WEBVTT - Top 5 Needle Drops (Pt. 2) 0:00:21.285 --> 0:00:25.515 Film Spotting is presented by Regal Unlimited, the all-you-can-watch movie 0:00:25.575 --> 0:00:28.395 subscription pass that pays for itself in just two visits. 0:00:28.935 --> 0:00:32.895 See any standard 2D movie, anytime, with no blackout dates 0:00:32.975 --> 0:00:35.754 or restrictions. Sign up now on the Regal app or 0:00:35.894 --> 0:00:38.735 at the link in our description and use code FILMSPOT26 0:00:38.875 --> 0:00:40.145 to receive 15% off. 0:00:45.864 --> 0:00:47.805 What kind of a show are you guys putting on 0:00:47.845 --> 0:00:48.325 here today? 0:00:48.465 --> 0:00:49.505 You're not interested in art? 0:00:49.685 --> 0:00:49.865 No. 0:00:50.114 --> 0:00:51.335 Well, look, we're going to do this thing. 0:00:51.355 --> 0:00:52.595 We're going to have a conversation. 0:00:55.215 --> 0:00:57.535 Hey, film spotters, Adam and Josh here. 0:00:57.735 --> 0:01:01.374 It is time for part two of our top five 0:01:01.475 --> 0:01:04.895 movie needle drops. Josh, I think we've had everybody on 0:01:05.015 --> 0:01:07.385 pins and needles anticipating. 0:01:08.025 --> 0:01:08.445 I'm sure. 0:01:08.584 --> 0:01:10.725 Three through one. I mean, it was such a tease. 0:01:11.105 --> 0:01:17.185 Hopefully it was some good conversation, some illuminating, insights about 0:01:17.985 --> 0:01:22.145 some great scenes, some great music. Maybe illuminating is too 0:01:22.164 --> 0:01:24.735 strong a word. It's what we strive for occasionally here 0:01:24.795 --> 0:01:27.335 on Film Spotting, but we've still got the best ahead 0:01:27.354 --> 0:01:27.574 of us. 0:01:28.414 --> 0:01:31.774 We've got The B-side. We've offered a double album of 0:01:31.815 --> 0:01:35.014 film spotting this week. And I don't know, are B-sides 0:01:35.074 --> 0:01:37.515 considered usually better or a letdown? 0:01:37.535 --> 0:01:39.524 Usually the throwaways, I think. I know. 0:01:39.535 --> 0:01:42.745 So it's the opposite. Let's not say B-side. Let's say 0:01:42.785 --> 0:01:44.145 double album, okay? 0:01:44.164 --> 0:01:44.804 Double album. 0:01:45.065 --> 0:01:46.524 Yeah. Let's go that. 0:01:47.265 --> 0:01:51.065 And this double album, every tune is a banger. Every 0:01:51.105 --> 0:01:54.575 track is a banger with this one. 15 tracks, or 0:01:55.355 --> 0:01:57.355 I'll give you a little spoiler, only. 0:01:57.355 --> 0:01:58.925 14 tracks. 0:01:58.985 --> 0:02:03.185 My math is bad. 14 tracks, I think, because we 0:02:03.225 --> 0:02:07.415 do share. There is a shared choice coming up here 0:02:08.055 --> 0:02:10.855 in a bit. We did give you part one picks 0:02:10.915 --> 0:02:12.995 five through four a couple of days ago. You can 0:02:13.035 --> 0:02:15.255 find that in the film spotting feed. You can also 0:02:15.295 --> 0:02:18.195 hear a recommendation of the new movie. It ends a 0:02:18.255 --> 0:02:22.215 golden brick contender now. We shared the poll results for 0:02:22.275 --> 0:02:26.915 the best third movie by a director. And since 2020, 0:02:26.915 --> 0:02:30.435 we should also stipulate, we also announced a new poll 0:02:31.075 --> 0:02:35.424 where we want to know who's the best 90s movie villain. 0:02:35.704 --> 0:02:38.045 We think it's obvious. I haven't looked at the results yet. 0:02:38.105 --> 0:02:40.385 We'll see if our listeners agree, Josh, that it is 0:02:40.445 --> 0:02:44.704 in fact obvious. So let's now go to Rico. Let's 0:02:44.745 --> 0:02:47.484 go to the two of us. And here are three 0:02:47.755 --> 0:02:48.195 through one. 0:02:48.605 --> 0:02:54.065 Needle drops. Rico, you're number three. 