WEBVTT - Letterboxd Confessions: “I’ll go home and watch it tonight” 0:00:05.280 --> 0:00:10.840 Hey everybody, this is Freddie Rodriguez and I'm Wilmer Valdorama Podcasts. 0:00:11.000 --> 0:00:15.160 Welcome back to those of Egos podcasts only, uh, everywhere 0:00:15.200 --> 0:00:18.079 you get your podcasts as we say thank you to 0:00:18.160 --> 0:00:22.639 our beautiful family at iHeart Podcast and in our home 0:00:22.680 --> 0:00:26.599 at Michael Tuda podcast Network. Yes, you know this is 0:00:26.600 --> 0:00:28.479 a podcast you can not only listen to, but you 0:00:28.520 --> 0:00:29.600 can watch. 0:00:29.120 --> 0:00:31.520 You you're watching. You already know that part. That's right. 0:00:31.520 --> 0:00:34.360 If you're listening, you can go find us a YouTube 0:00:34.400 --> 0:00:36.640 and enjoy enjoy this stuff. 0:00:36.680 --> 0:00:39.720 They can enjoy how straight your hat is? Yes? That was. 0:00:41.640 --> 0:00:45.000 How dare you so? The first question? But I think 0:00:45.000 --> 0:00:45.920 it is my biggest petic. 0:00:46.080 --> 0:00:48.240 Like I was like, if I'm on TV with a 0:00:48.280 --> 0:00:51.239 cricket hat, it's embarrassing to try to talk about some 0:00:51.280 --> 0:00:54.120 stuff that matters, Like I can't talk about serious stuff. 0:00:53.880 --> 0:00:55.560 When my hat is like because your. 0:00:57.680 --> 0:01:03.320 So anyways, really really cool to be back with everyone here, Freddy, 0:01:04.160 --> 0:01:08.480 I I miss you when we're not in the same 0:01:08.560 --> 0:01:13.280 room together. Uh, please don't make it weird. Well it's 0:01:13.319 --> 0:01:15.000 too late. He made it weird. 0:01:15.800 --> 0:01:16.480 Uh. 0:01:16.520 --> 0:01:18.880 But today I thought, you know, we could start with 0:01:18.920 --> 0:01:22.319 something kind of fun, you know, and the reason I 0:01:22.319 --> 0:01:24.399 call it pron is because I think it's always so 0:01:24.640 --> 0:01:30.959 talent and so you know, you know, so so philosophical 0:01:31.040 --> 0:01:34.560 when we go into some of these moments and entertainment 0:01:34.640 --> 0:01:36.520 that kind of not only made us but shaped us. 0:01:36.840 --> 0:01:39.040 And we've done a lot of that in our internal 0:01:39.480 --> 0:01:44.080 you know, uh, search for each other's histories and and 0:01:44.160 --> 0:01:46.520 our trajectory and the industry. But now as we think 0:01:46.560 --> 0:01:49.120 about it like a fun like a fan, you know, 0:01:49.160 --> 0:01:50.400 like can I be a fan here? 0:01:50.520 --> 0:01:51.040 Can I say? 0:01:51.080 --> 0:01:54.480 Hey, you know, what are these movies that as a 0:01:54.480 --> 0:01:58.000 as a moviegoer we look at and somehow we see 0:01:58.400 --> 0:02:00.360 recreated over and over and over again. 0:02:00.480 --> 0:02:00.920 Like a lot of. 0:02:00.920 --> 0:02:05.240 People find these iconic movies right that we grew up watching, 0:02:05.400 --> 0:02:09.480 and today this next generation is almost watching them for 0:02:09.520 --> 0:02:11.600 the first time. And really they don't know that these 0:02:11.639 --> 0:02:16.200 movies have been re skinned after original movies that were 0:02:16.200 --> 0:02:18.880 the first one of its kind, and now they're like, 0:02:19.040 --> 0:02:20.880 it's like this kind of prototype, so they make the 0:02:20.880 --> 0:02:25.240 same movie with new characters. Right but without going to 0:02:25.360 --> 0:02:28.520 political deep diving on you know, the state of affairs 0:02:28.520 --> 0:02:31.080 of our industry right now, where you know, IP and 0:02:31.280 --> 0:02:36.680 reboots and sequels and prequels are so popular because they 0:02:36.720 --> 0:02:40.760 just can't trust the original content today. I thought they'd 0:02:40.800 --> 0:02:42.440 be really fun for us to kind of go down 0:02:42.440 --> 0:02:45.360 