1 00:00:00,200 --> 00:00:03,400 Speaker 1: Hey, everybody, it's Scott. I'm excited today it's this is 2 00:00:03,440 --> 00:00:06,480 Speaker 1: this is really exciting. We're introducing a new segment called 3 00:00:07,120 --> 00:00:10,760 Speaker 1: I Am All Minisods. So were there gonna be ten, fifteen, 4 00:00:10,760 --> 00:00:14,360 Speaker 1: maybe twenty minute episodes and we're gonna be discussing films 5 00:00:14,400 --> 00:00:18,599 Speaker 1: that are referenced in the episodes of Gilmore Girls. Today. Uh, 6 00:00:18,600 --> 00:00:22,159 Speaker 1: we're going to be discussing my new friend Henry and 7 00:00:22,200 --> 00:00:26,239 Speaker 1: I whose college student in Indiana who is film I 8 00:00:26,280 --> 00:00:30,479 Speaker 1: think a film major at the University of Indiana. Um, 9 00:00:30,520 --> 00:00:34,919 Speaker 1: and we're gonna be discussing Rosemary's Baby. And uh, let 10 00:00:34,920 --> 00:00:38,480 Speaker 1: me tell you a little bit about this film. Rosemary's 11 00:00:38,520 --> 00:00:44,720 Speaker 1: Baby adapted from the novel by Eye eleven UH. Adapted 12 00:00:44,760 --> 00:00:49,400 Speaker 1: for the screen UH by Roman Polanski, also directed by 13 00:00:49,400 --> 00:00:54,120 Speaker 1: the Great Roman Polanski, produced by Paramount Pictures UH and 14 00:00:54,240 --> 00:00:56,160 Speaker 1: Robert Evans was at the Helm at that time. He 15 00:00:56,240 --> 00:01:00,200 Speaker 1: also shepherded The Godfather onto the screen as well. If 16 00:01:00,200 --> 00:01:05,000 Speaker 1: I Am not mistaken, UM, William Castle producer, Donna Holloway 17 00:01:05,040 --> 00:01:11,119 Speaker 1: associate producer. The music by was music by Christoph Komada UH, 18 00:01:11,200 --> 00:01:15,200 Speaker 1: cinematography by the Great William Freaker, also Sam Osteen and 19 00:01:15,280 --> 00:01:21,080 Speaker 1: Bob Wyman editing two Giants. Uh. Production designed by Richard Silbert, 20 00:01:21,280 --> 00:01:26,240 Speaker 1: Art direction by Joel Schiller, set direction by George R. Nelson. 21 00:01:26,480 --> 00:01:30,680 Speaker 1: Costume designed by and THEA. Silbert. In the makeup department 22 00:01:30,800 --> 00:01:34,760 Speaker 1: was vidall Sassoon, That Videla Sassunias Allan Snyder, Sherry Wilson, 23 00:01:34,840 --> 00:01:40,120 Speaker 1: and Sydney Grilof. I believe that's the pronunciation anyway it 24 00:01:40,280 --> 00:01:46,080 Speaker 1: is starring let me get to that, Mia Farrow, John Cassavetti's, 25 00:01:46,120 --> 00:01:52,200 Speaker 1: Ruth Gordon, Sydney Blackmyre, Maurice Evans, Ralph Bellamy, Victoria Vetry 26 00:01:52,560 --> 00:01:55,920 Speaker 1: Um Charles Grodin appears in the film. Philip Leeds, Hope Summers, 27 00:01:56,000 --> 00:02:01,760 Speaker 1: Mary Ann Gordon, and Wendy Wagner, A many, many, many 28 00:02:01,800 --> 00:02:04,440 Speaker 1: and many others. Uh So we're gonna bring in Henry. 29 00:02:04,440 --> 00:02:09,000 Speaker 1: We're gonna talk about Rosemary's Baby, which was a groundbreaking 30 00:02:09,040 --> 00:02:12,840 Speaker 1: film in terms of its ability to unleash psychological horror 31 00:02:13,880 --> 00:02:19,160 Speaker 1: onto an audience, and it became a very big film, 32 00:02:19,160 --> 00:02:24,799 Speaker 1: blockbuster film um and inspired the likes of the Exorcist 33 00:02:24,880 --> 00:02:28,560 Speaker 1: and other films that dealt in in in realism and 34 00:02:28,680 --> 00:02:32,040 Speaker 1: in horror realism and thriller realism. UM so we're gonna 35 00:02:32,040 --> 00:02:34,920 Speaker 1: bring Henry an. We're gonna talk about this episode, and 36 00:02:35,000 --> 00:02:37,320 Speaker 1: I can't wait to dig into