0:02:54.225 --> 0:02:55.005 Here we go. 0:02:55.544 --> 0:03:00.285 Number three. This one, it's almost too obvious, but I 0:03:00.345 --> 0:03:02.894 also like, I think maybe the reason, the way that 0:03:02.935 --> 0:03:05.014 I was picking this, I never really talked about what 0:03:05.035 --> 0:03:07.255 my parameters were, just like the things that moved me 0:03:07.915 --> 0:03:11.715 that I really, and nothing beats the, well, two things 0:03:11.755 --> 0:03:13.174 beat this because we've got two more on our list, 0:03:13.215 --> 0:03:16.075 but almost nothing beats this, which is the use of 0:03:16.155 --> 0:03:24.524 trouble by Cat Stevens in Harold and Maude. One of 0:03:24.544 --> 0:03:28.005 the great soundtracks ever. And a movie that I saw 0:03:28.144 --> 0:03:31.065 probably like a lot of people, you know, in repertory, 0:03:31.644 --> 0:03:33.975 you know, it was in a place in Pittsburgh called 0:03:34.035 --> 0:03:37.575 the Pittsburgh Playhouse that had a different movie every night. 0:03:37.975 --> 0:03:40.675 And Harold and Maude was one of the perennial favorites, 0:03:40.755 --> 0:03:44.095 along with things like Monty Python and the Holy Grail and, 0:03:44.715 --> 0:03:47.975 you know, The Graduate, things like that. But that was 0:03:48.015 --> 0:03:51.475 probably the first time I'd ever heard Cat Stevens. And 0:03:51.515 --> 0:03:53.535 it seemed, first of all, is that so many of 0:03:53.595 --> 0:03:56.255 his songs, even though they were written in the 70s, feel, 0:03:56.355 --> 0:04:00.615 in some cases late 60s, still feel so modern to me. 0:04:01.155 --> 0:04:04.034 They're these perfect, they're not like, you know, in that era, 0:04:04.055 --> 0:04:05.615 there was a lot of epics. There was a lot 0:04:05.655 --> 0:04:08.475 of prog going on. These were just like these perfect 0:04:08.515 --> 0:04:12.295 little pop gems. And there's like 10,000 of them in 0:04:12.345 --> 0:04:16.205 this movie. And that one is the most heartbreaking. Should 0:04:16.225 --> 0:04:18.625 I say what it is for those who somehow listen 0:04:18.645 --> 0:04:20.605 to the show and haven't seen Harold and Maude? Because 0:04:20.625 --> 0:04:22.555 it is a pretty big spoiler. It's like right at 0:04:22.575 --> 0:04:22.875 the end. 0:04:23.755 --> 0:04:25.234 I think you've given them enough warning. 0:04:25.415 --> 0:04:27.175 Turn it off if you must. So, you know, Harold 0:04:27.215 --> 0:04:30.455 and Maude, of course, about a May-December romance between young 0:04:30.495 --> 0:04:36.395 Harold and octogenarian Maude. At the end, he thinks that 0:04:36.415 --> 0:04:39.635 he's going to marry this woman. And he's also a 0:04:39.654 --> 0:04:42.475 guy who's ironically been obsessed with death, and she's given 0:04:42.515 --> 0:04:45.895 him a reason to really love life. And he goes 0:04:45.935 --> 0:04:48.374 to her house thinking that he's going to marry this person, 0:04:48.495 --> 0:04:51.315 and she reveals that she's decided on her birthday to 0:04:51.935 --> 0:04:55.525 take pills and end her life. And in one of 0:04:55.545 --> 0:04:58.985 the great cuts ever, he looks at her for forever 0:04:59.045 --> 0:05:00.964 and ever and ever when she tells him that she's 0:05:00.985 --> 0:05:03.585 done this. And he just says, what? And at the 0:05:03.865 --> 0:05:07.625 second that he says it, it cuts to an ambulance. 0:05:08.205 --> 0:05:11.175 And him not wanting her to die. And that song 0:05:11.205 --> 0:05:14.395 by Cat Stevens starts playing. And it's a very obvious 0:05:14.415 --> 0:05:17.835 song to play. It's about trouble. Oh, trouble. Trouble, move 0:05:17.875 --> 0:05:21.315 from me. In some ways, it's a really obvious choice 0:05:21.375 --> 0:05:23.885 if you're going to be soundtracking your entire movie with 0:05:23.945 --> 0:05:27.705 Cat Stevens. But it's also just so freaking beautiful. And 0:05:27.725 --> 0:05:30.565 I think if my memory serves, you can't even hear 0:05:30.665 --> 0:05:35.055 the siren. It's just the music. You know, the actual... 0:05:35.555 --> 0:05:38.575 Details of what happens almost don't matter. What matters is 0:05:38.635 --> 0:05:44.195 how truly sad this is. And it continues through the sequence. 