1
00:00:04,000 --> 00:00:06,160
Speaker 1: What kind of a show you guys putting.

2
00:00:05,880 --> 00:00:06,480
Speaker 2: On here today?

3
00:00:06,600 --> 00:00:09,000
Speaker 3: You're not interested in armed now? No, look, we're going

4
00:00:09,039 --> 00:00:09,520
Speaker 3: to do this thing.

5
00:00:09,560 --> 00:00:10,240
Speaker 4: We're going to have a.

6
00:00:10,160 --> 00:00:15,280
Speaker 1: Conversation from Chicago. This is Film Spotting celebrating our twentieth year.

7
00:00:15,400 --> 00:00:17,680
Speaker 1: I'm Adam Kempenar and I'm Josh Larson.

8
00:00:17,760 --> 00:00:19,360
Speaker 5: Emily said four words I didn't know.

9
00:00:19,520 --> 00:00:20,680
Speaker 3: Tell me if they catch.

10
00:00:20,920 --> 00:00:27,280
Speaker 2: Brick, No our bad brick Nope, tug Tug. Tug might

11
00:00:27,280 --> 00:00:31,120
Speaker 2: be a drink like milk and vodka or.

12
00:00:31,040 --> 00:00:34,080
Speaker 1: Something that's from Ryan Johnson's Brick, which came to theaters

13
00:00:34,120 --> 00:00:36,280
Speaker 1: back in two thousand and six, but it played even

14
00:00:36,280 --> 00:00:39,000
Speaker 1: more recently Josh as the opening night film at the

15
00:00:39,000 --> 00:00:40,560
Speaker 1: first ever Film Spotting Fest.

16
00:00:40,840 --> 00:00:44,159
Speaker 6: That's right and even better. Johnson attended that screening and

17
00:00:44,240 --> 00:00:46,680
Speaker 6: stuck around for a Q and A, which you'll hear

18
00:00:46,840 --> 00:00:47,240
Speaker 6: on this.

19
00:00:47,159 --> 00:00:50,640
Speaker 1: Week's show, plus Round two of Film Spotting Madness Best

20
00:00:50,640 --> 00:00:53,600
Speaker 1: of the twenty first century so far, it's all ahead.

21
00:00:53,720 --> 00:00:57,160
Speaker 6: Vodka and milk, the official beverage of Film Spotting Madness.

22
00:00:57,240 --> 00:01:04,560
Speaker 1: I'll take a tug on film Spotting. Welcome to film Spotting,

23
00:01:04,800 --> 00:01:07,920
Speaker 1: and welcome back to me. I suppose Josh, I have

24
00:01:08,040 --> 00:01:12,520
Speaker 1: returned from my trip to Italy. Great show last week

25
00:01:12,560 --> 00:01:15,880
Speaker 1: with guests Roxanna Hadati, though I should say, if I'm

26
00:01:15,880 --> 00:01:19,000
Speaker 1: being totally accurate, great half show. I haven't seen Steven

27
00:01:19,000 --> 00:01:21,720
Speaker 1: Soderberg's Black Bag yet. Didn't want to listen to that review,

28
00:01:21,920 --> 00:01:24,479
Speaker 1: but I did dig into Film Spotting Madness Round one.

29
00:01:24,800 --> 00:01:26,120
Speaker 3: Can't wait for you to see it?

30
00:01:26,240 --> 00:01:28,680
Speaker 6: Yeah, I was jealous of your trip, but consoled myself

31
00:01:28,720 --> 00:01:32,119
Speaker 6: not only by hanging out with Roxanna, but by getting

32
00:01:32,120 --> 00:01:36,480
Speaker 6: to talk about an excellent Sodaberg movie. I can't imagine

33
00:01:36,480 --> 00:01:38,800
Speaker 6: you're gonna have any issues with this, but who knows, Adam,

34
00:01:38,800 --> 00:01:39,240
Speaker 6: who knows?

35
00:01:39,440 --> 00:01:42,240
Speaker 1: No, that would be rich and ironic if you finally

36
00:01:42,360 --> 00:01:44,640
Speaker 1: really embrace a Sodaberg. And I'm not high on.

37
00:01:44,640 --> 00:01:47,560
Speaker 6: It, I mean, you know, I could see it happening actually,

38
00:01:47,560 --> 00:01:48,920
Speaker 6: now that we're talking about.

39
00:01:48,640 --> 00:01:51,400
Speaker 1: It later in the show, Round one results and Round

40
00:01:51,480 --> 00:01:54,440
Speaker 1: two matchups of Film Spotting Madness. It is the best

41
00:01:54,520 --> 00:01:57,960
Speaker 1: of the twenty first century so far, Josh, that does

42
00:01:58,080 --> 00:02:01,320
Speaker 1: mean films between two thousand and twenty twenty four. You

43
00:02:01,400 --> 00:02:04,840
Speaker 1: and Roxanna, it got off a little wobbly there the start,

44
00:02:04,880 --> 00:02:08,240
Speaker 1: when you weren't sure if twenty twenty one qualified or not.

45
00:02:08,720 --> 00:02:11,200
Speaker 6: She threw me for a loop with you know, a

46
00:02:11,360 --> 00:02:14,640
Speaker 6: very specific question of things of which I don't probably

47
00:02:14,639 --> 00:02:17,359
Speaker 6: know when it comes to madness. So yeah, I think

48
00:02:17,360 --> 00:02:18,359
Speaker 6: we figured it out though.

49
00:02:18,680 --> 00:02:22,280
Speaker 1: Sixty four movies now down to thirty two and if

50
00:02:22,320 --> 00:02:25,040
Speaker 1: you just can't wait to hear us reveal things later,

51
00:02:25,320 --> 00:02:28,280
Speaker 1: Round two voting is live right now as we speak

52
00:02:28,520 --> 00:02:32,120
Speaker 1: film spotting dot Net slash Madness. I am looking forward

53
00:02:32,160 --> 00:02:35,240
Speaker 1: to matchups like and no, I'm actually not looking forward

54
00:02:35,440 --> 00:02:38,640
Speaker 1: at all to voting in matchups like before Sunset versus

55
00:02:38,639 --> 00:02:43,000
Speaker 1: the Grand Budapest Hotel and Spirited Away versus Inglorious Bastards.

56
00:02:43,000 --> 00:02:46,480
Speaker 1: That is the stuff madness is made of. Again. That's

57
00:02:46,520 --> 00:02:50,800
Speaker 1: film Spotting dot Net slash Madness Radio listeners, you're hearing

58
00:02:50,840 --> 00:02:53,200
Speaker 1: an edited version of the show. For the full episode,

59
00:02:53,280 --> 00:02:56,760
Speaker 1: listen at filmspotting dot net or wherever you get your podcasts.

60
00:02:57,400 --> 00:03:00,359
Speaker 1: First we return to film Spotting Fest somehow. Oh Josh,

61
00:03:00,480 --> 00:03:03,240
Speaker 1: this was actually just earlier this month, Is that right?

62
00:03:03,600 --> 00:03:05,920
Speaker 6: I was just thinking about this this morning. We've got,

63
00:03:06,000 --> 00:03:08,280
Speaker 6: you know, one of those calendars on the fridge that

64
00:03:08,480 --> 00:03:11,600
Speaker 6: month by month, and so realizing April's around the corner

65
00:03:11,639 --> 00:03:13,560
Speaker 6: and I looked up at the beginning of March and

66
00:03:13,960 --> 00:03:16,880
Speaker 6: there it is on our family calendar Film spotting Fest.

