though, by changing the name, so this movie does

1186
01:06:45,885 --> 01:06:49,205
Speaker 5: not actually have a Carlaejeene in it. In case you

1187
01:06:49,245 --> 01:06:53,685
Speaker 5: were wondering didn't quite roll off the Scottish tongue, did it, Josh.

1188
01:06:53,965 --> 01:06:58,085
Speaker 1: No, but another movie might have a character named Carla Jeene.

1189
01:06:58,565 --> 01:07:00,765
Speaker 5: Yeah, I'm guessing there's one or two. If you know

1190
01:07:00,805 --> 01:07:03,685
Speaker 5: what film we just massacred, email the movie's title, your name,

1191
01:07:03,725 --> 01:07:06,605
Speaker 5: and location to feedback at Filmspotting dot Nette. Your deadline

1192
01:07:06,645 --> 01:07:09,485
Speaker 5: is Monday, February twenty third. We will select the winner

1193
01:07:09,565 --> 01:07:12,325
Speaker 5: randomly from all the correct entries and announce it on

1194
01:07:12,485 --> 01:07:13,205
Speaker 5: next week's show.

1195
01:07:13,965 --> 01:07:16,885
Speaker 3: Good Morning, Good Morning.

1196
01:07:17,525 --> 01:07:23,805
Speaker 5: We've talked a whole line through Good Morning to the

1197
01:07:23,845 --> 01:07:28,605
Speaker 5: film spotting pantheon. Fifty something movies, including a couple of

1198
01:07:28,645 --> 01:07:33,045
Speaker 5: trilogies that have been deemed so amazing that we have

1199
01:07:33,525 --> 01:07:37,805
Speaker 5: enshrined them in our own movie Valhalla. And yes, there

1200
01:07:37,845 --> 01:07:40,645
Speaker 5: are some movies that you would expect would be there.

1201
01:07:41,045 --> 01:07:45,445
Speaker 5: Citizen Kane, the Godfather films, not The Godfather three, but

1202
01:07:45,685 --> 01:07:51,325
Speaker 5: the other two, Jaws, some Oddballs, maybe Midnight Run. Very deserving,

1203
01:07:51,365 --> 01:07:53,885
Speaker 5: don't get me wrong. Two thousand and two's in America.

1204
01:07:54,525 --> 01:07:58,205
Speaker 5: Probably deserving. We'll find out twenty twenty seven when we

1205
01:07:58,525 --> 01:08:01,685
Speaker 5: talk about it for its twenty fifth anniversary. They're all

1206
01:08:01,725 --> 01:08:05,845
Speaker 5: films that we love. And speaking of things we love,

1207
01:08:05,925 --> 01:08:08,845
Speaker 5: a person we love Producer Sam, the co founder of

1208
01:08:08,845 --> 01:08:14,445
Speaker 5: Film Spotting. Sam is here to participate in this crazy

1209
01:08:14,485 --> 01:08:20,844
Speaker 5: process that we invented last year, the Film Spotting Pantheon nomination.

1210
01:08:21,005 --> 01:08:22,925
Speaker 2: I've got to remember this is the real show, not

1211
01:08:22,965 --> 01:08:26,165
Speaker 2: the bonus show. I know hot takes, Okay, I've just

1212
01:08:26,205 --> 01:08:29,285
Speaker 2: got to keep it, stay on track.

1213
01:08:30,045 --> 01:08:33,844
Speaker 1: Well knows you. The film's futting family knows you well, Sam,

1214
01:08:33,965 --> 01:08:35,445
Speaker 1: and and bears with you.

1215
01:08:36,085 --> 01:08:36,365
Speaker 4: Jackie.

1216
01:08:36,445 --> 01:08:37,885
Speaker 1: Public might not be ready for that.

1217
01:08:39,205 --> 01:08:39,925
Speaker 4: Sam, this is.

1218
01:08:41,965 --> 01:08:45,005
Speaker 5: Look you can I can nominate. You can use your

1219
01:08:45,005 --> 01:08:47,125
Speaker 5: wild card slot on American Dreams.

1220
01:08:49,605 --> 01:08:54,165
Speaker 2: Actually want just the z or Temple Dreams, Temple of Doom.

1221
01:08:54,485 --> 01:08:58,325
Speaker 1: You could you know what you have my American Dreams support, Sam,

1222
01:08:58,365 --> 01:09:01,764
Speaker 1: Not I know I Doom support.

1223
01:09:02,685 --> 01:09:03,005
Speaker 4: Okay.

1224
01:09:03,125 --> 01:09:07,245
Speaker 5: So up until last year getting into the Pantheon, it's

1225
01:09:07,245 --> 01:09:10,205
Speaker 5: been a very informal process. We really have been making

1226
01:09:10,205 --> 01:09:13,285
Speaker 5: it up as we go. Last year we decided, for

1227
01:09:13,405 --> 01:09:15,045
Speaker 5: better or worse, we're going to try to make it

1228
01:09:15,085 --> 01:09:19,525
Speaker 5: more formal. And the thing that's really driving all this

1229
01:09:19,645 --> 01:09:22,245
Speaker 5: and and Sam, this this came from you, and obviously

1230
01:09:22,285 --> 01:09:25,924
Speaker 5: we agreed, is that it's important that these films ultimately

1231
01:09:26,005 --> 01:09:26,805
Speaker 5: get discussed.

1232
01:09:27,085 --> 01:09:27,804
Speaker 4: Yeah. Sure.

1233
01:09:27,925 --> 01:09:30,005
Speaker 5: The whole point of the pantheon was we didn't want

1234
01:09:30,005 --> 01:09:31,845
Speaker 5: these films to keep coming up again and again in

1235
01:09:31,885 --> 01:09:32,604
Speaker 5: top five lists.

1236
01:09:32,645 --> 01:09:33,445
Speaker 4: That would be boring.

1237
01:09:33,885 --> 01:09:38,045
Speaker 5: But why have a pantheon if people say, well, I've

1238
01:09:38,045 --> 01:09:40,045
Speaker 5: never even heard you talk about those films, like, we

1239
01:09:40,045 --> 01:09:42,325
Speaker 5: don't know what you think about them, how you feel

1240
01:09:42,365 --> 01:09:44,644
Speaker 5: about those movies. We want your thoughts on those films.

1241
01:09:45,045 --> 01:09:47,845
Speaker 5: So with that in mind, the goal has been to

1242
01:09:48,285 --> 01:09:53,525
Speaker 5: eventually knock out serious discussions Sacred Cow type in depth reviews,

1243
01:09:53,725 --> 01:09:56,365
Speaker 5: similar to what we did hopefully in the previous segment

1244
01:09:56,405 --> 01:09:59,365
Speaker 5: with Trainspotting, about every film that's in the pantheon. And

1245
01:09:59,445 --> 01:10:02,765
Speaker 5: so that's why we've been doing these anniversary type titles

1246
01:10:02,805 --> 01:10:05,165
Speaker 5: with movies like Trainspotting that aren't in the Pantheon, but

1247
01:10:05,205 --> 01:10:09,605
Speaker 5: also other films that are so setting that aside. We

1248
01:10:09,645 --> 01:10:15,165
Speaker 5: have also created this process for nominating other films. We

1249
01:10:15,245 --> 01:10:20,925
Speaker 5: each get to nominate three currently. That process is simple.

1250
01:10:21,925 --> 01:10:24,725
Speaker 5: We each have to pick a film that has previously

1251
01:10:24,765 --> 01:10:28,325
Speaker 5: been given a Sacred Cow review. We also have to

1252
01:10:28,365 --> 01:10:30,805
Speaker 5: each nominate a film. We each have to pick a

1253
01:10:30,805 --> 01:10:36,325
Speaker 5: film that has been a marathon title. Now that's tricky

1254
01:10:36,765 --> 01:10:40,564
Speaker 5: because of course, Josh wasn't here for all the marathons,

1255
01:10:40,565 --> 01:10:42,724
Speaker 5: and we're trying to get we're trying to get pantheon

1256
01:10:42,805 --> 01:10:45,565
Speaker 5: discussions that Josh and I have done, but some of

1257
01:10:45,605 --> 01:10:48,205
Speaker 5: those marathons were me and you sense this is going

1258
01:10:48,285 --> 01:10:53,925
Speaker 5: to come right, Okay, Yeah, that complicates it. Lastly, we

1259
01:10:53,965 --> 01:10:56,885
Speaker 5: have a wild card slot. It can be it can

1260
01:10:56,925 --> 01:11:00,325
Speaker 5: be anything, any movie, but we do require you know,

1261
01:11:00,365 --> 01:11:02,165
Speaker 5: there has to be a little bit of a waiting period,

1262
01:11:02,645 --> 01:11:05,485
Speaker 5: just like in sports where you can't get in the

1263
01:11:05,525 --> 01:11:08,285
Speaker 5: first year after you retire. The film has to be

1264
01:11:08,325 --> 01:11:09,445
Speaker 5: at least five years old.

1265
01:11:09,685 --> 01:11:09,965
Speaker 1: Yeah.

1266
01:11:10,045 --> 01:11:12,245
Speaker 2: So and again, like just to set the table for

1267
01:11:12,325 --> 01:11:15,724
Speaker 2: anybody that's new, we've been doing the show for twenty years,

1268
01:11:15,765 --> 01:11:19,085
Speaker 2: you have. We started the show twenty years ago. There

1269
01:11:19,125 --> 01:11:25,405
Speaker 2: have been well over fifty marathons of four to eight films,

1270
01:11:25,605 --> 01:11:29,125
Speaker 2: so we're talking about hundreds of films to choose from.

1271
01:11:29,565 --> 01:11:35,844
Speaker 2: In the marathons category, Sacred Cows also include overviews or whatever.

1272
01:11:35,965 --> 01:11:36,205
Speaker 4: I mean.

1273
01:11:36,245 --> 01:11:38,405
Speaker 2: There have been a number of different categories of films

1274
01:11:38,445 --> 01:11:41,925
Speaker 2: where we've visited, you know, classic titles, so there again

1275
01:11:42,205 --> 01:11:46,085
Speaker 2: hundreds of titles to choose from. There, so lots we

1276
01:11:46,165 --> 01:11:46,804
Speaker 2: got of movies.

1277
01:11:46,885 --> 01:11:51,085
Speaker 5: Yeah, last year, after this whole process, this show, we

1278
01:11:51,125 --> 01:11:53,765
Speaker 5: nominated the nine. Then what we did is we took

1279
01:11:53,805 --> 01:11:56,165
Speaker 5: the three that have never been discussed, the three wild

1280
01:11:56,165 --> 01:11:59,205
Speaker 5: card titles, and over the course of three shows, we

1281
01:11:59,285 --> 01:12:02,125
Speaker 5: discussed each one of those titles. So then we had

1282
01:12:02,885 --> 01:12:07,325
Speaker 5: nine films that had all been discussed by myself and Josh.

1283
01:12:07,605 --> 01:12:10,445
Speaker 5: We put all those nine titles up to be voted

1284
01:12:10,445 --> 01:12:13,844
Speaker 5: on between the three of us and also film Spotting listeners,

1285
01:12:14,085 --> 01:12:17,365
Speaker 5: and ultimately the top two vote getters were inducted into

1286
01:12:17,405 --> 01:12:19,285
Speaker 5: the Pantheon. And you know what, I'm going to say,

1287
01:12:19,285 --> 01:12:21,604
Speaker 5: it worked pretty well last year because it's titles that

1288
01:12:21,645 --> 01:12:24,365
Speaker 5: went in. We're Singing in the Rain, which is one

1289
01:12:24,365 --> 01:12:27,205
Speaker 5: of those films we couldn't believes in the Pantheon to

1290
01:12:27,245 --> 01:12:30,365
Speaker 5: begin with. At many occasions we all three thought it

1291
01:12:30,405 --> 01:12:34,764
Speaker 5: was already in the past, exactly right. And Sherlock Junior,

1292
01:12:34,925 --> 01:12:38,365
Speaker 5: which is our first silent film to get into the pantheon,

1293
01:12:38,485 --> 01:12:40,485
Speaker 5: and that feels like something.

1294
01:12:40,205 --> 01:12:45,205
Speaker 2: We first musical in the in the past, that's true, right, Oh,

1295
01:12:45,245 --> 01:12:46,125
Speaker 2: except for a Wizard of Us.

1296
01:12:46,125 --> 01:12:46,765
Speaker 4: I guess you got that.

1297
01:12:47,045 --> 01:12:49,965
Speaker 5: Yeah, I suppose you can definitely count the Wizard of Us.