0:05:44.315 --> 0:05:47.515 She has passed away. The doctor comes out. You can't 0:05:47.575 --> 0:05:50.125 hear what's being said, but you know that she's actually died. 0:05:50.545 --> 0:05:53.265 He goes and gets into his car. It seems like 0:05:53.325 --> 0:05:55.565 he's going to kill himself by driving off the edge 0:05:55.585 --> 0:05:58.345 of a cliff. And just as he's about to drive 0:05:58.365 --> 0:06:00.544 off the edge of a cliff and the song ends... 0:06:01.695 --> 0:06:03.195 The car goes over the edge of the cliff, but 0:06:03.235 --> 0:06:05.075 we reveal that he jumped free and he did not 0:06:05.115 --> 0:06:06.395 go over the edge of the cliff. And he's just 0:06:06.415 --> 0:06:10.534 standing there holding a banjo. It's the saddest moment followed 0:06:10.575 --> 0:06:15.455 by the most hopeful moment ever. And just thinking about 0:06:15.495 --> 0:06:17.655 it makes the hairs on the back of my neck 0:06:18.105 --> 0:06:21.604 stand on end pretty hard to top. And by the way, 0:06:21.885 --> 0:06:27.525 Cameron Crowe was responsible for re-releasing that album in its entirety. 0:06:27.605 --> 0:06:31.455 That soundtrack was often truncated. And I think it was 0:06:31.475 --> 0:06:34.095 back in the 90s, Cameron Crowe, of all people, decided 0:06:34.115 --> 0:06:37.714 that he was going to get the full soundtrack reissued. 0:06:37.755 --> 0:06:40.325 And there's just tons and tons of great music on that. 0:06:40.445 --> 0:06:42.965 Since then, it's also been reissued with everything. But I 0:06:43.005 --> 0:06:44.705 just want to say that Cameron Crowe agrees with me. 0:06:46.185 --> 0:06:46.805 As he should. 0:06:46.825 --> 0:06:50.285 And how about just the fact that you could do 0:06:50.325 --> 0:06:53.605 an entire top five of uses of Cat Stevens songs 0:06:53.645 --> 0:06:54.065 in movies? 0:06:54.185 --> 0:06:54.345 Yeah. 0:06:54.464 --> 0:06:55.844 Because you would have. 0:06:56.275 --> 0:06:57.635 I mean, Rushmore has two of them. 0:06:57.654 --> 0:06:59.555 Yeah, I mean, this is maybe an incomplete list, but 0:06:59.615 --> 0:07:02.715 not only do you have Trouble, of course, you have 0:07:02.915 --> 0:07:04.534 From Harold and Maude, If You Want to Sing Out, 0:07:04.594 --> 0:07:09.225 Sing Out, which is also great. Rushmore, The Wind, fantastic. 0:07:10.025 --> 0:07:12.005 Maybe not that great of a movie, but Father and 0:07:12.065 --> 0:07:14.605 Son in Guardians of the Galaxy Vol. 2. 0:07:14.605 --> 0:07:16.065 Wild World, my favorite. 0:07:16.085 --> 0:07:16.505 It's amazing. 0:07:16.525 --> 0:07:20.965 Cat Stevens song. Peace Train in Almost Famous and The Holdovers. 0:07:21.065 --> 0:07:24.355 There are probably others. The Wind is also in The Holdovers. 0:07:24.375 --> 0:07:24.715 Yeah. 0:07:25.125 --> 0:07:28.255 Yeah. Rushmore. I think Rushmore has Here Comes My Baby. 0:07:28.315 --> 0:07:29.795 That's his too, right? Here Comes My Baby too. So 0:07:30.495 --> 0:07:34.375 I don't think Cat Stevens certainly was played as I 0:07:34.395 --> 0:07:37.895 was growing up. You know, my parents had those records, 0:07:38.815 --> 0:07:42.175 but I think my movie experience of his music was 0:07:42.255 --> 0:07:45.975 probably Rushmore first. I came sadly late to Harold and Maude, 0:07:45.995 --> 0:07:48.395 which of course is, you know, has been noted as 0:07:48.445 --> 0:07:51.445 a huge influence on Wes Anderson. So it makes complete 0:07:51.485 --> 0:07:57.775 sense that he would use two of Steven's songs in Rushmore. But, um, yeah, 0:07:57.895 --> 0:08:00.385 I think, you know, the wind was a tempting in 0:08:01.445 --> 0:08:03.325 Rushmore was a tempting choice for me, but I went 0:08:03.345 --> 0:08:07.105 another Wes Anderson direction. Um, as we'll get to, we'll 0:08:07.125 --> 0:08:11.245 get to not going to go there for my number three. However, um, 0:08:11.645 --> 0:08:15.315 let me make another choice first. And that is going 0:08:15.375 --> 0:08:20.935 to be, uh, from killer of sheep, the Charles Burnett film. Um, 0:08:21.015 --> 0:08:25.005 the song is this bitter earth. sung by Dinah Washington. 