a list of four movies each you think of four 0:02:45.400 --> 0:02:50.560 movies that really changed the paradigmic how you saw film 0:02:50.560 --> 0:02:55.079 making and they made you love the movies. And we'll 0:02:55.120 --> 0:02:57.079 breaking down one by one, you know, you say one, 0:02:57.160 --> 0:02:59.160 I say one, and then you're like, we kind of like, 0:02:59.360 --> 0:03:02.040 let's see to see when we meet in the middle 0:03:02.040 --> 0:03:03.480 when it comes to this movie is because we might 0:03:03.520 --> 0:03:06.000 have the same movie in mind, right, But that's true. 0:03:06.160 --> 0:03:08.280 But I guess do you want to start? You want 0:03:08.320 --> 0:03:08.480 me to? 0:03:08.680 --> 0:03:13.040 Sure? Yeah, you start, I'll start, Okay. My top top 0:03:13.120 --> 0:03:18.440 movie is Goodfellas. Okay. Now it's always hard for me, 0:03:18.840 --> 0:03:21.200 like when people go, what are you top four or five? Right, 0:03:21.200 --> 0:03:24.160 because you have like hardcorese and the files out there 0:03:24.240 --> 0:03:28.399 who are judging you, and like I judge my top 0:03:28.440 --> 0:03:31.799 four movies in the category of movies that I've seen 0:03:32.040 --> 0:03:36.040 thirty If I've watched this movie thirty times, then to 0:03:36.080 --> 0:03:38.160 meet it's one of my favorite movies. Right. There's no 0:03:38.240 --> 0:03:39.279 rhyme or reason. 0:03:38.960 --> 0:03:41.200 Behind or if it's on TV, you have to finish it. 0:03:41.280 --> 0:03:42.960 Oh yeah, you can't get in the car like you're 0:03:43.000 --> 0:03:44.520 gonna be late because you gotta watch it. 0:03:44.520 --> 0:03:46.560 It's one of those movies that I feel like it's 0:03:46.600 --> 0:03:48.880 fresh every time I see it, you know. And I'll 0:03:48.880 --> 0:03:51.200 tell you a story behind that movie. When I first 0:03:51.240 --> 0:03:53.640 saw that movie. That movie came out my freshman year 0:03:53.640 --> 0:03:57.080 of high school, and I went to art school and 0:03:57.120 --> 0:03:59.720 I had a friend who would get us into the 0:03:59.760 --> 0:04:04.840 movie for free, okay, And it was called the Webster 0:04:04.880 --> 0:04:09.440 Theater in Bucktown, Chicago. And back then in Chicago, you 0:04:09.480 --> 0:04:11.480 would go to one theater, and if you want to 0:04:11.520 --> 0:04:14.040 be sneaky, you sneak to another theater. Then you sneak 0:04:14.040 --> 0:04:16.719 to another theater, especially when you're like fifteen years old, right, 0:04:17.320 --> 0:04:19.400 And so I was doing that and I went to 0:04:19.440 --> 0:04:21.440 one and I saw another one, and I snuck into 0:04:21.480 --> 0:04:24.280 this theater and Goodfellas was starting. It was like, right 0:04:24.400 --> 0:04:26.839 up the first frame, I had no idea what I 0:04:26.880 --> 0:04:30.360 was getting into. I sat down. That opening scene comes 0:04:30.400 --> 0:04:33.640 on Rayleiota, Robert de Niro, Joe Peshi in the car. 0:04:34.279 --> 0:04:37.559 They hear Frank Vincent's character in the trunk. They stop 0:04:37.839 --> 0:04:40.839 the car, they get out, Joe Peshi whops out this 0:04:40.920 --> 0:04:43.880 big kitchen knife, and he's just starts stabbing Frank Vincent 0:04:43.920 --> 0:04:48.440 in the trunk. I was fifteen years old, fourteen, and 0:04:48.480 --> 0:04:53.440 I'd never seen anything like that in cinema. And I 0:04:53.680 --> 0:04:59.560 was riveted. Man, I was paralyzed. I couldn't move a 0:04:59.680 --> 0:05:02.520 muscle and I sat there and I watched that two 0:05:02.560 --> 0:05:06.440 three hour movie without going to the bathroom, without moving nothing. 0:05:06.480 --> 0:05:10.520 I paid attention to every single frame of that film, 0:05:10.920 --> 0:05:14.719 and it changed my perspective in movies forever? Did it? 0:05:14.839 --> 0:05:16.800 Did it wake up something else in you? 0:05:16.920 --> 0:05:17.359 Like? Did it? 0:05:17.440 --> 0:05:19.520 Did you not? Did you not know that was possible 0:05:19.600 --> 0:05:20.000 in filming? 