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Speaker 1: Hey everybody, this is Freddie Rodriguez and I'm Wilmer Valdorama Podcasts.

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Speaker 1: Welcome back to those of Egos podcasts only, uh, everywhere

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Speaker 1: you get your podcasts as we say thank you to

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Speaker 1: our beautiful family at iHeart Podcast and in our home

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Speaker 1: at Michael Tuda podcast Network. Yes, you know this is

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Speaker 1: a podcast you can not only listen to, but you

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Speaker 1: can watch.

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Speaker 2: You you're watching. You already know that part. That's right.

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Speaker 1: If you're listening, you can go find us a YouTube

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Speaker 1: and enjoy enjoy this stuff.

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Speaker 3: They can enjoy how straight your hat is? Yes? That was.

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Speaker 2: How dare you so? The first question? But I think

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Speaker 2: it is my biggest petic.

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Speaker 1: Like I was like, if I'm on TV with a

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Speaker 1: cricket hat, it's embarrassing to try to talk about some

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Speaker 1: stuff that matters, Like I can't talk about serious stuff.

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Speaker 2: When my hat is like because your.

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Speaker 1: So anyways, really really cool to be back with everyone here, Freddy,

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Speaker 1: I I miss you when we're not in the same

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Speaker 1: room together. Uh, please don't make it weird. Well it's

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Speaker 1: too late. He made it weird.

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Speaker 2: Uh.

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Speaker 1: But today I thought, you know, we could start with

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Speaker 1: something kind of fun, you know, and the reason I

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Speaker 1: call it pron is because I think it's always so

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Speaker 1: talent and so you know, you know, so so philosophical

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Speaker 1: when we go into some of these moments and entertainment

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Speaker 1: that kind of not only made us but shaped us.

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Speaker 1: And we've done a lot of that in our internal

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Speaker 1: you know, uh, search for each other's histories and and

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Speaker 1: our trajectory and the industry. But now as we think

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Speaker 1: about it like a fun like a fan, you know,

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Speaker 1: like can I be a fan here?

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Speaker 2: Can I say?

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Speaker 1: Hey, you know, what are these movies that as a

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Speaker 1: as a moviegoer we look at and somehow we see

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Speaker 1: recreated over and over and over again.

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Speaker 3: Like a lot of.

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Speaker 1: People find these iconic movies right that we grew up watching,

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Speaker 1: and today this next generation is almost watching them for

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Speaker 1: the first time. And really they don't know that these

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Speaker 1: movies have been re skinned after original movies that were

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Speaker 1: the first one of its kind, and now they're like,

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Speaker 1: it's like this kind of prototype, so they make the

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Speaker 1: same movie with new characters. Right but without going to

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Speaker 1: political deep diving on you know, the state of affairs

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Speaker 1: of our industry right now, where you know, IP and

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Speaker 1: reboots and sequels and prequels are so popular because they

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Speaker 1: just can't trust the original content today. I thought they'd

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Speaker 1: be really fun for us to kind of go down

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Speaker 1: a list of four movies each you think of four

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Speaker 1: movies that really changed the paradigmic how you saw film

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Speaker 1: making and they made you love the movies. And we'll

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Speaker 1: breaking down one by one, you know, you say one,

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Speaker 1: I say one, and then you're like, we kind of like,

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Speaker 1: let's see to see when we meet in the middle

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Speaker 1: when it comes to this movie is because we might

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Speaker 1: have the same movie in mind, right, But that's true.

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Speaker 2: But I guess do you want to start? You want

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Speaker 2: me to?

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Speaker 3: Sure? Yeah, you start, I'll start, Okay. My top top

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Speaker 3: movie is Goodfellas. Okay. Now it's always hard for me,

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Speaker 3: like when people go, what are you top four or five? Right,

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Speaker 3: because you have like hardcorese and the files out there

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Speaker 3: who are judging you, and like I judge my top

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Speaker 3: four movies in the category of movies that I've seen

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Speaker 3: thirty If I've watched this movie thirty times, then to

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Speaker 3: meet it's one of my favorite movies. Right. There's no

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Speaker 3: rhyme or reason.

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Speaker 2: Behind or if it's on TV, you have to finish it.

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Speaker 1: Oh yeah, you can't get in the car like you're

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Speaker 1: gonna be late because you gotta watch it.

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Speaker 3: It's one of those movies that I feel like it's

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Speaker 3: fresh every time I see it, you know. And I'll

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Speaker 3: tell you a story behind that movie. When I first

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Speaker 3: saw that movie. That movie came out my freshman year

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Speaker 3: of high school, and I went to art school and

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Speaker 3: I had a friend who would get us into the

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Speaker 3: movie for free, okay, And it was called the Webster

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Speaker 3: Theater in Bucktown, Chicago. And back then in Chicago, you

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Speaker 3: would go to one theater, and if you want to

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Speaker 3: be sneaky, you sneak to another theater. Then you sneak

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Speaker 3: to another theater, especially when you're like fifteen years old, right,

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Speaker 3: And so I was doing that and I went to

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Speaker 3: one and I saw another one, and I snuck into

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Speaker 3: this theater and Goodfellas was starting. It was like, right

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Speaker 3: up the first frame, I had no idea what I

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Speaker 3: was getting into. I sat down. That opening scene comes

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Speaker 3: on Rayleiota, Robert de Niro, Joe Peshi in the car.

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Speaker 3: They hear Frank Vincent's character in the trunk. They stop

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Speaker 3: the car, they get out, Joe Peshi whops out this

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Speaker 3: big kitchen knife, and he's just starts stabbing Frank Vincent

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Speaker 3: in the trunk. I was fifteen years old, fourteen, and

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Speaker 3: I'd never seen anything like that in cinema. And I

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Speaker 3: was riveted. Man, I was paralyzed. I couldn't move a

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Speaker 3: muscle and I sat there and I watched that two

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Speaker 3: three hour movie without going to the bathroom, without moving nothing.

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Speaker 3: I paid attention to every single frame of that film,

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Speaker 3: and it changed my perspective in movies forever? Did it?

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Speaker 2: Did it wake up something else in you?

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Speaker 3: Like? Did it?

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Speaker 2: Did you not? Did you not know that was possible

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Speaker 2: in filming?

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Speaker 3: I just knew that I was watching something profound. I

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Speaker 3: knew nothing really about movies. I wasn't a cinema buff.

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Speaker 3: I was in a movie, you know. But I knew

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Speaker 3: that I was watching something different. I knew that I

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Speaker 3: was watching something of greatness. And and I and my

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Speaker 3: instinct told me that really early on in my life.

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Speaker 3: And so it was like a tuning fork, right, And

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Speaker 3: so now I wait for that tuning fork to to

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Speaker 3: rear its head every time I watch a movie, to

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Speaker 3: see if it's telling me if this movie is great

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Speaker 3: or not. And that was the first one and it

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Speaker 3: changed my life. And I got to tell Frank Vincent

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Speaker 3: that story too, man one day before he passed away,

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Speaker 3: God bless him, and he was like, oh, thank you man,

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Speaker 3: thank you, you know, and I was like, dude, your

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Speaker 3: movie changed my life. You know. I got to be

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Speaker 3: a judge at the Tribeca Film Festival and I got

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Speaker 3: to like tell them about that film. But it was transformative.

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Speaker 1: Oh my god, it's so amazing that you said that.

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Speaker 1: I watched that movie in Spanish, But.

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Speaker 3: How was that in Spanish.

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Speaker 1: It's interesting because the performances are like they probably it

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Speaker 1: probably hits harder in English, you know, but regardless, the

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Speaker 1: movie was so undeniable, right, And then I watched it

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Speaker 1: in English and I was like boom, Like it just

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Speaker 1: hit me in so many different ways. I never thought

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Speaker 1: like I seen performances like that, yeah, you know, and

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Speaker 1: performances like that weren't uncoming, right, Like you watched the

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Speaker 1: seventies and even a few movies in the sixties, like

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Speaker 1: I think, like like The Last Weekend. Yeah, that's a

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Speaker 1: movie that kind of lost weekend.

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Speaker 2: Yeah, it was a movie about so what the movie

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Speaker 2: is about.

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Speaker 1: The movie is about this this writer, the actor was

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Speaker 1: Ray Melunt and he his performance was so I was

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Speaker 1: taking at but the fact that it was that it

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Speaker 1: was black and white and and and because I was like,

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Speaker 1: this movie had to be one of the darkest movies

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Speaker 1: of that time, and he was. I think he went

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Speaker 1: an oscar too. It was nominated for multiple Oscars. And

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Speaker 1: the movie was about this writer who has lost lost

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Speaker 1: his way and you know, he was standing in front

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Speaker 1: of this typewriter and he just couldn't start this page.

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Speaker 1: And you know, he was an alcoholic, you know, and

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Speaker 1: he will go back to this this one girl, and

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Speaker 1: I believe she was, you know, a prostitute, and but

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Speaker 1: he was like telling her everything, you know, that that

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Speaker 1: she wanted to hear, and just like at the end,

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Speaker 1: we just asked her for money so he can go drink.

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Speaker 1: And it was really dark and the relationship was so complicated,

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Speaker 1: and I was like, whoa, this is just a specific story.

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Speaker 1: And I reckon when everybody to watch it, because that

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Speaker 1: was one of those first movies. And I'm not like

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Speaker 1: the guy who like, let's go back to the sixties

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Speaker 1: and like, you know, I just watch these movies. I'm

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Speaker 1: not you know, I I yes, I love cinema, and

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Speaker 1: I've definitely that way in my later years and understanding

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Speaker 1: where cinema really you know, I broke the ground. But

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Speaker 1: this was one of those movies that like, I just

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Speaker 1: like I watched it one day and it just absolutely

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Speaker 1: fractured what was possible, and I was like, if that

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Speaker 1: tone was possible, then right, I realized everything that was

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Speaker 1: possible after.

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Speaker 3: So you feel that it was the tone or the

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Speaker 3: execution that resonated with you as opposed to like somebody's

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Speaker 3: singular performance.

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Speaker 1: Yeah, I mean their performances was they were incredibly grounded, right,

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Speaker 1: they were humbling, and they were fracturing. They were very

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Speaker 1: they were very grounded, you know, like for that time,

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Speaker 1: you know, everybody well you know talk like this, you

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Speaker 1: know what I mean, they were like that that you uh,

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Speaker 1: that kind of you know, mentality, but I mean vibe

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Speaker 1: and tone. So I was taken back by movies that

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Speaker 1: was there was widen. Those performances were almost just so real,

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Speaker 1: and I think it was a groundbreaking enough that got

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Speaker 1: nomin area for multiple Oscars. But you know, I go

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Speaker 1: back to to the Goodfellas, you know, and I think

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Speaker 1: about these performances, we're so liberating. You know, I felt

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Speaker 1: like they were drawing with callers and that were you know,

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Speaker 1: the way they were using the words, the way they

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Speaker 1: would talk to each other and finish each other's sentences.