0:08:25.065 --> 0:08:29.015 This is Burnett's 1978 masterwork set in the Watts neighborhood 0:08:29.255 --> 0:08:33.655 of LA. Basically follows a husband, a father. He's a 0:08:33.695 --> 0:08:37.215 slaughterhouse worker. He puts in these long hours working. He 0:08:37.275 --> 0:08:43.295 notably avoids taking illegal shortcuts to make money. And yet 0:08:43.735 --> 0:08:48.845 the American dream, he just can't get it. He can't 0:08:48.905 --> 0:08:54.345 grasp it. The movie itself, famously couldn't get distribution for 0:08:54.365 --> 0:08:57.484 years precisely because of the music. Burnett couldn't secure the 0:08:57.545 --> 0:09:00.205 rights to all the music that he uses here. And 0:09:00.265 --> 0:09:02.944 it's so key to what the film does. So it's 0:09:03.025 --> 0:09:07.334 understandable that he had to fight this battle because in 0:09:07.355 --> 0:09:10.655 addition to Dinah Washington, the movie employs Paul Robeson, Earth, 0:09:10.695 --> 0:09:14.835 Wind & Fire, Rachmaninoff, Gershwin. The needle drop that I'm 0:09:14.875 --> 0:09:17.965 going with though is Dinah Washington with This Better Earth. 0:09:18.105 --> 0:09:21.444 And this plays... As the husband and wife, they're played 0:09:21.465 --> 0:09:26.185 by Henry Gale Sanders and Casey Moore. They're dancing. They're actually, 0:09:26.525 --> 0:09:31.035 they're almost like just kind of slowly, softly swaying in 0:09:31.735 --> 0:09:36.494 the room of their apartment. They're against this window that's glowing. 0:09:37.115 --> 0:09:42.094 So it's this sadly beautiful image because it should be romantic. 0:09:42.255 --> 0:09:45.985 It should be sentimental. But here's where the song's title 0:09:46.245 --> 0:09:50.115 comes in and how the song just, you know, sounds, 0:09:50.395 --> 0:09:53.834 it's about, partly about life feeling like a dead end. 0:09:53.895 --> 0:09:56.655 You know, the world being stacked against you. 0:09:57.515 --> 0:10:09.655 This bitter earth. Well, what a fruit it bears. 0:10:11.075 --> 0:10:15.345 Burnett uses this long extended fixed take. for this, to 0:10:15.405 --> 0:10:17.244 let the music play out, to let them be in 0:10:17.285 --> 0:10:20.065 the moment together and not interrupt it, interrupt it with 0:10:20.125 --> 0:10:25.415 any edits. It's interesting, like more is moving more than 0:10:25.515 --> 0:10:29.665 Sanders is. She's trying to caress him and he's not responding. 0:10:29.725 --> 0:10:33.105 It's almost like he's this statue floating in the air 0:10:33.165 --> 0:10:37.045 more than he's fully embracing the music. And sure enough, 0:10:37.225 --> 0:10:40.535 when the song ends, she tries to kiss him Some more. 0:10:40.695 --> 0:10:43.365 And he just kind of peels himself away and walks 0:10:43.465 --> 0:10:47.964 off screen. So it's a deeply sad moment. It's deeply moving. 0:10:48.505 --> 0:10:51.145 And I would say this is like a complimentary example. 0:10:51.225 --> 0:10:54.925 It's just perfectly complimented by the use of this bitter earth. 0:10:55.905 --> 0:10:58.755 In some ways, based on your description of the track, Josh, 0:10:58.795 --> 0:11:03.715 maybe one that is complimentary with the song I'm going 0:11:03.735 --> 0:11:07.555 to talk about next. And you were just mentioning Wes Anderson. 