0:05:20.240 --> 0:05:23.600 I just knew that I was watching something profound. I 0:05:23.680 --> 0:05:26.760 knew nothing really about movies. I wasn't a cinema buff. 0:05:26.839 --> 0:05:29.200 I was in a movie, you know. But I knew 0:05:29.200 --> 0:05:31.800 that I was watching something different. I knew that I 0:05:31.880 --> 0:05:36.240 was watching something of greatness. And and I and my 0:05:36.440 --> 0:05:39.320 instinct told me that really early on in my life. 0:05:39.920 --> 0:05:41.920 And so it was like a tuning fork, right, And 0:05:41.960 --> 0:05:45.160 so now I wait for that tuning fork to to 0:05:45.240 --> 0:05:47.479 rear its head every time I watch a movie, to 0:05:47.520 --> 0:05:49.440 see if it's telling me if this movie is great 0:05:49.520 --> 0:05:51.560 or not. And that was the first one and it 0:05:51.640 --> 0:05:54.560 changed my life. And I got to tell Frank Vincent 0:05:54.640 --> 0:05:56.960 that story too, man one day before he passed away, 0:05:57.040 --> 0:05:59.560 God bless him, and he was like, oh, thank you man, 0:05:59.600 --> 0:06:01.080 thank you, you know, and I was like, dude, your 0:06:01.080 --> 0:06:02.919 movie changed my life. You know. I got to be 0:06:02.920 --> 0:06:05.200 a judge at the Tribeca Film Festival and I got 0:06:05.200 --> 0:06:08.320 to like tell them about that film. But it was transformative. 0:06:08.360 --> 0:06:10.120 Oh my god, it's so amazing that you said that. 0:06:10.200 --> 0:06:12.560 I watched that movie in Spanish, But. 0:06:12.720 --> 0:06:14.039 How was that in Spanish. 0:06:14.080 --> 0:06:17.359 It's interesting because the performances are like they probably it 0:06:17.400 --> 0:06:21.680 probably hits harder in English, you know, but regardless, the 0:06:21.720 --> 0:06:24.080 movie was so undeniable, right, And then I watched it 0:06:24.120 --> 0:06:26.960 in English and I was like boom, Like it just 0:06:27.040 --> 0:06:31.280 hit me in so many different ways. I never thought 0:06:31.520 --> 0:06:34.400 like I seen performances like that, yeah, you know, and 0:06:34.440 --> 0:06:37.360 performances like that weren't uncoming, right, Like you watched the 0:06:37.400 --> 0:06:40.800 seventies and even a few movies in the sixties, like 0:06:41.120 --> 0:06:45.320 I think, like like The Last Weekend. Yeah, that's a 0:06:45.360 --> 0:06:47.480 movie that kind of lost weekend. 0:06:47.600 --> 0:06:50.040 Yeah, it was a movie about so what the movie 0:06:50.080 --> 0:06:50.360 is about. 0:06:50.360 --> 0:06:53.160 The movie is about this this writer, the actor was 0:06:53.240 --> 0:06:59.160 Ray Melunt and he his performance was so I was 0:06:59.440 --> 0:07:02.279 taking at but the fact that it was that it 0:07:02.400 --> 0:07:06.160 was black and white and and and because I was like, 0:07:06.640 --> 0:07:09.160 this movie had to be one of the darkest movies 0:07:09.520 --> 0:07:12.240 of that time, and he was. I think he went 0:07:12.320 --> 0:07:16.440 an oscar too. It was nominated for multiple Oscars. And 0:07:16.480 --> 0:07:19.960 the movie was about this writer who has lost lost 0:07:20.000 --> 0:07:23.480 his way and you know, he was standing in front 0:07:23.480 --> 0:07:27.040 of this typewriter and he just couldn't start this page. 0:07:28.440 --> 0:07:31.080 And you know, he was an alcoholic, you know, and 0:07:31.120 --> 0:07:35.720 he will go back to this this one girl, and 0:07:35.800 --> 0:07:39.400 I believe she was, you know, a prostitute, and but 0:07:39.600 --> 0:07:44.320 he was like telling her everything, you know, that that 0:07:44.440 --> 0:07:47.280 she wanted to hear, and just like at the end, 0:07:47.320 --> 0:07:49.360 we just asked her for money so he can go drink. 