1298
01:12:50,405 --> 01:12:52,564
Speaker 5: Here we are in twenty twenty six, year two of

1299
01:12:52,605 --> 01:12:56,045
Speaker 5: this process, and the only change that we've made this

1300
01:12:56,085 --> 01:12:58,125
Speaker 5: is something I suggested. I think last year we just

1301
01:12:58,165 --> 01:13:00,764
Speaker 5: went in order sort of, let's do our three sacred cows,

1302
01:13:00,885 --> 01:13:03,165
Speaker 5: let's do the three marathons, then let's do the three

1303
01:13:03,205 --> 01:13:06,965
Speaker 5: wild cards. Now I suppose there's a little bit of gamesmanship,

1304
01:13:07,005 --> 01:13:10,165
Speaker 5: even though this isn't really a draft or a contest. Sam,

1305
01:13:10,205 --> 01:13:11,965
Speaker 5: you're gonna get to start first, and you can pick.

1306
01:13:12,245 --> 01:13:14,765
Speaker 5: You can go with whatever you sure. You can start wildcard,

1307
01:13:14,925 --> 01:13:17,724
Speaker 5: you can start sacred Cow, you can go marathon, Josh,

1308
01:13:17,725 --> 01:13:20,125
Speaker 5: you can follow that up with whatever category you want,

1309
01:13:20,365 --> 01:13:21,285
Speaker 5: and we'll go from there.

1310
01:13:21,645 --> 01:13:22,325
Speaker 1: Okay, let's do it.

1311
01:13:22,405 --> 01:13:22,925
Speaker 2: Let's do it.

1312
01:13:23,565 --> 01:13:23,765
Speaker 4: Yeah.

1313
01:13:23,805 --> 01:13:27,125
Speaker 2: I didn't really think so much this time. I think

1314
01:13:27,125 --> 01:13:29,765
Speaker 2: I was aware of the fact with last year, with

1315
01:13:29,845 --> 01:13:33,365
Speaker 2: our first effort at this, that there could be some overlap,

1316
01:13:33,405 --> 01:13:35,485
Speaker 2: that we might be going for some of the same picks,

1317
01:13:35,565 --> 01:13:38,685
Speaker 2: just because to your point, there were several titles we

1318
01:13:38,725 --> 01:13:43,085
Speaker 2: thought collectively or individually. I thought this was already in

1319
01:13:43,085 --> 01:13:45,325
Speaker 2: the pantheon, so Singing in the Rain a great example.

1320
01:13:45,765 --> 01:13:48,285
Speaker 2: I wasn't so worried about that this time. I was

1321
01:13:48,405 --> 01:13:51,285
Speaker 2: more concerned as I was last year about like filling

1322
01:13:51,325 --> 01:13:54,885
Speaker 2: in some gaps. What's missing from the pantheon, And so

1323
01:13:55,645 --> 01:13:58,085
Speaker 2: you know who's not in the film spotting pantheon. Is

1324
01:13:58,325 --> 01:14:00,085
Speaker 2: a Kira Kursawa not there?

1325
01:14:00,245 --> 01:14:01,085
Speaker 1: That's not it.

1326
01:14:01,565 --> 01:14:05,485
Speaker 2: There's several filmmakers that surprise you when you actually take

1327
01:14:05,525 --> 01:14:08,564
Speaker 2: a close look. But I think Kursawa for me, is

1328
01:14:08,605 --> 01:14:11,644
Speaker 2: the biggest. And if it were me, I would say

1329
01:14:11,645 --> 01:14:14,804
Speaker 2: seven samurais just the no brainer. Should be in the pantheon.

1330
01:14:15,245 --> 01:14:17,285
Speaker 2: It's not your favorite, it's not in your top five.

1331
01:14:17,765 --> 01:14:21,205
Speaker 2: Cursawa's adam it is not. So I'm not gonna with

1332
01:14:21,205 --> 01:14:24,564
Speaker 2: seven Samurai. A Kiu might be the second most obvious

1333
01:14:24,605 --> 01:14:26,724
Speaker 2: pick that people are thinking. I know you guys both

1334
01:14:26,765 --> 01:14:29,885
Speaker 2: love it. I love three quarters of it. I don't

1335
01:14:29,965 --> 01:14:33,365
Speaker 2: love the last quarter of a Kira. So I'm not

1336
01:14:33,365 --> 01:14:37,125
Speaker 2: going to nominate that, which means, Fellas, we're going back,

1337
01:14:37,605 --> 01:14:39,644
Speaker 2: we're going back to school, We're going back to film

1338
01:14:39,645 --> 01:14:43,005
Speaker 2: one oh one. It's probably, I would say probably many

1339
01:14:43,005 --> 01:14:47,325
Speaker 2: people's first Kurasawa certainly was mine. Many people encounter it

1340
01:14:47,365 --> 01:14:50,485
Speaker 2: in school. If they take film, it's it's fifties Rachamon

1341
01:14:51,165 --> 01:14:53,604
Speaker 2: And I'm not nominating this as my wild card even

1342
01:14:53,645 --> 01:14:56,685
Speaker 2: though it has been a marathon subject before, but it

1343
01:14:56,725 --> 01:14:59,205
Speaker 2: predated Josh. It was part of a two thousand and

1344
01:14:59,325 --> 01:15:02,365
Speaker 2: nine I think Kursawur marathon, Adam, that you did with

1345
01:15:02,445 --> 01:15:05,125
Speaker 2: Maddy Ballgame previous host. But this thing's been landing on

1346
01:15:05,165 --> 01:15:07,925
Speaker 2: top five lists since two thousand and five. It made

1347
01:15:08,725 --> 01:15:12,525
Speaker 2: Top five Foreign language films back on episode number thirty seven,

1348
01:15:12,965 --> 01:15:17,165
Speaker 2: Top five Murder Mysteries Episode seventy three, Top five movies

1349
01:15:17,165 --> 01:15:22,085
Speaker 2: about voyeurism watching episode one fifty one, Top five movies

1350
01:15:22,085 --> 01:15:25,125
Speaker 2: about memory, one seventy one. And it was your favorite

1351
01:15:25,165 --> 01:15:26,564
Speaker 2: film in that marathon, Adam.

1352
01:15:26,605 --> 01:15:29,604
Speaker 5: Back in nine, Sam, you're you're you're leaving out something

1353
01:15:29,605 --> 01:15:30,805
Speaker 5: important unless you're gonna get o.

1354
01:15:30,925 --> 01:15:32,685
Speaker 2: I'm gonna get there. Just let me get through, let

1355
01:15:32,725 --> 01:15:33,085
Speaker 2: me get there.

1356
01:15:33,205 --> 01:15:34,245
Speaker 4: I'll let you get through. Okay.

1357
01:15:34,485 --> 01:15:37,645
Speaker 2: So then we get to episode four hundred, is this

1358
01:15:37,645 --> 01:15:41,724
Speaker 2: where you're wondering? Was going? Top five things we learned

1359
01:15:41,725 --> 01:15:45,205
Speaker 2: from the movies, Adam. Do you remember you paired it

1360
01:15:45,245 --> 01:15:45,884
Speaker 2: with Memento?

1361
01:15:47,925 --> 01:15:48,405
Speaker 4: Okay?

1362
01:15:48,645 --> 01:15:51,085
Speaker 2: Will I lie to myself to be happy?

1363
01:15:51,685 --> 01:15:52,165
Speaker 4: There you go?

1364
01:15:52,325 --> 01:15:56,085
Speaker 2: A thing you learned from the movies, Raschamont. It was

1365
01:15:56,125 --> 01:15:59,645
Speaker 2: also a top ten film of all time for you

1366
01:15:59,685 --> 01:16:00,445
Speaker 2: back in twenty.

1367
01:16:00,245 --> 01:16:02,765
Speaker 5: Twelve, I was going my first sight and sound list.

1368
01:16:02,805 --> 01:16:03,724
Speaker 5: I put Rascha man.

1369
01:16:03,685 --> 01:16:06,005
Speaker 2: On, exactly where was it in twenty twenty two? It

1370
01:16:06,045 --> 01:16:10,485
Speaker 2: was gone, which is why I'm excited for it to

1371
01:16:10,525 --> 01:16:12,684
Speaker 2: get another look. I don't know when the last time

1372
01:16:12,725 --> 01:16:15,965
Speaker 2: you guys saw it two years ago a film spotting

1373
01:16:16,005 --> 01:16:17,445
Speaker 2: madness best of the fifties and made it all the

1374
01:16:17,485 --> 01:16:20,085
Speaker 2: way to the Sweet sixteen. This is a beloved film,

1375
01:16:20,165 --> 01:16:22,725
Speaker 2: not only buzz or not even not in an academically

1376
01:16:22,765 --> 01:16:27,085
Speaker 2: appreciated film, but a beloved film. It's a pantheon worthy movie.

1377
01:16:27,125 --> 01:16:31,405
Speaker 2: I rewatched it myself and it really struck me that.

1378
01:16:32,005 --> 01:16:36,405
Speaker 2: You know, we love Kursawa for his Shakespeare adaptations. This

1379
01:16:36,445 --> 01:16:39,925
Speaker 2: felt like his Beckett to me. It was takes you

1380
01:16:40,045 --> 01:16:45,005
Speaker 2: to the very brink of existential despair, exhilarating, unnerving, can't

1381
01:16:45,005 --> 01:16:50,245
Speaker 2: wait to hear film Professor Adam grad School Josh dig

1382
01:16:50,325 --> 01:16:53,245
Speaker 2: into Rashamon, which you know again as my wild card,

1383
01:16:53,285 --> 01:16:55,485
Speaker 2: would be one of the three movies we'd revisit.

1384
01:16:55,925 --> 01:17:00,405
Speaker 1: Yeah, I mean, it's astonishing Kursawa isn't in the pantheon,

1385
01:17:00,485 --> 01:17:04,485
Speaker 1: so we do need to correct that. And boy, Raschamon

1386
01:17:04,685 --> 01:17:07,765
Speaker 1: I might not have seen. I forget how you describe it,

1387
01:17:07,885 --> 01:17:10,605
Speaker 1: sam like the film school one oh one or the

1388
01:17:11,205 --> 01:17:14,085
Speaker 1: that's probably when I saw it, and unfairly that's my

1389
01:17:14,205 --> 01:17:18,125
Speaker 1: memory of it, is like it's starter, Kurrosawa its starter,

1390
01:17:19,005 --> 01:17:22,405
Speaker 1: you know, non English language film. It's it's like where

1391
01:17:22,445 --> 01:17:26,045
Speaker 1: you begin. And so now, having seen so much more

1392
01:17:26,045 --> 01:17:29,365
Speaker 1: of that, it'll be interesting to return to it and

1393
01:17:29,405 --> 01:17:31,684
Speaker 1: see what else is there? What did I miss?

1394
01:17:31,765 --> 01:17:31,845
Speaker 5: Like?

1395
01:17:31,885 --> 01:17:34,325
Speaker 1: Why? Why? Maybe don't I hold it now in such

1396
01:17:34,405 --> 01:17:37,564
Speaker 1: high regard as something like seven Samurai or Akiu or

1397
01:17:37,605 --> 01:17:40,645
Speaker 1: some of these other Kurasawas. So yeah, I'm all in.

1398
01:17:41,725 --> 01:17:45,604
Speaker 5: Yeah, I mean well argued obviously, and I certainly noticed

1399
01:17:45,645 --> 01:17:49,445
Speaker 5: that Kurrasawa was not on the list. I do think

1400
01:17:49,485 --> 01:17:53,684
Speaker 5: the pantheon also needs more foreign language films, so checks

1401
01:17:54,085 --> 01:17:56,085
Speaker 5: two important boxes there.

1402
01:17:56,845 --> 01:17:58,205
Speaker 4: I think you probably made the right.

1403
01:17:58,165 --> 01:18:01,365
Speaker 5: Choice as well with with Rashoman. I just looked at

1404
01:18:01,365 --> 01:18:03,325
Speaker 5: my letterbox list and I do have that in my

1405
01:18:03,405 --> 01:18:07,805
Speaker 5: number one spot. I thought it might be rom though,

1406
01:18:07,925 --> 01:18:10,085
Speaker 5: and I know you mentioned the Shakespeare invitations. I thought

1407
01:18:10,085 --> 01:18:12,325
Speaker 5: it might be Ron, and I have Ron right behind it.