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Speaker 1: It was like it was a different level of groundness.

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Speaker 1: And I think that that movieould definitely touched me as well.

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Speaker 3: Do you think you think do you think that like

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Speaker 3: like synergy has something to do with it, right, because

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Speaker 3: you know, we've we've been making movies and TV for

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Speaker 3: thirty years, right, and I've found that you could have

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Speaker 3: a singular good performance, right, or you could have somebody

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Speaker 3: write a really good story. But there's something about when

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Speaker 3: you know that term, when when the planets aligned right,

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Speaker 3: like like the planets are aligned and and there's a

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Speaker 3: certain synergy that comes from the performance and the directing

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Speaker 3: and the writing and the overall the perfect storm. Yeah. Yeah,

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Speaker 3: That's what I felt like when I was watching that movie,

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Speaker 3: Like there was this perfect synergy happening from all from

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Speaker 3: all aspects of filmmaking. Where sometimes I'll watch a movie

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Speaker 3: and I'll go, well, that dude's performance is awesome, but

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Speaker 3: like there's something off about the editing or somewhere else

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Speaker 3: you know.

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Speaker 1: Or the rhythm you know, yeah, And I think it's

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Speaker 1: when you know, you think about Good Fellas and you

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Speaker 1: think about the generation of gangster films. Yeah, you know

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Speaker 1: the Italian you know kind of genre, the Italian American Italian.

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Speaker 1: You know that it was out here doing it. And

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Speaker 1: you talk about the Godfather, right, and the Godfather and

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Speaker 1: Godfather too.

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Speaker 2: You know where the Naro is is plaining, you know,

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Speaker 2: it's you.

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Speaker 1: We're seeing him become you know, who he's gonna be,

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Speaker 1: and that those performances had this rhythm, and I think

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Speaker 1: the culture really enhanced what these characters had to offer

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Speaker 1: in the narrative tone, right, I think like that's the.

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Speaker 3: The culture in the movie or the culture and.

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Speaker 1: Like the Italian culture, right, I mean like the coren

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Speaker 1: actor to fall back into their character traits, their values

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Speaker 1: and speak.

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Speaker 2: Authentically about what their values are.

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Speaker 1: Because you talk about the Godfather, you know, these guys

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Speaker 1: were real gentlemen, right, There were men of their word.

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Speaker 1: You know, they were loyal you know and until until

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Speaker 1: other people, until others.

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Speaker 2: Weren't and and uh.

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Speaker 1: And you know, so that's kind of stuff I really

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Speaker 1: resonated as a Latino, you know, and as a brown man,

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Speaker 1: I can really relate to some of the values, the

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Speaker 1: family values, you know, the the you know, the spirituality

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Speaker 1: part of it, all that stuff.

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Speaker 2: So, but I think it's I think culture.

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Speaker 1: I think that those characters really, you know, just really

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Speaker 1: came to life because they've rooted it softly in who

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Speaker 1: they were as individuals as well, right like their culture.

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Speaker 1: And I think that's one of that's when it gets

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Speaker 1: really unique, when an actor really performs to their strengths

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Speaker 1: and leaning on what they really do know. And I

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Speaker 1: think that I think maybe that's one of the reasons

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Speaker 1: why I feel like Goodfellas to me also felt like

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Speaker 1: you were watching something you weren't.

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Speaker 2: Supposed to, you know.

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Speaker 3: Yeah, it was definitely some like inside something felt inside

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Speaker 3: about it. Different world as opposed to like watching like

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Speaker 3: a regular mobster movie, which which I'm sure all of

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Speaker 3: it has it's it's it's levels of authenticity to it, right,

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Speaker 3: but but there was something that was different about that

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Speaker 3: one that, at fifteen years old, absolutely floored me like

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Speaker 3: nothing has ever floored me before.

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Speaker 1: Okay, so we have the last weekend, yep, and we

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Speaker 1: have Good Fellas.

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Speaker 2: What's your next one?

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Speaker 3: Carlito's way, Yeah, yeah, man, Carlito's way. You know mine

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Speaker 3: shout out to Louis.

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Speaker 2: Louis, Louis lou Louis from the Hood.

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Speaker 3: Yeah, and to John Ortiz and John Sata who's in

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Speaker 3: that movie and like that movie and all that, uh

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Speaker 3: I rec and that's a whole other subject's talk about. Look,

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Speaker 3: it's it's a yeah, it's a tough subject matter, you know.

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Speaker 3: But but I I I try to I try to

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Speaker 3: watch that movie objectively, right, I try to watch it

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Speaker 3: with no preconceived notions going in. I just love the movie. Man.

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Speaker 3: There was something different about that movie, the way that that, uh,

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Speaker 3: the director used music and original score with that music,

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Speaker 3: with that movie, it was almost poetic that I felt

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Speaker 3: that these other movies didn't use those and and and.

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Speaker 1: By the way those other movies there was rarely music.

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Speaker 1: The music would come in at very specific moments.

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Speaker 3: Of the act.

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Speaker 1: Yeah, yeah, like there taking you from one act or

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Speaker 1: the other that dude, h.

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Speaker 3: Yeah, yeah, I had that and Godfather or even like Goodfellas,

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Speaker 3: where Scorsese was also sort of a music buff, right,

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Speaker 3: so he used very specific music cues and that. But

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Speaker 3: but go back and listen to the original score in

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Speaker 3: Carlito's way, and it's it's beautiful, man. It's his beautiful

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Speaker 3: strings and something that you wouldn't expect to be in

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Speaker 3: the background of something as gritty as like a film

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Speaker 3: like that. And I just love, I love. I think

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Speaker 3: the movie is beautiful and it's poetic. And I know

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Speaker 3: people have different opinions about Patino and his performance and

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Speaker 3: him not being Puerto Rican all that stuff, but I

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Speaker 3: still it still resonates with me. Man. I could watch

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Speaker 3: I go home and watch it tonight and watch it

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Speaker 3: like it's my first time watching it.

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Speaker 2: I mean, seems we're in the gangster of it all.

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Speaker 2: I think I'll match you.

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Speaker 1: Yeah, just as much of a controversial movie Scarface.

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Speaker 3: Dude, I just rewatched that movie.

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Speaker 2: Come on, man, from the first one, Dude.

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Speaker 3: I just rewatched it. As I always say to myself,

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Speaker 3: I've been going, I've been going on this journey and

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Speaker 3: I've been watching movies as an adult. You ever watch

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Speaker 3: movies now as an adult?

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Speaker 1: Oh?

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Speaker 3: Yeah, not as a kid? Not as like I'm gonna

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Speaker 3: go watch Scarface, like the sensationalism of it. Have you

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Speaker 3: watched it now as an adult? You have? And what

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Speaker 3: do you think?

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Speaker 1: I mean, there's a couple of things, right, Yeah, so

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Speaker 1: scarface to me felt like these two characters, like, you know,

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Speaker 1: they kind of breezed through the immigration part of it,

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Speaker 1: cams and whatever and all that stuff, and you know,

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Speaker 1: and they really painted a picture that these Cubans were

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Speaker 1: here like just messing things up, right, Yeah, And and

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Speaker 1: then it was like just an unhinged interpretation of two

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Speaker 1: dudes that were just out there.

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Speaker 2: Doing whatever they wanted to do, you know.

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Speaker 1: And but it's an interesting question, you say, we watched

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Speaker 1: it as an adult, How did how did how did

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Speaker 1: he speak to me on that level?

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Speaker 2: And and I.

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Speaker 1: Think I felt like that era, this analog era of

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Speaker 1: pain payphones and convertible Cadillacs and like pastel colors in

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Speaker 1: Miami felt like a different planet. And somehow I allowed

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Speaker 1: it in my mind, we gave it license to exist,

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Speaker 1: not just rant free, but like no questions asked.

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Speaker 2: I just went along for the.

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Speaker 1: Ride and I didn't have to like poke holes on

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Speaker 1: it because I was like, it just brings me back

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Speaker 1: to like the first time I saw it.

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Speaker 3: At the sensationalism of it, Yeah, because it's so big,

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Speaker 3: say hello, like what the hell? But wasn't Miami kind

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Speaker 3: of big at that time?

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Speaker 1: Larger than live, like the open silk shirts and you

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Speaker 1: know and all that, and so do you.

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Speaker 3: Think that maybe it was just an interpretation of what

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Speaker 3: was what was really happening. I mean, look, are people

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Speaker 3: in a mansion like with a big ass gun like that, Like.

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Speaker 2: Maybe back then, you know, you know, it probably is Miami.

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Speaker 1: I think everyone was probably you know, liked and loaded

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Speaker 1: over something, you know, but.

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Speaker 3: But a reflection of like of like the externalism of

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Speaker 3: of like how people were right and how it.

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Speaker 1: Just feels to me like it was this grounded world. Yeah,

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Speaker 1: the movie was a grounded world. And then they told

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Speaker 1: Paccino step on it or Patino just said, I'm going

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Speaker 1: to play something so different than you've ever seen me do.

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Speaker 2: Yeah, you know, this is a different boss, It's.

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Speaker 1: A different gangster he was playing, right, like, so he

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Speaker 1: just said, I got it.

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Speaker 2: I'm gonna play Q and I'm a little more external.

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Speaker 1: Yeah, it has to be a little more external because

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Speaker 1: he's been because every other gangster he played was so internal.

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Speaker 1: I mean, I go back to Scarface, uh Mooney too.

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Speaker 2: Sorry sorry, and that scar I go back to Godfather too.

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Speaker 1: Yeah, my got Godfather too was so settle in the eyes. Yeah,

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Speaker 1: he was he was saying monologues with his eyes. People

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Speaker 1: were talking around him, and the camera was just on him.

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Speaker 1: And then you go to Scarface and he's just like

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Speaker 1: filling up the seventy millimeter like lens like he's just.

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Speaker 2: Filling it up.

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Speaker 1: So I think he just I think that that opportunity

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Speaker 1: was making choices, Yeah, to go far, because if I'm

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Speaker 1: gonna play another gangster, I'm gonna go as far as possible. Yeah,

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Speaker 1: you know, so it's a different type of gangster. And

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Speaker 1: I think he he went very far.

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Speaker 3: Yeah, and it kind of I don't I don't know. Man,

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Speaker 3: It obviously works, right because people to this day are

359
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Speaker 3: wearing Scarface T shirts and jackets. And at the time

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Speaker 3: it got panned, right, the film got panned, his performance

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Speaker 3: got panned. But I feel like sometimes people will make

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Speaker 3: these bold choices as an actor, right, and and people

363
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Speaker 3: crap on it in the beginning, and then and then

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00:19:06,240 --> 00:19:08,399
Speaker 3: and then it needs to sort of live in the ether.