0:11:08.495 --> 0:11:10.155 not going to go with the wind, a song I 0:11:10.415 --> 0:11:14.104 was very familiar with. So not a discovery for me here. 0:11:14.465 --> 0:11:17.585 And we know the Royal Tenenbaums is out, still definitely 0:11:17.865 --> 0:11:20.844 dozens to choose from. And while I know most of 0:11:20.885 --> 0:11:24.255 the songs I've heard in Wes Anderson's films, there are 0:11:24.314 --> 0:11:29.495 still occasions where he surprises me. And ironically, I'm going 0:11:29.535 --> 0:11:33.444 with the needle drop from a relative disappointment because I, 0:11:33.775 --> 0:11:36.365 I still, I liked the movie when I saw it, 0:11:36.465 --> 0:11:39.185 but it is, it is second from the bottom on 0:11:39.225 --> 0:11:43.084 my Wes Anderson ranked list. And the only, the asterisk 0:11:43.145 --> 0:11:46.325 I have to put here is it is the only 0:11:46.365 --> 0:11:49.765 Wes Anderson film that I haven't revisited. It's the only 0:11:49.845 --> 0:11:52.665 one I've seen once that I saw, I saw it 0:11:52.705 --> 0:11:57.545 in the theater and that is it. Maybe since Josh, 0:11:57.585 --> 0:12:01.115 we have Subsequently to this movie coming out, we have 0:12:01.135 --> 0:12:05.535 done a Satyajit Ray marathon, and I am now a 0:12:05.695 --> 0:12:09.675 real appreciator of his work. Maybe I will appreciate this 0:12:09.845 --> 0:12:15.385 film more. The film is The Darjeeling Limited, and the 0:12:15.465 --> 0:12:19.344 song accompanies, and it's my only choice, it accompanies an 0:12:19.425 --> 0:12:24.715 opening sequence. Yeah, of course, I knew the kinks. I 0:12:24.975 --> 0:12:28.265 had heard Lola before. I'd heard You Really Got Me 0:12:28.804 --> 0:12:32.984 a million times on the radio. I'm pretty sure I 0:12:33.005 --> 0:12:38.045 had never heard another kink song behind those two. And 0:12:38.205 --> 0:12:42.074 in this scene, the opening of the Darjeeling Limited, a 0:12:42.155 --> 0:12:46.215 train is leaving. We're in India. A train is departing 0:12:46.235 --> 0:12:51.255 the station. Bill Murray is running after it. That's my train. 0:12:51.314 --> 0:12:55.575 He's late. He's trying to chase it down. And There's 0:12:55.635 --> 0:12:59.735 traditional music playing. It's fairly quiet on the soundtrack. And 0:12:59.755 --> 0:13:02.824 then all of a sudden, as we see Bill Murray running, 0:13:03.765 --> 0:13:06.705 it's in close-up, in profile. And then we see Adrian 0:13:06.745 --> 0:13:10.665 Brody's character, Peter, appear in the frame running alongside him. 0:13:11.445 --> 0:13:14.094 And on the next cut, it's so good. It's a 0:13:14.184 --> 0:13:17.494 wide shot. And the train is on the left of 0:13:17.875 --> 0:13:20.815 the frame and the empty space on the right. The 0:13:21.515 --> 0:13:24.175 guitar chords of the song come in this time tomorrow. 0:13:24.934 --> 0:13:30.245 And we get the glorious Andersonian combination of Britpop and 0:13:30.285 --> 0:13:42.344 slow motion. It's Brody running towards and eventually, unlike Murray, 0:13:43.025 --> 0:13:48.845 successfully getting on board the train. As Ray Davies intones 0:13:48.905 --> 0:13:52.074 this time tomorrow, where will we be? On a spaceship 0:13:52.125 --> 0:13:55.844 somewhere sailing across an empty sea. this time tomorrow, what 0:13:55.905 --> 0:13:56.525 will we know? 0:13:57.105 --> 0:13:57.865 It's folky. 0:13:58.564 --> 0:14:03.045 It's catchy as hell. I remember sitting in the theater thinking, yeah, 0:14:03.064 --> 0:14:06.985 it seems British, but I can't completely place it. I 0:14:07.025 --> 0:14:09.125 definitely didn't know that it was the kinks for sure. 0:14:09.765 --> 0:14:11.864 I did know that as soon as the movie was over, 0:14:11.885 --> 0:14:14.405 I was going to have to figure out how I 0:14:14.455 --> 0:14:18.535 could hear this song again. I was instantly in love 0:14:19.275 --> 0:14:24.355 with that track. And beyond that, it's just... It's not 0:14:24.375 --> 0:14:28.255 just Andersonian perfection. The reason why it works so well 0:14:28.795 --> 0:14:31.735 with that scene. Here's where I'll just start out saying 0:14:31.875 --> 0:14:36.215 it is to the earlier criteria you mentioned, Josh, why 0:14:36.255 --> 