it. Henry, why don't 37 00:02:37,360 --> 00:02:39,320 Speaker 1: you kick it off and tell us a little bit 38 00:02:39,320 --> 00:02:43,440 Speaker 1: about Rosemary's Baby? Awesome? Thank you, Scott. Yes, my name 39 00:02:43,560 --> 00:02:46,680 Speaker 1: is Henry Markin. I'm a senior at Indiana University and 40 00:02:46,720 --> 00:02:50,799 Speaker 1: I love movies. Yes. In episode one of The Gilmore Girls, 41 00:02:50,840 --> 00:02:53,560 Speaker 1: in the midpoint of the show, when Rory first meets 42 00:02:53,600 --> 00:02:56,280 Speaker 1: Dean uh In, Deana is you know, of course hovering 43 00:02:56,280 --> 00:02:59,520 Speaker 1: over her items are just scattered. It's a yard sale 44 00:02:59,560 --> 00:03:03,800 Speaker 1: in the hallway. Rory's just says, God, you're just like 45 00:03:03,880 --> 00:03:07,000 Speaker 1: Ruth Gordon standing there with a tennis root make a noise, 46 00:03:07,840 --> 00:03:12,560 Speaker 1: and Dean says, Rosemary's baby. His first words in the 47 00:03:12,560 --> 00:03:15,200 Speaker 1: show is Rosemary's baby. And that is of course the 48 00:03:15,360 --> 00:03:23,200 Speaker 1: n Roman Polanski thriller about witches and satanic beliefs just 49 00:03:23,400 --> 00:03:27,919 Speaker 1: an ultimate cult classic throughout the centuries. Previous one and 50 00:03:28,040 --> 00:03:30,680 Speaker 1: this current one still has a rippling effect today on 51 00:03:30,880 --> 00:03:35,120 Speaker 1: the genre of thriller and horror. Uh, Scott loves the movie. 52 00:03:35,240 --> 00:03:37,800 Speaker 1: I I liked it, I didn't I liked it. I 53 00:03:37,840 --> 00:03:40,080 Speaker 1: think I didn't love it. Because it really just scared 54 00:03:40,080 --> 00:03:41,640 Speaker 1: the hell out of me, just because of just how 55 00:03:41,800 --> 00:03:44,320 Speaker 1: freaky it was and just what was really going on. 56 00:03:44,440 --> 00:03:47,160 Speaker 1: And it's too real. It's too real. It was too real. 57 00:03:47,920 --> 00:03:50,760 Speaker 1: It's too freaking real. Man. It didn't let you breathe 58 00:03:50,880 --> 00:03:54,440 Speaker 1: because it could happen to you or someone you loved. 59 00:03:54,520 --> 00:03:58,200 Speaker 1: And that's what was so psychl It was psychologically terrifying. 60 00:03:58,800 --> 00:04:01,640 Speaker 1: The filmmakers did and give you any room to breathe. 61 00:04:02,280 --> 00:04:06,480 Speaker 1: Nothing you were You were trapped inside that that world. 62 00:04:06,920 --> 00:04:12,360 Speaker 1: That's how gifted a filmmaker. Polanski is um anyway, So 63 00:04:12,440 --> 00:04:15,600 Speaker 1: let's kick it off. What are your thoughts? All right, 64 00:04:15,640 --> 00:04:17,640 Speaker 1: I'm gonna give a plot summary, and I'm gonna be 65 00:04:17,680 --> 00:04:19,480 Speaker 1: as brief as I can, but I gotta hit all 66 00:04:19,520 --> 00:04:22,599 Speaker 1: the major notes that happened, so bear with me. In short, 67 00:04:22,680 --> 00:04:25,680 Speaker 1: a woman named Rosemary and her husband Guy move into 68 00:04:25,720 --> 00:04:28,400 Speaker 1: a new apartment and right away everything is just whack. 69 00:04:28,560 --> 00:04:30,599 Speaker 1: The neighbors are weird as hell. A woman in the 70 00:04:30,600 --> 00:04:34,279 Speaker 1: building jumps out a window and kills herself, and Rosemary 71 00:04:34,400 --> 00:04:37,599 Speaker 1: can hear chance each night, like some twisted group prayer, 72 00:04:37,720 --> 00:04:41,080 Speaker 1: that something is being summoned. But of course her husband 73 00:04:41,120 --> 00:04:44,359 Speaker 1: Guy says don't worry about it. Just play the course, sweetheart. 