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Speaker 3: And then and then people like are like, oh, I know,

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Speaker 3: it's kind of big, but it's big, but it's still

367
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Speaker 3: grounded at the same time.

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Speaker 1: And I think I think critics and you know, cinema

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Speaker 1: has become more and more cynical. I think over time,

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Speaker 1: every decade, we fracture fantasy, and we fractured boldness, and

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Speaker 1: we fracture originality. And when something is that different or

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Speaker 1: that bold and it doesn't fit them all that everyone's

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Speaker 1: leading into this is the trend of subtleness or independent

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Speaker 1: film making or whatever, then all of a sudden it

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Speaker 1: becomes like not good, you know, And there's something to

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Speaker 1: be said about the different cinematic narratives that actually are

377
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Speaker 1: needed to tell very specific stories and original cont and

378
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Speaker 1: should be given the freedom to be at whatever frequency

379
00:20:04,840 --> 00:20:07,359
Speaker 1: they need to be to tell us, you know, to

380
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Speaker 1: tell us what this is about.

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Speaker 4: Uh.

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Speaker 1: And I think for him, uh, what really worked for

383
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Speaker 1: me is that the world was very real for Scarface,

384
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Speaker 1: but he had to play someone that was a lunatic.

385
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Speaker 1: He was just crazy and delusional and that you know,

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Speaker 1: so you had to see him on hinch. I mean,

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Speaker 1: one of my favorite scenes in Scarface is when he's

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Speaker 1: in the restaurant and he gets drunk and Michelle Fiffer

389
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Speaker 1: is there and he's just like, you know, say hello,

390
00:20:36,320 --> 00:20:38,440
Speaker 1: I do the bad guy. You know that that part,

391
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Speaker 1: like that was uncomfortable. That was like you know that

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Speaker 1: was grounded and real and that he really saw that moment.

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Speaker 3: For me, I know, somebody who's done that in the restaurant,

394
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Speaker 3: like completely made a scene. And so when I saw that,

395
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Speaker 3: I was like, yeah, yeah, I've seen that. There's a

396
00:20:57,160 --> 00:21:01,240
Speaker 3: lot of that stuff. That's that's real man. I I

397
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Speaker 3: you know, I unfortunately grew up in a in a

398
00:21:03,800 --> 00:21:07,399
Speaker 3: in a neighborhood uh somewhat similar and and there's some

399
00:21:07,440 --> 00:21:11,600
Speaker 3: there's some big characters in those neighborhoods and who are

400
00:21:11,720 --> 00:21:14,840
Speaker 3: a part of that world and that underworld, I mean

401
00:21:14,920 --> 00:21:20,000
Speaker 3: people who are really external growing up in that type

402
00:21:20,040 --> 00:21:23,480
Speaker 3: of neighborhood. There are a lot of larger than life

403
00:21:23,560 --> 00:21:26,480
Speaker 3: characters like that man that that if you were to

404
00:21:26,480 --> 00:21:28,720
Speaker 3: meet them in real life, you're like, wow, if if

405
00:21:28,760 --> 00:21:30,919
Speaker 3: they were to put someone like this on screen, you

406
00:21:30,920 --> 00:21:34,399
Speaker 3: would think that it's unbelievable. Remember when when Snoop at

407
00:21:34,400 --> 00:21:36,640
Speaker 3: a time was hanging with that one pimp who used

408
00:21:36,640 --> 00:21:37,520
Speaker 3: to we.

409
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Speaker 2: Used to drive, we used to drive.

410
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Speaker 3: The Bishop down Horn Like that's a real.

411
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Speaker 1: Dude, like like every MYSIC video with him.

412
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Speaker 3: That's a real guy who lives his life like that

413
00:21:51,000 --> 00:21:52,080
Speaker 3: every single day, who.

414
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Speaker 1: Really addresses like that by the way, every up and

415
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Speaker 1: you know the pimp hat and the cane.

416
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Speaker 3: And yeah, I mean, I grew up with some pretty

417
00:22:00,720 --> 00:22:03,000
Speaker 3: pretty colorful characters.

418
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Speaker 1: You uh, send me a picture the other day with

419
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Speaker 1: a very colorful outfit.

420
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Speaker 3: Which one? Which one? Which?

421
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Speaker 1: I think you were going to a dance or I

422
00:22:13,359 --> 00:22:15,600
Speaker 1: don't know if it was a dance or something. You

423
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Speaker 1: you were wearing white gloves. Oh, yeah, definitely, I know

424
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Speaker 1: I understand that you that was kind of the neighborhood,

425
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Speaker 1: you know.

426
00:22:26,960 --> 00:22:27,960
Speaker 3: For our mullet.

427
00:22:28,480 --> 00:22:31,240
Speaker 1: Yeah, you had a ring over the white glove.

428
00:22:31,800 --> 00:22:35,720
Speaker 3: Dude, I had I had gold chains over the tie.

429
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Speaker 1: You know, I gotta say it was it was a

430
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Speaker 1: different frequency. And I want to tell you something. Yeah,

431
00:22:48,440 --> 00:22:53,040
Speaker 1: I mean, I mean you call me to hang Yeah,

432
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Speaker 1: I'm going to my closet and I'm doing the same thing.

433
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Speaker 3: I mean.

434
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Speaker 1: And for those of you who are wondering what we're

435
00:22:58,080 --> 00:23:00,879
Speaker 1: talking about, you know, sometimes we send each other funny

436
00:23:00,880 --> 00:23:03,240
Speaker 1: pictures of our past or something. He came across a

437
00:23:03,280 --> 00:23:06,000
Speaker 1: picture when I think when you went back home or something.

438
00:23:06,040 --> 00:23:08,800
Speaker 3: And I went back home, and my mother always tends

439
00:23:08,840 --> 00:23:12,880
Speaker 3: to break out, you know, old magazine articles and old

440
00:23:12,920 --> 00:23:16,160
Speaker 3: photos and you know, and she came across a photo.

441
00:23:16,440 --> 00:23:21,000
Speaker 3: I stood up and somebody's keen Signetta, which, for those

442
00:23:21,000 --> 00:23:23,399
Speaker 3: who don't know what a King Signetta is is somebody

443
00:23:23,480 --> 00:23:28,159
Speaker 3: sweet sixteen, right, but fifteen? And this was Wilmer and

444
00:23:28,240 --> 00:23:34,399
Speaker 3: I have had multiple discussions about mullets and Dracar Noir

445
00:23:35,520 --> 00:23:39,359
Speaker 3: and everything that pertains to that time period. And I

446
00:23:39,440 --> 00:23:42,840
Speaker 3: came across a photo of me in a King Signetta

447
00:23:43,200 --> 00:23:46,359
Speaker 3: with the most killer mullet you'll ever see in your life, Freddy.

448
00:23:46,480 --> 00:23:47,719
Speaker 2: It was so iconic.

449
00:23:51,920 --> 00:23:54,639
Speaker 1: I was like, I gotta sit over this photo, Freddy.

450
00:23:54,760 --> 00:24:00,320
Speaker 1: I want you to understand, like things were differ in

451
00:24:00,320 --> 00:24:04,840
Speaker 1: my house. I want you to understand that things really changed,

452
00:24:06,000 --> 00:24:06,959
Speaker 1: and I will be honest.

453
00:24:07,040 --> 00:24:09,320
Speaker 2: For the better. Yeah, for the better.

454
00:24:10,240 --> 00:24:10,679
Speaker 3: I was.

455
00:24:12,240 --> 00:24:16,000
Speaker 2: I'm a believer, Yeah, I believe. And you you brought a.

456
00:24:16,000 --> 00:24:20,600
Speaker 1: Level, you up the game to such a degree that I, uh, yeah,

457
00:24:21,240 --> 00:24:22,800
Speaker 1: I owe you one. I owe you a picture back

458
00:24:23,200 --> 00:24:25,800
Speaker 1: because I'm gonna tell you something. You're gonna realize how

459
00:24:25,880 --> 00:24:28,040
Speaker 1: much we were got at THEOD.

460
00:24:29,960 --> 00:24:31,439
Speaker 3: We give you my picture.

461
00:24:31,920 --> 00:24:35,360
Speaker 1: It's gonna be it better be a psychonic Oh no,

462
00:24:35,400 --> 00:24:36,600
Speaker 1: it's it's it's a legend.

463
00:24:37,080 --> 00:24:37,240
Speaker 3: You know.

464
00:24:37,400 --> 00:24:41,040
Speaker 2: My mind is an immortal legend. When you see would

465
00:24:41,080 --> 00:24:41,560
Speaker 2: you see what.

466
00:24:41,920 --> 00:24:44,760
Speaker 3: You've show You've shown me some year old headshots?

467
00:24:44,840 --> 00:24:47,320
Speaker 2: Yeah, another are problem for me, they are a problem.

468
00:24:49,240 --> 00:24:50,280
Speaker 2: I have one photo.

469
00:24:50,480 --> 00:24:53,399
Speaker 1: I have one photo that I think might actually not

470
00:24:53,480 --> 00:24:55,720
Speaker 1: only brings us back together, well, we might, we might

471
00:24:55,880 --> 00:24:58,320
Speaker 1: move our families together. We might we might have to

472
00:24:58,359 --> 00:25:00,400
Speaker 1: move into the same property because we're the same fucking

473
00:25:00,480 --> 00:25:00,800
Speaker 1: do it?

474
00:25:10,440 --> 00:25:14,320
Speaker 3: Okay, So Scarface is your is your three? I think

475
00:25:14,359 --> 00:25:19,199
Speaker 3: for me my four or my three would be there

476
00:25:19,240 --> 00:25:24,040
Speaker 3: will be blood. Wow. Yeah, there's something about that movie

477
00:25:24,080 --> 00:25:25,959
Speaker 3: that I can just right now, I can just go

478
00:25:26,000 --> 00:25:29,960
Speaker 3: watch it and there's just something, like I said, I

479
00:25:29,960 --> 00:25:33,120
Speaker 3: don't know if it's the alchemy of it with everyone

480
00:25:33,200 --> 00:25:37,320
Speaker 3: involved in his performance, there's just something that's so magical

481
00:25:37,359 --> 00:25:41,560
Speaker 3: to me about the way that film is executed. And

482
00:25:41,680 --> 00:25:43,960
Speaker 3: Daniel day lewis right, he's one of those actors that

483
00:25:44,040 --> 00:25:47,520
Speaker 3: every time he does something, it's so it's so magnificent

484
00:25:47,560 --> 00:25:50,880
Speaker 3: to me, you know, I just I just think it's

485
00:25:50,920 --> 00:25:52,080
Speaker 3: a It's a wonderful film.