67
00:03:17,160 --> 00:03:19,000
Speaker 6: It feels much longer ago than.

68
00:03:18,840 --> 00:03:22,680
Speaker 1: That it does. We were celebrating twenty years of doing

69
00:03:22,720 --> 00:03:25,640
Speaker 1: this show. It was that first weekend in March. Over

70
00:03:25,680 --> 00:03:29,840
Speaker 1: three days, we watched six films at two great Chicago venues,

71
00:03:29,880 --> 00:03:32,880
Speaker 1: the Gene Siskel Film Center and the Music Box. We

72
00:03:32,960 --> 00:03:35,800
Speaker 1: had a lot of special guests, including Ryan Johnson. He

73
00:03:35,920 --> 00:03:38,040
Speaker 1: was kind enough to join us for a screening in

74
00:03:38,160 --> 00:03:41,280
Speaker 1: thirty five millimeter of his great debut film, The High

75
00:03:41,320 --> 00:03:44,600
Speaker 1: School set Noir Brick from six. He joined us for

76
00:03:44,640 --> 00:03:47,720
Speaker 1: a Q and A following that film, and as you

77
00:03:47,760 --> 00:03:50,360
Speaker 1: will soon hear, he is not just one hell of

78
00:03:50,400 --> 00:03:53,160
Speaker 1: a nice guy, but he's one of our great talkers

79
00:03:53,280 --> 00:03:57,040
Speaker 1: about movies, especially his own. Before we get to that

80
00:03:57,120 --> 00:03:59,000
Speaker 1: Q and A, let's set up a little bit as

81
00:03:59,040 --> 00:04:02,040
Speaker 1: to why Brick was our choice for the opening film

82
00:04:02,080 --> 00:04:03,840
Speaker 1: of the inaugural Film Spotting Fest.

83
00:04:04,040 --> 00:04:05,800
Speaker 6: I mean it goes back to the beginning of the show.

84
00:04:05,920 --> 00:04:10,440
Speaker 6: You and producer Sam reviewed it in six raved about

85
00:04:10,480 --> 00:04:14,000
Speaker 6: it were champions of Brick. Turns out I was doing

86
00:04:14,080 --> 00:04:17,279
Speaker 6: the same thing over at my job at the Naperville Sun.

87
00:04:17,279 --> 00:04:19,919
Speaker 6: As a film critic, it made my top ten list

88
00:04:20,360 --> 00:04:23,760
Speaker 6: that year, and so yeah, we were all fans of

89
00:04:23,800 --> 00:04:25,400
Speaker 6: this movie from the beginning.

90
00:04:25,760 --> 00:04:26,080
Speaker 3: Ryan.

91
00:04:26,800 --> 00:04:29,920
Speaker 6: This was not the first time Ryan's been on Film Spotting.

92
00:04:29,920 --> 00:04:31,839
Speaker 6: As a matter of fact, he was on there way

93
00:04:31,839 --> 00:04:34,560
Speaker 6: at the beginning as well, something called Film Spotting University.

94
00:04:34,680 --> 00:04:37,760
Speaker 1: Yeah, a top five that we did with Sam early

95
00:04:37,880 --> 00:04:40,960
Speaker 1: days of the show, sharing essentially the top five movies

96
00:04:41,000 --> 00:04:44,600
Speaker 1: we thought any film student or aspiring filmmaker needed to see.

97
00:04:44,640 --> 00:04:48,240
Speaker 1: And then Josh I just discovered this by digging into

98
00:04:48,279 --> 00:04:50,880
Speaker 1: the archives a little bit. Today. Sam had a note

99
00:04:50,920 --> 00:04:53,720
Speaker 1: our producer, Sam had a note for us here about

100
00:04:54,040 --> 00:04:57,920
Speaker 1: him guest hosting a show which I remember he set

101
00:04:57,920 --> 00:05:00,200
Speaker 1: in for an entire episode. We talked about Lars von

102
00:05:00,240 --> 00:05:02,400
Speaker 1: Trier's Melancholia. We did a top five. It was a

103
00:05:02,440 --> 00:05:07,920
Speaker 1: normal Film Spotting episode, But the timing is such that

104
00:05:07,920 --> 00:05:12,640
Speaker 1: that show was episode three seventy three, the first episode

105
00:05:12,960 --> 00:05:18,520
Speaker 1: that you ever guest hosted on, essentially your audition for

106
00:05:18,960 --> 00:05:21,880
Speaker 1: this gig on Film Spotting was just three shows later,

107
00:05:21,960 --> 00:05:24,440
Speaker 1: three seventy six. So I think I finally have to

108
00:05:24,440 --> 00:05:27,440
Speaker 1: come out and say it. Ryan was actually thinking about

109
00:05:27,640 --> 00:05:31,120
Speaker 1: foregoing a life as a filmmaker, giving it all up.

110
00:05:31,440 --> 00:05:35,760
Speaker 1: He wanted to be the new co host of Film Spotting.

111
00:05:36,120 --> 00:05:37,560
Speaker 1: I chose you over him.

112
00:05:37,880 --> 00:05:38,640
Speaker 3: I beat him out.

113
00:05:38,720 --> 00:05:41,360
Speaker 6: I mean, you know, he's he's done okay for himself,

114
00:05:41,360 --> 00:05:43,440
Speaker 6: so I think now we can be honest about it.

115
00:05:43,480 --> 00:05:46,640
Speaker 1: Everybody got what they wanted right exactly. Of course, there's

116
00:05:46,680 --> 00:05:50,200
Speaker 1: also our Golden Brick Award. That is our annual award

117
00:05:50,400 --> 00:05:53,520
Speaker 1: that goes to our favorite overlook or underseen film of

118
00:05:53,560 --> 00:05:56,600
Speaker 1: the year from a new or emerging director. Only appropriate

119
00:05:56,680 --> 00:06:01,280
Speaker 1: that we named that award after Ryan Film Brick, considering

120
00:06:01,320 --> 00:06:04,560
Speaker 1: the influence that that film has had and he has

121
00:06:04,600 --> 00:06:07,680
Speaker 1: had on this show. Knowing that we were going to

122
00:06:07,680 --> 00:06:10,719
Speaker 1: be talking with Ryan in person at a sold out

123
00:06:11,400 --> 00:06:15,360
Speaker 1: music box, we did decide to do a little homework.

124
00:06:15,720 --> 00:06:19,280
Speaker 1: We watched the film again prior to watching it with

125
00:06:19,400 --> 00:06:23,159
Speaker 1: Ryan and that capacity crowd. What was your takeaway from

126
00:06:23,400 --> 00:06:25,200
Speaker 1: these watches? Anything that you want to set up for

127
00:06:25,240 --> 00:06:25,799
Speaker 1: our listeners.

128
00:06:26,000 --> 00:06:29,239
Speaker 6: I was prompted to do the rewatch before the fast

129
00:06:29,400 --> 00:06:32,839
Speaker 6: because I didn't want to get up there and be

130
00:06:32,960 --> 00:06:36,200
Speaker 6: confused about the plot. I remembered Brick, you know, having

131
00:06:36,320 --> 00:06:39,280
Speaker 6: this somewhat complicated in our mystery to it, and I thought,

132
00:06:39,320 --> 00:06:41,000
Speaker 6: I've got to have that down before I get up

133
00:06:41,000 --> 00:06:43,640
Speaker 6: there on stage with Ryan. Turns out it's not as

134
00:06:43,640 --> 00:06:47,240
Speaker 6: complicated as I remembered. It's fairly straightforward on that still fun.