74 00:04:44,360 --> 00:04:47,680 Speaker 1: Everything will be just fine. Guy then says, let's start 75 00:04:47,680 --> 00:04:50,640 Speaker 1: a family and raise some kids. Well. The next night, 76 00:04:50,640 --> 00:04:53,240 Speaker 1: one of the weird neighbors played by Ruth Gordon, the 77 00:04:53,320 --> 00:04:56,200 Speaker 1: very actress Rory from The Gilmore Girls, refers to when 78 00:04:56,240 --> 00:05:00,240 Speaker 1: she first meets Dean. Uh gives her a drink and 79 00:05:00,320 --> 00:05:03,360 Speaker 1: some food that was poisoned with something vile, and Rosemary 80 00:05:03,400 --> 00:05:07,760 Speaker 1: consumes it and passes out that night. Guy is insistent 81 00:05:07,960 --> 00:05:10,800 Speaker 1: on conceiving a child that night, and so he has 82 00:05:10,880 --> 00:05:13,200 Speaker 1: sex with her regardless even though she was out like 83 00:05:13,240 --> 00:05:16,960 Speaker 1: a light. Guy does it um. And by the way, 84 00:05:17,000 --> 00:05:18,840 Speaker 1: he wakes up feeling just like a champion, like like 85 00:05:18,920 --> 00:05:22,479 Speaker 1: everything is great. Um. And she's like that was really weird. 86 00:05:22,600 --> 00:05:25,839 Speaker 1: What was that? And Guy says, you know, it's not me, 87 00:05:25,920 --> 00:05:28,280 Speaker 1: it's you. You must have dreamt too much that night. 88 00:05:28,360 --> 00:05:31,599 Speaker 1: It's your fault. You need to settle down. That's you know, 89 00:05:31,680 --> 00:05:34,800 Speaker 1: red flag one. But she's Rosemary is like, okay, whatever, 90 00:05:35,640 --> 00:05:38,400 Speaker 1: her pregnancy is going really wrong. She's losing weight, not 91 00:05:38,480 --> 00:05:41,599 Speaker 1: gaining weight. She impulsively eats rom meat. She's a mess, 92 00:05:41,640 --> 00:05:44,080 Speaker 1: and she's worried. But everyone in her life says, Oh no, 93 00:05:44,200 --> 00:05:47,800 Speaker 1: everything's just fine. You're just crazy, You're just pregnant. You 94 00:05:47,839 --> 00:05:50,599 Speaker 1: need to relax, And this includes her husband, her friends, 95 00:05:50,600 --> 00:05:53,479 Speaker 1: her neighbors, and her doctor. Well, on the night she's 96 00:05:53,520 --> 00:05:56,200 Speaker 1: giving birth, she discovers that everyone in her life I 97 00:05:56,279 --> 00:05:59,200 Speaker 1: just mentioned are all a part of a secret Satanic 98 00:05:59,400 --> 00:06:02,839 Speaker 1: which soci id where Rosemary was chosen to give birth 99 00:06:03,000 --> 00:06:06,000 Speaker 1: to Satan's child. She learns this after her husband and 100 00:06:06,080 --> 00:06:09,880 Speaker 1: doctor tell her that the baby died in childbirth and 101 00:06:09,920 --> 00:06:11,880 Speaker 1: that's why she can't see it. But of course she 102 00:06:12,000 --> 00:06:14,599 Speaker 1: finds out that the baby is alive. She hears a 103 00:06:14,720 --> 00:06:18,040 Speaker 1: child cry, she locates it and escapes the custody she's in, 104 00:06:18,920 --> 00:06:21,080 Speaker 1: and she sees that the baby is half human, half 105 00:06:21,080 --> 00:06:24,880 Speaker 1: devil hidden in the secret society. She wasn't crazy at all. 106 00:06:25,000 --> 00:06:26,960 Speaker 1: As far as the movie, I liked it, I didn't 107 00:06:27,000 --> 00:06:29,400 Speaker 1: love it. You know. It's probably because of how the 108 00:06:29,440 --> 00:06:32,640 Speaker 1: movie made me so uncomfortable. It's really twisted and dark 109 00:06:32,640 --> 00:06:34,560 Speaker 1: and creepy. But of course you can maybe say that 110 00:06:34,680 --> 00:06:38,160 Speaker 1: was a strength of the movie. Anyway you feel about it, 111 00:06:38,160 --> 00:06:40,719 Speaker 1: it's indubitably a