486
00:25:52,840 --> 00:25:54,040
Speaker 2: I think I would say, like.

487
00:25:55,920 --> 00:25:59,560
Speaker 1: Rocky yeah, right, because when you think about those movies

488
00:25:59,560 --> 00:26:03,880
Speaker 1: that became prototypes when it comes to like the underdog stories,

489
00:26:03,960 --> 00:26:07,360
Speaker 1: I mean they had to do. They made probably two

490
00:26:07,600 --> 00:26:12,040
Speaker 1: hundred movies of the that had one that had this

491
00:26:12,200 --> 00:26:17,320
Speaker 1: underdog story, two that had a training montage, right, you know,

492
00:26:17,440 --> 00:26:19,840
Speaker 1: and and you think about like this, you know, single

493
00:26:19,920 --> 00:26:22,600
Speaker 1: led guy who goes against all odds, you know. And

494
00:26:22,640 --> 00:26:25,640
Speaker 1: also that was a prototype for every sports movie, every

495
00:26:25,680 --> 00:26:28,720
Speaker 1: sports movie, those acts were identical if you think about

496
00:26:28,720 --> 00:26:32,040
Speaker 1: all the you know, the the you know the you know,

497
00:26:32,119 --> 00:26:36,280
Speaker 1: losing then winning, then losing again to as still as

498
00:26:36,280 --> 00:26:36,560
Speaker 1: a win.

499
00:26:37,160 --> 00:26:37,359
Speaker 2: You know.

500
00:26:38,000 --> 00:26:42,280
Speaker 1: You know that that little sequence I think was was

501
00:26:42,359 --> 00:26:44,760
Speaker 1: part of that, that prototype, and I think Rocky what

502
00:26:44,800 --> 00:26:49,800
Speaker 1: it what it did for me was, you know, it

503
00:26:49,840 --> 00:26:52,560
Speaker 1: became this inspiration. I mean even you know we were

504
00:26:52,560 --> 00:26:55,040
Speaker 1: talking about earlier House tallone you know, was able to

505
00:26:55,080 --> 00:26:58,000
Speaker 1: champion that movie and get it made and stuck stood

506
00:26:58,000 --> 00:27:00,439
Speaker 1: by his you know, he stood his ground and said, no,

507
00:27:00,480 --> 00:27:01,639
Speaker 1: I got to play the guy.

508
00:27:01,920 --> 00:27:03,600
Speaker 2: No one can't play this guy but me. I know

509
00:27:03,600 --> 00:27:04,320
Speaker 2: what I got to do.

510
00:27:06,160 --> 00:27:11,480
Speaker 1: And that's why I wish he never died and any

511
00:27:11,520 --> 00:27:14,760
Speaker 1: of the last that likes to create movies, yeah, you know,

512
00:27:14,960 --> 00:27:16,960
Speaker 1: like it's and I also wish that he wouldn't.

513
00:27:17,640 --> 00:27:19,760
Speaker 3: But then what would he have done, though, Like what like,

514
00:27:20,000 --> 00:27:22,680
Speaker 3: you wish you wouldn't have died, and then what I've

515
00:27:22,720 --> 00:27:23,640
Speaker 3: still been the trainer.

516
00:27:24,320 --> 00:27:27,359
Speaker 2: I think he could have been like Mickey, you know.

517
00:27:27,600 --> 00:27:31,440
Speaker 1: But also I also like he he went through such turmoil,

518
00:27:31,480 --> 00:27:33,959
Speaker 1: Like I wish he would have just been like a

519
00:27:34,000 --> 00:27:36,840
Speaker 1: happy ending for him because he gave us so much.

520
00:27:36,880 --> 00:27:38,720
Speaker 1: I feel like I wish that he would have retained

521
00:27:38,760 --> 00:27:41,280
Speaker 1: some of his money, Like why did he have to

522
00:27:41,320 --> 00:27:43,240
Speaker 1: be broke? Why did he have to be sick? Why

523
00:27:43,280 --> 00:27:45,760
Speaker 1: did he have to be all those things? Like is

524
00:27:45,800 --> 00:27:50,040
Speaker 1: it because most you know boxers and that way, I

525
00:27:50,080 --> 00:27:53,439
Speaker 1: get it, I get it, But why if he didn't, right, Like,

526
00:27:53,520 --> 00:27:55,840
Speaker 1: what would it done to the boxers of the future.

527
00:27:56,960 --> 00:27:58,439
Speaker 1: You know, we could have kept a little bit of

528
00:27:58,440 --> 00:28:01,000
Speaker 1: my money and you know, yeah a restaurant dude went

529
00:28:01,080 --> 00:28:05,879
Speaker 1: up to the restaurant. Yeah, you know, and you know,

530
00:28:06,119 --> 00:28:07,719
Speaker 1: to me, it's like for him to die alone, and

531
00:28:07,760 --> 00:28:10,480
Speaker 1: it's kind of kind of crazy. I don't know, it

532
00:28:10,640 --> 00:28:12,840
Speaker 1: just I don't know, but I get why. It feels

533
00:28:12,880 --> 00:28:17,400
Speaker 1: like smart. But you know, there's some boxes that I made.

534
00:28:17,640 --> 00:28:21,800
Speaker 1: You know, Look, Oscar has a promotional thing and you know,

535
00:28:22,040 --> 00:28:24,159
Speaker 1: I don't know, I don't know, you know, but I

536
00:28:24,160 --> 00:28:26,920
Speaker 1: think Rocky to me, when you think about a movie itself,

537
00:28:27,680 --> 00:28:32,280
Speaker 1: that's another one that painted such a realistic interpretation.

538
00:28:31,760 --> 00:28:35,320
Speaker 2: About what his world was like. Even the moment where

539
00:28:35,359 --> 00:28:37,200
Speaker 2: he's like where is he? Where is he? Where Isy?

540
00:28:37,320 --> 00:28:39,560
Speaker 1: He just pulls up outside the window of the priest

541
00:28:39,600 --> 00:28:41,480
Speaker 1: and goes, oh, he was wondering.

542
00:28:41,160 --> 00:28:42,480
Speaker 2: If you can give me a blessing.

543
00:28:42,480 --> 00:28:44,600
Speaker 1: I've got the biggest part of my life, and you know,

544
00:28:44,720 --> 00:28:46,680
Speaker 1: I just want to make sure I come back in

545
00:28:46,760 --> 00:28:48,360
Speaker 1: one piece, you know, like whatever.

546
00:28:48,720 --> 00:28:52,440
Speaker 2: And I think that that that was like, oh, man,

547
00:28:52,560 --> 00:28:54,360
Speaker 2: like this is an Italian guy.

548
00:28:55,320 --> 00:28:56,800
Speaker 1: I gotta go to the priest. I gotta get a

549
00:28:56,800 --> 00:28:59,000
Speaker 1: little blessing before I go do my thing, you know.

550
00:28:59,640 --> 00:29:02,800
Speaker 3: Yeah, it's funny you mentioned that movie I just saw.

551
00:29:03,320 --> 00:29:05,880
Speaker 3: We were talking about Robert Rodriguez and when we were

552
00:29:05,880 --> 00:29:09,160
Speaker 3: working together, he had went out of town for something

553
00:29:09,200 --> 00:29:12,120
Speaker 3: and he came back and I was like, I was like,

554
00:29:12,160 --> 00:29:13,720
Speaker 3: where'd you go? He goes, oh, man, I want to

555
00:29:13,720 --> 00:29:17,360
Speaker 3: go meet with stallone. He showed me his new movie,

556
00:29:17,440 --> 00:29:19,640
Speaker 3: his new Rocky And this is the one that you're

557
00:29:19,640 --> 00:29:24,000
Speaker 3: talking about that he had the restaurant, the one with yeah, yeah, yeah.

558
00:29:24,080 --> 00:29:26,200
Speaker 1: By the way, big shout out to Milo one of

559
00:29:26,200 --> 00:29:31,840
Speaker 1: the most amazing people. Parade man, incredibly talented, and he's yeah,

560
00:29:31,880 --> 00:29:34,400
Speaker 1: we should have him on too, because he's he's just amazing,

561
00:29:34,680 --> 00:29:35,920
Speaker 1: great stories too, Like.

562
00:29:35,880 --> 00:29:37,640
Speaker 3: Oh yeah, we gotta have him on.

563
00:29:37,680 --> 00:29:38,720
Speaker 2: It's one of my favorite people.

564
00:29:38,840 --> 00:29:42,400
Speaker 3: He had come back and and and mind you, there

565
00:29:42,440 --> 00:29:46,840
Speaker 3: was a big gap right between the previous Rocky and

566
00:29:46,880 --> 00:29:49,440
Speaker 3: that Rocky, the one that he was in. And I

567
00:29:49,480 --> 00:29:51,479
Speaker 3: remember him coming back and saying to me, I mean

568
00:29:51,560 --> 00:29:55,959
Speaker 3: I just saw Stallon's Rocky, which he you know, stepped

569
00:29:55,960 --> 00:29:58,520
Speaker 3: back into the director's chair, he directed it, he wrote it.

570
00:29:58,520 --> 00:30:01,680
Speaker 3: This was like his baby again. And I don't know why.

571
00:30:01,720 --> 00:30:04,400
Speaker 3: I think maybe because the Rocky that was prior to that,

572
00:30:04,520 --> 00:30:07,720
Speaker 3: what was I don't think it was great. I was

573
00:30:07,760 --> 00:30:09,800
Speaker 3: a little cynical, man, I'm not gonna lie. I was like,

574
00:30:09,920 --> 00:30:12,440
Speaker 3: really man, He's like, no, dude, I'm telling you, it's

575
00:30:12,520 --> 00:30:13,000
Speaker 3: really good.

576
00:30:14,000 --> 00:30:16,400
Speaker 2: So what was the storyline of that one? Again? You

577
00:30:16,440 --> 00:30:18,600
Speaker 2: know they had the restaurant right, and.

578
00:30:18,680 --> 00:30:21,480
Speaker 3: He was just like, oh you mean that one with Milo? Yeah? Yeah,

579
00:30:21,560 --> 00:30:25,720
Speaker 3: Well Adrian dies right, and and you know you kind

580
00:30:25,720 --> 00:30:28,880
Speaker 3: of see him visiting her grave and he he's just

581
00:30:28,920 --> 00:30:31,920
Speaker 3: like a like a like a washed up boxer who like,

582
00:30:32,520 --> 00:30:35,640
Speaker 3: you know, tell stories at a restaurant and then uh,

583
00:30:36,080 --> 00:30:38,320
Speaker 3: what's that? What's the real boxer who was in that

584
00:30:38,360 --> 00:30:40,280
Speaker 3: movie comes back and they're like, hey, it's just sort

585
00:30:40,280 --> 00:30:43,120
Speaker 3: of an exhibition, you know, and and he kind of

586
00:30:43,120 --> 00:30:45,400
Speaker 3: steps back into the ring with Mickey Guns. Right.