1408
01:18:12,965 --> 01:18:15,604
Speaker 5: But I'm not gonna I'm not gonna quibble. I think

1409
01:18:15,605 --> 01:18:18,445
Speaker 5: it's a fantastic choice, Josh.

1410
01:18:18,925 --> 01:18:21,205
Speaker 1: I'm up, and I'm not sure which category to go too.

1411
01:18:21,405 --> 01:18:26,724
Speaker 1: Before we started recording here, Adam kind of hinted that

1412
01:18:26,965 --> 01:18:30,564
Speaker 1: maybe one of mine from last year was going to

1413
01:18:30,565 --> 01:18:33,365
Speaker 1: come back in the mix, and if that's going to happen,

1414
01:18:33,405 --> 01:18:33,925
Speaker 1: I want.

1415
01:18:33,725 --> 01:18:35,604
Speaker 4: To pick it. I want to take it.

1416
01:18:36,125 --> 01:18:39,165
Speaker 1: So I tip my hand and I'm being lazy because

1417
01:18:39,445 --> 01:18:42,525
Speaker 1: I'm being lazy because I am repeating my marathon and

1418
01:18:42,565 --> 01:18:46,845
Speaker 1: sacred cowpicks full disclosure. Time got a little tight. But

1419
01:18:46,885 --> 01:18:49,485
Speaker 1: I also really think these are two important films. I'm

1420
01:18:49,485 --> 01:18:51,245
Speaker 1: gonna I'm gonna go with the one that I think

1421
01:18:51,445 --> 01:18:58,045
Speaker 1: is perhaps a particularly film spotting film, and I do

1422
01:18:58,205 --> 01:19:02,885
Speaker 1: like that quality of the pantheon. We are trying to

1423
01:19:03,445 --> 01:19:07,805
Speaker 1: make this respectable by including musicals, silent films in Kurrosawa. Yes,

1424
01:19:07,845 --> 01:19:11,045
Speaker 1: I think that's an important task and I'm glad this

1425
01:19:11,125 --> 01:19:13,205
Speaker 1: process is giving us a chance to do that. But

1426
01:19:13,245 --> 01:19:15,724
Speaker 1: we also don't want to just, you know, mirror every

1427
01:19:15,765 --> 01:19:19,085
Speaker 1: greatest Films of All Time list right now. This one,

1428
01:19:19,565 --> 01:19:21,725
Speaker 1: I think appears on a lot of those, but you

1429
01:19:21,725 --> 01:19:25,604
Speaker 1: don't hear it discussed as much. We discussed it, Adam

1430
01:19:25,965 --> 01:19:30,445
Speaker 1: and loved it. It's the best years of our lives.

1431
01:19:30,725 --> 01:19:33,245
Speaker 2: Oh yeah, I thought you were going somewhere else too, Josh,

1432
01:19:33,285 --> 01:19:33,724
Speaker 2: I thought.

1433
01:19:33,525 --> 01:19:34,604
Speaker 4: You were going somewhere else.

1434
01:19:35,365 --> 01:19:35,684
Speaker 1: Crap.

1435
01:19:35,765 --> 01:19:38,925
Speaker 4: Now I'm not going to get this other one totally.

1436
01:19:41,085 --> 01:19:45,445
Speaker 1: Picture in our William Wyler marathon. Okay, you know, great

1437
01:19:45,685 --> 01:19:49,205
Speaker 1: movie three return World War two vets returning home in

1438
01:19:49,245 --> 01:19:54,684
Speaker 1: Middle America and what that means for them. We pulled

1439
01:19:54,725 --> 01:19:58,925
Speaker 1: our best scene of that Wiler marathon from this as well, Adam,

1440
01:19:58,965 --> 01:20:01,885
Speaker 1: looking at star ratings five out of five for you,

1441
01:20:02,605 --> 01:20:05,365
Speaker 1: four and a half out of five, Sam, I didn't

1442
01:20:05,325 --> 01:20:08,085
Speaker 1: get a chance to look at where you've got this

1443
01:20:08,325 --> 01:20:11,725
Speaker 1: because I do think consensus when I'm thinking about what

1444
01:20:11,765 --> 01:20:15,525
Speaker 1: to nominate, Consensus is important here. We want these films

1445
01:20:15,525 --> 01:20:18,365
Speaker 1: to be you know, obviously we may love them to

1446
01:20:18,445 --> 01:20:22,525
Speaker 1: different degrees, but sincerely appreciated by all of us. So

1447
01:20:22,645 --> 01:20:24,525
Speaker 1: I know you do like it, Sam, I'm not.

1448
01:20:24,525 --> 01:20:27,405
Speaker 2: Oh yeah, I think I'm looking at my twenty twenty four?

1449
01:20:27,725 --> 01:20:31,365
Speaker 2: Is that when we watched the wil Or Marathon? Of course? Yeah?

1450
01:20:31,365 --> 01:20:34,245
Speaker 2: So what did I write every scene a cocktail of

1451
01:20:34,285 --> 01:20:35,365
Speaker 2: hope and heartbreak?

1452
01:20:35,485 --> 01:20:37,245
Speaker 4: Masterful? Yeah? I loved it.

1453
01:20:37,285 --> 01:20:39,405
Speaker 1: There you go. I don't I don't need to say

1454
01:20:39,405 --> 01:20:41,805
Speaker 1: anything more than that I just you know, I do

1455
01:20:41,885 --> 01:20:43,564
Speaker 1: think the one thing I'll add I just do think

1456
01:20:43,605 --> 01:20:47,125
Speaker 1: this might be unique in the two film spotting our

1457
01:20:47,205 --> 01:20:50,165
Speaker 1: level of love for the best years of our lives.

1458
01:20:50,165 --> 01:20:51,485
Speaker 1: So I'm gonna throw the back in the mix.

1459
01:20:54,165 --> 01:20:57,405
Speaker 5: Okay, So I have to look something up real quick?

1460
01:20:57,405 --> 01:20:59,685
Speaker 5: Can I look something up? Because this is gonna determine.

1461
01:20:59,725 --> 01:21:03,765
Speaker 5: This is definitely gonna determine how I draft here and

1462
01:21:03,805 --> 01:21:06,805
Speaker 5: whether or not I decide to throw a life raft

1463
01:21:07,125 --> 01:21:11,165
Speaker 5: to Josh or not. I have to decide whether or

1464
01:21:11,205 --> 01:21:15,005
Speaker 5: not this movie is eligible in two categories or not.

1465
01:21:15,205 --> 01:21:20,045
Speaker 5: And I ooh, it is eligible in two categories. That's

1466
01:21:20,085 --> 01:21:21,644
Speaker 5: certainly can help too.

1467
01:21:21,685 --> 01:21:24,365
Speaker 1: I mean, there's to Sam's point, there's plenty of films

1468
01:21:24,405 --> 01:21:24,885
Speaker 1: to choose.

1469
01:21:25,685 --> 01:21:28,045
Speaker 5: Yeah, and also you want you know, we do have

1470
01:21:28,165 --> 01:21:32,485
Speaker 5: what No, here's the thing, Here's the thing I I want.

1471
01:21:32,725 --> 01:21:35,045
Speaker 5: I don't care who nominates it. I don't care who

1472
01:21:35,125 --> 01:21:37,604
Speaker 5: nominates it. I just want it nominated. So I'm gonna

1473
01:21:37,685 --> 01:21:40,965
Speaker 5: let you nominate it. And I'm gonna go with another

1474
01:21:41,005 --> 01:21:44,805
Speaker 5: movie that I want to nominate, Okay, marriage and and

1475
01:21:44,885 --> 01:21:47,365
Speaker 5: so what I'm gonna do is I am going to

1476
01:21:47,485 --> 01:21:53,724
Speaker 5: go with my I'm gonna go with my marathon choice

1477
01:21:54,725 --> 01:21:58,645
Speaker 5: and my marathon choice this this was one of the

1478
01:21:58,805 --> 01:22:01,005
Speaker 5: I'm gonna look at this real quick while we're talking too.

1479
01:22:01,165 --> 01:22:04,885
Speaker 5: I think this was it wasn't the first marathon that

1480
01:22:04,885 --> 01:22:08,205
Speaker 5: you were part of, Josh, but it was, no, it

1481
01:22:08,285 --> 01:22:09,925
Speaker 5: was I was gonna say it was one of the first,

1482
01:22:09,965 --> 01:22:12,765
Speaker 5: and it was in fact the second marathon that you

1483
01:22:12,805 --> 01:22:16,045
Speaker 5: were part of, and for me still one of the

1484
01:22:16,125 --> 01:22:21,485
Speaker 5: most crucial, one of the most formative. And that marathon

1485
01:22:21,725 --> 01:22:30,045
Speaker 5: is contemporary Iranian cinema. I consider Iranian cinema to be

1486
01:22:30,965 --> 01:22:33,764
Speaker 5: a world cinema that is among my favorite.

1487
01:22:33,805 --> 01:22:34,005
Speaker 1: Now.

1488
01:22:34,165 --> 01:22:39,965
Speaker 5: I consider those filmmakers from you know, far Hadi and

1489
01:22:41,365 --> 01:22:47,365
Speaker 5: Mack Mahlboff and you know everyone that we have recently Panahi, right,

1490
01:22:48,005 --> 01:22:51,845
Speaker 5: and I'm leaving out someone in particular for a reason, right.

1491
01:22:52,405 --> 01:22:57,724
Speaker 5: I consider these filmmakers to be among our most essential

1492
01:22:58,645 --> 01:23:03,085
Speaker 5: and as I said to you, and most experimental, like

1493
01:23:03,165 --> 01:23:08,285
Speaker 5: most invigorating as as a sinophile to watch. And I

1494
01:23:08,765 --> 01:23:15,325
Speaker 5: was only vaguely familiar with Iranian cinema prior to this marathon.

1495
01:23:15,365 --> 01:23:18,965
Speaker 5: That was the reason for it. The film Taste of

1496
01:23:19,085 --> 01:23:21,885
Speaker 5: Cherry was part of an earlier marathon that we did

1497
01:23:21,885 --> 01:23:25,045
Speaker 5: on the show with Maddie. It was a can you

1498
01:23:25,085 --> 01:23:28,805
Speaker 5: know Golden Paul Marathon films that had won the top title.

1499
01:23:28,565 --> 01:23:30,445
Speaker 4: That can that we we hadn't seen.

1500
01:23:31,485 --> 01:23:35,325
Speaker 5: I think that was about it and the movie that

1501
01:23:35,445 --> 01:23:41,085
Speaker 5: I believe was the first title in it was the

1502
01:23:41,125 --> 01:23:44,045
Speaker 5: first title in that marathon, and it actually it it

1503
01:23:44,085 --> 01:23:46,445
Speaker 5: didn't end up being I think Josh, it was your

1504
01:23:46,685 --> 01:23:49,365
Speaker 5: it was your best picture, but for me, it was

1505
01:23:49,445 --> 01:23:53,125
Speaker 5: the movie that that was my second best picture. But

1506
01:23:53,165 --> 01:23:55,085
Speaker 5: it's the film I'm going to nominate because I think

1507
01:23:55,085 --> 01:23:59,725
Speaker 5: it's the the film that has the greatest legacy. It's

1508
01:23:59,765 --> 01:24:05,005
Speaker 5: a criterion collection edition. The filmmaker, I think is the

1509
01:24:05,045 --> 01:24:09,365
Speaker 5: titan of Iranian cinema. And it also when I talk

1510
01:24:09,405 --> 01:24:13,325
Speaker 5: about experimental, it it crosses over into it blurs, It

1511
01:24:13,365 --> 01:24:17,884
Speaker 5: blurs lines in really interesting ways. The film is nineteen

1512
01:24:18,005 --> 01:24:22,405
Speaker 5: nineties close up. Yeah, and the film is a boss

1513
01:24:22,805 --> 01:24:27,365
Speaker 5: Karistami for all those reasons, right, because it's Kuristami, because

1514
01:24:27,365 --> 01:24:30,405
Speaker 5: it's a Rannie in cinema, Because it's a film in which,

1515
01:24:30,645 --> 01:24:32,564
Speaker 5: if you're not familiar with close up, this is the

1516
01:24:32,845 --> 01:24:35,845
Speaker 5: this is this is the one sentence description. The film

1517
01:24:35,885 --> 01:24:37,925
Speaker 5: tells the story of the real life trial of a

1518
01:24:37,925 --> 01:24:42,564
Speaker 5: man who impersonated filmmaker Mosen Machmaalboff conning a family into

1519
01:24:42,565 --> 01:24:45,445
Speaker 5: believing they would star in his new film like that

1520
01:24:45,605 --> 01:24:49,245
Speaker 5: really happened. And the film tells the story of that,

1521
01:24:49,405 --> 01:24:53,085
Speaker 5: And it's shot like a doc, but it's sometimes shot

1522
01:24:53,245 --> 01:24:55,805
Speaker 5: like a narrative film, and there are parts of it

1523
01:24:55,845 --> 01:25:00,724
Speaker 5: that are that are fabricated, certainly, but they're the real

1524
01:25:00,765 --> 01:25:05,765
Speaker 5: participants and they're playing themselves and it it's it's a

1525
01:25:05,805 --> 01:25:09,325
Speaker 5: trip in the in the best way it can possibly be.