cult classic and continues to have a 112 00:06:40,800 --> 00:06:45,120 Speaker 1: rippling effect on the thriller genre and cinema as a 113 00:06:45,160 --> 00:06:48,880 Speaker 1: whole today. That's that's the theme that was definitely touched 114 00:06:48,880 --> 00:06:53,440 Speaker 1: on in that film about the oppression of women and 115 00:06:53,600 --> 00:06:57,800 Speaker 1: the total the controlling of women and the loss of 116 00:06:57,839 --> 00:07:00,920 Speaker 1: control that women had over the own bodies, over their 117 00:07:00,920 --> 00:07:05,240 Speaker 1: own choices, their lives. The constant criticism from John Cassavetti, 118 00:07:05,279 --> 00:07:09,359 Speaker 1: her husband, the constant browbeating, the you know, the doctor 119 00:07:09,600 --> 00:07:12,080 Speaker 1: Saberstein telling her not to read books. You don't want 120 00:07:12,080 --> 00:07:14,320 Speaker 1: to read books. I mean, it was it was very 121 00:07:14,440 --> 00:07:18,679 Speaker 1: very salem Me witch trial kind of stuff, uh, being 122 00:07:19,080 --> 00:07:22,120 Speaker 1: sort of perpetrated by the witches themselves on this poor 123 00:07:22,120 --> 00:07:25,040 Speaker 1: woman and a very you know, a very innocent looking, 124 00:07:25,480 --> 00:07:31,280 Speaker 1: sort of girl ish, baby ish looking Mia Pharaoh, who 125 00:07:31,320 --> 00:07:35,119 Speaker 1: at the time was married to Frank Sinatra Um who 126 00:07:35,240 --> 00:07:37,880 Speaker 1: was and she was under a tremendous amount of pressure, 127 00:07:38,800 --> 00:07:42,920 Speaker 1: uh to leave that filming because he wanted her to 128 00:07:43,080 --> 00:07:46,960 Speaker 1: do this the detective film, the Something Detective that he 129 00:07:47,000 --> 00:07:48,920 Speaker 1: was doing out in Hollywood, and she was flying back 130 00:07:48,960 --> 00:07:52,320 Speaker 1: and forth in New York to work on Rosemary's Baby, 131 00:07:52,320 --> 00:07:57,360 Speaker 1: and he just he divorced her over it. Um. Yeah, 132 00:07:57,440 --> 00:08:00,679 Speaker 1: And and anyways, it's a movie about the young couple 133 00:08:00,720 --> 00:08:04,520 Speaker 1: who moves into the Dakota and New York and h 134 00:08:05,160 --> 00:08:10,560 Speaker 1: she is manipulated by all of these witches who live 135 00:08:10,680 --> 00:08:13,720 Speaker 1: who are neighbors and who had led by Ruth gordon 136 00:08:14,440 --> 00:08:17,000 Speaker 1: Um and even her own husband's manipulated because he makes 137 00:08:17,040 --> 00:08:19,680 Speaker 1: a deal with the devil at these people saying like 138 00:08:19,760 --> 00:08:21,960 Speaker 1: you know, because he's a frustrated actor. His characters are 139 00:08:21,960 --> 00:08:23,880 Speaker 1: prest like, well, we're going to give you a big, 140 00:08:23,960 --> 00:08:28,000 Speaker 1: big career if you go along with us, because we 141 00:08:28,080 --> 00:08:30,960 Speaker 1: need to impregnate your wife with we need to have 142 00:08:31,000 --> 00:08:33,720 Speaker 1: Satan impregnant your wife so that she can give birth 143 00:08:33,760 --> 00:08:39,160 Speaker 1: to Satan's child. That's the film, and it's terrifying. Yeah, essentially, 144 00:08:39,240 --> 00:08:42,120 Speaker 1: like I mean, as you said, the husband guy, John 145 00:08:42,160 --> 00:08:45,320 Speaker 1: Caspaty's character, he he gets the role of the lifetime 146 00:08:45,360 --> 00:08:48,640 Speaker 1: because the other guy, the next guy in line, who 147 00:08:48,679 --> 00:08:52,960 Speaker 1: got the park, goes blind, you know, cannot cannot see, 148 00:08:53,000 --> 00:08:54,880 Speaker 1: cannot act, and he's like, oh, I got the part, 149 00:08:54,880 --> 00:08:57,960 Speaker 1: and he feels super crummy about it because he knows 150 00:08:58,040 --> 00:09:00,800 Speaker 1: that we may deal with the devil and mean and 151 00:09:00,840 --> 00:09:03,320 Speaker 1: Pharaoh's characters like, oh my god, you did it, congrats. 