587
00:30:45,520 --> 00:30:47,760
Speaker 2: What was it Tommy Guns?

588
00:30:48,160 --> 00:30:48,360
Speaker 3: No?

589
00:30:48,360 --> 00:30:51,360
Speaker 2: No, no, that that was one the street brow right.

590
00:30:51,520 --> 00:30:53,120
Speaker 3: That was the one before before.

591
00:30:53,320 --> 00:30:55,440
Speaker 2: Yeah, yeah that was and unfortunate.

592
00:30:57,520 --> 00:30:59,320
Speaker 3: Yeah it wasn't. So that's why I was cynical.

593
00:30:59,560 --> 00:31:02,320
Speaker 1: But it's like with the video game, right, they're like, oh,

594
00:31:02,360 --> 00:31:06,480
Speaker 1: in the video game, Rocky beats this real boxer. Yes, right,

595
00:31:06,520 --> 00:31:08,040
Speaker 1: and then they're like, what is do an exhibition and

596
00:31:08,120 --> 00:31:09,120
Speaker 1: see where it really wins?

597
00:31:09,160 --> 00:31:11,080
Speaker 2: You know. He's like, don't do what are you talking about?

598
00:31:11,160 --> 00:31:11,360
Speaker 2: You know?

599
00:31:11,960 --> 00:31:14,720
Speaker 3: But what was so genius about that movie? And you know,

600
00:31:14,720 --> 00:31:16,560
Speaker 3: and I was, like I said, I was cynical. Was

601
00:31:16,600 --> 00:31:20,040
Speaker 3: that Stallone made it like this really deep father and

602
00:31:20,160 --> 00:31:23,960
Speaker 3: son's story and like the loss of his wife's story.

603
00:31:24,080 --> 00:31:27,240
Speaker 3: I was expecting her to be dead. And I remember

604
00:31:27,280 --> 00:31:29,880
Speaker 3: watching it on the plane and going like all, Robert said,

605
00:31:29,880 --> 00:31:32,400
Speaker 3: this movie is good, and I put it on and dude,

606
00:31:32,480 --> 00:31:34,600
Speaker 3: like like a quarter into the movie, man, I start

607
00:31:34,640 --> 00:31:36,960
Speaker 3: freaking crying on the airplane.

608
00:31:37,080 --> 00:31:39,120
Speaker 2: That's the loan. Dude, you knows that. I you know,

609
00:31:39,280 --> 00:31:41,840
Speaker 2: I hit the strings and a tear comes.

610
00:31:41,560 --> 00:31:43,560
Speaker 3: Down and I'm like, oh my god, I'm on an

611
00:31:43,600 --> 00:31:45,240
Speaker 3: airplane like crying in this movie.

612
00:31:45,280 --> 00:31:48,280
Speaker 1: That speaks too, this speech that it's played in every

613
00:31:48,400 --> 00:31:50,440
Speaker 1: gym and it's written on every wall.

614
00:31:50,640 --> 00:31:55,080
Speaker 2: You know, anohing's gonna hear you harder than life. Yeah, yeah,

615
00:31:55,480 --> 00:31:55,680
Speaker 2: you know.

616
00:31:55,800 --> 00:31:59,040
Speaker 3: It's brilliant at that. But that's a good one, bro. Well,

617
00:31:59,040 --> 00:32:01,280
Speaker 3: all right, since we're talking about boxing, like Raging Bull,

618
00:32:01,720 --> 00:32:04,960
Speaker 3: Oh my god, there's another one that to me, yes,

619
00:32:05,400 --> 00:32:09,280
Speaker 3: he ranks Scorsese Goodfellas Raging Bull. Yeah, Like I could.

620
00:32:09,320 --> 00:32:12,040
Speaker 3: That's another one that I've seen thirty times. I could

621
00:32:12,040 --> 00:32:15,479
Speaker 3: put it out right now and watch it. There's something

622
00:32:15,520 --> 00:32:18,800
Speaker 3: about the execution and the simplicity of that, right. But

623
00:32:18,800 --> 00:32:22,320
Speaker 3: but as we talk about sort of a boxer's trajectory,

624
00:32:22,400 --> 00:32:24,800
Speaker 3: I felt it was very indicative of a boxer's a

625
00:32:24,840 --> 00:32:28,440
Speaker 3: boxer's trajectory, right ending up as that guy he's like

626
00:32:28,600 --> 00:32:31,280
Speaker 3: forty pounds heavier, Yeah, and he's like at a restaurant

627
00:32:31,280 --> 00:32:31,920
Speaker 3: telling a story.

628
00:32:32,000 --> 00:32:33,880
Speaker 1: And then the nero said in an interview was like

629
00:32:33,920 --> 00:32:35,640
Speaker 1: I'll never do that again, you know what I mean.

630
00:32:35,760 --> 00:32:38,240
Speaker 1: He was like the weight, Yeah, yeah, he's like that

631
00:32:38,360 --> 00:32:40,440
Speaker 1: was that was a challenging thing for him to do,

632
00:32:40,560 --> 00:32:42,760
Speaker 1: to put on the weight. Yeah, yeah, I do it

633
00:32:42,760 --> 00:32:46,120
Speaker 1: all the time. Man, I don't know what's a problem.

634
00:32:46,720 --> 00:32:49,000
Speaker 2: It's very easy for me. Three weekends, man, I get

635
00:32:49,080 --> 00:32:50,840
Speaker 2: to you know, say action.

636
00:32:50,960 --> 00:33:04,680
Speaker 5: I'm ready, I'm ready, okay for this fourth movie, the

637
00:33:04,760 --> 00:33:09,840
Speaker 5: final final installment into this four movie journey list.

638
00:33:09,920 --> 00:33:15,720
Speaker 1: Pick something now that that is so unexpected, you know

639
00:33:15,920 --> 00:33:19,280
Speaker 1: that somehow it was original. I think like those movies

640
00:33:19,360 --> 00:33:22,400
Speaker 1: kind of fall in the eighties sometimes for me, you know,

641
00:33:22,480 --> 00:33:24,480
Speaker 1: it's like those colorful movies, you know, like.

642
00:33:26,440 --> 00:33:27,560
Speaker 2: You know, I think like the.

643
00:33:28,360 --> 00:33:31,160
Speaker 3: Like what resonated as a kid, like Back to the.

644
00:33:31,040 --> 00:33:36,120
Speaker 1: Future, right, Like, let me see back to the Future

645
00:33:36,200 --> 00:33:39,240
Speaker 1: is one that really like and I watched all of them. Yeah,

646
00:33:39,240 --> 00:33:41,320
Speaker 1: I just I just love the Back to the Future movies.

647
00:33:41,360 --> 00:33:49,160
Speaker 1: It's like, well that's really possible. Terminator, yeah, you know Predator, Yeah,

648
00:33:49,720 --> 00:33:53,160
Speaker 1: you know those movies that like we're just this single

649
00:33:53,440 --> 00:33:57,480
Speaker 1: singular stamp of like you'll make this movie again with

650
00:33:57,560 --> 00:34:00,000
Speaker 1: different actors and different monsters, or you make this movie

651
00:34:00,080 --> 00:34:02,760
Speaker 1: again with you know, in the future, it'll time travel

652
00:34:02,800 --> 00:34:06,040
Speaker 1: with different you know, with the same formula. You know,

653
00:34:06,120 --> 00:34:09,160
Speaker 1: don't change, don't don't mess with the past, right and

654
00:34:09,280 --> 00:34:11,920
Speaker 1: don't definitely mess with the future, right. Like It's like

655
00:34:12,120 --> 00:34:14,839
Speaker 1: it's always kind of some some things. So what would

656
00:34:14,840 --> 00:34:16,360
Speaker 1: be one of those for you?

657
00:34:16,400 --> 00:34:19,359
Speaker 3: Oh? Man, we're talking about movies like when we were kids. Yeah,

658
00:34:19,400 --> 00:34:23,680
Speaker 3: you know, like, man, I remember watching like The Last

659
00:34:23,719 --> 00:34:26,839
Speaker 3: star Fighter. You ever see that one? Very good? You know?

660
00:34:27,360 --> 00:34:28,800
Speaker 3: Or or Gremlins.

661
00:34:29,239 --> 00:34:31,680
Speaker 2: Gremlins, Bro, that's another one.

662
00:34:31,840 --> 00:34:34,080
Speaker 3: Dark Crystal. Did you ever see the Dark Dark Crystal?

663
00:34:35,600 --> 00:34:38,480
Speaker 3: I just missed those movies? Man, I miss those type

664
00:34:38,480 --> 00:34:40,120
Speaker 3: of like big Spielberg and.

665
00:34:40,239 --> 00:34:44,120
Speaker 1: Practical stuff probably like the puppeteering and the thing that

666
00:34:44,160 --> 00:34:46,360
Speaker 1: made it feel like you could touch it, that could exist,

667
00:34:46,560 --> 00:34:46,719
Speaker 1: you know.

668
00:34:46,840 --> 00:34:49,560
Speaker 3: Yeah, I missed those, man. I missed those types of movies,

669
00:34:49,560 --> 00:34:52,600
Speaker 3: and they always and the storytelling was always really good

670
00:34:52,960 --> 00:34:55,839
Speaker 3: on those. But I don't know I have those been replicated.

671
00:34:56,080 --> 00:34:57,560
Speaker 3: I'm not sure that's a really good one.

672
00:34:57,600 --> 00:34:59,480
Speaker 1: I mean when you think about like, like see how

673
00:34:59,560 --> 00:35:01,759
Speaker 1: you you talk about.

674
00:35:03,520 --> 00:35:06,279
Speaker 2: Which ones that you said? You said the Dark Crystal? Right,

675
00:35:06,800 --> 00:35:09,040
Speaker 2: never ending story, never ending story? Right?

676
00:35:09,160 --> 00:35:13,960
Speaker 1: You think about also, like you know, the Harry Potter movies, right,

677
00:35:14,280 --> 00:35:18,400
Speaker 1: Dark Crystal, really like these are movies, these are books

678
00:35:18,480 --> 00:35:21,840
Speaker 1: really kind of like have inspired this multiple generations, you know,

679
00:35:21,880 --> 00:35:24,440
Speaker 1: but the tonal of things of these movies, you know

680
00:35:24,480 --> 00:35:27,000
Speaker 1: where they never ending story. I mean, I think about

681
00:35:28,000 --> 00:35:31,480
Speaker 1: you know, what's another one that could mimic that? Again,

682
00:35:31,560 --> 00:35:33,839
Speaker 1: these movies were so original, I was they were hard

683
00:35:33,880 --> 00:35:38,400
Speaker 1: to duplicate, but that's the formatic or blueprint of the

684
00:35:38,520 --> 00:35:42,600
Speaker 1: narrative was replicated with different with different journeys.