135
00:06:47,480 --> 00:06:50,040
Speaker 6: Takes a lot of turns, but yeah, you can follow

136
00:06:50,040 --> 00:06:52,440
Speaker 6: along pretty easily. So maybe didn't need to do that.

137
00:06:52,839 --> 00:06:54,760
Speaker 6: Glad I did, though, just to have that under me

138
00:06:54,800 --> 00:06:57,080
Speaker 6: and then watching it there in the theater, this came up,

139
00:06:57,400 --> 00:06:59,080
Speaker 6: you know, with listeners who are there, and I think

140
00:06:59,080 --> 00:07:01,559
Speaker 6: we may have mentioned on this show, but the way

141
00:07:01,920 --> 00:07:06,240
Speaker 6: the comic beats hit beautifully with a crowd there at

142
00:07:06,279 --> 00:07:09,120
Speaker 6: the music box, that's something you just don't get when

143
00:07:09,160 --> 00:07:10,920
Speaker 6: you're watching a movie at home, even if you're watching

144
00:07:10,960 --> 00:07:12,680
Speaker 6: it with a couple other people, you know, to have

145
00:07:13,240 --> 00:07:17,480
Speaker 6: that experience of community and communal and just to see

146
00:07:17,520 --> 00:07:21,400
Speaker 6: them hit for Ryan, I imagined was even more pleasurable. Is

147
00:07:21,440 --> 00:07:23,320
Speaker 6: this stuff that I scripted and was hoping to get

148
00:07:23,320 --> 00:07:26,640
Speaker 6: this sort of reaction? Now all these years later, it's

149
00:07:26,680 --> 00:07:27,880
Speaker 6: still getting that reaction.

150
00:07:28,160 --> 00:07:31,200
Speaker 1: I will say this, having been seated next to Ryan

151
00:07:31,320 --> 00:07:34,240
Speaker 1: during the screening. He was having a good time. He

152
00:07:34,320 --> 00:07:36,120
Speaker 1: was having a good time with his movie. I'm sure

153
00:07:36,160 --> 00:07:39,040
Speaker 1: he was enjoying some memories of the making of the film.

154
00:07:39,040 --> 00:07:42,720
Speaker 1: He actually touched on that with us, and hearing that

155
00:07:43,040 --> 00:07:46,640
Speaker 1: entire crowd react as they did surely was a fun

156
00:07:46,640 --> 00:07:48,880
Speaker 1: experience for him. It certainly was for us. I had

157
00:07:48,920 --> 00:07:51,160
Speaker 1: three revelations, and I don't know that we really got

158
00:07:51,200 --> 00:07:53,840
Speaker 1: into any of them in detail in the Q and A,

159
00:07:53,880 --> 00:07:55,320
Speaker 1: so i'll say them here. The first one is what

160
00:07:55,360 --> 00:07:58,040
Speaker 1: you just said. I actually did, Josh even notice, just

161
00:07:58,080 --> 00:08:01,080
Speaker 1: watching on my iPad the night but before prepping and

162
00:08:01,080 --> 00:08:03,640
Speaker 1: thinking about some questions, I noticed for the first time.

163
00:08:03,680 --> 00:08:05,760
Speaker 1: And I don't think I've seen Brick since I saw

164
00:08:05,760 --> 00:08:07,800
Speaker 1: it twice back in two thousand and six when it

165
00:08:07,800 --> 00:08:10,480
Speaker 1: came out in theaters and getting ready to review it

166
00:08:10,520 --> 00:08:15,720
Speaker 1: on the show, I did not remember how quite intentionally

167
00:08:16,120 --> 00:08:18,760
Speaker 1: funny the movie Brick is. And then, of course, yes,

168
00:08:18,800 --> 00:08:21,400
Speaker 1: when you see it with the crowd, you see how

169
00:08:21,440 --> 00:08:25,520
Speaker 1: amplified that is. But watching it even alone, I was

170
00:08:25,560 --> 00:08:28,880
Speaker 1: struck by all of the comedic beats, as you noted,

171
00:08:29,240 --> 00:08:33,480
Speaker 1: and the film, in my memory, was just so intense.

172
00:08:33,800 --> 00:08:36,319
Speaker 1: The stakes are so high, they're literally life and death

173
00:08:36,600 --> 00:08:39,840
Speaker 1: from the opening frame of the film that I don't

174
00:08:39,840 --> 00:08:43,360
Speaker 1: think back in six I really caught on too just

175
00:08:43,400 --> 00:08:46,440
Speaker 1: how funny this film is. And now, of course I

176
00:08:46,480 --> 00:08:49,760
Speaker 1: see things like Lucas Haas playing the pin and everything

177
00:08:49,840 --> 00:08:52,760
Speaker 1: about the way he's dressed and his behavior. And I

178
00:08:52,760 --> 00:08:55,360
Speaker 1: think we touch on the scene you get into the

179
00:08:55,360 --> 00:08:58,680
Speaker 1: production design when they get in the van. That's all

180
00:08:58,800 --> 00:09:01,960
Speaker 1: very funny, and again quite by design. The second thing

181
00:09:02,559 --> 00:09:04,880
Speaker 1: does have to do with the dialogue. It was not

182
00:09:05,640 --> 00:09:09,720
Speaker 1: quite as dense or highly stylized as that was in

183
00:09:09,760 --> 00:09:12,040
Speaker 1: my memory. And we were talking about this, I think

184
00:09:12,480 --> 00:09:14,400
Speaker 1: at the fest or just after the screening, and you

185
00:09:14,480 --> 00:09:17,760
Speaker 1: mentioned that he does Ryan kind of eases us into that.

186
00:09:17,800 --> 00:09:20,120
Speaker 1: I think that's true, and I would like to ask

187
00:09:20,200 --> 00:09:21,880
Speaker 1: him now. I had a chance, and I blew it.

188
00:09:22,080 --> 00:09:24,160
Speaker 1: But thinking more about it, I'd love to know whether

189
00:09:24,240 --> 00:09:27,319
Speaker 1: or not he feels that he was easing us into it.

190
00:09:27,440 --> 00:09:31,200
Speaker 1: Was that an intentional choice on his part, thinking Okay,

191
00:09:31,240 --> 00:09:33,440
Speaker 1: I just can't come right out of the gate hitting

192
00:09:33,520 --> 00:09:38,440
Speaker 1: him with all of this hard boiled noir text or

193
00:09:39,160 --> 00:09:41,640
Speaker 1: is it a matter of or both that as the

194
00:09:41,679 --> 00:09:46,440
Speaker 1: plot does become more labyrinthine, it makes sense then that

195
00:09:46,520 --> 00:09:50,080
Speaker 1: the language takes that element on as well and becomes

196
00:09:50,080 --> 00:09:52,680
Speaker 1: a little more difficult to parse.

197
00:09:52,960 --> 00:09:54,840
Speaker 6: Yeah, well, and the characters you meet are part of

198
00:09:54,840 --> 00:09:58,040
Speaker 6: that too, right, That's right, Like the pen is speaking

199
00:09:58,080 --> 00:09:59,680
Speaker 6: in this way, and so as we meet more and

200
00:09:59,679 --> 00:10:01,680
Speaker 6: more of these people in this world, we're getting more

201
00:10:01,679 --> 00:10:02,600
Speaker 6: and more of that language.