152 00:09:03,000 --> 00:09:05,520 Speaker 1: You no idea that he's just part of this coven 153 00:09:06,000 --> 00:09:14,840 Speaker 1: of witches, right, yeah, And it's just it's just it's 154 00:09:14,960 --> 00:09:20,120 Speaker 1: it's horrifying. It's horrifying because Polanski shot it in a 155 00:09:20,320 --> 00:09:23,920 Speaker 1: style that's known as uh god, what is it called? 156 00:09:23,960 --> 00:09:30,160 Speaker 1: Me mean as sense, which is this sort of continuous shot. 157 00:09:30,320 --> 00:09:32,680 Speaker 1: It's there's no, no, not a lot of cutting. You know, 158 00:09:32,720 --> 00:09:35,240 Speaker 1: there's it's not a montage style of filmmaking where there's 159 00:09:35,240 --> 00:09:37,400 Speaker 1: cuts cuts, cuts, and there's time ellipses and all this 160 00:09:37,520 --> 00:09:39,480 Speaker 1: kind of thing. It's just like you know, you sort 161 00:09:39,480 --> 00:09:42,440 Speaker 1: of like see the see the characters work and walk 162 00:09:42,600 --> 00:09:46,520 Speaker 1: through the scene. There's you know, it's mainly from me 163 00:09:46,640 --> 00:09:48,760 Speaker 1: a pharaoh's point of view. You're either seeing what she's 164 00:09:48,760 --> 00:09:53,360 Speaker 1: seeing or you're seeing a close up of her face. Um. 165 00:09:53,360 --> 00:09:57,760 Speaker 1: So it really uh and it does play on these 166 00:09:57,800 --> 00:10:02,679 Speaker 1: themes of u of of the oppressed woman who's completely 167 00:10:02,679 --> 00:10:06,520 Speaker 1: controlled by her husband and demeaned and completely controlled by 168 00:10:06,559 --> 00:10:10,400 Speaker 1: these this coven of witches. And it's you know, and 169 00:10:10,480 --> 00:10:13,920 Speaker 1: it's scar and that was the psychological terror that the 170 00:10:13,960 --> 00:10:17,600 Speaker 1: audience felt because she was so bound up, and she 171 00:10:17,760 --> 00:10:20,600 Speaker 1: was so confused, and she was so deceived, and she 172 00:10:20,760 --> 00:10:24,320 Speaker 1: was so sweet and so baby like, and they just 173 00:10:24,440 --> 00:10:28,640 Speaker 1: completely controlled everything she did or said, or you know, 174 00:10:28,720 --> 00:10:31,600 Speaker 1: couldn't read the whole thing, so not to mention when 175 00:10:31,679 --> 00:10:37,839 Speaker 1: she was raped by her husband to get the baby impregnated. 176 00:10:38,000 --> 00:10:40,599 Speaker 1: You know, like they're they're talking about, hey, let's have 177 00:10:40,640 --> 00:10:43,199 Speaker 1: a kid, and it's like, you know, we're gonna do it, 178 00:10:43,240 --> 00:10:46,160 Speaker 1: let's do it tonight. She passes out from the drink 179 00:10:46,240 --> 00:10:49,720 Speaker 1: that she has and then her husband essentially it rapes 180 00:10:49,760 --> 00:10:51,280 Speaker 1: her and and that's the kind of start of this, 181 00:10:51,440 --> 00:10:53,880 Speaker 1: like this down I was like, wait what and then 182 00:10:53,920 --> 00:10:56,480 Speaker 1: he and then he justifies it by like, hey, you know, 183 00:10:56,720 --> 00:10:59,560 Speaker 1: I was really hot to trot and you know, maybe 184 00:10:59,559 --> 00:11:01,680 Speaker 1: I had an nail you know, I hadn't I hadn't 185 00:11:01,679 --> 00:11:03,959 Speaker 1: cut my nails and maybe had some jagged nails. And 186 00:11:04,000 --> 00:11:06,080 Speaker 1: I'm sorry for the scratches on your