0:07:50.520 --> 0:07:55.480 And it was really dark and the relationship was so complicated, 0:07:55.480 --> 0:07:58.760 and I was like, whoa, this is just a specific story. 0:07:59.560 --> 0:08:01.000 And I reckon when everybody to watch it, because that 0:08:01.040 --> 0:08:03.000 was one of those first movies. And I'm not like 0:08:03.040 --> 0:08:05.160 the guy who like, let's go back to the sixties 0:08:05.200 --> 0:08:06.960 and like, you know, I just watch these movies. I'm 0:08:06.960 --> 0:08:08.880 not you know, I I yes, I love cinema, and 0:08:08.920 --> 0:08:12.120 I've definitely that way in my later years and understanding 0:08:12.160 --> 0:08:17.120 where cinema really you know, I broke the ground. But 0:08:17.240 --> 0:08:19.080 this was one of those movies that like, I just 0:08:19.160 --> 0:08:23.240 like I watched it one day and it just absolutely 0:08:23.280 --> 0:08:25.160 fractured what was possible, and I was like, if that 0:08:25.280 --> 0:08:29.520 tone was possible, then right, I realized everything that was 0:08:29.560 --> 0:08:30.360 possible after. 0:08:30.640 --> 0:08:33.320 So you feel that it was the tone or the 0:08:33.360 --> 0:08:36.480 execution that resonated with you as opposed to like somebody's 0:08:36.520 --> 0:08:37.520 singular performance. 0:08:37.720 --> 0:08:41.040 Yeah, I mean their performances was they were incredibly grounded, right, 0:08:41.160 --> 0:08:43.480 they were humbling, and they were fracturing. They were very 0:08:43.800 --> 0:08:46.240 they were very grounded, you know, like for that time, 0:08:46.280 --> 0:08:49.200 you know, everybody well you know talk like this, you 0:08:49.200 --> 0:08:51.559 know what I mean, they were like that that you uh, 0:08:51.600 --> 0:08:55.040 that kind of you know, mentality, but I mean vibe 0:08:55.040 --> 0:08:59.040 and tone. So I was taken back by movies that 0:08:59.200 --> 0:09:02.840 was there was widen. Those performances were almost just so real, 0:09:03.679 --> 0:09:05.480 and I think it was a groundbreaking enough that got 0:09:05.480 --> 0:09:07.440 nomin area for multiple Oscars. But you know, I go 0:09:07.520 --> 0:09:10.680 back to to the Goodfellas, you know, and I think 0:09:10.720 --> 0:09:16.640 about these performances, we're so liberating. You know, I felt 0:09:16.679 --> 0:09:20.200 like they were drawing with callers and that were you know, 0:09:20.280 --> 0:09:22.360 the way they were using the words, the way they 0:09:22.360 --> 0:09:24.920 would talk to each other and finish each other's sentences. 0:09:24.960 --> 0:09:28.239 It was like it was a different level of groundness. 0:09:28.280 --> 0:09:30.600 And I think that that movieould definitely touched me as well. 0:09:30.600 --> 0:09:32.599 Do you think you think do you think that like 0:09:32.600 --> 0:09:35.360 like synergy has something to do with it, right, because 0:09:35.360 --> 0:09:37.800 you know, we've we've been making movies and TV for 0:09:37.800 --> 0:09:41.360 thirty years, right, and I've found that you could have 0:09:41.400 --> 0:09:45.200 a singular good performance, right, or you could have somebody 0:09:45.280 --> 0:09:47.960 write a really good story. But there's something about when 0:09:48.679 --> 0:09:51.520 you know that term, when when the planets aligned right, 0:09:51.720 --> 0:09:54.920 like like the planets are aligned and and there's a 0:09:54.960 --> 0:09:58.880 certain synergy that comes from the performance and the directing 0:09:59.000 --> 0:10:03.240 and the writing and the overall the perfect storm. Yeah. Yeah, 0:10:03.880 --> 0:10:06.480 That's what I felt like when I was watching that movie, 0:10:06.520 --> 0:10:09.840 Like there was this perfect synergy happening from all from 0:10:09.880 --> 0:10:13.040 all aspects of filmmaking. Where sometimes I'll watch a movie 0:10:13.040 --> 0:10:16.160 and I'll go, well, that dude's performance is awesome, but 0:10:16.280 --> 0:10:19.400 like there's something off about the editing or somewhere else 0:10:19.440 --> 0:10:19.719 you know. 0:10:19.880 --> 0:10:22.160 Or the rhythm you know, yeah, And I think it's 0:10:22.320 --> 0:10:24.319 when you know, you think about Good Fellas and you 0:10:24.360 --> 0:10:27.200 think about the generation of gangster films. Yeah, you know 0:10:27.360 --> 0:10:32.640 the Italian you know kind of genre, the Italian American Italian. 0:10:32.720 --> 0:10:36.280 You know that it was out here doing it. And 0:10:36.679 --> 0:10:39.000 you talk about the Godfather, right, and the Godfather and 0:10:39.040 --> 0:10:39.920 Godfather too. 0:10:39.920 --> 0:10:42.800 You know where the Naro is is plaining, you know, 0:10:43.320 --> 0:10:43.679 it's you. 0:10:43.800 --> 0:10:46.320 We're seeing him become you know, who he's gonna be, 0:10:46.480 --> 0:10:50.520 and that those performances had this rhythm, and I think 0:10:51.840 --> 0:10:57.200 the culture really enhanced what these characters had to offer 0:10:57.480 --> 0:11:00.840 in the narrative tone, right, I think like that's the. 0:11:00.520 --> 0:11:02.160 The culture in the movie or the culture and. 0:11:02.480 --> 0:11:05.920 Like the Italian culture, right, I mean like the coren 0:11:05.920 --> 0:11:09.880 actor to fall back into their character traits, their values 0:11:10.800 --> 0:11:11.839 and speak. 0:11:11.720 --> 0:11:13.920 Authentically about what their values are. 0:11:14.000 --> 0:11:16.240 Because you talk about the Godfather, you know, these guys 0:11:16.240 --> 0:11:18.920 were real gentlemen, right, There were men of their word. 0:11:19.040 --> 0:11:21.880 You know, they were loyal you know and until until 0:11:21.960 --> 0:11:23.559 other people, until others. 0:11:23.280 --> 0:11:26.880 Weren't and and uh. 0:11:26.640 --> 0:11:28.120 And you know, so that's kind of stuff I really 0:11:28.160 --> 0:11:30.160 resonated as a Latino, you know, and as a brown man, 0:11:30.200 --> 0:11:32.760 I can really relate to some of the values, the 0:11:32.840 --> 0:11:36.679 family values, you know, the the you know, the spirituality 0:11:36.720 --> 0:11:37.640 part of it, all that stuff. 0:11:37.679 --> 0:11:40.319 So, but I think it's I think culture. 0:11:40.400 --> 0:11:44.120 I think that those characters really, you know, just really 0:11:44.160 --> 0:11:48.840 came to life because they've rooted it softly in who 0:11:48.840 --> 0:11:51.520 they were as individuals as well, right like their culture. 0:11:51.520 --> 0:11:53.040 And I think that's one of that's when it gets 0:11:53.080 --> 0:11:56.040 really unique, when an actor really performs to their strengths 0:11:56.960 --> 0:12:00.240 and leaning on what they really do know. And I 0:12:00.240 --> 0:12:02.120 think that I think maybe that's one of the reasons 0:12:02.160 --> 0:12:05.040 why I feel like Goodfellas to me also felt like 0:12:05.120 --> 0:12:07.600 you were watching something you weren't. 0:12:07.400 --> 0:12:08.640 Supposed to, you know. 0:12:09.360 --> 0:12:14.280 Yeah, it was definitely some like inside something felt inside 0:12:14.360 --> 0:12:18.080 about it. Different world as opposed to like watching like 0:12:18.120 --> 0:12:21.080 a regular mobster movie, which which I'm sure all of 0:12:21.120 --> 0:12:24.720 it has it's it's it's levels of authenticity to it, right, 0:12:25.000 --> 0:12:27.920 but but there was something that was different about that 0:12:27.960 --> 0:12:32.680 one that, at fifteen years old, absolutely floored me like 0:12:32.800 --> 0:12:34.320 nothing has ever floored me before. 