202
00:10:02,720 --> 00:10:05,200
Speaker 1: Yeah, the last surprise I had and I felt this

203
00:10:05,320 --> 00:10:07,120
Speaker 1: at the time, but it was a little bit of

204
00:10:07,160 --> 00:10:10,400
Speaker 1: a rediscovery just thinking about how good all of the

205
00:10:10,440 --> 00:10:12,920
Speaker 1: performances are in the film. And to take a film

206
00:10:13,080 --> 00:10:17,120
Speaker 1: like this, what has to come together for a film

207
00:10:17,160 --> 00:10:19,720
Speaker 1: with the budget this movie had for a first time

208
00:10:19,760 --> 00:10:23,240
Speaker 1: filmmaker to work as well as this film does and

209
00:10:23,320 --> 00:10:26,600
Speaker 1: to resonate twenty years later the way it does. You

210
00:10:26,679 --> 00:10:28,760
Speaker 1: have to have someone who knows how to construct a

211
00:10:28,760 --> 00:10:32,120
Speaker 1: story and write a pretty good screenplay. Check. You have

212
00:10:32,160 --> 00:10:34,360
Speaker 1: to have someone who understands and we get into a

213
00:10:34,400 --> 00:10:37,400
Speaker 1: lot of the shots and we talk about his influences

214
00:10:37,400 --> 00:10:39,400
Speaker 1: and how he weaves them. And you have to have

215
00:10:39,400 --> 00:10:42,760
Speaker 1: someone who knows what they're doing behind a camera, even

216
00:10:43,520 --> 00:10:46,480
Speaker 1: on that first project, that first feature film. But you

217
00:10:46,559 --> 00:10:49,839
Speaker 1: also need performances. You hear people say this quite a bit,

218
00:10:49,960 --> 00:10:52,400
Speaker 1: and I'll go back to my one year as an

219
00:10:52,520 --> 00:10:54,880
Speaker 1: MFA film student, Josh and say, one of the things

220
00:10:54,880 --> 00:10:59,199
Speaker 1: that always separated final projects, the really good ones from

221
00:10:59,200 --> 00:11:01,559
Speaker 1: the not so good ones. Was really just how good

222
00:11:01,600 --> 00:11:06,200
Speaker 1: the performers were, how good the talent was that you cast.

223
00:11:06,360 --> 00:11:11,320
Speaker 1: It instantly elevated the work. And he's got including of

224
00:11:11,320 --> 00:11:14,280
Speaker 1: course the star Joseph Gordon Levitt, he's got a very

225
00:11:14,400 --> 00:11:15,360
Speaker 1: game cast.

226
00:11:15,640 --> 00:11:18,120
Speaker 6: Yeah, what is the reference to. I think at one

227
00:11:18,120 --> 00:11:20,200
Speaker 6: point in the conversation how we were all just kids,

228
00:11:20,559 --> 00:11:22,400
Speaker 6: and that speaks to your point about the youth, but

229
00:11:22,760 --> 00:11:25,400
Speaker 6: there was some experience among the cast even though they

230
00:11:25,440 --> 00:11:28,920
Speaker 6: were so young and just complete buy into this world.

231
00:11:29,240 --> 00:11:31,720
Speaker 6: You don't get a sense that anyone on screen is

232
00:11:32,600 --> 00:11:36,080
Speaker 6: unsure of the language, unsure of the plot and holding

233
00:11:36,160 --> 00:11:38,920
Speaker 6: back and trying to protect themselves. They're all in. And

234
00:11:38,960 --> 00:11:41,440
Speaker 6: that's what you need as well for a feature that

235
00:11:41,520 --> 00:11:43,400
Speaker 6: is a bit of a gamble, not only because it's

236
00:11:43,480 --> 00:11:47,360
Speaker 6: low budget and first time, but just this material is

237
00:11:47,360 --> 00:11:49,320
Speaker 6: a bit of a gamble, So you need that investment

238
00:11:49,320 --> 00:11:51,720
Speaker 6: from the cast and you sense that on the screen.

239
00:11:51,840 --> 00:11:54,160
Speaker 1: I should say it helps. And you have really good collaborators,

240
00:11:54,160 --> 00:11:57,560
Speaker 1: like the person actually behind the camera, the cinematographer Steve Yedlin,

241
00:11:57,640 --> 00:12:00,480
Speaker 1: who he's still working with and has done great work with,

242
00:12:00,880 --> 00:12:06,880
Speaker 1: like Nathan Johnson, his cousin, who composes a wonderful, idiosyncratic

243
00:12:06,920 --> 00:12:10,360
Speaker 1: and varied score. That was another fun thing to listen to,

244
00:12:10,480 --> 00:12:12,600
Speaker 1: all the different themes. We talk about that a little

245
00:12:12,600 --> 00:12:14,920
Speaker 1: bit with Ryan and so much more. Let's get to it.

246
00:12:15,120 --> 00:12:18,000
Speaker 1: From the opening night of Film Spotting Fest, our post

247
00:12:18,120 --> 00:12:22,000
Speaker 1: screening Q and A with Brick director and writer Ryan Johnson.

248
00:12:25,200 --> 00:12:29,680
Speaker 2: Thank you guys, Thank you guys, how much thank you?

249
00:12:31,760 --> 00:12:32,400
Speaker 1: How about that?

250
00:12:33,440 --> 00:12:35,680
Speaker 2: Thank you guys, guys. That was so much fun watching

251
00:12:35,679 --> 00:12:37,319
Speaker 2: it with you guys. Thank you for being there, and

252
00:12:37,400 --> 00:12:40,280
Speaker 2: thank you guys, and also thank you to Dennis.

253
00:12:39,920 --> 00:12:42,120
Speaker 1: For Dennis Scott everybody ran.

254
00:12:43,840 --> 00:12:47,120
Speaker 5: And also is it Ali our projection? Is Ali up

255
00:12:47,120 --> 00:12:48,679
Speaker 5: in the booth doing the real changes?

256
00:12:50,679 --> 00:12:55,120
Speaker 1: Rock man? What are we going to talk about a lot?

257
00:12:56,120 --> 00:13:00,680
Speaker 1: I think the burning question on everyone's mind is why

258
00:13:00,679 --> 00:13:02,600
Speaker 1: won't the coach let Brad Brandish play?

259
00:13:02,679 --> 00:13:04,640
Speaker 5: This is all he wants to know? Doesn't he know

260
00:13:04,720 --> 00:13:06,199
Speaker 5: he's bread wants to know.

261
00:13:06,600 --> 00:13:08,280
Speaker 1: I think I don't get it. They could win, but

262
00:13:08,320 --> 00:13:13,560
Speaker 1: you got a lud Win, so so many places to start,

263
00:13:13,600 --> 00:13:15,600
Speaker 1: but you know you're talking about seeing this with the

264
00:13:15,640 --> 00:13:18,480
Speaker 1: crowd here tonight, and that's the magic of the music.