back, and you know, 187 00:11:06,160 --> 00:11:08,000 Speaker 1: but it was a great night for me. And I'm 188 00:11:08,000 --> 00:11:10,720 Speaker 1: gonna go brush my teeth. You know. Yeah, it was 189 00:11:10,800 --> 00:11:13,360 Speaker 1: super that that part was just super weird because he said, 190 00:11:13,880 --> 00:11:15,440 Speaker 1: She's like, why couldn't we have done it? You know, 191 00:11:15,600 --> 00:11:18,319 Speaker 1: in the morning, he's like, I was just loaded that night, 192 00:11:20,520 --> 00:11:25,640 Speaker 1: Jesus um. And it's also interesting how she started out 193 00:11:25,679 --> 00:11:28,640 Speaker 1: with longer hair with a little more color in her 194 00:11:28,640 --> 00:11:33,000 Speaker 1: face and a little more um, sort of girlish wardrobe. 195 00:11:33,559 --> 00:11:35,800 Speaker 1: And then as the film went on, you know, she 196 00:11:35,920 --> 00:11:39,200 Speaker 1: cut her hair. You know, it's about Vadalla Sassoon did it. 197 00:11:39,200 --> 00:11:41,160 Speaker 1: It's in style now, and it's just like this very 198 00:11:41,200 --> 00:11:44,880 Speaker 1: boyish haircut made her almost look a little bit masculine. 199 00:11:45,320 --> 00:11:48,480 Speaker 1: And the clothing changed and she became you know, and 200 00:11:48,520 --> 00:11:51,400 Speaker 1: the and the makeup was more pale, so she was 201 00:11:51,440 --> 00:11:55,600 Speaker 1: more washed out and um, and everyone kept saying how 202 00:11:55,640 --> 00:12:00,120 Speaker 1: bad she looked. They kept right. So they removed her 203 00:12:00,160 --> 00:12:05,320 Speaker 1: femininity completely. They removed her independence, they removed her freedom. Um, 204 00:12:05,360 --> 00:12:11,680 Speaker 1: they imprisoned her. And Rosemary's Baby had a huge impact. UM. 205 00:12:11,840 --> 00:12:15,200 Speaker 1: When it was released, it did very opened. The opening 206 00:12:15,200 --> 00:12:18,480 Speaker 1: weekend for Rosemary's Baby was better than anything Paramount I'd 207 00:12:18,520 --> 00:12:20,560 Speaker 1: seen in years. And then it went on to be 208 00:12:20,600 --> 00:12:23,960 Speaker 1: a huge block blockbuster because it was such you know, 209 00:12:24,080 --> 00:12:26,920 Speaker 1: it was a type of a psychological horror film that 210 00:12:27,000 --> 00:12:30,480 Speaker 1: hadn't been done before, at least not in the United States, 211 00:12:31,600 --> 00:12:34,240 Speaker 1: or it hadn't been done that well by such a 212 00:12:34,240 --> 00:12:39,240 Speaker 1: gifted artist, uh As Polanski, such a uh and coming 213 00:12:39,280 --> 00:12:42,360 Speaker 1: from the Ira eleven novel, you know, Polansky said that 214 00:12:42,400 --> 00:12:46,280 Speaker 1: he didn't really need to write or rewrite a story 215 00:12:46,440 --> 00:12:50,400 Speaker 1: to suit a screenplay. It was all in the book, right. 216 00:12:50,640 --> 00:12:53,000 Speaker 1: So the first I think the first draft of screenplay 217 00:12:53,080 --> 00:12:55,720 Speaker 1: he he wrote was two u or fifty some odd pages, 218 00:12:55,720 --> 00:12:57,679 Speaker 1: which is twice as long as you want it, but 219 00:12:58,040 --> 00:12:59,480 Speaker 1: they had to cut it down to a hundred and 220 00:12:59,520 --> 00:13:04,440 Speaker 1: ten pages or something like that. But um, it was 221 00:13:04,559 --> 00:13:07,720 Speaker 1: just a master stroke of psychological terror. And it was 222 00:13:07,760 --> 00:13:13,679 Speaker 1: the first time that had happened in an English language film. 223 00:13:13,720 --> 00:13:16,320 Speaker 1: But yeah, it had a big impact and it went 224 00:13:16,320 --> 00:13:19,360 Speaker 1: on to be a blockbuster film and it inspired The Exorcist, 225 00:13:19,440 --> 00:13:21,160 Speaker 1: and it was you know, it was the type of 226 00:13:21,160 --> 00:13:26,440 Speaker 1: a psychological thriller that made the audience feel like this 227 00:13:26,559 --> 00:13:33,040 Speaker 1: could really happen. It was realism. It was filming realism. 