1526
01:25:09,725 --> 01:25:13,564
Speaker 4: And I I think it's I think it's.

1527
01:25:13,405 --> 01:25:17,365
Speaker 5: An important film and and for that reason and again

1528
01:25:17,445 --> 01:25:19,765
Speaker 5: because it's a Rannie and cinema and we need we

1529
01:25:19,845 --> 01:25:23,445
Speaker 5: need more in national cinema, in the in the pantheon.

1530
01:25:23,965 --> 01:25:26,245
Speaker 4: Close Up is going to be my nomination.

1531
01:25:26,845 --> 01:25:28,885
Speaker 1: Yeah, I mean, as you said, my best picture from

1532
01:25:28,925 --> 01:25:31,725
Speaker 1: the marathon, No no argument for me. I think you

1533
01:25:31,805 --> 01:25:34,845
Speaker 1: make a good case for it as being representative as well.

1534
01:25:35,365 --> 01:25:39,245
Speaker 1: So if you know we how many chances might we

1535
01:25:39,365 --> 01:25:44,045
Speaker 1: have to nominate a title from this marathon, I think

1536
01:25:44,045 --> 01:25:46,485
Speaker 1: this is a good one to start with, and ha's

1537
01:25:46,525 --> 01:25:47,445
Speaker 1: a good chance of getting in.

1538
01:25:47,885 --> 01:25:51,845
Speaker 2: And also just it's it's one one of the great marathons.

1539
01:25:51,845 --> 01:25:54,684
Speaker 2: To your point, Adam, I agree that it was. It's

1540
01:25:54,725 --> 01:25:57,285
Speaker 2: the kind of high from a marathon we chase. It's

1541
01:25:57,325 --> 01:26:02,005
Speaker 2: why we do marathons. It's it completely opens your your

1542
01:26:02,085 --> 01:26:05,885
Speaker 2: mind up into what is possible with movie making, and

1543
01:26:06,285 --> 01:26:09,924
Speaker 2: it's a reference. It becomes a reference point, and hopefully

1544
01:26:10,165 --> 01:26:12,485
Speaker 2: by putting close up on there, if it isn't on

1545
01:26:12,525 --> 01:26:15,605
Speaker 2: somebody's radar, it'll get them to go dive into that

1546
01:26:15,685 --> 01:26:17,925
Speaker 2: marathon we visit, you know, and take a look at all.

1547
01:26:17,805 --> 01:26:22,045
Speaker 4: Those films which are terrific. So okay, good stuff, You're okay.

1548
01:26:22,125 --> 01:26:25,765
Speaker 2: I I think I'm gonna let this play out a

1549
01:26:25,765 --> 01:26:29,245
Speaker 2: little bit. I have a marathon pick, but also it

1550
01:26:29,285 --> 01:26:33,045
Speaker 2: could be a slot for something that was nominated last

1551
01:26:33,125 --> 01:26:35,965
Speaker 2: year that really deserves to be So I'm gonna wait.

1552
01:26:36,005 --> 01:26:40,165
Speaker 2: I'm gonna go to My Sacred Cow, which was also

1553
01:26:40,805 --> 01:26:45,604
Speaker 2: a former marathon film. So last year I pointed out

1554
01:26:46,005 --> 01:26:49,684
Speaker 2: there are no currently no documentaries in the pantheon, which

1555
01:26:49,765 --> 01:26:53,445
Speaker 2: is especially unusual because you're both fans, but especially you, Adam.

1556
01:26:53,565 --> 01:26:56,285
Speaker 2: I pitched one last year, Herzog's Grizzly Man. It was

1557
01:26:56,325 --> 01:26:58,085
Speaker 2: a film we reviewed in the very first year of

1558
01:26:58,085 --> 01:27:00,525
Speaker 2: the film so it felt right. Herzog was a huge

1559
01:27:00,565 --> 01:27:02,764
Speaker 2: discovery for us first year of the show. I'm sorry.

1560
01:27:02,965 --> 01:27:03,165
Speaker 1: Five.

1561
01:27:03,365 --> 01:27:06,285
Speaker 2: Yeah, Herzog a huge discovery for us. It just felt right.

1562
01:27:06,925 --> 01:27:11,085
Speaker 2: It placed well out of contention in the Pantheon poll. Also,

1563
01:27:11,165 --> 01:27:14,965
Speaker 2: my revisit was underwhelming. I don't I don't need to

1564
01:27:14,965 --> 01:27:17,365
Speaker 2: go into that. This is the kind of like bonus Sam,

1565
01:27:17,445 --> 01:27:22,325
Speaker 2: I will not reveal to the general public, grisly even more. Yeah,

1566
01:27:22,565 --> 01:27:24,925
Speaker 2: I didn't anyway, So I'm trying again. We're back to

1567
01:27:24,965 --> 01:27:27,604
Speaker 2: pan We're back to documentaries. This is a film that's

1568
01:27:27,645 --> 01:27:29,885
Speaker 2: been reviewed twice on the show. First as part of

1569
01:27:29,885 --> 01:27:32,525
Speaker 2: the Docks Marathon back in six. It was Marathon number eight.

1570
01:27:32,525 --> 01:27:35,725
Speaker 2: Did I steal it? Oh goody? I love it? It

1571
01:27:35,805 --> 01:27:37,925
Speaker 2: was part of our seven from set you want to?

1572
01:27:37,965 --> 01:27:40,765
Speaker 2: Should we say it? In Unison seven four seventy six

1573
01:27:41,205 --> 01:27:44,165
Speaker 2: In twenty twenty one, was this a blind spot for you? Josh?

1574
01:27:44,245 --> 01:27:46,525
Speaker 2: I wonder? Let me just I'm gonna, I'm gonna get there.

1575
01:27:47,605 --> 01:27:51,325
Speaker 2: Top five's it's made Top five Fight the Power Movies

1576
01:27:51,365 --> 01:27:54,685
Speaker 2: back in seven. It came up in your interview with

1577
01:27:54,725 --> 01:27:58,645
Speaker 2: Steve James and Alex Kotlowitz in twenty eleven. Top five documentaries.

1578
01:27:59,285 --> 01:28:01,644
Speaker 2: I'd forgotten about this. We did the Top five Movies

1579
01:28:01,685 --> 01:28:03,604
Speaker 2: that taught Us Empathy. I think that was a live

1580
01:28:03,645 --> 01:28:06,844
Speaker 2: show in October twenty twenty. It was a bonus.

1581
01:28:07,445 --> 01:28:10,525
Speaker 4: I saw it is a live show nineteen.

1582
01:28:10,125 --> 01:28:13,845
Speaker 2: Seventy six, Carlte County, USA, Barbara Poppel.

1583
01:28:14,165 --> 01:28:16,245
Speaker 4: Was going to be my sacred cow choice.

1584
01:28:16,925 --> 01:28:17,604
Speaker 1: Oh boy.

1585
01:28:19,525 --> 01:28:22,925
Speaker 2: So I not only think you know the Pantheon needs

1586
01:28:22,925 --> 01:28:25,005
Speaker 2: a documentary, it also needs the two of you talking

1587
01:28:25,045 --> 01:28:28,445
Speaker 2: about a documentary that documentaries. There is a way to

1588
01:28:28,445 --> 01:28:33,245
Speaker 2: talk about documentaries as not just as as incredible documents.

1589
01:28:33,765 --> 01:28:37,365
Speaker 2: But you know, to the point of Iranian film, which

1590
01:28:37,405 --> 01:28:42,525
Speaker 2: incorporates just often incorporates meta fiction or documentary. There is

1591
01:28:42,565 --> 01:28:44,725
Speaker 2: a way to talk about this, and you guys are

1592
01:28:44,765 --> 01:28:47,845
Speaker 2: very sophisticated at it. And so this is one. Yeah,

1593
01:28:47,885 --> 01:28:50,604
Speaker 2: we've talked about a couple of times. Documentaries will always

1594
01:28:50,605 --> 01:28:52,965
Speaker 2: have a hard time when put in the mix with

1595
01:28:53,005 --> 01:28:54,965
Speaker 2: some of these other heavy hitters like close up, like

1596
01:28:55,085 --> 01:28:58,405
Speaker 2: Rachamon when we put a poll up to listeners to

1597
01:28:58,525 --> 01:29:02,724
Speaker 2: family members. But I love this as a documentary pick

1598
01:29:02,925 --> 01:29:05,405
Speaker 2: belonging in the marathon even more than Grizzily Man, Far

1599
01:29:05,445 --> 01:29:07,165
Speaker 2: more than Grizzily Man. This is such a great film.

1600
01:29:07,165 --> 01:29:13,405
Speaker 2: I mean, a film that's that's also incredibly necessary right

1601
01:29:13,445 --> 01:29:16,445
Speaker 2: now as a as a as a as a film

1602
01:29:16,565 --> 01:29:20,085
Speaker 2: about resistance that is also itself an active resistance, so

1603
01:29:20,565 --> 01:29:22,525
Speaker 2: timely and.

1604
01:29:23,445 --> 01:29:29,125
Speaker 5: Just worth pointing out. I did fulfill I suppose a dream.

1605
01:29:29,325 --> 01:29:32,285
Speaker 5: I got the interview that's right on the show at

1606
01:29:32,325 --> 01:29:35,965
Speaker 5: one point. So yeah, Harlan County was definitely going to

1607
01:29:35,965 --> 01:29:39,845
Speaker 5: be my choice. But Sam, that current only worked. That

1608
01:29:39,925 --> 01:29:44,485
Speaker 5: only worked because I I could have taken the movie.

1609
01:29:44,725 --> 01:29:47,285
Speaker 5: Josh is going to say next, and it was gonna

1610
01:29:47,405 --> 01:29:49,804
Speaker 5: it was going to work out perfectly that I didn't

1611
01:29:49,845 --> 01:29:51,205
Speaker 5: and I was going to take Harlan County.

1612
01:29:52,125 --> 01:29:52,965
Speaker 4: Whatever whatever.

1613
01:29:53,045 --> 01:29:55,045
Speaker 5: Fine, now now I don't know what I'm going to

1614
01:29:55,045 --> 01:29:56,884
Speaker 5: do next, Just go ahead, right.

1615
01:29:57,125 --> 01:30:01,804
Speaker 1: Well, I'm gonna be quick, so you better think fast, Adam,

1616
01:30:01,845 --> 01:30:06,245
Speaker 1: because I spent time, yes, talking about this film on

1617
01:30:06,365 --> 01:30:09,564
Speaker 1: last year's show for the Pantheon. It is the Battle

1618
01:30:09,805 --> 01:30:13,325
Speaker 1: of Algiers nineteen sixty six.

1619
01:30:13,805 --> 01:30:15,205
Speaker 4: This is not what you were built out where I

1620
01:30:15,205 --> 01:30:15,845
Speaker 4: thought you were going.

1621
01:30:16,405 --> 01:30:20,125
Speaker 1: Well, then you're safe. You're sick, Adam, Yeah, I guess, yeah, No,

1622
01:30:20,245 --> 01:30:23,325
Speaker 1: I I really want to throw back into the mix.

1623
01:30:23,445 --> 01:30:28,245
Speaker 1: Gilo Pontecorvo's docudrama. This is set during the Algerian War

1624
01:30:28,285 --> 01:30:32,604
Speaker 1: of the fifties. France's occupying forces in the film are

1625
01:30:32,645 --> 01:30:35,805
Speaker 1: trying to root out this network of militant cells who

1626
01:30:35,805 --> 01:30:40,165
Speaker 1: are seeking Algerian independence. And we did this as Sacred

1627
01:30:40,245 --> 01:30:43,285
Speaker 1: Kyle slash blind Spotting. So this is my Sacred Kyle

1628
01:30:43,405 --> 01:30:46,805
Speaker 1: pick for these purposes that show. We did our top

1629
01:30:46,845 --> 01:30:51,365
Speaker 1: five political resistance movies. So we're thinking along the same lines, Sam,

1630
01:30:51,685 --> 01:30:54,205
Speaker 1: I wonder why a year later, I'm still thinking along

1631
01:30:54,285 --> 01:30:57,285
Speaker 1: these same lines. Imagine. But yeah, Adam, you four and

1632
01:30:57,325 --> 01:30:59,125
Speaker 1: a half out of five, me five out of five.