265
00:13:18,520 --> 00:13:22,160
Speaker 1: Box to you. Every moment's amplified, whether it's comedic or

266
00:13:22,520 --> 00:13:26,280
Speaker 1: really intense and serious, dramatic, emotional. But I'm watching it

267
00:13:26,360 --> 00:13:28,520
Speaker 1: last night in preparation for this seeing it here with

268
00:13:28,559 --> 00:13:30,800
Speaker 1: this crowd. Back in two thousand and six, when I

269
00:13:30,800 --> 00:13:32,679
Speaker 1: saw this and I watched it twice, I think part

270
00:13:32,720 --> 00:13:34,840
Speaker 1: of it is you're you're trying to pay so much attention,

271
00:13:34,920 --> 00:13:37,439
Speaker 1: and you're you're making sure you're following everything and picking

272
00:13:37,480 --> 00:13:39,959
Speaker 1: up on the language. I didn't pick up on how

273
00:13:40,000 --> 00:13:44,320
Speaker 1: funny this movie is. And I'm wondering whether that was

274
00:13:44,440 --> 00:13:48,480
Speaker 1: just your natural impulse, because we certainly know with your

275
00:13:48,480 --> 00:13:51,240
Speaker 1: subsequent films that comedy is something you're very good at,

276
00:13:51,840 --> 00:13:54,520
Speaker 1: or was it somewhat strategic in the sense that you know,

277
00:13:54,640 --> 00:13:58,400
Speaker 1: you've got this film that is playing with the genre

278
00:13:58,440 --> 00:14:02,000
Speaker 1: of film noir and is very intense and serious at times,

279
00:14:02,040 --> 00:14:03,680
Speaker 1: and you need to be able to have a sense

280
00:14:03,679 --> 00:14:05,160
Speaker 1: of humor and deflate that a little bit.

281
00:14:05,840 --> 00:14:07,559
Speaker 5: I don't think the film is funny at all, and

282
00:14:07,600 --> 00:14:09,760
Speaker 5: that was quite a little under There were of.

283
00:14:11,480 --> 00:14:15,120
Speaker 2: Uh no, it's that's actually how like and and And

284
00:14:15,240 --> 00:14:17,240
Speaker 2: that's why it was so much fun watching with you guys.

285
00:14:17,280 --> 00:14:18,080
Speaker 5: When you're with an.

286
00:14:17,960 --> 00:14:21,120
Speaker 2: Audience and they know it's funny and they're laughing. It's

287
00:14:21,240 --> 00:14:22,920
Speaker 2: just like it makes me so happy. But I also

288
00:14:23,000 --> 00:14:25,480
Speaker 2: I mean, I to me, it was less about trying

289
00:14:25,520 --> 00:14:27,200
Speaker 2: to kind of take a little bit of the air

290
00:14:27,360 --> 00:14:30,560
Speaker 2: out of the film noir conceit. To me, the Maltese

291
00:14:30,600 --> 00:14:35,400
Speaker 2: falcon is hilarious to me less noirs, And what's funny

292
00:14:35,400 --> 00:14:37,560
Speaker 2: about them is in jokes. What's funny about them is

293
00:14:37,920 --> 00:14:41,880
Speaker 2: there There's there's something about these perfectly shaped, kind of

294
00:14:42,520 --> 00:14:45,360
Speaker 2: little dramatic beats that are heightened to this degree that

295
00:14:45,600 --> 00:14:48,760
Speaker 2: just I find completely hilarious. And I guess Miller's crossing

296
00:14:48,840 --> 00:14:52,200
Speaker 2: which is I was especially thinking about that, Yeah, when

297
00:14:52,280 --> 00:14:54,400
Speaker 2: he's brokering the deal there sort of at the end,

298
00:14:54,440 --> 00:14:58,080
Speaker 2: he's trying to make everything square between yeah, tug.

299
00:14:58,120 --> 00:15:00,640
Speaker 5: And which is which is straight from from the glass key.

300
00:15:00,720 --> 00:15:03,720
Speaker 2: The reality is that the Miller's Crossing got me into

301
00:15:04,680 --> 00:15:07,040
Speaker 2: Dashl Hammett, and I binged Dashle Hammett, and that was

302
00:15:07,120 --> 00:15:09,800
Speaker 2: really kind of what led to this thing. So but

303
00:15:10,320 --> 00:15:12,680
Speaker 2: is another completely hilarious movie. I think there's a lot

304
00:15:12,680 --> 00:15:15,000
Speaker 2: of humor in Hamit's writing also, So that makes me

305
00:15:15,120 --> 00:15:18,720
Speaker 2: really happy that yeah, that you guys found it funny, intentional.

306
00:15:19,720 --> 00:15:20,280
Speaker 1: Very Yeah.

307
00:15:20,600 --> 00:15:22,640
Speaker 6: I want to share a quick personal anecdote so I

308
00:15:22,720 --> 00:15:26,359
Speaker 6: can ask you a personal question about this film.

309
00:15:26,160 --> 00:15:29,440
Speaker 5: That's terrifying set up on every word you just said

310
00:15:29,560 --> 00:15:31,240
Speaker 5: is leading to nothing good. All right, here we go,

311
00:15:31,440 --> 00:15:31,800
Speaker 5: go ahead.

312
00:15:32,440 --> 00:15:34,440
Speaker 6: So I was the guy as a freshman in high school.

313
00:15:34,520 --> 00:15:37,200
Speaker 6: Came in with a girlfriend who I promptly lost before

314
00:15:37,280 --> 00:15:41,240
Speaker 6: homecoming because she connected with the upperclassmen basketball player. Right,

315
00:15:41,480 --> 00:15:43,600
Speaker 6: couldn't even make it to homecoming, really embarrassed.

316
00:15:43,680 --> 00:15:44,960
Speaker 1: All the sticks love Brad Brandish.

317
00:15:45,080 --> 00:15:48,880
Speaker 6: Yeah I lost Brad, Brad did it. But no, there

318
00:15:49,000 --> 00:15:53,080
Speaker 6: is an emotional experience to this movie beneath the humor,

319
00:15:53,600 --> 00:15:58,560
Speaker 6: beneath the film noir tropes that taps into something universal

320
00:15:58,600 --> 00:16:01,680
Speaker 6: about that time of life. So I would love to

321
00:16:01,760 --> 00:16:05,280
Speaker 6: hear whether it's a you know, personal story or just

322
00:16:05,400 --> 00:16:08,320
Speaker 6: your general recollection of what it was like to be

323
00:16:08,400 --> 00:16:11,240
Speaker 6: in high school, maybe even as an observer looking at

324
00:16:11,320 --> 00:16:15,320
Speaker 6: these the social strata and how that plays out, how

325
00:16:15,400 --> 00:16:15,960
Speaker 6: personal was.

326
00:16:15,960 --> 00:16:16,440
Speaker 3: Brick for it?

327
00:16:16,520 --> 00:16:19,080
Speaker 1: And just add to that, did you have classes with teachers?

328
00:16:22,040 --> 00:16:24,520
Speaker 1: Did you what did it schools?

329
00:16:26,440 --> 00:16:26,640
Speaker 3: Yeah?