685
00:35:42,680 --> 00:35:45,919
Speaker 3: You know, I'm trying to think what would be one

686
00:35:46,040 --> 00:35:49,520
Speaker 3: that's I mean, any any of those like you were

687
00:35:49,560 --> 00:35:51,799
Speaker 3: we were just talking about, like The working Man that

688
00:35:51,960 --> 00:35:54,440
Speaker 3: just came out, you know, shout out to David Ayr

689
00:35:54,520 --> 00:35:57,560
Speaker 3: who had a hit movie out. But I like that

690
00:35:57,600 --> 00:36:01,799
Speaker 3: they're going back to like that kind of like the Guy,

691
00:36:02,040 --> 00:36:04,239
Speaker 3: you know, like you were just you just named a

692
00:36:04,320 --> 00:36:08,880
Speaker 3: slew of like Arnold Schwarzenegger, like singular man's you know,

693
00:36:09,080 --> 00:36:13,080
Speaker 3: like I love the Commando.

694
00:36:12,840 --> 00:36:14,920
Speaker 2: Another Father Daughters, that's his story.

695
00:36:15,000 --> 00:36:18,880
Speaker 3: Yeah, yeah, true Lies. I just saw True Lies the

696
00:36:18,920 --> 00:36:23,920
Speaker 3: other day man. Probably the best stunts, the best I've

697
00:36:24,320 --> 00:36:25,840
Speaker 3: ever ever seen.

698
00:36:26,000 --> 00:36:29,080
Speaker 2: A Harry the Plane that what was it that? Oh,

699
00:36:29,200 --> 00:36:31,560
Speaker 2: come on, bro, I mean that movie gives me anxiety.

700
00:36:31,760 --> 00:36:36,080
Speaker 3: Man, I'm like it's so, I mean, what movie have

701
00:36:36,120 --> 00:36:39,480
Speaker 3: you seen after that that has had real stunts like that?

702
00:36:40,400 --> 00:36:43,920
Speaker 1: The only one and it basically doesn't even fall anywhere

703
00:36:43,960 --> 00:36:48,920
Speaker 1: near this category would be Rush Hour and that one

704
00:36:49,120 --> 00:36:52,000
Speaker 1: is a prototype of Litho weapon, but a lot more comedic,

705
00:36:52,160 --> 00:36:53,760
Speaker 1: right Letho weapon?

706
00:36:54,120 --> 00:36:55,600
Speaker 2: Yeah, got it right.

707
00:36:56,120 --> 00:36:58,960
Speaker 1: Yeah, you know got it writing so many uh and

708
00:36:59,040 --> 00:37:03,040
Speaker 1: that was a Donner right, a producer uh and director.

709
00:37:03,120 --> 00:37:05,080
Speaker 3: But I missed those movies, man.

710
00:37:05,000 --> 00:37:08,080
Speaker 1: Yes, I mean there was something very very organic and

711
00:37:08,120 --> 00:37:11,000
Speaker 1: real about those you talked about Greenlins, you know, that

712
00:37:11,920 --> 00:37:18,160
Speaker 1: movie to me was so crazy invative, like just those poppets,

713
00:37:18,239 --> 00:37:20,680
Speaker 1: those things, you know, those things were really banana's. The

714
00:37:20,760 --> 00:37:23,280
Speaker 1: fact that they couldn't eat after midnight, that you couldn't

715
00:37:23,280 --> 00:37:25,080
Speaker 1: have water on their skin, you know, so what did

716
00:37:25,080 --> 00:37:25,319
Speaker 1: that mean?

717
00:37:25,360 --> 00:37:29,120
Speaker 2: They couldn't if they if they eat after midnight.

718
00:37:28,840 --> 00:37:31,600
Speaker 3: But until on soil sunrise, but then after sunrise they

719
00:37:31,600 --> 00:37:33,239
Speaker 3: could eat well.

720
00:37:33,200 --> 00:37:35,919
Speaker 1: Like every day is after my yes, yes, yes, well

721
00:37:36,000 --> 00:37:40,520
Speaker 1: it's like I think that the science was that, Like, dude,

722
00:37:40,600 --> 00:37:44,200
Speaker 1: like if they somehow after midnight they become these monsters,

723
00:37:44,440 --> 00:37:46,040
Speaker 1: and I don't know what the metaphor of that was.

724
00:37:46,080 --> 00:37:47,359
Speaker 2: And then we got to look up at the met.

725
00:37:47,440 --> 00:37:49,560
Speaker 3: Was it like midnight to like sunrise or.

726
00:37:49,480 --> 00:37:52,680
Speaker 1: Something like that, But yeah, because then it was one

727
00:37:52,840 --> 00:37:55,040
Speaker 1: long night of hell, right, and I.

728
00:37:54,960 --> 00:37:56,040
Speaker 2: Think that's kind of what it was.

729
00:37:56,120 --> 00:37:58,680
Speaker 1: And then Gizmolo so you couldn't put water on his

730
00:37:58,760 --> 00:37:59,960
Speaker 1: skin because it will multiply.

731
00:38:00,280 --> 00:38:03,319
Speaker 2: Yeah, yeah, that all that stuff is going.

732
00:38:03,480 --> 00:38:06,600
Speaker 3: Can you believe that that's considered like a Christmas movie?

733
00:38:07,000 --> 00:38:08,800
Speaker 3: I was trying to watch that with the kids this

734
00:38:08,960 --> 00:38:11,160
Speaker 3: Christmas and there, and they're kind of like, that's a

735
00:38:11,239 --> 00:38:12,000
Speaker 3: Christmas movie.

736
00:38:12,040 --> 00:38:13,360
Speaker 2: I'm like, I guess it is.

737
00:38:13,280 --> 00:38:18,640
Speaker 3: Man, I really wanted to watch it this Christmas. Ghostbusters, Yeah,

738
00:38:18,440 --> 00:38:20,319
Speaker 3: yeah for that one. I remember having that one on

739
00:38:20,440 --> 00:38:23,680
Speaker 3: video cassette. Did you guys have that in Venezuela, like

740
00:38:23,680 --> 00:38:27,880
Speaker 3: like just the collection of that you just do. There

741
00:38:27,920 --> 00:38:30,120
Speaker 3: was something about having the video cassettes when I was

742
00:38:30,120 --> 00:38:32,960
Speaker 3: a kid. It's like, well, this weekend, although I've seen

743
00:38:32,960 --> 00:38:35,320
Speaker 3: it ten times, we're going to rewatch it again.

744
00:38:35,560 --> 00:38:35,799
Speaker 2: Yeah.

745
00:38:36,560 --> 00:38:38,600
Speaker 3: I watched what did you have on video cassette in

746
00:38:38,640 --> 00:38:41,200
Speaker 3: Venezuela that Yeah, Cobra.

747
00:38:41,440 --> 00:38:45,040
Speaker 2: And I played that out Bro I used to love that.

748
00:38:45,080 --> 00:38:49,640
Speaker 3: You're the disease, not the cure. Yeah, I remember, I

749
00:38:49,640 --> 00:38:52,920
Speaker 3: remember we had like I remember Death Wish, Death Wish

750
00:38:53,040 --> 00:38:57,120
Speaker 3: one and Charles Bronson. You know what was what was?

751
00:38:57,239 --> 00:39:00,520
Speaker 3: What was? What was Chuck Norris's franchise?

752
00:39:00,200 --> 00:39:03,600
Speaker 1: And he had the Seals right? There wasn't he in

753
00:39:03,719 --> 00:39:07,239
Speaker 1: like the Navy Seals or something. Strike Force wasn't it?

754
00:39:07,239 --> 00:39:11,840
Speaker 1: It was like Delta Force. That's what he was in.

755
00:39:12,000 --> 00:39:12,160
Speaker 3: Bro.

756
00:39:13,040 --> 00:39:17,160
Speaker 2: Like you know that motorcycle had missiles. I didn't really, Yes,

757
00:39:17,719 --> 00:39:22,640
Speaker 2: there was that sound and he just shot the motorcycle.

758
00:39:23,040 --> 00:39:27,000
Speaker 3: Wa man, Delta Oh Man. I smember my dad watching

759
00:39:27,040 --> 00:39:31,480
Speaker 3: all that. You ever seen this documentary called Electric Boogoloo

760
00:39:32,040 --> 00:39:34,040
Speaker 3: and it was about it was about the company that

761
00:39:34,080 --> 00:39:37,240
Speaker 3: produced all those movies. They were called Cannon Cannon Films.

762
00:39:37,280 --> 00:39:40,799
Speaker 3: These two guys from Israel, and they're the ones who

763
00:39:40,800 --> 00:39:42,799
Speaker 3: did the break in movies. But they did all the

764
00:39:42,840 --> 00:39:46,640
Speaker 3: Death Wish movies and and Porky's and like you know,

765
00:39:46,680 --> 00:39:49,600
Speaker 3: they brought all that stuff from his Porky Wow for

766
00:39:49,760 --> 00:39:51,279
Speaker 3: Porky's Wow. Dude.

767
00:39:52,160 --> 00:39:54,840
Speaker 1: I mean, I just I hope that everyone who's listening

768
00:39:55,120 --> 00:39:58,200
Speaker 1: or watching us now can literally just grab a little

769
00:39:58,200 --> 00:40:01,880
Speaker 1: piece of paper. Right, all these movies, if you haven't

770
00:40:01,920 --> 00:40:05,320
Speaker 1: watched them, if you've never heard of him, treat yourself

771
00:40:05,360 --> 00:40:10,120
Speaker 1: to the history of cinema, not just as we know it,

772
00:40:10,200 --> 00:40:13,239
Speaker 1: but as as it's been recreated over and over and

773
00:40:13,320 --> 00:40:15,920
Speaker 1: over again. In the likeness of all the movies.

774
00:40:16,239 --> 00:40:17,960
Speaker 3: They can do a port they can do it. Porky's

775
00:40:18,000 --> 00:40:21,280
Speaker 3: now and what about you boy, Tom Hanks Bachelor Party?

776
00:40:22,920 --> 00:40:24,760
Speaker 3: We had that on video because that's amazing.

777
00:40:25,280 --> 00:40:27,920
Speaker 1: Watch that over now the way think about risky business,

778
00:40:28,200 --> 00:40:29,239
Speaker 1: risky business?

779
00:40:29,640 --> 00:40:31,000
Speaker 2: You make that movie now right?

780
00:40:31,120 --> 00:40:32,799
Speaker 3: Right? What was it? What was the premise of that movie?