1633
01:31:00,005 --> 01:31:02,525
Speaker 1: This one was just kind of like as you were

1634
01:31:02,565 --> 01:31:06,045
Speaker 1: describing the Iranian cinema experience, Sam. For me was just

1635
01:31:06,125 --> 01:31:10,005
Speaker 1: the concept of docu drama, I guess is like this

1636
01:31:10,165 --> 01:31:15,165
Speaker 1: in between space of you know, real world political situation,

1637
01:31:16,165 --> 01:31:20,804
Speaker 1: recent political situation, documentary elements, but it is a drama

1638
01:31:21,405 --> 01:31:26,165
Speaker 1: and the questions that technique then, you know, allow the

1639
01:31:26,165 --> 01:31:29,365
Speaker 1: filmmakers to ask who is and who isn't a terras,

1640
01:31:29,845 --> 01:31:35,405
Speaker 1: what are extreme tactics? Are they ever justified? Increasingly relevant today?

1641
01:31:36,085 --> 01:31:39,165
Speaker 1: And it was last year is now? So also come on,

1642
01:31:39,405 --> 01:31:42,605
Speaker 1: significant shout out in one battle after another. So of

1643
01:31:42,685 --> 01:31:46,005
Speaker 1: course exactly that was kind of like the topper for me.

1644
01:31:46,485 --> 01:31:49,885
Speaker 1: I was like, okay, I got to throw this in again. Also,

1645
01:31:49,965 --> 01:31:52,805
Speaker 1: this was interesting. So on that trip I mentioned in

1646
01:31:52,805 --> 01:31:55,525
Speaker 1: the train spot in review to to Edinburgh over the weekend,

1647
01:31:55,645 --> 01:31:58,085
Speaker 1: we went and caught a movie, and just because we

1648
01:31:58,125 --> 01:31:59,685
Speaker 1: wanted to see a movie, because as I noted, it's

1649
01:31:59,765 --> 01:32:01,885
Speaker 1: raining all the time, and so we just picked something

1650
01:32:01,965 --> 01:32:08,125
Speaker 1: random playing at the filmhouse, great great film venue here

1651
01:32:08,205 --> 01:32:11,645
Speaker 1: in Edinburgh, and it was Claude Chebral's The Butcher, so

1652
01:32:11,805 --> 01:32:15,765
Speaker 1: nineteen seventy here and a thriller set in a small

1653
01:32:15,805 --> 01:32:19,805
Speaker 1: French town that involves a butcher who returns after many

1654
01:32:19,885 --> 01:32:26,085
Speaker 1: years in the army, and that is incredibly interesting film

1655
01:32:26,725 --> 01:32:30,725
Speaker 1: very much could be read as a parable about France's

1656
01:32:31,245 --> 01:32:35,285
Speaker 1: involvement in Algeria. So this all circling in my head

1657
01:32:35,325 --> 01:32:37,365
Speaker 1: and I just thought, I've got to bring up the

1658
01:32:37,405 --> 01:32:40,564
Speaker 1: Battle of Algiers again. So that's going to be my

1659
01:32:40,645 --> 01:32:41,724
Speaker 1: Sacred Cow nomination.

1660
01:32:42,205 --> 01:32:44,325
Speaker 2: I probably said this last year, but one of my

1661
01:32:44,525 --> 01:32:48,805
Speaker 2: favorite conversations that you guys had really bringing a movie

1662
01:32:48,845 --> 01:32:55,445
Speaker 2: I found overwhelming in terms of its technique and subject matter.

1663
01:32:55,765 --> 01:33:00,285
Speaker 2: In a way I found impenetrable as a critically. Personally,

1664
01:33:00,725 --> 01:33:03,644
Speaker 2: I didn't have a way in. I was so in

1665
01:33:03,685 --> 01:33:08,845
Speaker 2: awe of it, and your conversation I found enlightening and

1666
01:33:09,485 --> 01:33:12,525
Speaker 2: just really impressive. So a great conversation for people to

1667
01:33:12,565 --> 01:33:14,045
Speaker 2: look up and I'm just looking. I don't know if

1668
01:33:14,045 --> 01:33:19,644
Speaker 2: you considered how the family in particular voted in the past,

1669
01:33:19,845 --> 01:33:23,005
Speaker 2: and I was impressed. Battle of it Algiers coming in fifth,

1670
01:33:23,565 --> 01:33:27,445
Speaker 2: so I'm glad you gave it another push, Josh, because

1671
01:33:27,485 --> 01:33:29,804
Speaker 2: you know, of course Singing in the Rain and Charlocke

1672
01:33:29,885 --> 01:33:34,805
Speaker 2: Junior ended up moving on and we had Alien in

1673
01:33:34,845 --> 01:33:37,445
Speaker 2: there at number two with the family members, yes, and

1674
01:33:37,485 --> 01:33:40,245
Speaker 2: then another title. I think I might have to nominate

1675
01:33:40,365 --> 01:33:44,325
Speaker 2: unless you do Adam from last year it okay.

1676
01:33:44,685 --> 01:33:49,125
Speaker 5: Yeah, all right, yeah yeah, so I thought you might

1677
01:33:49,205 --> 01:33:51,844
Speaker 5: be going here. But yes, it makes sense that you

1678
01:33:51,845 --> 01:33:53,725
Speaker 5: you would nominate Battle of Algiers, which I do think.

1679
01:33:53,765 --> 01:33:56,245
Speaker 5: I mean, obviously it's competing against different titles, so who

1680
01:33:56,245 --> 01:33:59,445
Speaker 5: knows where it will finish, but the one battle after

1681
01:33:59,485 --> 01:34:03,205
Speaker 5: another reles so that's right along with the real world relevancy.

1682
01:34:03,765 --> 01:34:07,245
Speaker 5: I think we'll change things for that film in this

1683
01:34:07,365 --> 01:34:10,725
Speaker 5: year's competition. But the movie I thought you were going

1684
01:34:10,725 --> 01:34:12,525
Speaker 5: to go with Josh, and now it will work out

1685
01:34:12,605 --> 01:34:16,285
Speaker 5: nicely that I get to include this title. It was

1686
01:34:16,365 --> 01:34:20,845
Speaker 5: your wild card title last year and then we discussed it,

1687
01:34:21,285 --> 01:34:24,405
Speaker 5: and so that makes it my sacred cow title this year.

1688
01:34:24,805 --> 01:34:28,965
Speaker 5: And just like we talked about last year, you laid

1689
01:34:28,965 --> 01:34:32,205
Speaker 5: it out very nicely. There needs to be an Agnes

1690
01:34:32,285 --> 01:34:37,564
Speaker 5: Varda film in our pantheon. And while there are many choices,

1691
01:34:37,605 --> 01:34:39,885
Speaker 5: and we've done an Agnes Varda marathon, this film wasn't

1692
01:34:39,885 --> 01:34:42,925
Speaker 5: part of that marathon because we'd seen this film. But

1693
01:34:43,765 --> 01:34:46,845
Speaker 5: I think Cleo from five to seven may be my

1694
01:34:46,925 --> 01:34:50,965
Speaker 5: favorite Agnes Varda film. And when we rewatched it, we

1695
01:34:51,085 --> 01:34:55,845
Speaker 5: swooned for this movie. I gave it five stars. This

1696
01:34:56,645 --> 01:34:59,965
Speaker 5: is a film that is very well known, especially in

1697
01:34:59,965 --> 01:35:01,885
Speaker 5: film school circles, which is where I watched it for

1698
01:35:01,925 --> 01:35:04,165
Speaker 5: the first time. Kind of like Raschoman, It's one of

1699
01:35:04,165 --> 01:35:09,205
Speaker 5: those movies because of its technical approach, it's formal approach.

1700
01:35:09,285 --> 01:35:14,005
Speaker 5: It's a movie that is more or less real time.

1701
01:35:14,605 --> 01:35:18,525
Speaker 5: The main character, Cleo played by Karine Marshant, has two

1702
01:35:18,605 --> 01:35:22,365
Speaker 5: hours to wait. She's waiting for the results of a biopsy.

1703
01:35:22,525 --> 01:35:25,085
Speaker 5: It's life or death, right, That's what she's waiting for

1704
01:35:25,725 --> 01:35:30,445
Speaker 5: and while she's wandering around, look you know Paris waiting,

1705
01:35:31,285 --> 01:35:33,165
Speaker 5: she meets a soldier. Now here's a connection to your

1706
01:35:33,245 --> 01:35:35,885
Speaker 5: last film, Josh. She meets a soldier on leave from

1707
01:35:35,925 --> 01:35:39,165
Speaker 5: the Algerian that's right, yep. And and and here it

1708
01:35:39,165 --> 01:35:42,765
Speaker 5: has another connection to one of my favorite movies and

1709
01:35:42,765 --> 01:35:46,085
Speaker 5: trilogies of all time, the Before series, right it it

1710
01:35:46,365 --> 01:35:49,564
Speaker 5: It feels very much of a piece with those films.

1711
01:35:49,565 --> 01:35:53,605
Speaker 5: A link later was clearly influenced by this film in

1712
01:35:54,405 --> 01:35:59,965
Speaker 5: those conversations that that this pair have as they walk

1713
01:36:00,005 --> 01:36:04,925
Speaker 5: around Paris. So it it on its own deserves to

1714
01:36:04,925 --> 01:36:07,885
Speaker 5: be in the pantheon. I think it's that good. The

1715
01:36:07,925 --> 01:36:09,965
Speaker 5: fact of course that it's an Agnes Varta film and

1716
01:36:10,245 --> 01:36:13,165
Speaker 5: the importance that she has to film spotting I think

1717
01:36:13,245 --> 01:36:17,005
Speaker 5: makes it essential. And it did quite well last year. Yeah,

1718
01:36:17,005 --> 01:36:18,085
Speaker 5: I don't know, I don't.

1719
01:36:18,125 --> 01:36:18,365
Speaker 4: I don't.

1720
01:36:18,405 --> 01:36:20,445
Speaker 5: I thought I thought about not saying this stuff because

1721
01:36:20,485 --> 01:36:21,045
Speaker 5: I am.

1722
01:36:21,045 --> 01:36:23,564
Speaker 4: Who I know you punted it out, but I didn't

1723
01:36:23,605 --> 01:36:23,805
Speaker 4: want to.

1724
01:36:23,805 --> 01:36:25,604
Speaker 5: I didn't want to sway things one way or another,

1725
01:36:25,685 --> 01:36:29,045
Speaker 5: if that's even possible. But it really was looking wasn't

1726
01:36:29,045 --> 01:36:30,685
Speaker 5: in Sam for a while, like it was going to

1727
01:36:30,765 --> 01:36:33,564
Speaker 5: be singing in the rain and Cleo not Sherlock Junior,

1728
01:36:33,725 --> 01:36:36,764
Speaker 5: and at the last minute, at the last minute, Sherlock

1729
01:36:36,845 --> 01:36:40,804
Speaker 5: Junior just beat Cleo out to go into the Pantheon.

1730
01:36:40,845 --> 01:36:42,045
Speaker 4: So we'll see what happens this year.

1731
01:36:42,205 --> 01:36:46,365
Speaker 1: Yeah, yeah, I think that, you know, Evarda, that marathon

1732
01:36:46,765 --> 01:36:49,925
Speaker 1: for me was one of the revelatory ones. And also

1733
01:36:50,285 --> 01:36:54,205
Speaker 1: back to the consensus point is you know, Sam probably

1734
01:36:54,245 --> 01:36:59,845
Speaker 1: loves as he's showing his his shirt right now, more

1735
01:36:59,925 --> 01:37:01,724
Speaker 1: than the both of us has two.

1736
01:37:01,685 --> 01:37:04,365
Speaker 4: Dogs inspired by Varda named.

1737
01:37:04,485 --> 01:37:07,684
Speaker 2: That we've got Agnes Varda exactly over on the couch

1738
01:37:07,805 --> 01:37:08,045
Speaker 2: right now.

1739
01:37:08,125 --> 01:37:10,685
Speaker 1: Yeah, so it's really makes us look like hypocrites if

1740
01:37:10,685 --> 01:37:12,165
Speaker 1: we don't have a Varda title.