0:14:39.115 it complements the scene so well. This is a movie 0:14:39.155 --> 0:14:43.275 about characters on a journey in a strange land. And 0:14:44.335 --> 0:14:46.635 we're all like this at the beginning of any trip, 0:14:47.595 --> 0:14:50.435 especially in a strange land, but especially one where if 0:14:50.455 --> 0:14:54.445 we're like them, we're reuniting. with people that maybe we 0:14:54.485 --> 0:14:56.965 haven't seen in a long time or we're estranged from. 0:14:57.345 --> 0:15:02.285 They're considering it a spiritual journey. They're assigning mystical powers 0:15:02.385 --> 0:15:10.795 to this location. And they're wishful. They're hopeful. So where 0:15:10.835 --> 0:15:14.935 will we be? All these possibilities, right? They're imagining themselves 0:15:15.015 --> 0:15:19.104 on a spaceship somewhere, leaving the sun behind you. But then, 0:15:19.565 --> 0:15:23.565 This is Wes Anderson. So you read between the lines 0:15:23.645 --> 0:15:26.405 or even some of the text and it's so tinged 0:15:26.465 --> 0:15:31.485 with regret. The clouds sadly pass by me. Will we 0:15:31.525 --> 0:15:35.145 still be here watching an in-flight movie show seven miles 0:15:35.225 --> 0:15:37.465 below me? I can see the world and it ain't 0:15:37.525 --> 0:15:41.225 so big at all. Is that comforting that the world 0:15:41.265 --> 0:15:44.185 ain't so big at all? Is it comforting to realize 0:15:44.225 --> 0:15:46.985 that or is it actually kind of disheartening? that it 0:15:47.005 --> 0:15:49.725 ain't so big that there aren't maybe as many possibilities 0:15:50.025 --> 0:15:53.095 that your life is actually more limited than you thought it, 0:15:53.365 --> 0:15:54.185 it could. 0:15:54.045 --> 0:15:54.865 Be or should be. 0:15:55.365 --> 0:15:56.865 You know, you don't, you don't need to be an 0:15:57.825 --> 0:16:01.095 A plus English major to get all that, but I 0:16:01.295 --> 0:16:04.555 I'm sure that Wes Anderson also knew his, his kinks lore. 0:16:04.615 --> 0:16:07.775 I looked this up after, after doing all this prep, 0:16:07.815 --> 0:16:11.355 I was like, I wonder, I wonder what Wes Anderson said. 0:16:11.415 --> 0:16:13.955 If he said anything about picking this song, couldn't find anything. 0:16:14.345 --> 0:16:16.925 I wonder what Ray Davies said about writing this song. 0:16:17.765 --> 0:16:20.715 Tell me if there could be a more appropriate song 0:16:20.755 --> 0:16:25.255 for this movie or maybe any Wes Anderson movie based 0:16:25.375 --> 0:16:28.985 on what Ray Davies said about it. He said, I 0:16:29.085 --> 0:16:32.265 felt that I'd lost contact with my family because I'd 0:16:32.285 --> 0:16:34.985 been in a pop music bubble for five years and 0:16:35.025 --> 0:16:37.665 I didn't know the people around me anymore. This time 0:16:37.745 --> 0:16:41.765 tomorrow was about transience and an ephemeral world. clouds and 0:16:41.805 --> 0:16:43.715 where do we play tomorrow and what am i doing 0:16:43.755 --> 0:16:46.515 as a person tomorrow it's a floating song and i 0:16:46.575 --> 0:16:49.515 was floating into a different era going with the flow 0:16:49.555 --> 0:16:51.795 for a while until i work out where i want 0:16:51.855 --> 0:16:56.255 to be and that says it all but just it 0:16:56.295 --> 0:16:58.855 is a poppy song it's a catchy song it's so 0:16:58.995 --> 0:17:03.475 upbeat it's live like wes anderson's films themselves it's lively 0:17:03.635 --> 0:17:06.875 it's colorful it's energetic and at the core. 0:17:06.595 --> 0:17:08.155 Of it it's so this is also the nature of 0:17:08.195 --> 0:17:09.735 travel this is another travel. 