330
00:16:26,720 --> 00:16:28,600
Speaker 2: This was the notion that this is a little bit

331
00:16:28,680 --> 00:16:30,720
Speaker 2: like Peanuts in that way and that you never really

332
00:16:30,760 --> 00:16:34,040
Speaker 2: see Yeah, yeah, that's yeah, that's really well observed. I

333
00:16:34,080 --> 00:16:36,560
Speaker 2: think when I wrote this movie kind of in my

334
00:16:36,640 --> 00:16:39,320
Speaker 2: early twenties, when I was right out of college, and

335
00:16:39,760 --> 00:16:42,720
Speaker 2: I think the way that you kind of in life,

336
00:16:42,840 --> 00:16:45,120
Speaker 2: although it happens less, I feel I find as you

337
00:16:45,160 --> 00:16:48,000
Speaker 2: get older and older, probably just because you get lazier mentally,

338
00:16:48,120 --> 00:16:50,440
Speaker 2: but for a big part of life, I feel like

339
00:16:50,480 --> 00:16:53,600
Speaker 2: you're constantly mythologizing the period of life you just got

340
00:16:53,760 --> 00:16:55,840
Speaker 2: out of. And so I was in my early twenties,

341
00:16:55,880 --> 00:16:58,760
Speaker 2: I was thinking a lot about high school and that

342
00:16:59,080 --> 00:17:01,560
Speaker 2: was when I read then Hammett. What really led to

343
00:17:01,680 --> 00:17:04,359
Speaker 2: this is is there was You're exactly right. There was

344
00:17:04,520 --> 00:17:07,240
Speaker 2: some weird connection that happened in my brain with the

345
00:17:08,119 --> 00:17:11,560
Speaker 2: experience of reading The Hammet and reading about this kind

346
00:17:11,640 --> 00:17:17,560
Speaker 2: of terrifying, stratified Hedens world. It had these social locks

347
00:17:17,720 --> 00:17:22,800
Speaker 2: to them and sort of the true high school fantasy

348
00:17:22,920 --> 00:17:25,560
Speaker 2: of just with the Continental op which were the first

349
00:17:25,600 --> 00:17:27,680
Speaker 2: things that I read of Hammet, actually before I read

350
00:17:27,720 --> 00:17:30,560
Speaker 2: The Maltese Falcon, the short stories with the Continental Op

351
00:17:30,640 --> 00:17:33,439
Speaker 2: which the amount of abuse that the bread that Brendan

352
00:17:33,520 --> 00:17:36,040
Speaker 2: takes in this movie very much comes from the Continental

353
00:17:36,119 --> 00:17:40,480
Speaker 2: op is not like a handsome Sam Spade. He is

354
00:17:40,640 --> 00:17:43,400
Speaker 2: kind of like a thick set brick of a guy

355
00:17:43,920 --> 00:17:47,280
Speaker 2: who his main He's not a genius, he's not an investigator.

356
00:17:47,400 --> 00:17:50,400
Speaker 2: His main thing is that he just keeps taking punches

357
00:17:50,440 --> 00:17:53,920
Speaker 2: and keeps moving forward in this dogged way. And so

358
00:17:55,040 --> 00:17:57,960
Speaker 2: the notion of the detective entering this world and just

359
00:17:58,080 --> 00:18:00,280
Speaker 2: kind of pushing through it like a like a fist,

360
00:18:00,359 --> 00:18:03,200
Speaker 2: which is everything that being able to break all those

361
00:18:03,200 --> 00:18:03,719
Speaker 2: scary things.

362
00:18:03,760 --> 00:18:04,040
Speaker 5: I don't know.

363
00:18:04,080 --> 00:18:06,320
Speaker 2: There there was something about it just very much about

364
00:18:06,359 --> 00:18:08,520
Speaker 2: kind of nothing in terms of the real experience of

365
00:18:08,600 --> 00:18:13,439
Speaker 2: high school, thankfully, but very much the emotional.

366
00:18:13,880 --> 00:18:17,640
Speaker 5: Mythology of high school. I guess, you know, yeah, absolutely.

367
00:18:17,880 --> 00:18:21,960
Speaker 1: Watching it tonight, I was really struck by how I

368
00:18:22,080 --> 00:18:23,720
Speaker 1: was thinking about what it would be like to try

369
00:18:23,760 --> 00:18:26,399
Speaker 1: to make And it's silly hypothetical, because you know, the

370
00:18:26,760 --> 00:18:28,800
Speaker 1: movie is a product of the time in which you

371
00:18:29,040 --> 00:18:32,680
Speaker 1: wrote it, as you just spoke to the period in

372
00:18:32,800 --> 00:18:34,960
Speaker 1: which it was written in this case, but I just

373
00:18:34,960 --> 00:18:37,040
Speaker 1: think about how much would be lost or how difficult

374
00:18:37,080 --> 00:18:39,280
Speaker 1: it would be to try to make this movie today

375
00:18:39,359 --> 00:18:41,840
Speaker 1: when you think about just the texture of all the

376
00:18:41,960 --> 00:18:44,080
Speaker 1: notes that are being passed, and you know, a cell

377
00:18:44,160 --> 00:18:46,480
Speaker 1: phone playing a role in the movie, but but a

378
00:18:46,600 --> 00:18:49,800
Speaker 1: very you know, small role ultimately, and the symbols that

379
00:18:49,880 --> 00:18:52,960
Speaker 1: we get it just adds to this kind of enigmatic nature.

380
00:18:53,000 --> 00:18:56,480
Speaker 5: I mean because although cell phones because today everything about.

381
00:18:56,240 --> 00:18:59,240
Speaker 1: How everything would change in this environment if if we

382
00:18:59,320 --> 00:19:01,720
Speaker 1: were envisioning this this going down today.

383
00:19:01,480 --> 00:19:04,480
Speaker 2: I'm just imagining though, like thirty years from now, the

384
00:19:04,600 --> 00:19:07,560
Speaker 2: Q and A like this, somebody watching something made today

385
00:19:07,640 --> 00:19:10,440
Speaker 2: that's full of cell phones three years from now and saying, God,

386
00:19:11,080 --> 00:19:13,760
Speaker 2: we really lost the texture of tapping into an actual

387
00:19:13,960 --> 00:19:17,280
Speaker 2: screen and rating as opposed to seeing in the ether

388
00:19:17,400 --> 00:19:18,440
Speaker 2: brain chip that we all have.

389
00:19:18,680 --> 00:19:21,639
Speaker 1: But yeah, and you've made sci fi. I think this

390
00:19:21,800 --> 00:19:23,920
Speaker 1: is a this is a project, right, So this is

391
00:19:24,040 --> 00:19:27,119
Speaker 1: this This might be the dynamic for the Q and

392
00:19:27,200 --> 00:19:29,639
Speaker 1: A might be the dynamic for our show. Josh is

393
00:19:29,640 --> 00:19:32,640
Speaker 1: going to ask the really you know, deep insightful, emotional

394
00:19:32,720 --> 00:19:35,280
Speaker 1: personal questions, and I just want to geek out about that.

395
00:19:35,359 --> 00:19:37,400
Speaker 1: I'm on the well, what's the technical stuff.

396
00:19:37,520 --> 00:19:39,359
Speaker 6: Let's play a little more time travel though, because I

397
00:19:39,440 --> 00:19:42,280
Speaker 6: am curious we're twenty years on about from the film

398
00:19:43,080 --> 00:19:48,240
Speaker 6: and when you're sitting here watching it again, thinking about

399
00:19:49,000 --> 00:19:53,359
Speaker 6: mythologizing maybe that period in your life. Perhaps, what would

400
00:19:53,800 --> 00:19:57,440
Speaker 6: the Ryan Johnson, who's made so many more films, very

401
00:19:57,480 --> 00:20:00,280
Speaker 6: different projects that we can trace, that's a this and

402
00:20:00,359 --> 00:20:03,840
Speaker 6: all of them, what would you say that first day

403
00:20:03,840 --> 00:20:05,879
Speaker 6: of shooting when you were getting together?

404
00:20:06,240 --> 00:20:06,840
Speaker 3: What would you say to.

405
00:20:06,840 --> 00:20:09,000
Speaker 5: Yourself you mean back in the day, or what would

406
00:20:09,000 --> 00:20:09,360
Speaker 5: I go back?