1741
01:37:12,525 --> 01:37:15,005
Speaker 4: And yes, the Pantheon, Yeah, I think.

1742
01:37:14,845 --> 01:37:18,285
Speaker 2: It was that revisit last year, uh, which just made

1743
01:37:18,285 --> 01:37:22,285
Speaker 2: me appreciate how much she's thinking about and how much

1744
01:37:22,845 --> 01:37:27,644
Speaker 2: how light a touch she she brings to all of these.

1745
01:37:27,685 --> 01:37:34,165
Speaker 2: I mean, she's you know, she's as intellectually committed, uh

1746
01:37:34,245 --> 01:37:38,724
Speaker 2: and and engaged, rigorous, but I mean.

1747
01:37:38,685 --> 01:37:40,925
Speaker 1: But it's the light touch. It's the light touch.

1748
01:37:40,925 --> 01:37:45,005
Speaker 2: And it's also it's because she's she's more interested in life,

1749
01:37:45,645 --> 01:37:50,604
Speaker 2: in the life of of her subjects. But everything they encounter.

1750
01:37:51,285 --> 01:37:53,684
Speaker 2: I just love her, love her. So yeah, you went

1751
01:37:53,725 --> 01:37:55,325
Speaker 2: where I was going to have to go at them.

1752
01:37:55,365 --> 01:37:58,445
Speaker 2: So we're helping each other out here. I'm going off

1753
01:37:58,485 --> 01:38:02,445
Speaker 2: the grid. I was going to I was going to

1754
01:38:02,525 --> 01:38:07,125
Speaker 2: do umbrellas for shirt Boork for my marathon pick, which

1755
01:38:07,285 --> 01:38:11,564
Speaker 2: I'm not against, but this other title has been like

1756
01:38:11,645 --> 01:38:14,045
Speaker 2: my second pick. It was already was in the mix

1757
01:38:14,125 --> 01:38:16,005
Speaker 2: both last year and it was this year, and it

1758
01:38:16,085 --> 01:38:18,564
Speaker 2: keep keep knocking it back. But because we've got Varda

1759
01:38:18,765 --> 01:38:21,845
Speaker 2: up there now, I do have as part of the dog.

1760
01:38:21,885 --> 01:38:23,604
Speaker 2: I do have Jacques to me the dog. I might

1761
01:38:23,685 --> 01:38:26,245
Speaker 2: owe it, but maybe I'll wait till next year. I'm

1762
01:38:26,245 --> 01:38:29,205
Speaker 2: going to throw stop making sense in here. It was

1763
01:38:29,285 --> 01:38:32,604
Speaker 2: a consideration for me in the sacred Cow category. Again

1764
01:38:32,685 --> 01:38:35,605
Speaker 2: this is another number two. Yeah, I mean this is

1765
01:38:35,645 --> 01:38:38,405
Speaker 2: a film that is I have had the experience a

1766
01:38:38,405 --> 01:38:40,805
Speaker 2: couple of times now and everyone should have in their

1767
01:38:40,845 --> 01:38:44,165
Speaker 2: life of seeing this in a packed space, whether it's

1768
01:38:44,165 --> 01:38:46,765
Speaker 2: a theater, it was a bar last year. For me,

1769
01:38:48,165 --> 01:38:53,125
Speaker 2: it is ecstatic. It is ecstatic cinema and it is cinema.

1770
01:38:53,165 --> 01:38:55,405
Speaker 2: It is and you guys did it was part of

1771
01:38:55,845 --> 01:38:58,564
Speaker 2: it was a sacred Cow. It was part of our

1772
01:38:58,605 --> 01:39:04,764
Speaker 2: eight from eighty four series. We packaged it with Purple

1773
01:39:04,845 --> 01:39:08,805
Speaker 2: rain and it was a spinal tap spile tap, yeah,

1774
01:39:08,925 --> 01:39:13,005
Speaker 2: spinal tap. So but I but I think from what

1775
01:39:13,045 --> 01:39:18,045
Speaker 2: I remember of that conversation, still you know you you,

1776
01:39:18,285 --> 01:39:20,805
Speaker 2: you were able to convey that the real, you know,

1777
01:39:21,525 --> 01:39:25,564
Speaker 2: power of it as cinema, as a film of Demi's film,

1778
01:39:25,885 --> 01:39:29,165
Speaker 2: not to me, Demi. Okay, that's where that's where I'm pivoting.

1779
01:39:29,245 --> 01:39:33,805
Speaker 2: I'm adding an M and any yeah, yeah, Stop Making

1780
01:39:33,845 --> 01:39:37,685
Speaker 2: Sense belongs or at least it deserves a shot. It

1781
01:39:37,805 --> 01:39:41,125
Speaker 2: was you'd seen it before, Adam the eight for eighty

1782
01:39:41,125 --> 01:39:42,005
Speaker 2: four and Josh.

1783
01:39:41,725 --> 01:39:44,765
Speaker 4: You've seen this or yes, okay, yes, yeah, yes.

1784
01:39:44,685 --> 01:39:47,085
Speaker 2: And for the longest time it was a movie I

1785
01:39:47,125 --> 01:39:49,005
Speaker 2: love the Talking Heads. I know you were not a

1786
01:39:49,005 --> 01:39:51,885
Speaker 2: fan of the Talking Heads, Adam, but I always.

1787
01:39:52,005 --> 01:39:54,925
Speaker 5: Wasn't right, but I watched Stop Making You Become You

1788
01:39:55,045 --> 01:39:57,325
Speaker 5: Become One.

1789
01:39:57,645 --> 01:39:59,765
Speaker 2: I remember thinking and not watching it. I was never

1790
01:39:59,805 --> 01:40:02,445
Speaker 2: a fan of concert films, and it was like, well,

1791
01:40:02,485 --> 01:40:06,165
Speaker 2: how how great can a concert film be? And really,

1792
01:40:06,445 --> 01:40:10,405
Speaker 2: if if that's your opinion, you have you have a

1793
01:40:10,485 --> 01:40:14,405
Speaker 2: treat awaiting you because you you you discover right away

1794
01:40:14,845 --> 01:40:18,005
Speaker 2: from the very first moments of the film. You're taking

1795
01:40:18,045 --> 01:40:21,445
Speaker 2: on a very special journey as you see u. Uh,

1796
01:40:21,765 --> 01:40:25,245
Speaker 2: first a band and then what feels like the entire

1797
01:40:25,525 --> 01:40:29,644
Speaker 2: earth being created on stage, you know, uh, celebratory thing.

1798
01:40:29,765 --> 01:40:31,925
Speaker 2: So yeah, stop making sense, let's do it. Let's see

1799
01:40:31,925 --> 01:40:32,365
Speaker 2: how it does.

1800
01:40:32,805 --> 01:40:35,045
Speaker 5: Honestly, it was gonna be mine if Cleo was gone.

1801
01:40:35,205 --> 01:40:36,725
Speaker 5: That was probably where I was going to go for

1802
01:40:37,685 --> 01:40:40,805
Speaker 5: I'm glad you went with him. Yeah, Josh, your last pick.

1803
01:40:40,845 --> 01:40:43,525
Speaker 5: It's it's wild card for you and wild card for me.

1804
01:40:44,685 --> 01:40:52,485
Speaker 1: All right, wild card? Do we have a john Ford film?

1805
01:40:52,685 --> 01:40:56,804
Speaker 4: And we do not? We do not, We don't. Okay.

1806
01:40:57,285 --> 01:40:59,564
Speaker 1: Is there a chance that invalidates the entire project?

1807
01:41:02,165 --> 01:41:02,805
Speaker 2: Cross my mind?

1808
01:41:02,965 --> 01:41:05,365
Speaker 4: School of thought that would say that mean yes.

1809
01:41:05,765 --> 01:41:08,805
Speaker 1: So I'm going to propose. I don't know if this

1810
01:41:08,885 --> 01:41:11,885
Speaker 1: is the right choice, but I haven't seen everything of

1811
01:41:11,925 --> 01:41:16,325
Speaker 1: his seen a fair amount, and one that I think

1812
01:41:17,685 --> 01:41:20,525
Speaker 1: deserves to be in the pantheon is How Green was

1813
01:41:20,525 --> 01:41:26,965
Speaker 1: My Valley from nineteen forty one. This is an adaptation spotting.

1814
01:41:26,965 --> 01:41:29,765
Speaker 1: I thought it might be for both of you. Okay,

1815
01:41:29,925 --> 01:41:34,565
Speaker 1: all right, well fun, that would be fun. Then, to

1816
01:41:34,165 --> 01:41:37,605
Speaker 1: give you a chance to check this out, it's an adaptation.

1817
01:41:38,045 --> 01:41:40,804
Speaker 1: Richard Lewellen novel about a coal mining family in nineteenth

1818
01:41:40,805 --> 01:41:45,205
Speaker 1: century Wales. Basically, it's a strange film because it chronicles

1819
01:41:45,205 --> 01:41:48,245
Speaker 1: the work stoppages, the hunger, the heartbreak, the illness to death,

1820
01:41:49,005 --> 01:41:53,205
Speaker 1: the separation that defines this community's life. But it's somehow

1821
01:41:53,565 --> 01:41:57,765
Speaker 1: honestly warm and nostalgic at least that's how it struck me,

1822
01:41:58,045 --> 01:42:04,165
Speaker 1: and that balancing act is a bit magical that Ford managed.

1823
01:42:04,205 --> 01:42:07,085
Speaker 1: It's a movie I've long wanted to watch again and

1824
01:42:07,125 --> 01:42:09,125
Speaker 1: to see if I was just like in a receptive

1825
01:42:09,165 --> 01:42:11,925
Speaker 1: mood and a good mood or what's going on. I

1826
01:42:12,005 --> 01:42:16,525
Speaker 1: know the compositions here, especially of groups, of how he

1827
01:42:16,645 --> 01:42:22,405
Speaker 1: frames this community are staggering and why you have to

1828
01:42:22,445 --> 01:42:28,045
Speaker 1: recognize just from the aspect of yes, filling the frame

1829
01:42:28,125 --> 01:42:30,205
Speaker 1: and knowing how to do that and where to put

1830
01:42:30,205 --> 01:42:34,085
Speaker 1: the camera for it was foundational. So yeah, I've only

1831
01:42:34,165 --> 01:42:35,844
Speaker 1: seen it. One struck me as one of the greats.

1832
01:42:36,565 --> 01:42:38,405
Speaker 1: I am kind of glad that neither of you have,

1833
01:42:38,605 --> 01:42:41,564
Speaker 1: because I would love to hear what you make of it.

1834
01:42:41,645 --> 01:42:43,925
Speaker 1: So my wild card is going to be how green

1835
01:42:44,085 --> 01:42:44,764
Speaker 1: was My Valley?

1836
01:42:44,805 --> 01:42:46,845
Speaker 2: I love that we're going to be watching Citizen Kane

1837
01:42:46,845 --> 01:42:49,405
Speaker 2: and how green was my valley?

1838
01:42:49,565 --> 01:42:51,245
Speaker 4: Yes, spring appropriate love it?

1839
01:42:51,525 --> 01:42:55,564
Speaker 5: Yes, yeah, Sister Kane as a Pantheon title, that's having

1840
01:42:55,605 --> 01:42:58,925
Speaker 5: an anniversary, right, So when we were going to watch

1841
01:42:58,965 --> 01:43:03,765
Speaker 5: anyway and finally discuss an obvious pantheon title that we

1842
01:43:03,845 --> 01:43:06,525
Speaker 5: needed to have a conversation about, and now how Green

1843
01:43:06,605 --> 01:43:10,005
Speaker 5: was My Valley? As I said a blind spot, what

1844
01:43:10,125 --> 01:43:14,965
Speaker 5: I always felt like was, you know, there's maybe more

1845
01:43:15,325 --> 01:43:21,205
Speaker 5: conventional edgy or cinophile picks, right, But nevertheless, it was

1846
01:43:21,245 --> 01:43:23,285
Speaker 5: a film I felt like, I really need to see this,

1847
01:43:23,485 --> 01:43:26,325
Speaker 5: and now now I'll finally have a reason. So I

1848
01:43:26,405 --> 01:43:30,165
Speaker 5: am excited about that. So what films will we be

1849
01:43:31,525 --> 01:43:36,005
Speaker 5: visiting or revisiting over the next few weeks here on

1850
01:43:36,085 --> 01:43:41,325
Speaker 5: film Spotting. We know that we have Rasho Man, we

1851
01:43:41,405 --> 01:43:42,805
Speaker 5: know that we have I wonder if I'll have a

1852
01:43:42,845 --> 01:43:44,325
Speaker 5: different perspective on it this time?