0:12:34.640 --> 0:12:37.600 Okay, so we have the last weekend, yep, and we 0:12:37.720 --> 0:12:38.600 have Good Fellas. 0:12:38.600 --> 0:12:39.559 What's your next one? 0:12:40.840 --> 0:12:49.120 Carlito's way, Yeah, yeah, man, Carlito's way. You know mine 0:12:49.240 --> 0:12:50.679 shout out to Louis. 0:12:52.280 --> 0:12:54.760 Louis, Louis lou Louis from the Hood. 0:12:55.040 --> 0:12:59.200 Yeah, and to John Ortiz and John Sata who's in 0:12:59.200 --> 0:13:04.120 that movie and like that movie and all that, uh 0:13:04.520 --> 0:13:17.600 I rec and that's a whole other subject's talk about. Look, 0:13:18.760 --> 0:13:21.360 it's it's a yeah, it's a tough subject matter, you know. 0:13:21.520 --> 0:13:24.400 But but I I I try to I try to 0:13:24.440 --> 0:13:27.080 watch that movie objectively, right, I try to watch it 0:13:27.160 --> 0:13:32.560 with no preconceived notions going in. I just love the movie. Man. 0:13:33.240 --> 0:13:37.319 There was something different about that movie, the way that that, uh, 0:13:37.360 --> 0:13:42.360 the director used music and original score with that music, 0:13:42.559 --> 0:13:45.600 with that movie, it was almost poetic that I felt 0:13:45.640 --> 0:13:50.079 that these other movies didn't use those and and and. 0:13:49.800 --> 0:13:52.800 By the way those other movies there was rarely music. 0:13:52.840 --> 0:13:56.120 The music would come in at very specific moments. 0:13:55.720 --> 0:13:56.240 Of the act. 0:13:57.320 --> 0:13:59.480 Yeah, yeah, like there taking you from one act or 0:13:59.480 --> 0:14:03.360 the other that dude, h. 0:14:04.520 --> 0:14:07.880 Yeah, yeah, I had that and Godfather or even like Goodfellas, 0:14:07.920 --> 0:14:11.079 where Scorsese was also sort of a music buff, right, 0:14:11.160 --> 0:14:14.559 so he used very specific music cues and that. But 0:14:14.760 --> 0:14:17.680 but go back and listen to the original score in 0:14:17.760 --> 0:14:21.840 Carlito's way, and it's it's beautiful, man. It's his beautiful 0:14:22.240 --> 0:14:25.760 strings and something that you wouldn't expect to be in 0:14:25.800 --> 0:14:28.760 the background of something as gritty as like a film 0:14:28.800 --> 0:14:32.120 like that. And I just love, I love. I think 0:14:32.160 --> 0:14:34.960 the movie is beautiful and it's poetic. And I know 0:14:35.040 --> 0:14:38.280 people have different opinions about Patino and his performance and 0:14:38.360 --> 0:14:42.320 him not being Puerto Rican all that stuff, but I 0:14:42.480 --> 0:14:45.680 still it still resonates with me. Man. I could watch 0:14:45.760 --> 0:14:47.600 I go home and watch it tonight and watch it 0:14:47.640 --> 0:14:48.960 like it's my first time watching it. 0:14:58.720 --> 0:15:00.520 I mean, seems we're in the gangster of it all. 0:15:00.680 --> 0:15:03.000 I think I'll match you. 0:15:03.360 --> 0:15:08.640 Yeah, just as much of a controversial movie Scarface. 0:15:08.520 --> 0:15:10.520 Dude, I just rewatched that movie. 0:15:10.720 --> 0:15:13.960 Come on, man, from the first one, Dude. 0:15:13.680 --> 0:15:17.560 I just rewatched it. As I always say to myself, 0:15:17.800 --> 0:15:19.720 I've been going, I've been going on this journey and 0:15:19.760 --> 0:15:22.880 I've been watching movies as an adult. You ever watch 0:15:22.960 --> 0:15:24.200 movies now as an adult? 0:15:24.320 --> 0:15:24.440 Oh? 0:15:24.520 --> 0:15:27.040 Yeah, not as a kid? Not as like I'm gonna 0:15:27.080 --> 0:15:30.200 go watch Scarface, like the sensationalism of it. Have you 0:15:30.360 --> 0:15:33.880 watched it now as an adult? You have? And what 0:15:34.240 --> 0:15:34.720 do you think? 