0:17:09.415 --> 0:17:12.955 Yeah and that That contrast between the poppy, the upbeat 0:17:12.995 --> 0:17:15.505 nature and the use of slow motion here is also 0:17:16.145 --> 0:17:20.045 very interesting. And I think, you know, Darjeeling limited, which 0:17:20.105 --> 0:17:22.725 I like, and it's worth, it's worth another view. I 0:17:22.725 --> 0:17:26.115 would say, Adam, um, I, it didn't leap ahead of 0:17:26.155 --> 0:17:28.055 his other films for me when I looked at it again, 0:17:28.095 --> 0:17:31.275 but one thing that helped clarify is his, um, use 0:17:31.315 --> 0:17:35.175 of slow motion and how it's more than just an 0:17:35.335 --> 0:17:38.765 easy go-to for effect. To get us to feel like 0:17:38.805 --> 0:17:40.965 something important is happening when it really isn't. I think 0:17:40.985 --> 0:17:44.895 that's how lesser filmmakers use slow motion, but this is 0:17:44.935 --> 0:17:48.015 a great example of how Wes Anderson tends to employ 0:17:48.055 --> 0:17:51.355 it when there are, this speaks to the layered nature 0:17:51.395 --> 0:17:54.185 of the song. There are like eight things going on 0:17:54.225 --> 0:17:56.585 at once. And so we're able to take it all in. 0:17:57.185 --> 0:18:02.775 And if you think about Brody in particular, his. face 0:18:03.055 --> 0:18:05.855 and how the slow motion allows us to register what 0:18:05.915 --> 0:18:08.855 he's registering when he beats Murray onto the train. 0:18:08.955 --> 0:18:09.575 That's it. 0:18:10.115 --> 0:18:13.495 We see the competition. We see the triumph. We see 0:18:13.515 --> 0:18:16.055 the smugness and those are all different, right? Those are 0:18:16.105 --> 0:18:19.325 all different layers. Then it shifts and you wouldn't catch 0:18:19.365 --> 0:18:22.165 this without slow motion. It shifts into like a little 0:18:22.205 --> 0:18:26.285 hint of guilt, some helplessness. Like there's a part of 0:18:26.305 --> 0:18:31.705 them that feels like, oh, could I have done something? um, sadness, 0:18:32.045 --> 0:18:35.765 maybe even pity. And then ultimately I think there's like 0:18:35.805 --> 0:18:39.235 some dismissal there. It's like, well, I'm on the train. 0:18:39.275 --> 0:18:41.935 I'm moving on too bad for that guy. Um, and 0:18:41.955 --> 0:18:43.715 to have, you know, the song is part of that 0:18:43.815 --> 0:18:47.975 like this, because the song is as complicated as all 0:18:47.995 --> 0:18:52.315 of those emotions in the way it's lyrics point against 0:18:52.755 --> 0:18:54.565 the poppiness in certain aspects. 0:18:54.625 --> 0:18:57.965 So I've always wanted to talk to Wes Anderson. I've 0:18:58.005 --> 0:18:59.765 never gotten a chance to him. One of the reasons 0:18:59.845 --> 0:19:03.285 is to know how he gets a, that kind of thing, 0:19:03.705 --> 0:19:06.785 any director to get, how do you direct? Like it, 0:19:06.785 --> 0:19:10.615 it seems like if you're going to slow down and 0:19:10.645 --> 0:19:12.615 the point of slowing down, which I think you're right, 0:19:12.735 --> 0:19:15.695 is to get all of that. How do you direct 0:19:15.755 --> 0:19:17.775 it so that you get all of that? Because how 0:19:17.815 --> 0:19:19.735 do you get an actor to flash through all of 0:19:19.815 --> 0:19:23.015 that at once? And I also wondered to what extent 0:19:23.055 --> 0:19:24.715 he knew the music that he was going to put 0:19:24.755 --> 0:19:27.655 into that sequence at that moment. I'll bet he knew. 0:19:28.945 --> 0:19:29.785 There are a few. 0:19:30.685 --> 0:19:31.025 I would imagine. 0:19:31.045 --> 0:19:31.885 I'll bet he wrote it in. 0:19:31.905 --> 0:19:32.845 I would think so. 0:19:32.865 --> 0:19:34.745 It's my favorite soundtrack, by the way. I agree with 0:19:34.785 --> 0:19:36.805 you that it's one of his, like, yeah, I love 0:19:36.845 --> 0:19:39.565 that soundtrack. And by the way, there are a ton 0:19:39.625 --> 0:19:42.695 of Indian tunes, including Indian film music on that. And, 0:19:43.115 --> 0:19:44.835 you know, I think it's maybe one of his most 0:19:44.875 --> 0:19:46.975 cinematic sounding soundtracks, maybe. 