407
00:20:09,480 --> 00:20:12,960
Speaker 3: Get on when you're there? Like what what have you

408
00:20:13,119 --> 00:20:15,520
Speaker 3: picked up? What have you done?

409
00:20:15,720 --> 00:20:18,560
Speaker 6: What if people told you that I don't know it

410
00:20:18,640 --> 00:20:21,119
Speaker 6: might be helpful? Or or would you just let that

411
00:20:21,280 --> 00:20:22,439
Speaker 6: Ryan go and do his thing?

412
00:20:22,600 --> 00:20:23,040
Speaker 3: Yeah? I would.

413
00:20:23,080 --> 00:20:25,080
Speaker 2: I would be afraid I would. I would, Yeah, I

414
00:20:25,080 --> 00:20:27,080
Speaker 2: would probably just just fuck him up at this point.

415
00:20:27,119 --> 00:20:29,359
Speaker 2: I think I'd probably like give him very bad advice

416
00:20:29,480 --> 00:20:32,399
Speaker 2: probably and like no, but it's it is. I mean,

417
00:20:32,440 --> 00:20:35,040
Speaker 2: there's there's like it. That was the other element though,

418
00:20:35,080 --> 00:20:38,159
Speaker 2: of watching it was you never really watched stuff that

419
00:20:38,320 --> 00:20:40,240
Speaker 2: you've done. Like I wasn't really watching the movie.

420
00:20:40,280 --> 00:20:40,480
Speaker 3: I was.

421
00:20:40,560 --> 00:20:44,080
Speaker 2: I felt like flipping through a photo album and I

422
00:20:44,280 --> 00:20:48,680
Speaker 2: was just experiencing it through just memories of working with

423
00:20:49,119 --> 00:20:51,080
Speaker 2: a cast that we were all young and we were

424
00:20:51,080 --> 00:20:54,040
Speaker 2: all just putting our hearts into it, and every single

425
00:20:54,119 --> 00:20:56,159
Speaker 2: scene that came up I was just remembering the day

426
00:20:56,200 --> 00:20:59,040
Speaker 2: that we shot that in the actual experience, and I

427
00:20:59,119 --> 00:21:01,800
Speaker 2: think that's what I'm mean. So I'm sure there are

428
00:21:02,240 --> 00:21:04,880
Speaker 2: people who are filmmakers or who want to be filmmakers,

429
00:21:04,880 --> 00:21:07,639
Speaker 2: and I feel like that's I don't know, it sounds

430
00:21:07,760 --> 00:21:11,960
Speaker 2: like just kind of like a Pollyanna cliche to say

431
00:21:12,080 --> 00:21:15,120
Speaker 2: that make sure that you treat the people that you're

432
00:21:15,840 --> 00:21:18,480
Speaker 2: making stuff with well and that you have a good experience.

433
00:21:19,640 --> 00:21:22,520
Speaker 2: But the reality is that's not just to be nice,

434
00:21:22,520 --> 00:21:25,360
Speaker 2: so that you should also be nice, But the reality

435
00:21:25,480 --> 00:21:27,399
Speaker 2: is that the experience of making that move, what you

436
00:21:27,600 --> 00:21:29,920
Speaker 2: create in that movie, you work hard, you make it

437
00:21:30,000 --> 00:21:31,879
Speaker 2: the best thing it can be, but that's not what

438
00:21:32,000 --> 00:21:34,199
Speaker 2: you're going to have twenty years later. What you're going

439
00:21:34,280 --> 00:21:36,320
Speaker 2: to have is the memory of what the experience was,

440
00:21:36,440 --> 00:21:39,720
Speaker 2: and that's really the only thing that actually you stick

441
00:21:39,800 --> 00:21:41,960
Speaker 2: with and the fact that the actual experience of this

442
00:21:42,080 --> 00:21:45,479
Speaker 2: was so special and that I'm still incredibly good friends

443
00:21:45,600 --> 00:21:47,359
Speaker 2: with so many of the people that I made this with.

444
00:21:47,520 --> 00:21:49,480
Speaker 2: I'm still working with most of the people I made

445
00:21:49,520 --> 00:21:51,960
Speaker 2: this with. I mean that to me is kind of,

446
00:21:52,160 --> 00:21:54,960
Speaker 2: you know, the real payoff. So yeah, I wouldn't I

447
00:21:55,000 --> 00:21:56,680
Speaker 2: would stay in the time machine. I wouldn't want to

448
00:21:56,720 --> 00:21:57,240
Speaker 2: fuck that up.

449
00:21:57,480 --> 00:22:00,000
Speaker 1: And let's talk about one of those clients.

450
00:22:00,680 --> 00:22:02,800
Speaker 2: I would tell him to mix the dialogue a little louder.

451
00:22:02,800 --> 00:22:04,720
Speaker 2: That little louder to say juice that I was saying,

452
00:22:04,880 --> 00:22:05,240
Speaker 2: there you go.

453
00:22:05,480 --> 00:22:06,520
Speaker 3: I knew there would be something.

454
00:22:07,560 --> 00:22:08,040
Speaker 5: You can't help it.

455
00:22:08,119 --> 00:22:11,240
Speaker 1: He can't help the wisdom your your cousin Nathan Johnson,

456
00:22:11,280 --> 00:22:15,640
Speaker 1: who composed the music, and I loved revisiting all these scenes. Yeah,

457
00:22:16,440 --> 00:22:19,840
Speaker 1: revisiting all these scenes and the the themes that were

458
00:22:19,880 --> 00:22:22,199
Speaker 1: developed for each one of the characters that we keep

459
00:22:22,280 --> 00:22:25,280
Speaker 1: coming back to. What was that process, like, what what

460
00:22:25,359 --> 00:22:27,960
Speaker 1: did he bring to you? How did you work with

461
00:22:28,119 --> 00:22:30,800
Speaker 1: him on finding the right because they're very different for

462
00:22:31,200 --> 00:22:33,440
Speaker 1: each character as they they should be the reflective of

463
00:22:33,960 --> 00:22:36,800
Speaker 1: kind of their roles and how they perceive themselves and

464
00:22:36,880 --> 00:22:39,000
Speaker 1: the image they want to project too.

465
00:22:39,640 --> 00:22:40,879
Speaker 2: It was yeah, there was a yeah, we took the

466
00:22:40,920 --> 00:22:42,800
Speaker 2: Peter and the Wolf approach it. It was really just

467
00:22:43,880 --> 00:22:45,680
Speaker 2: I think we are thinking at the time, was this

468
00:22:45,840 --> 00:22:50,080
Speaker 2: is so fucking complex. Let's let's have really distinct themes.

469
00:22:50,160 --> 00:22:51,960
Speaker 2: I don't know if it helps, but it's nice to

470
00:22:52,000 --> 00:22:53,639
Speaker 2: have these things you tell yourself when you're making some.

471
00:22:54,480 --> 00:22:57,280
Speaker 2: He It was fun though, because you know, this was

472
00:22:57,359 --> 00:22:59,280
Speaker 2: the first score that Nathan had ever.

473
00:22:59,240 --> 00:23:01,639
Speaker 5: Done, and we had no money. He was living in

474
00:23:01,720 --> 00:23:02,240
Speaker 5: England and.