228 00:13:33,080 --> 00:13:36,160 Speaker 1: This could happen. Definitely, like a lot of horror films, 229 00:13:36,160 --> 00:13:38,640 Speaker 1: you see that that's that's scary as hell, but that 230 00:13:38,679 --> 00:13:41,679 Speaker 1: couldn't possibly happen. This was in the realm of possibility 231 00:13:41,720 --> 00:13:44,480 Speaker 1: because they didn't show the monster, They didn't show any 232 00:13:44,520 --> 00:13:46,719 Speaker 1: of that stuff. I mean, you saw some eyes right 233 00:13:46,800 --> 00:13:51,040 Speaker 1: a little bit, um, but you never really saw the baby. 234 00:13:51,280 --> 00:13:54,120 Speaker 1: And Polansky himself said that that would have been a 235 00:13:54,160 --> 00:13:59,080 Speaker 1: colossal error to show the baby. Um. Um, you know, 236 00:13:59,160 --> 00:14:04,080 Speaker 1: Polanski is an interesting background. I mean he survived the Holocaust. 237 00:14:04,200 --> 00:14:06,880 Speaker 1: His father and mother were taken away as mother died 238 00:14:07,600 --> 00:14:10,400 Speaker 1: in the camps and they were in crack All, Poland, 239 00:14:10,400 --> 00:14:13,520 Speaker 1: and it became a ghetto. And uh, the father survived 240 00:14:13,559 --> 00:14:18,360 Speaker 1: and uh you know, yeah, I think I think I 241 00:14:18,360 --> 00:14:21,640 Speaker 1: think Roman was taken in by neighbors and he survived. 242 00:14:21,680 --> 00:14:23,640 Speaker 1: He moved to Paris, he went to film school, you know, 243 00:14:23,720 --> 00:14:28,840 Speaker 1: and it was just like this awful time. He was 244 00:14:28,880 --> 00:14:32,200 Speaker 1: born in thirty three, I think it was. Um, so 245 00:14:32,280 --> 00:14:34,840 Speaker 1: he had this really horrible childhood. I mean it was 246 00:14:34,920 --> 00:14:38,400 Speaker 1: just filled with just angst and and and you know, 247 00:14:38,480 --> 00:14:43,320 Speaker 1: he put her on film. He became he became a great, 248 00:14:43,720 --> 00:14:46,520 Speaker 1: great director of our times. And no matter what you 249 00:14:46,520 --> 00:14:48,200 Speaker 1: think about him personally, and I know there's a case 250 00:14:48,240 --> 00:14:53,640 Speaker 1: against him and uh in California and uh, but I 251 00:14:53,640 --> 00:14:56,360 Speaker 1: mean we're talking about his his ability to make films, 252 00:14:56,400 --> 00:15:01,240 Speaker 1: his ability as a writer, as a screenwriter and a director. Um. 253 00:15:01,240 --> 00:15:03,280 Speaker 1: And I mean, even watch something you know what you 254 00:15:03,280 --> 00:15:09,080 Speaker 1: should watch? You should you should watch The ghost Writer. Um. 255 00:15:09,120 --> 00:15:12,880 Speaker 1: I actually fired a manager. Uh, I don't know. Ten 256 00:15:12,960 --> 00:15:15,760 Speaker 1: years ago, because when I saw The Ghostwriter, I was 257 00:15:15,800 --> 00:15:18,040 Speaker 1: so impressed, and I didn't know who directed it, but 258 00:15:18,120 --> 00:15:21,120 Speaker 1: I was captivated from the first image and I love 259 00:15:21,160 --> 00:15:25,120 Speaker 1: Whowan McGregor, and I watched the entire film and it 260 00:15:25,160 --> 00:15:28,280 Speaker 1: was it was just I mean, the actors and and 261 00:15:28,720 --> 00:15:32,560 Speaker 1: every scene was just perfectly shot and had the look 262 00:15:32,600 --> 