781
00:40:33,160 --> 00:40:34,080
Speaker 2: Parents go out of town?

782
00:40:34,719 --> 00:40:38,040
Speaker 1: He throws this party, but no he starts ay, I

783
00:40:38,040 --> 00:40:42,080
Speaker 1: think he starts in uh nescal business or something.

784
00:40:42,560 --> 00:40:46,520
Speaker 2: Does he have like all these you know, these dancers

785
00:40:46,560 --> 00:40:48,520
Speaker 2: of the night in something work at his house?

786
00:40:48,560 --> 00:40:51,640
Speaker 1: Remember, like he just started a business with with I'm

787
00:40:51,680 --> 00:40:53,839
Speaker 1: gonna remember what's the log land on that.

788
00:40:53,800 --> 00:40:57,279
Speaker 4: Movie Ectatic When his parents leave on vacation for a

789
00:40:57,280 --> 00:41:02,000
Speaker 4: few days. High school senior Joel good and cuts luice

790
00:41:02,040 --> 00:41:04,120
Speaker 4: with his best friend Miles after an attempt at securing

791
00:41:04,120 --> 00:41:08,000
Speaker 4: the services of a prostitute, goes goes slightly ari Joel

792
00:41:08,040 --> 00:41:11,640
Speaker 4: hires gorgeous Lana for a night of delight, Stunned by

793
00:41:11,640 --> 00:41:14,720
Speaker 4: the amount of Lana's bill. The next morning, Joel grows

794
00:41:14,719 --> 00:41:17,840
Speaker 4: frantic after he crashes his father's Porsche in an effort

795
00:41:17,840 --> 00:41:20,239
Speaker 4: to raise lots of money fast. Desperate, Joel turns the

796
00:41:20,280 --> 00:41:21,400
Speaker 4: house into a brothel.

797
00:41:21,719 --> 00:41:27,600
Speaker 2: Yes, come on, dude, that's Tom Cruises one.

798
00:41:27,800 --> 00:41:31,160
Speaker 1: That's one of Tom Cruise's biggest pop culture movies of

799
00:41:31,200 --> 00:41:34,280
Speaker 1: all time. And people don't remember that, remember that premise.

800
00:41:34,560 --> 00:41:36,920
Speaker 1: They only when they think risk of business. They only

801
00:41:36,960 --> 00:41:40,400
Speaker 1: think about him sliding across the floor and the socks

802
00:41:40,440 --> 00:41:41,239
Speaker 1: and in the dress shirt.

803
00:41:41,280 --> 00:41:43,200
Speaker 2: That's the only thing that will remember. But if you

804
00:41:43,400 --> 00:41:47,359
Speaker 2: listen to that tagline, come on, man, he was a pimp. Yes,

805
00:41:47,520 --> 00:41:50,000
Speaker 2: you go to make that movie now, it's a teenager.

806
00:41:49,520 --> 00:41:52,360
Speaker 3: Pip teenager Tom Cruise pimp.

807
00:41:52,800 --> 00:41:56,239
Speaker 2: That's kind of insane, right, that's a bitch, that's a pitch.

808
00:41:56,960 --> 00:42:01,640
Speaker 2: Here's my pitch, Tom Cruises the teenage. Can't wait for this, dude.

809
00:42:01,680 --> 00:42:03,480
Speaker 3: You know what else we had on video cassette? Did

810
00:42:03,560 --> 00:42:05,560
Speaker 3: you did you ever have did you ever watch Revenge

811
00:42:05,560 --> 00:42:10,879
Speaker 3: of the Nerds? Of course, I mean eventually they wasn't that.

812
00:42:11,800 --> 00:42:14,040
Speaker 2: As an actor I think Paul Figure was in that.

813
00:42:14,320 --> 00:42:15,160
Speaker 3: Was he really? I know?

814
00:42:15,200 --> 00:42:15,560
Speaker 2: Maybe not?

815
00:42:16,280 --> 00:42:20,200
Speaker 3: Yeah, Tim Bussfield and like a but but the original

816
00:42:20,239 --> 00:42:24,000
Speaker 3: one is so well executed. And then they and then

817
00:42:24,040 --> 00:42:25,120
Speaker 3: you see two and three and.

818
00:42:25,080 --> 00:42:27,000
Speaker 2: They they made a lampoon.

819
00:42:27,360 --> 00:42:30,279
Speaker 3: Yeah, they became kind of caricatures of themselves. But the

820
00:42:30,280 --> 00:42:33,640
Speaker 3: first one was so grounded. James Cromwell was in that movie.

821
00:42:34,320 --> 00:42:38,200
Speaker 3: And Anthony Edwards from from uh Er he played one

822
00:42:38,239 --> 00:42:41,680
Speaker 3: of the nerds. And and James Cromwell played his dad.

823
00:42:41,680 --> 00:42:46,000
Speaker 2: In that movie you remember stand by Me? Yeah, of course, man,

824
00:42:46,239 --> 00:42:46,680
Speaker 2: I mean.

825
00:42:46,800 --> 00:42:48,840
Speaker 3: Wow, Rob Reiner directed that movie.

826
00:42:49,040 --> 00:42:51,640
Speaker 1: Was in theaters, dude, and you could have made that

827
00:42:51,640 --> 00:42:52,439
Speaker 1: movie again right now?

828
00:42:53,080 --> 00:42:56,400
Speaker 2: Like could that movie ever be? It was the four kids.

829
00:42:56,520 --> 00:42:58,720
Speaker 3: They they go on this thing, they find a dead body.

830
00:43:00,239 --> 00:43:01,480
Speaker 2: See see what I'm talking about?

831
00:43:01,719 --> 00:43:05,399
Speaker 1: See the coloration he see the common denominator about these movies. Yea,

832
00:43:05,560 --> 00:43:09,160
Speaker 1: you know, there was something really live altering happening. It

833
00:43:09,200 --> 00:43:14,080
Speaker 1: was rooted and and the environment, it was rooted in

834
00:43:14,160 --> 00:43:17,399
Speaker 1: their journey as people. And uh, you know, they don't

835
00:43:17,400 --> 00:43:19,799
Speaker 1: write characters like that anymore. They don't write stories that

836
00:43:19,880 --> 00:43:23,440
Speaker 1: are that de boignant and like that heart hitting. Yeah,

837
00:43:23,560 --> 00:43:26,799
Speaker 1: you know, it's It's a shame because stand by Me

838
00:43:27,200 --> 00:43:30,120
Speaker 1: is like, yeah, what if what did you come across?

839
00:43:30,160 --> 00:43:35,600
Speaker 3: That? And that cast River Phoenix Jerry O'Connell, like, man,

840
00:43:36,040 --> 00:43:39,319
Speaker 3: oh man, Rob Ryaner directed that movie. Yeah, so so

841
00:43:39,480 --> 00:43:41,040
Speaker 3: well done. Oh man? You know what else? Did you?

842
00:43:41,400 --> 00:43:44,239
Speaker 3: We had a Field of Dreams on video cassette. Bro,

843
00:43:44,440 --> 00:43:45,560
Speaker 3: you see Field of Dreams?

844
00:43:45,640 --> 00:43:48,279
Speaker 2: Yes, of course, if you're building, they will come.

845
00:43:49,160 --> 00:43:51,600
Speaker 3: Tim Buzzfield was also in that movie. He played the

846
00:43:52,320 --> 00:43:53,759
Speaker 3: I think what was he? Yeah, I think he.

847
00:43:53,680 --> 00:43:56,200
Speaker 1: Played that was I think that's Kevin Costner's probably most

848
00:43:56,360 --> 00:44:00,880
Speaker 1: iconic movie, right, I mean Untouchables was great. Yeah, Dancing

849
00:44:00,880 --> 00:44:03,160
Speaker 1: with Wolves I think it was pretty big for him too,

850
00:44:03,719 --> 00:44:05,560
Speaker 1: Which one you think I think Dancing with Wolves was

851
00:44:05,560 --> 00:44:09,040
Speaker 1: probably the biggest. Yeah, yeah, yeah, by by far, by far,

852
00:44:09,120 --> 00:44:12,759
Speaker 1: But I love him and Untouchables. Yeah, but that was

853
00:44:12,800 --> 00:44:15,840
Speaker 1: like also very popcorn right, like yeah, like yeah.

854
00:44:15,760 --> 00:44:19,320
Speaker 3: Field the Dreams was so like like original, and I

855
00:44:19,360 --> 00:44:21,759
Speaker 3: don't know if they've remade that one at all or

856
00:44:21,800 --> 00:44:23,160
Speaker 3: even taken the blue print.

857
00:44:23,280 --> 00:44:25,640
Speaker 1: He's done a few tributes to it in in Major

858
00:44:25,719 --> 00:44:27,880
Speaker 1: League Baseball where he walks out of the field and

859
00:44:28,440 --> 00:44:32,280
Speaker 1: audiences just go nuts, because in real life, yeah, Oh really,

860
00:44:32,600 --> 00:44:35,799
Speaker 1: I didn't know that. It was very cool. What else

861
00:44:35,840 --> 00:44:40,120
Speaker 1: did you have on video cassett and video cassette? I

862
00:44:40,160 --> 00:44:40,920
Speaker 1: had to stand by me?

863
00:44:41,280 --> 00:44:41,879
Speaker 3: Yeah, me too.

864
00:44:42,680 --> 00:44:45,200
Speaker 1: I think we've talked at extend about robo Cup. I

865
00:44:45,239 --> 00:44:48,359
Speaker 1: had RoboCup. I had a RoboCup.

866
00:44:48,520 --> 00:44:52,319
Speaker 2: Yeah, robo Cup is a big one for me. That

867
00:44:52,360 --> 00:44:53,720
Speaker 2: one's one that I used to watch.

868
00:44:54,320 --> 00:44:56,359
Speaker 1: I've said this many times before, but there was one

869
00:44:56,400 --> 00:44:58,480
Speaker 1: movie theater in the small town I grew up in Venezuela,

870
00:44:58,600 --> 00:45:01,200
Speaker 1: and they played robo Cup all year around. So that's

871
00:45:01,200 --> 00:45:03,080
Speaker 1: the movie. I will go watch it and the movie theater.

872
00:45:05,239 --> 00:45:08,560
Speaker 1: What else did I have? I've had, uh D Cobra had,

873
00:45:08,840 --> 00:45:14,640
Speaker 1: I had Rocky Terminator, you know. Of course Terminator is

874
00:45:14,640 --> 00:45:19,160
Speaker 1: like Staple, you had to have that VHS. And then

875
00:45:19,280 --> 00:45:23,680
Speaker 1: other movies that the really kind of mind bended cinema

876
00:45:23,719 --> 00:45:29,080
Speaker 1: at the time. I mean Jaws, yeah, right, like Jows

877
00:45:29,239 --> 00:45:32,760
Speaker 1: was the product that the monster you don't see, yeah

878
00:45:33,080 --> 00:45:37,600
Speaker 1: until it shows itself at the end, you know, accidentally

879
00:45:37,640 --> 00:45:40,160
Speaker 1: but also now on purpose in every movie you know.