0:15:35.480 --> 0:15:38.160 I mean, there's a couple of things, right, Yeah, so 0:15:38.400 --> 0:15:41.280 scarface to me felt like these two characters, like, you know, 0:15:41.280 --> 0:15:43.440 they kind of breezed through the immigration part of it, 0:15:43.880 --> 0:15:46.160 cams and whatever and all that stuff, and you know, 0:15:46.200 --> 0:15:48.400 and they really painted a picture that these Cubans were 0:15:48.400 --> 0:15:52.320 here like just messing things up, right, Yeah, And and 0:15:52.360 --> 0:15:56.040 then it was like just an unhinged interpretation of two 0:15:56.080 --> 0:15:57.360 dudes that were just out there. 0:15:57.200 --> 0:15:58.840 Doing whatever they wanted to do, you know. 0:15:59.120 --> 0:16:02.360 And but it's an interesting question, you say, we watched 0:16:02.400 --> 0:16:05.120 it as an adult, How did how did how did 0:16:05.160 --> 0:16:06.680 he speak to me on that level? 0:16:06.880 --> 0:16:08.600 And and I. 0:16:08.480 --> 0:16:14.000 Think I felt like that era, this analog era of 0:16:14.080 --> 0:16:18.920 pain payphones and convertible Cadillacs and like pastel colors in 0:16:18.960 --> 0:16:23.800 Miami felt like a different planet. And somehow I allowed 0:16:23.800 --> 0:16:27.880 it in my mind, we gave it license to exist, 0:16:28.480 --> 0:16:32.440 not just rant free, but like no questions asked. 0:16:33.520 --> 0:16:34.440 I just went along for the. 0:16:34.480 --> 0:16:36.160 Ride and I didn't have to like poke holes on 0:16:36.200 --> 0:16:38.160 it because I was like, it just brings me back 0:16:38.200 --> 0:16:39.480 to like the first time I saw it. 0:16:40.200 --> 0:16:44.120 At the sensationalism of it, Yeah, because it's so big, 0:16:45.960 --> 0:16:50.040 say hello, like what the hell? But wasn't Miami kind 0:16:50.040 --> 0:16:51.160 of big at that time? 0:16:51.680 --> 0:16:56.200 Larger than live, like the open silk shirts and you 0:16:56.240 --> 0:16:58.240 know and all that, and so do you. 0:16:58.240 --> 0:17:00.760 Think that maybe it was just an interpretation of what 0:17:00.800 --> 0:17:03.640 was what was really happening. I mean, look, are people 0:17:03.640 --> 0:17:06.560 in a mansion like with a big ass gun like that, Like. 0:17:06.520 --> 0:17:09.199 Maybe back then, you know, you know, it probably is Miami. 0:17:09.240 --> 0:17:11.639 I think everyone was probably you know, liked and loaded 0:17:11.680 --> 0:17:13.240 over something, you know, but. 0:17:13.040 --> 0:17:16.640 But a reflection of like of like the externalism of 0:17:16.640 --> 0:17:20.040 of like how people were right and how it. 0:17:20.119 --> 0:17:27.400 Just feels to me like it was this grounded world. Yeah, 0:17:27.480 --> 0:17:30.960 the movie was a grounded world. And then they told 0:17:31.040 --> 0:17:34.919 Paccino step on it or Patino just said, I'm going 0:17:35.000 --> 0:17:37.240 to play something so different than you've ever seen me do. 0:17:37.800 --> 0:17:40.520 Yeah, you know, this is a different boss, It's. 0:17:40.359 --> 0:17:42.720 A different gangster he was playing, right, like, so he 0:17:42.880 --> 0:17:43.840 just said, I got it. 0:17:43.920 --> 0:17:46.600 I'm gonna play Q and I'm a little more external. 0:17:46.680 --> 0:17:48.520 Yeah, it has to be a little more external because 0:17:48.520 --> 0:17:51.720 he's been because every other gangster he played was so internal. 0:17:52.920 --> 0:17:58.120 I mean, I go back to Scarface, uh Mooney too. 0:17:59.160 --> 0:18:02.680 Sorry sorry, and that scar I go back to Godfather too. 0:18:02.920 --> 0:18:08.520 Yeah, my got Godfather too was so settle in the eyes. Yeah, 0:18:08.920 --> 0:18:11.960 he was he was saying monologues with his eyes. People 0:18:12.000 --> 0:18:16.200 were talking around him, and the camera was just on him. 0:18:16.520 --> 0:18:19.760 And then you go to Scarface and he's just like 0:18:20.080 --> 0:18:24.480 filling up the seventy millimeter like lens like he's just. 0:18:24.359 --> 0:18:25.200 Filling it up. 0:18:25.440 --> 0:18:28.520 So I think