1853
01:43:45,845 --> 01:43:46,525
Speaker 1: Well done?

1854
01:43:47,885 --> 01:43:52,005
Speaker 5: How Green was My Valley? And we are about to

1855
01:43:52,045 --> 01:43:57,205
Speaker 5: have a third because my final pick, I'm building up

1856
01:43:57,245 --> 01:44:00,325
Speaker 5: the suspense a little, leader Sam, My third and final

1857
01:44:00,405 --> 01:44:03,564
Speaker 5: choice is my wild card choice, and I'm gonna I'm

1858
01:44:03,605 --> 01:44:05,885
Speaker 5: gonna throw out a little test here. We'll see, we'll

1859
01:44:05,885 --> 01:44:09,644
Speaker 5: see if you guys pass or if I fail. Actually,

1860
01:44:10,485 --> 01:44:15,045
Speaker 5: if if I was going to suggest that there was

1861
01:44:15,085 --> 01:44:19,725
Speaker 5: a first lady of film spotting, you might say, it's

1862
01:44:19,765 --> 01:44:20,525
Speaker 5: Agnes Varna.

1863
01:44:21,285 --> 01:44:23,205
Speaker 2: You might say it, I wonder if you'll go where

1864
01:44:23,245 --> 01:44:23,965
Speaker 2: I almost went.

1865
01:44:24,045 --> 01:44:26,725
Speaker 5: Okay, okay, So you might say that, But also you

1866
01:44:26,805 --> 01:44:31,205
Speaker 5: might not say that because you know she she hasn't

1867
01:44:31,245 --> 01:44:33,925
Speaker 5: been around for you know, she she hasn't been making

1868
01:44:33,965 --> 01:44:36,445
Speaker 5: films for you know, the bulk of the time that

1869
01:44:36,525 --> 01:44:39,605
Speaker 5: film spotting has has been around here, right, If you

1870
01:44:39,605 --> 01:44:42,205
Speaker 5: want to think of a filmmaker who has been vital

1871
01:44:42,285 --> 01:44:46,205
Speaker 5: during the period that film spotting has been around. If

1872
01:44:46,285 --> 01:44:49,365
Speaker 5: I said to you, who is the first lady of

1873
01:44:49,405 --> 01:44:56,365
Speaker 5: film spotting, who would it be? And this is not rhetorical,

1874
01:44:56,445 --> 01:44:57,045
Speaker 5: I'm asking.

1875
01:44:57,205 --> 01:45:01,165
Speaker 2: Yeah, I was gonna go with Gerwig, but no, I know,

1876
01:45:03,085 --> 01:45:03,845
Speaker 2: I know who it is.

1877
01:45:03,885 --> 01:45:09,764
Speaker 5: It's right, Chantell Ackerman is in the pantheon with Jean Dielman,

1878
01:45:09,845 --> 01:45:15,005
Speaker 5: of course, and it's awful lonely there for Chantelle Ackerman. Sam,

1879
01:45:15,045 --> 01:45:19,285
Speaker 5: You're you're very you're very astute. I am considering for

1880
01:45:19,325 --> 01:45:23,205
Speaker 5: this spot. Yes, I'm considered Greta Gerwick. But I think

1881
01:45:23,325 --> 01:45:27,045
Speaker 5: I think we've said it many times. The praise that

1882
01:45:27,085 --> 01:45:30,805
Speaker 5: we have given to Kelly Reichert's films over the years

1883
01:45:30,845 --> 01:45:33,965
Speaker 5: here on the show says everything we need to say.

1884
01:45:34,245 --> 01:45:36,844
Speaker 5: The fact that that I have interviewed her three times

1885
01:45:36,845 --> 01:45:40,764
Speaker 5: on the show is also a key factor. The hardest

1886
01:45:40,805 --> 01:45:44,684
Speaker 5: part here is just which which movie do you choose?

1887
01:45:44,805 --> 01:45:47,885
Speaker 5: YEP with with Riiker and I did give this a

1888
01:45:47,885 --> 01:45:50,684
Speaker 5: lot of thought, and I've I've gone back and forth.

1889
01:45:51,005 --> 01:45:57,925
Speaker 5: I honestly wondered if First Cow wasn't the choice because

1890
01:45:57,925 --> 01:46:01,085
Speaker 5: of how much I like that movie. I think it

1891
01:46:01,085 --> 01:46:05,365
Speaker 5: finished second or third that year has been five years

1892
01:46:05,405 --> 01:46:08,085
Speaker 5: in terms of my top ten films of that year.

1893
01:46:09,125 --> 01:46:13,405
Speaker 5: But the movie, and here's here's part of why it

1894
01:46:13,485 --> 01:46:16,445
Speaker 5: is making the list even is making the list because

1895
01:46:16,445 --> 01:46:18,445
Speaker 5: I do think it's the movie that belongs in the pantheon.

1896
01:46:18,565 --> 01:46:21,684
Speaker 5: But here's an here's an added bonus. Okay, these wild

1897
01:46:21,725 --> 01:46:25,604
Speaker 5: card titles are movies that we are revisiting. It was

1898
01:46:26,085 --> 01:46:29,525
Speaker 5: it was reviewed on the show originally when it came out.

1899
01:46:29,565 --> 01:46:31,725
Speaker 5: It's a it's a twenty ten movie, so it was

1900
01:46:31,805 --> 01:46:35,165
Speaker 5: reviewed on the show before you joined, Josh. It was

1901
01:46:35,205 --> 01:46:37,764
Speaker 5: reviewed by myself and Maddie.

1902
01:46:38,365 --> 01:46:39,125
Speaker 1: I know where you're going?

1903
01:46:41,605 --> 01:46:41,965
Speaker 4: What's that?

1904
01:46:42,645 --> 01:46:44,684
Speaker 1: I know where you're going? And it's the right direction.

1905
01:46:44,845 --> 01:46:47,644
Speaker 4: It's john Ford film. So there we go, it's Rekords

1906
01:46:47,725 --> 01:46:48,205
Speaker 4: john Ford.

1907
01:46:48,245 --> 01:46:48,605
Speaker 1: There you go.

1908
01:46:48,685 --> 01:46:51,085
Speaker 5: And Josh, I know it's number one on your ranking

1909
01:46:51,125 --> 01:46:54,085
Speaker 5: of Kelly Rekerd films. I don't have a letterbox ranking

1910
01:46:54,125 --> 01:46:57,085
Speaker 5: of Kelly Rekerd films. Somehow, it seems even though I

1911
01:46:57,085 --> 01:46:58,925
Speaker 5: think I've seen all of her movies except for one,

1912
01:46:59,605 --> 01:47:02,685
Speaker 5: and if I had one, Meek's cut Off is the

1913
01:47:02,725 --> 01:47:06,965
Speaker 5: movie that I would put there. Still, I still feel

1914
01:47:07,005 --> 01:47:10,485
Speaker 5: like it is. It is her, it is her masterpiece.

1915
01:47:10,925 --> 01:47:13,845
Speaker 5: It is if you if you could only watch one

1916
01:47:13,965 --> 01:47:18,205
Speaker 5: Kelly Reichert film that that summed up the entirety of her,

1917
01:47:18,605 --> 01:47:21,325
Speaker 5: of her filmmaking skills and what she has to say say,

1918
01:47:21,485 --> 01:47:23,885
Speaker 5: what she has said as a filmmaker. I feel like

1919
01:47:23,925 --> 01:47:27,445
Speaker 5: it's Meeks cut Off. I know that people could probably

1920
01:47:27,565 --> 01:47:30,325
Speaker 5: argue with that, and would argue with that, and that's great.

1921
01:47:30,525 --> 01:47:33,925
Speaker 5: That's exciting about this too. That's exciting about this pick.

1922
01:47:34,005 --> 01:47:37,405
Speaker 5: That's exciting about Kelly Riikert as a filmmaker. But Meek's

1923
01:47:37,445 --> 01:47:40,285
Speaker 5: cut Off is where I would go. We have pointed

1924
01:47:40,325 --> 01:47:43,485
Speaker 5: to that movie a ton, Josh, even on episode five hundred,

1925
01:47:43,845 --> 01:47:46,805
Speaker 5: I believe at the Music Box that live show, we

1926
01:47:46,845 --> 01:47:50,285
Speaker 5: did Top five movies of the film Spotting Era. Now,

1927
01:47:50,285 --> 01:47:53,365
Speaker 5: granted that was twenty fifteen and we've had ten more

1928
01:47:53,445 --> 01:47:56,125
Speaker 5: years since then, but it was my number five. I

1929
01:47:56,165 --> 01:47:59,564
Speaker 5: think it made my top five in twenty fifteen Top

1930
01:47:59,605 --> 01:48:03,205
Speaker 5: five movies of the film Spotting Era. So Meeks cut

1931
01:48:03,205 --> 01:48:06,005
Speaker 5: Off is the film that I feel like is essential.

1932
01:48:06,085 --> 01:48:10,604
Speaker 5: Kelly Reikert is the filmmaker you talked about Kerrosawa. Obviously

1933
01:48:10,645 --> 01:48:13,885
Speaker 5: that's a little bit of a different scale Josh or Sam,

1934
01:48:13,925 --> 01:48:18,405
Speaker 5: but in terms of the past twenty years, it's Kelly

1935
01:48:18,445 --> 01:48:20,165
Speaker 5: riiker who needs to be represented.

1936
01:48:21,925 --> 01:48:25,965
Speaker 1: I love this. I think to me it's her masterpiece.

1937
01:48:26,045 --> 01:48:28,245
Speaker 1: Though I think I've seen it two or three times.

1938
01:48:28,245 --> 01:48:31,165
Speaker 1: It's been a while and she's made some incredibly good

1939
01:48:31,245 --> 01:48:35,965
Speaker 1: film since, so that maybe deserves some reconsideration. This works

1940
01:48:36,005 --> 01:48:40,085
Speaker 1: great at on the film studies course I'm taking right now.

1941
01:48:40,525 --> 01:48:43,765
Speaker 1: We have a unit on like landscape cinema, eco cinema,

1942
01:48:45,125 --> 01:48:48,245
Speaker 1: you know, the cinema of the West, beyond Hollywood westerns.

1943
01:48:49,365 --> 01:48:53,085
Speaker 1: I'm right in the wheelhouse, you know, So my mind

1944
01:48:53,165 --> 01:48:57,205
Speaker 1: is going to be in that space already. And yeah,

1945
01:48:57,565 --> 01:48:58,445
Speaker 1: love this choice.

1946
01:48:58,765 --> 01:49:02,165
Speaker 2: A movie about a man whose job is to take

1947
01:49:02,205 --> 01:49:05,005
Speaker 2: these people to the Promised Land and instead takes them

1948
01:49:05,085 --> 01:49:10,485
Speaker 2: absolutely nowhere. I can't imagine if we might find anything resonant.

1949
01:49:10,685 --> 01:49:12,645
Speaker 2: I can't imagine. I don't know what we'll find. So

1950
01:49:12,685 --> 01:49:15,245
Speaker 2: fifteenth Anniversary actually didn't get released I think, until the

1951
01:49:15,285 --> 01:49:18,125
Speaker 2: spring of twenty eleven. So I think we're looking at

1952
01:49:18,125 --> 01:49:21,485
Speaker 2: it's fifteenth anniversary this April. So good timing.

1953
01:49:21,605 --> 01:49:28,684
Speaker 5: Okay, okay, nine titles we have laid We have laid

1954
01:49:28,725 --> 01:49:31,885
Speaker 5: them out for you. Rachom on Best Years of Our Lives,

1955
01:49:31,925 --> 01:49:35,045
Speaker 5: Close Up, Harlan County, USA, The Battle of Algiers, Cleo

1956
01:49:35,085 --> 01:49:37,605
Speaker 5: from five to seven, Stop making Sense? How Green was

1957
01:49:37,645 --> 01:49:40,724
Speaker 5: My Valley? Meeks cut off? They're so good. I want

1958
01:49:40,765 --> 01:49:41,924
Speaker 5: to put all nine.

1959
01:49:41,725 --> 01:49:42,085
Speaker 4: Of them in.