00:15:34,520 Speaker 1: of the film and the field of film and the 263 00:15:34,560 --> 00:15:36,840 Speaker 1: build of the of the suspense and the build and 264 00:15:36,840 --> 00:15:38,480 Speaker 1: the build and the build and the mystery and the 265 00:15:38,520 --> 00:15:41,240 Speaker 1: suspense and the terror and the whole thing. And it 266 00:15:41,320 --> 00:15:43,920 Speaker 1: was just about a guy rewriting UH of replacing a 267 00:15:43,960 --> 00:15:50,640 Speaker 1: writer on uh Prime Minister ex Prime Ministers of England's autobiography. 268 00:15:51,240 --> 00:15:58,520 Speaker 1: Oh that's with Pierce Brosnan, right correct. Brilliant film, brilliant film, brilliant, brilliant, brilliant. 269 00:15:58,560 --> 00:16:00,840 Speaker 1: And I was talking about it my manager and she 270 00:16:01,280 --> 00:16:04,600 Speaker 1: said at the time and she says, that's terrible film. 271 00:16:04,640 --> 00:16:06,680 Speaker 1: And I thought, boy, I can't have this person. Imagine 272 00:16:07,240 --> 00:16:13,080 Speaker 1: have no taste. They have no taste. We mean The Ghostwriters, 273 00:16:13,120 --> 00:16:17,200 Speaker 1: the terrible film. It's a brilliant film, um made by 274 00:16:17,240 --> 00:16:19,120 Speaker 1: a guy who understands film. One of the few people 275 00:16:19,160 --> 00:16:21,760 Speaker 1: that really understands film. And the and the power of film. 276 00:16:22,560 --> 00:16:25,720 Speaker 1: Um but Pulaski is a giant. I mean, he's just 277 00:16:25,760 --> 00:16:29,400 Speaker 1: an absolute giant in the world. Um uh. And but anyway, 278 00:16:29,440 --> 00:16:31,640 Speaker 1: so yeah, I mean that's that's the power of the 279 00:16:31,680 --> 00:16:35,480 Speaker 1: film as it builds over time and and it keeps 280 00:16:35,520 --> 00:16:38,640 Speaker 1: you in the moment, it keeps you in her p 281 00:16:38,800 --> 00:16:41,800 Speaker 1: o V. And it and it there's not a lot 282 00:16:41,800 --> 00:16:43,840 Speaker 1: of cutting back and forth and scenes, you know, it's 283 00:16:43,880 --> 00:16:47,040 Speaker 1: just like, oh my god, I mean, what a perfect 284 00:16:47,040 --> 00:16:50,240 Speaker 1: It's a perfect film. And it did inspire The Exorcist 285 00:16:50,320 --> 00:16:53,720 Speaker 1: and it and the power of the Exorcist. The true 286 00:16:53,800 --> 00:16:58,960 Speaker 1: horror in that film is because the audience is it's 287 00:16:59,000 --> 00:17:01,720 Speaker 1: so relatable, because the audience is so terrified that the 288 00:17:01,840 --> 00:17:04,840 Speaker 1: mother the loss of love between a mother and a daughter, 289 00:17:05,680 --> 00:17:07,920 Speaker 1: and that's really what it is. It's like, I'm losing 290 00:17:07,920 --> 00:17:11,520 Speaker 1: my daughter to the devil, and that's the pain and 291 00:17:11,560 --> 00:17:15,280 Speaker 1: the horror for her. That's that's that comes out at 292 00:17:15,320 --> 00:17:19,360 Speaker 1: the audience, and that's what really hooks people. It's about people. 293 00:17:19,960 --> 00:17:22,760 Speaker 1: It's not about blood or stunts or crazy stuff. It's 294 00:17:22,760 --> 00:17:26,680 Speaker 1: about the connections between people, the love between people. And 295 00:17:26,800 --> 00:17:32,040 Speaker 1: that's what Rosemary's Baby had. Buddy I enjoyed it. Can't 296 00:17:32,040 --> 00:17:35,320 Speaker 1: wait for the next one. Thank you, Appreciate you. We're 297 00:17:35,320 --> 00:17:37,560 Speaker 1: gonna be we're gonna we're gonna be doing these we're 298 00:17:37,600 --> 00:17:40,720 Speaker 1: gonna be doing these films. All right, I'm in, I'm in, 299 00:17:40,840 --> 00:17:41,119 Speaker 1: i'm in.