he just I think that that opportunity 0:18:28.560 --> 0:18:32.359 was making choices, Yeah, to go far, because if I'm 0:18:32.359 --> 0:18:36.960 gonna play another gangster, I'm gonna go as far as possible. Yeah, 0:18:37.040 --> 0:18:39.960 you know, so it's a different type of gangster. And 0:18:40.000 --> 0:18:42.480 I think he he went very far. 0:18:43.400 --> 0:18:46.960 Yeah, and it kind of I don't I don't know. Man, 0:18:47.040 --> 0:18:50.040 It obviously works, right because people to this day are 0:18:50.040 --> 0:18:54.600 wearing Scarface T shirts and jackets. And at the time 0:18:54.680 --> 0:18:57.400 it got panned, right, the film got panned, his performance 0:18:57.400 --> 0:19:00.320 got panned. But I feel like sometimes people will make 0:19:00.359 --> 0:19:03.800 these bold choices as an actor, right, and and people 0:19:03.840 --> 0:19:05.840 crap on it in the beginning, and then and then 0:19:06.240 --> 0:19:08.399 and then it needs to sort of live in the ether. 0:19:08.640 --> 0:19:10.720 And then and then people like are like, oh, I know, 0:19:10.800 --> 0:19:13.720 it's kind of big, but it's big, but it's still 0:19:13.760 --> 0:19:15.119 grounded at the same time. 0:19:15.680 --> 0:19:19.639 And I think I think critics and you know, cinema 0:19:19.680 --> 0:19:23.399 has become more and more cynical. I think over time, 0:19:24.240 --> 0:19:30.800 every decade, we fracture fantasy, and we fractured boldness, and 0:19:30.840 --> 0:19:35.239 we fracture originality. And when something is that different or 0:19:35.280 --> 0:19:39.679 that bold and it doesn't fit them all that everyone's 0:19:39.840 --> 0:19:43.000 leading into this is the trend of subtleness or independent 0:19:43.200 --> 0:19:46.000 film making or whatever, then all of a sudden it 0:19:46.040 --> 0:19:49.040 becomes like not good, you know, And there's something to 0:19:49.119 --> 0:19:55.560 be said about the different cinematic narratives that actually are 0:19:55.640 --> 0:20:00.159 needed to tell very specific stories and original cont and 0:20:00.640 --> 0:20:04.800 should be given the freedom to be at whatever frequency 0:20:04.840 --> 0:20:07.359 they need to be to tell us, you know, to 0:20:07.400 --> 0:20:09.160 tell us what this is about. 0:20:09.440 --> 0:20:09.560 Uh. 0:20:09.760 --> 0:20:14.000 And I think for him, uh, what really worked for 0:20:14.040 --> 0:20:19.399 me is that the world was very real for Scarface, 0:20:20.160 --> 0:20:22.520 but he had to play someone that was a lunatic. 0:20:23.080 --> 0:20:25.800 He was just crazy and delusional and that you know, 0:20:25.880 --> 0:20:27.800 so you had to see him on hinch. I mean, 0:20:27.840 --> 0:20:29.760 one of my favorite scenes in Scarface is when he's 0:20:30.000 --> 0:20:33.080 in the restaurant and he gets drunk and Michelle Fiffer 0:20:33.160 --> 0:20:36.320 is there and he's just like, you know, say hello, 0:20:36.320 --> 0:20:38.440 I do the bad guy. You know that that part, 0:20:38.560 --> 0:20:42.359 like that was uncomfortable. That was like you know that 0:20:42.520 --> 0:20:45.160 was grounded and real and that he really saw that moment. 0:20:45.240 --> 0:20:48.720 For me, I know, somebody who's done that in the restaurant, 0:20:48.920 --> 0:20:53.320 like completely made a scene. And so when I saw that, 0:20:53.359 --> 0:20:57.119 I was like, yeah, yeah, I've seen that. There's a 0:20:57.160 --> 0:21:01.240 lot of that stuff. That's that's real man. I I 0:21:01.280 --> 0:21:03.720 you know, I unfortunately grew up in a in a 0:21:03.800 --> 0:21:07.399 in a neighborhood uh somewhat similar and and there's some 0:21:07.440 --> 0:21:11.600 there's some big characters in those neighborhoods and who are 0:21:11.720 --> 0:21:14.840 a part of that world and that underworld, I mean 0:21:14.920 --> 0:21:20.000