0:19:49.255 --> 0:19:49.915 Number two. 0:19:50.375 --> 0:19:50.835 Number two. 0:19:51.585 --> 0:19:53.425 This is one of the great, this would be number 0:19:53.545 --> 0:19:55.505 one if I didn't have an even better number one. 0:19:55.545 --> 0:19:59.365 That's how good my number one is, in my opinion. 0:20:00.085 --> 0:20:03.115 Number two is Amy Mann, Wise Up from Magnolia. 0:20:03.125 --> 0:20:04.695 I mean, the. 0:20:07.315 --> 0:20:07.915 Experience. 0:20:11.285 --> 0:20:13.625 I saw that I'm pretty sure it was opening weekend 0:20:13.645 --> 0:20:15.545 because I know it was packed. The theater was packed. 0:20:15.585 --> 0:20:18.845 It was here in L.A. where I live. And there 0:20:18.865 --> 0:20:21.205 was a lot of buzz about that movie and nobody 0:20:21.245 --> 0:20:23.995 knew what to expect. The preceding movie had been Boogie Nights. 0:20:24.355 --> 0:20:26.615 I think maybe people were expecting something on that level, 0:20:26.935 --> 0:20:29.515 maybe with a little bit more, maybe a little more form. 0:20:30.265 --> 0:20:34.845 and less episodic and, you know, heady and emotional the 0:20:34.865 --> 0:20:37.805 way that it was, that moment in that movie is 0:20:37.925 --> 0:20:40.244 still like amazing to me. I feel like since that 0:20:40.275 --> 0:20:42.835 movie's come out, there've been something similar, but for those 0:20:42.855 --> 0:20:46.795 who don't know, first of all, that movie was written 0:20:47.215 --> 0:20:51.995 with Amy Mann songs in PTA's head. He knew Amy Mann. 0:20:52.415 --> 0:20:54.675 She had given him, I think a tape of unreleased 0:20:54.735 --> 0:20:56.675 songs or I think something like that. 0:20:56.775 --> 0:20:57.595 Maybe they've been released. 0:20:57.655 --> 0:20:59.835 I can't remember. But he listened to them over and 0:20:59.875 --> 0:21:02.395 over again and lyrics from the song appear in the 0:21:02.715 --> 0:21:05.415 script and the references to the songs through the script. 0:21:05.695 --> 0:21:08.155 And in the middle of it, as almost a love 0:21:08.195 --> 0:21:10.555 letter to her as well as being a great dramatic 0:21:10.615 --> 0:21:13.955 moment in the movie, every character stops what they're doing 0:21:14.195 --> 0:21:17.155 or basically pauses in the middle of what they're doing. 0:21:17.515 --> 0:21:20.655 And they lip sync to the entirety of one of 0:21:20.675 --> 0:21:22.855 the most beautiful songs ever written, Wise Up, which is 0:21:22.895 --> 0:21:25.875 an incredibly sad song as is typical of Amy Mann. 0:21:25.895 --> 0:21:27.495 It's not. 0:21:43.605 --> 0:21:47.055 Every character in all their different situations are all basically 0:21:47.095 --> 0:21:50.285 saying to themselves what this song is saying, which is... 0:21:50.885 --> 0:21:54.885 When are you going to stop repeating these really bad 0:21:54.925 --> 0:21:56.985 patterns in your life? When are you going to wise up? 0:21:57.055 --> 0:21:59.335 When are you going to stop dating the wrong person, 0:21:59.885 --> 0:22:03.535 listening to the wrong people, living for the wrong things, 0:22:04.535 --> 0:22:08.255 all of this stuff and the audacity of it. You 0:22:08.315 --> 0:22:11.795 cannot imagine if you were not there at the time, 0:22:11.835 --> 0:22:13.415 because like I said, I think that this kind of 0:22:13.455 --> 0:22:16.325 thing has happened since, but to stop a movie. And 0:22:16.385 --> 0:22:19.855 have everybody acknowledge the song in some strange way and 0:22:19.895 --> 0:22:22.635 for it to make total sense. And it's so beautiful 0:22:22.675 --> 0:22:24.735 and heartbreaking. It's like you could have heard a pin 0:22:24.795 --> 0:22:27.075 drop in that theater. And I just was like, what 0:22:27.095 --> 0:22:32.965 is happening? It's just an incredible kind of artistic leap 0:22:33.145 --> 0:22:36.265 of faith to take, particularly at that moment in his career. 0:22:36.965 --> 0:22:37.855 Great way to phrase it. 0:22:38.145 --> 0:22:41.645