880
00:45:40,320 --> 00:45:42,640
Speaker 3: Did they ever play the Warriors in Venezuela?

881
00:45:42,719 --> 00:45:48,040
Speaker 1: Yeah, Warriors clink clean, clean clean clean, come out and

882
00:45:48,160 --> 00:45:49,239
Speaker 1: play that.

883
00:45:49,320 --> 00:45:51,520
Speaker 3: A profound effect on me. We had family in New

884
00:45:51,600 --> 00:45:53,920
Speaker 3: York during that time, and I was like, whoa, that's

885
00:45:53,960 --> 00:45:57,840
Speaker 3: how it is in New York pre Internet. Yeah, it

886
00:45:57,920 --> 00:45:59,840
Speaker 3: was like my perception of what New York was like

887
00:46:00,880 --> 00:46:02,920
Speaker 3: that Walter Hill directed movie excellent.

888
00:46:03,680 --> 00:46:08,279
Speaker 1: Occasionally in Halloween you see people bringing that those customs back,

889
00:46:08,320 --> 00:46:09,440
Speaker 1: and I think some people are like, what.

890
00:46:09,480 --> 00:46:11,719
Speaker 3: Is that the baseball Furies and all that?

891
00:46:11,840 --> 00:46:15,400
Speaker 1: Yeah, yeah, yeah, yeah, those movies are you know, I

892
00:46:15,440 --> 00:46:18,680
Speaker 1: think when when we start really thinking about those films

893
00:46:18,719 --> 00:46:21,000
Speaker 1: and not just the role they played in us as

894
00:46:21,200 --> 00:46:24,000
Speaker 1: as an artist, you know, but also just the audience

895
00:46:24,040 --> 00:46:26,120
Speaker 1: as just simply as people that just went to the

896
00:46:26,120 --> 00:46:27,400
Speaker 1: movies or watched the movies.

897
00:46:28,360 --> 00:46:30,280
Speaker 2: It really redefined cinema.

898
00:46:30,320 --> 00:46:34,400
Speaker 1: And I hope that, you know, that the innovation of

899
00:46:34,440 --> 00:46:38,400
Speaker 1: those movies doesn't stay and independent in the independent film world,

900
00:46:38,400 --> 00:46:41,040
Speaker 1: like I hope that it gets it makes a comeback

901
00:46:41,080 --> 00:46:46,200
Speaker 1: to you know, to to cinemas, to to to the theaters,

902
00:46:46,280 --> 00:46:50,440
Speaker 1: because nowadays, you know, streaming is the place for a

903
00:46:50,480 --> 00:46:52,200
Speaker 1: lot of these movies, and sometimes it's really hard to

904
00:46:52,200 --> 00:46:54,920
Speaker 1: find them, you know, there's just so much out there available.

905
00:46:54,920 --> 00:46:59,320
Speaker 1: But the theaters was a beautiful experience. Occasionally you see

906
00:46:59,360 --> 00:47:03,080
Speaker 1: anniversary screenings of some of these movies, and and and

907
00:47:03,120 --> 00:47:06,799
Speaker 1: it's beautiful to re experience it and in theaters. But

908
00:47:07,800 --> 00:47:09,480
Speaker 1: is there any other movies you want to share?

909
00:47:10,960 --> 00:47:15,040
Speaker 3: What else? What else had an effect on me? You know?

910
00:47:15,040 --> 00:47:17,279
Speaker 3: I remember in high school, like I had, I had

911
00:47:17,360 --> 00:47:22,239
Speaker 3: deep cover on on on on video cassette. Did you

912
00:47:22,280 --> 00:47:26,200
Speaker 3: ever see that Laurence fish Laurence Fishburne and Jeff Goldbloom

913
00:47:27,120 --> 00:47:29,240
Speaker 3: such a such a great great film.

914
00:47:29,400 --> 00:47:33,200
Speaker 2: We speaking of Jeff the Fly. Oh yeah, yeah, David click,

915
00:47:33,400 --> 00:47:35,280
Speaker 2: Come on, don't make movies like that anymore?

916
00:47:35,320 --> 00:47:38,680
Speaker 3: Man? Oh man, No, they don't. Isn't a shame, you know,

917
00:47:38,760 --> 00:47:41,120
Speaker 3: they don't make movies like that anymore? You know. I

918
00:47:41,160 --> 00:47:44,040
Speaker 3: hope we get to a place where where commerce and

919
00:47:44,239 --> 00:47:47,000
Speaker 3: art starts to strike more of a balance more, you know.

920
00:47:47,239 --> 00:47:50,200
Speaker 1: Or or that or that art but not I wouldn't

921
00:47:50,200 --> 00:47:53,200
Speaker 1: say art, but with our industry gives audiences a little

922
00:47:53,200 --> 00:47:57,240
Speaker 1: more credit. Yeah, you know you talk about if if

923
00:47:57,360 --> 00:48:00,720
Speaker 1: if you build it, they will come right like that's

924
00:48:01,520 --> 00:48:05,640
Speaker 1: you know that they they only feel safe producing those

925
00:48:05,800 --> 00:48:08,400
Speaker 1: independent films, you know, because they just they feel like

926
00:48:08,560 --> 00:48:12,960
Speaker 1: people want massive world ending stories if you're going to

927
00:48:13,000 --> 00:48:16,359
Speaker 1: bring them to the movie theaters, but occasionally just run

928
00:48:16,360 --> 00:48:20,760
Speaker 1: away the runaway you know, uh, you know runaway hits

929
00:48:20,800 --> 00:48:23,600
Speaker 1: like get Out, you know where, like that was incredibly

930
00:48:23,760 --> 00:48:26,239
Speaker 1: you know, original, and but they're not betting on those

931
00:48:26,280 --> 00:48:29,200
Speaker 1: horses anymore, right, So I think it's slowly We're gonna

932
00:48:29,239 --> 00:48:31,680
Speaker 1: have to just slowly really kind of champion with that,

933
00:48:31,800 --> 00:48:33,360
Speaker 1: and all of us have to create kind of a

934
00:48:33,440 --> 00:48:36,200
Speaker 1: network of actors and artists are saying like, hey, let's

935
00:48:36,200 --> 00:48:38,560
Speaker 1: stick by this, Let's make these movies. Let's prove that

936
00:48:38,600 --> 00:48:41,600
Speaker 1: the audiences are you know, have been waiting for for

937
00:48:41,640 --> 00:48:44,319
Speaker 1: these two comeback to cinema, so you know, we'll see

938
00:48:44,360 --> 00:48:47,799
Speaker 1: how it goes. But either way, this was another really

939
00:48:47,800 --> 00:48:52,880
Speaker 1: fun conversation at those yeahs. Thank you everyone for listening

940
00:48:52,960 --> 00:48:55,440
Speaker 1: and send us your movies. Tell us what to uh

941
00:48:55,560 --> 00:48:58,000
Speaker 1: you know what you guys, what you guys grew up watching.

942
00:48:58,080 --> 00:48:59,600
Speaker 1: We love to uh, we love to hear that.

943
00:48:59,680 --> 00:49:01,879
Speaker 3: Yeah, but you grew up watching what was in your

944
00:49:02,360 --> 00:49:05,799
Speaker 3: video cassette drawer? What was in your DVD drawer? What

945
00:49:05,960 --> 00:49:08,560
Speaker 3: is I want to know why what you grew up

946
00:49:08,560 --> 00:49:12,319
Speaker 3: watching and why those movies resonated with you absolutely?

947
00:49:12,440 --> 00:49:14,400
Speaker 4: What's a video cassette drawer.

948
00:49:17,440 --> 00:49:19,839
Speaker 3: You gen Zer you, Leo.

949
00:49:20,080 --> 00:49:21,680
Speaker 2: Yeah, I know gen Z Wanna Beard.

950
00:49:21,840 --> 00:49:26,680
Speaker 1: You know that guy's at three six Mafia over there, right,

951
00:49:27,120 --> 00:49:27,640
Speaker 1: So wait, what.

952
00:49:27,600 --> 00:49:28,760
Speaker 2: Do you are you Jen.

953
00:49:30,239 --> 00:49:34,040
Speaker 3: Lenia? Yeah?

954
00:49:34,080 --> 00:49:38,000
Speaker 1: Absolutely, Well until the next episode of Those Amigos, I'm

955
00:49:38,040 --> 00:49:39,200
Speaker 1: Wilmer abal Dorama.

956
00:49:38,880 --> 00:49:39,960
Speaker 3: I'm Freddy Rodriguez.

957
00:49:40,000 --> 00:49:41,440
Speaker 2: See you on the next one.

958
00:49:45,960 --> 00:49:49,840
Speaker 3: Those Amigos is a production from WV Sound and iHeartMedia's

959
00:49:49,920 --> 00:49:53,839
Speaker 3: Michael through That podcast Network, hosted by Me, Freddie Rodriguez

960
00:49:53,960 --> 00:49:55,080
Speaker 3: and Wilmri Valdorama.

961
00:49:55,320 --> 00:49:58,880
Speaker 1: Those Amigos is produced by Aaron Burlson and Sophie Spencer.

962
00:49:58,960 --> 00:50:03,239
Speaker 3: Zabos are execut to. Producers are Wilmri Valderrama, Freddie Rodriguez,

963
00:50:03,320 --> 00:50:06,600
Speaker 3: Aaron Burlson, and Leo Clem at WV Sound.

964
00:50:06,800 --> 00:50:09,120
Speaker 1: This episode was shot and edited it by Ryan Posts

965
00:50:09,160 --> 00:50:12,200
Speaker 1: and mixed by Sean Tracy and features original music by

966
00:50:12,239 --> 00:50:13,879
Speaker 1: Madison Devenport and Halo Boy.

967
00:50:14,040 --> 00:50:17,480
Speaker 3: Our cover art photography is by David Avalos and designed

968
00:50:17,560 --> 00:50:18,880
Speaker 3: by Deny Holtzklau.

969
00:50:19,120 --> 00:50:21,480
Speaker 1: And thank you for being at Third Amigo today. I

970
00:50:21,520 --> 00:50:23,680
Speaker 1: appreciate you guys always listening to Those Amos.

971
00:50:24,040 --> 00:50:26,400
Speaker 3: More podcasts from my Heart visit the ir Heart Radio

972
00:50:26,480 --> 00:50:30,120
Speaker 3: app Apple podcast or wherever you listen to your favorite shows.

973
00:50:30,360 --> 00:50:31,120
Speaker 2: See you next week.