1960
01:49:43,165 --> 01:49:47,205
Speaker 5: Think we did well, guys, But alas, only two of

1961
01:49:47,285 --> 01:49:50,965
Speaker 5: them can go in. And yes, we will have three

1962
01:49:50,965 --> 01:49:54,125
Speaker 5: of those titles that we will be discussing over the

1963
01:49:54,165 --> 01:49:56,845
Speaker 5: next few weeks here on the show, and we will

1964
01:49:57,005 --> 01:49:57,805
Speaker 5: will just.

1965
01:49:57,805 --> 01:49:58,405
Speaker 4: Go in order.

1966
01:49:58,565 --> 01:50:01,325
Speaker 5: I imagine the order in which they were mentioned. Well, we'll

1967
01:50:01,325 --> 01:50:06,925
Speaker 5: start with fair enough makes cho is good? Yeah, yeah,

1968
01:50:06,965 --> 01:50:07,925
Speaker 5: that that makes sense.

1969
01:50:08,605 --> 01:50:09,965
Speaker 2: That How Green is My Valley?

1970
01:50:10,045 --> 01:50:12,885
Speaker 4: Yeah, it would go How green do you want to do? Chronological.

1971
01:50:12,965 --> 01:50:16,885
Speaker 4: How just do that? Okay? Yeah, chronologic? I like how

1972
01:50:16,885 --> 01:50:17,764
Speaker 4: green was my Valley?

1973
01:50:17,765 --> 01:50:21,725
Speaker 5: Then Rachoman, and then we'll end up with Meeks cut

1974
01:50:21,805 --> 01:50:24,924
Speaker 5: off from there. For more about the Film Spotting Pantheon,

1975
01:50:25,485 --> 01:50:29,525
Speaker 5: you can find that at filmspotting dot net slash pantheon. Sam,

1976
01:50:29,525 --> 01:50:31,605
Speaker 5: great to see you and hear from you as always.

1977
01:50:31,365 --> 01:50:32,885
Speaker 2: Thanks for joining you guys, so much fun.

1978
01:50:33,005 --> 01:50:35,605
Speaker 1: Yeah we'll see uh so. Yeah, that's our show for

1979
01:50:35,645 --> 01:50:37,925
Speaker 1: this week. If you would like to connect with Adam

1980
01:50:38,005 --> 01:50:42,005
Speaker 1: and the show on Instagram, Facebook, letterbox, or YouTube, you

1981
01:50:42,045 --> 01:50:44,645
Speaker 1: can find him at film Spotting. You can find me

1982
01:50:44,685 --> 01:50:48,045
Speaker 1: at those places as Larsen on film We are independently

1983
01:50:48,045 --> 01:50:51,365
Speaker 1: produced and listener supported. You can support the show by

1984
01:50:51,445 --> 01:50:55,325
Speaker 1: joining the Film Spotting Family over at Filmspottingfamily dot com.

1985
01:50:55,365 --> 01:50:57,765
Speaker 1: You can listen early in ad free. You'll get a

1986
01:50:57,765 --> 01:51:01,445
Speaker 1: weekly newsletter, monthly bonus episodes, and access to the entire

1987
01:51:01,525 --> 01:51:04,405
Speaker 1: show archive. For show t shirts, another merch you can

1988
01:51:04,445 --> 01:51:07,285
Speaker 1: go to film Spotting dot net slash shop.

1989
01:51:07,685 --> 01:51:10,445
Speaker 5: If you're a Danny Boyle fan, you might want to

1990
01:51:10,445 --> 01:51:12,885
Speaker 5: become a Film Spotting Family member. There's a fair amount

1991
01:51:12,965 --> 01:51:16,764
Speaker 5: of boil in the Film Spotting Archive twenty eight years later.

1992
01:51:16,965 --> 01:51:21,405
Speaker 5: Conversation ten forty nine, T two Train Spotting with Boyle

1993
01:51:21,525 --> 01:51:23,885
Speaker 5: on the show Top five, Danny Boyle Characters with the

1994
01:51:23,885 --> 01:51:27,245
Speaker 5: Man Himself six twenty six, Steve Jobs five, Pin fifty nine,

1995
01:51:27,245 --> 01:51:30,005
Speaker 5: Trance four forty one, one hundred and twenty seven Hours

1996
01:51:30,045 --> 01:51:33,245
Speaker 5: three twenty six, slum Dog Millionaire two thirty five, We're

1997
01:51:33,285 --> 01:51:35,805
Speaker 5: going out of order a little bit. Sunshine two fifty four.

1998
01:51:36,085 --> 01:51:41,325
Speaker 5: He's on that show talking about Sunshine and Millions is

1999
01:51:41,365 --> 01:51:45,205
Speaker 5: episode number two. Also, I reference blank Check in my

2000
01:51:45,565 --> 01:51:49,604
Speaker 5: intro to Trainspotting. I also did an appearance during their

2001
01:51:49,685 --> 01:51:54,564
Speaker 5: Danny Boyle series trains Podcasting. I talked about millions as

2002
01:51:54,605 --> 01:51:58,405
Speaker 5: part of that series on blank Check. If you're curious.

2003
01:51:59,005 --> 01:52:04,645
Speaker 5: In limited release, Scarlett, the latest from Japanese animator Mamoru Hosada.

2004
01:52:05,525 --> 01:52:08,285
Speaker 5: We also have Nirvana, the Band, the Show, the movie.

2005
01:52:08,325 --> 01:52:11,205
Speaker 5: This is the new film from Matt Johnson, who made

2006
01:52:11,205 --> 01:52:13,965
Speaker 5: twenty twenty three's BlackBerry. I am very curious about this

2007
01:52:14,085 --> 01:52:18,125
Speaker 5: film out in wide release. Gor Verbinski's Good Luck, Have Fun,

2008
01:52:18,205 --> 01:52:21,925
Speaker 5: Don't Die. It's an interesting premise. Josh Man from the future.

2009
01:52:21,965 --> 01:52:24,485
Speaker 5: That man is Sam Rockwell arrives at a diner in

2010
01:52:24,605 --> 01:52:27,325
Speaker 5: La where he must recruit disgruntled patrons to join him

2011
01:52:27,525 --> 01:52:30,205
Speaker 5: on a one night, six block quest to save humanity

2012
01:52:30,205 --> 01:52:30,884
Speaker 5: from extinction.

2013
01:52:31,565 --> 01:52:33,485
Speaker 1: I like that premise. I'm also a bit of a

2014
01:52:33,485 --> 01:52:36,685
Speaker 1: gor Verbinski defender, so I'd have to catch up with that.

2015
01:52:36,925 --> 01:52:40,125
Speaker 5: Are you a gor Verbinsky completest? Is your list on

2016
01:52:40,205 --> 01:52:41,325
Speaker 5: your ranking on letter boxs?

2017
01:52:41,405 --> 01:52:47,125
Speaker 1: Ooh ooh, great question? After what's the one he did

2018
01:52:47,365 --> 01:52:51,365
Speaker 1: about like Europe period set like a spa, like a

2019
01:52:51,405 --> 01:52:55,445
Speaker 1: wellness spa. The cure for wellness, cure for wellness. That's it. Yeah,

2020
01:52:55,485 --> 01:52:57,645
Speaker 1: if he's made one since then, I haven't seen it,

2021
01:52:57,725 --> 01:52:59,365
Speaker 1: but I have caught up.

2022
01:52:59,405 --> 01:53:02,125
Speaker 5: Probably has, but yeah, probably we're not going to take

2023
01:53:02,125 --> 01:53:04,005
Speaker 5: the time to look it up right now. Cold storage

2024
01:53:04,045 --> 01:53:06,725
Speaker 5: is out. Liam Neeson is a grizzled well what other

2025
01:53:06,845 --> 01:53:11,165
Speaker 5: kind could he be? Bioterror operative who helps two employees

2026
01:53:11,205 --> 01:53:14,485
Speaker 5: at a self storage facility survive the wildest night shift ever.

2027
01:53:14,725 --> 01:53:17,325
Speaker 5: It sounds like you could merge his character with Sam

2028
01:53:17,405 --> 01:53:22,125
Speaker 5: Rockwell's character in the Gorver Robinsky movie. They'd be pretty interchangeable.

2029
01:53:22,365 --> 01:53:25,205
Speaker 5: I do love Sam's note here for us is everyone

2030
01:53:25,285 --> 01:53:25,925
Speaker 5: in Hollywood?

2031
01:53:25,965 --> 01:53:29,644
Speaker 4: Okay? I think we know the answer to that.

2032
01:53:30,125 --> 01:53:32,885
Speaker 1: Sam's such a carrying guy Okay.

2033
01:53:33,685 --> 01:53:38,365
Speaker 4: An elusive thief, a disillusion insurance broker, a relentless detective.

2034
01:53:38,565 --> 01:53:41,804
Speaker 4: It's crime one oh one with Chris wow Allie Berry,

2035
01:53:41,885 --> 01:53:44,764
Speaker 4: Mark Ruffalo, Berry Kogan. I'm not gonna do all the names.

2036
01:53:45,165 --> 01:53:48,205
Speaker 4: Lot more people. One heist connects them all.

2037
01:53:49,205 --> 01:53:51,845
Speaker 1: Yeah, it's probably one oh one. How's your throat? That

2038
01:53:51,965 --> 01:53:55,205
Speaker 1: was It seemed like it might have strained things a bit?

2039
01:53:55,885 --> 01:53:59,005
Speaker 5: Okay, now this is this is also interesting. Josh Goat,

2040
01:53:59,765 --> 01:54:01,765
Speaker 5: a small goat with big dreams, gets a once in

2041
01:54:01,765 --> 01:54:05,045
Speaker 5: a lifetime shot to join the pros and play roar

2042
01:54:05,165 --> 01:54:09,125
Speaker 5: ball with the fastest, fiercest animals in the world. So

2043
01:54:09,165 --> 01:54:11,724
Speaker 5: this is yet another sports movie I need to see.

2044
01:54:11,885 --> 01:54:14,564
Speaker 5: It's possibly inspired by the life and career of the

2045
01:54:14,565 --> 01:54:16,965
Speaker 5: movies Executive producer Steph Curry.

2046
01:54:17,005 --> 01:54:17,764
Speaker 4: Are you interested?

2047
01:54:19,285 --> 01:54:23,805
Speaker 1: I was increasingly confused with every word you said, but

2048
01:54:23,925 --> 01:54:26,925
Speaker 1: I'm now wondering if this is like a low key

2049
01:54:27,885 --> 01:54:34,805
Speaker 1: dig subtweet at lebron Goat. Steph Curry produces a film, Yeah,

2050
01:54:34,845 --> 01:54:38,845
Speaker 1: maybe possibly about himself. I don't know what's going on here,

2051
01:54:38,885 --> 01:54:42,205
Speaker 1: and I don't know. I have capacity my life to

2052
01:54:42,245 --> 01:54:42,685
Speaker 1: find out.

2053
01:54:43,445 --> 01:54:46,845
Speaker 5: Okay, next week we'll talk about what is probably the

2054
01:54:46,885 --> 01:54:50,205
Speaker 5: biggest movie opening. It's certainly the one we're most interested in.

2055
01:54:50,285 --> 01:54:54,525
Speaker 5: It's Emerald Fanelle's Wuthering Heights. Mariah Gates will join us

2056
01:54:54,525 --> 01:54:57,045
Speaker 5: for that, and we will talk about the first film

2057
01:54:57,085 --> 01:55:01,085
Speaker 5: that was nominated for our pantheon. It is nineteen forty

2058
01:55:01,125 --> 01:55:04,205
Speaker 5: one's How Green Was My Valley Sent? I have some

2059
01:55:04,245 --> 01:55:06,285
Speaker 5: homework to do. I'm looking forward to it.

2060
01:55:06,525 --> 01:55:09,165
Speaker 1: Film Spotting is produced by Golden Joe Desso and Sam

2061
01:55:09,245 --> 01:55:12,565
Speaker 1: van Holgren. Without Sam and Golden Joe, this show wouldn't go.

2062
01:55:12,885 --> 01:55:16,405
Speaker 1: Our production assistant is Sophie Kempinar. Special thanks to everyone

2063
01:55:16,405 --> 01:55:20,605
Speaker 1: at wb easy Chicago. More information is available at wbeaz

2064
01:55:20,805 --> 01:55:24,365
Speaker 1: dot or for Film Spotting. I'm Josh Larson.

2065
01:55:24,285 --> 01:55:27,805
Speaker 4: And I'm Adam Kempinar. Thanks for listening. This conversation can

2066
01:55:27,885 --> 01:55:30,885
Speaker 4: serve no purpose anymore, but Barne