475
00:23:02,320 --> 00:23:05,320
Speaker 2: I was in LA So we had like the very

476
00:23:05,400 --> 00:23:08,959
Speaker 2: first like Apple camera, I Cite camera and the very

477
00:23:09,080 --> 00:23:13,080
Speaker 2: rudimentary like three frames a second like video chat that

478
00:23:13,200 --> 00:23:16,080
Speaker 2: they had or whatever FaceTime, and so that's how we

479
00:23:16,119 --> 00:23:19,720
Speaker 2: would do our sessions. And he mostly created the score

480
00:23:20,160 --> 00:23:23,960
Speaker 2: recording with one microphone, mostly with like he used like

481
00:23:24,119 --> 00:23:25,480
Speaker 2: kitchen whisks and stuff.

482
00:23:25,480 --> 00:23:28,480
Speaker 5: It was very low fi and so yeah, he was

483
00:23:28,600 --> 00:23:31,080
Speaker 5: but but I think he did. That was the other thing.

484
00:23:31,160 --> 00:23:33,920
Speaker 5: Listening to it while watching, it's just wow, I'm I

485
00:23:33,960 --> 00:23:34,800
Speaker 5: think Nathan.

486
00:23:34,520 --> 00:23:37,680
Speaker 2: Did such great work. And we've done every movie except

487
00:23:37,720 --> 00:23:40,520
Speaker 2: for Star Wars. He we've done every movie together since.

488
00:23:40,640 --> 00:23:46,520
Speaker 6: And yeah, an even more granular question, let's get Yeah.

489
00:23:46,840 --> 00:23:50,560
Speaker 6: I love the detail and it played well here because

490
00:23:50,560 --> 00:23:52,119
Speaker 6: it's going to bring us back to the humor.

491
00:23:52,600 --> 00:23:54,680
Speaker 3: When we're in the back of the minivan.

492
00:23:55,880 --> 00:23:59,600
Speaker 6: With the pin the lamb, you knew where I was going,

493
00:24:00,280 --> 00:24:04,080
Speaker 6: not just the lamp directions, the fact that the shade

494
00:24:04,680 --> 00:24:08,480
Speaker 6: is not screwed on tight. When you're paging through the

495
00:24:08,520 --> 00:24:10,800
Speaker 6: memory book, do you have any recollection of how that

496
00:24:10,880 --> 00:24:11,159
Speaker 6: came up.

497
00:24:11,280 --> 00:24:14,440
Speaker 2: Yeah, I do remember our so our production designer for this,

498
00:24:14,680 --> 00:24:17,960
Speaker 2: Jody Tillin, was this was she was just trying to

499
00:24:18,000 --> 00:24:20,920
Speaker 2: transition into the production design. She had been a costume designer.

500
00:24:21,280 --> 00:24:25,120
Speaker 2: She was the costume designer on the original Miami Vice series.

501
00:24:25,440 --> 00:24:28,960
Speaker 2: So she ass and I do remember Jody just saying,

502
00:24:29,000 --> 00:24:32,119
Speaker 2: what the fuck are you talking about? But yeah, and

503
00:24:32,240 --> 00:24:35,120
Speaker 2: I don't know whether that was whether I can fully

504
00:24:35,200 --> 00:24:37,200
Speaker 2: take credit for that, or whether we just had a

505
00:24:37,240 --> 00:24:37,920
Speaker 2: shitty lamp.

506
00:24:38,640 --> 00:24:41,920
Speaker 5: I think she let's take credit for you. Let's take credit.

507
00:24:42,000 --> 00:24:45,399
Speaker 5: Boy that that that a tourist choice I made with

508
00:24:45,560 --> 00:24:46,920
Speaker 5: that shitty lamp.

509
00:24:47,040 --> 00:24:49,520
Speaker 1: Yeah, so this is film spotting. That means there has

510
00:24:49,560 --> 00:24:52,360
Speaker 1: to be a quick top five. I have my top

511
00:24:52,440 --> 00:24:56,480
Speaker 1: five brick lines that I want to share with Ryan

512
00:24:56,520 --> 00:24:58,520
Speaker 1: and I want to share with the crowd. I've not

513
00:24:58,600 --> 00:25:01,000
Speaker 1: shared this with Josh because he would try to talk

514
00:25:01,119 --> 00:25:03,720
Speaker 1: me out of it, and I knew that, So I'm

515
00:25:03,760 --> 00:25:04,040
Speaker 1: doing it.

516
00:25:04,119 --> 00:25:05,719
Speaker 5: You got to performed them. If you're gonna do them.

517
00:25:05,760 --> 00:25:06,760
Speaker 5: We knew a full performance.

518
00:25:07,720 --> 00:25:11,159
Speaker 1: There's no master for theater tonight. Oh I'm gonna let

519
00:25:11,200 --> 00:25:16,200
Speaker 1: everyone down. Yeah, exactly, Let's bring Sam up. He could

520
00:25:16,320 --> 00:25:20,000
Speaker 1: he could do great renditions of these lines. So I

521
00:25:20,200 --> 00:25:22,200
Speaker 1: especially think that one of these needed to be in

522
00:25:22,280 --> 00:25:24,440
Speaker 1: the mix after hearing how it went over. So this

523
00:25:24,600 --> 00:25:26,680
Speaker 1: is bad by me. I'll see you at the parent

524
00:25:26,720 --> 00:25:30,600
Speaker 1: teacher conference is great, right, So, honorable mention, My number

525
00:25:30,640 --> 00:25:32,720
Speaker 1: five is a bit of an outlier, But that's fine.

526
00:25:32,720 --> 00:25:35,560
Speaker 1: These lists are supposed to be aiosyncratic. Josh, when Brendan

527
00:25:35,600 --> 00:25:37,560
Speaker 1: says to Brain on the phone, but I don't know,

528
00:25:37,800 --> 00:25:38,680
Speaker 1: and I don't know.

529
00:25:39,600 --> 00:25:40,520
Speaker 3: I love that, you love that.

530
00:25:40,720 --> 00:25:43,879
Speaker 1: I love that book. It's the line reading exactly. It's

531
00:25:43,920 --> 00:25:47,199
Speaker 1: giving the repetition, the emphasis on, and.

532
00:25:47,240 --> 00:25:49,840
Speaker 2: You're right being all in all of the top five

533
00:25:49,960 --> 00:25:52,280
Speaker 2: lines from bricklists for over the years, I have I

534
00:25:52,440 --> 00:25:54,520
Speaker 2: never seen that one mention a total outlier.

535
00:25:54,920 --> 00:25:58,720
Speaker 1: I looked number four, this or this one got a good,

536
00:25:58,840 --> 00:26:01,880
Speaker 1: good response tonight. Actually my number three, so I said

537
00:26:01,880 --> 00:26:03,440
Speaker 1: this had got a good response. Here's number three. I

538
00:26:03,520 --> 00:26:05,600
Speaker 1: gave you Jare to see him eating, not to see

539
00:26:05,640 --> 00:26:08,479
Speaker 1: you fed Brendan to Truman. Go back to number four

540
00:26:08,520 --> 00:26:10,240
Speaker 1: because this is a bit of an outlier. Again, When

541
00:26:10,280 --> 00:26:13,480
Speaker 1: Laura says to Brendan eating lunch behind the portables, loving

542
00:26:13,560 --> 00:26:15,879
Speaker 1: some girl like She's all, there is anywhere to you.

543
00:26:16,800 --> 00:26:17,520
Speaker 5: It's high school.

544
00:26:17,800 --> 00:26:19,359
Speaker 1: Yeah, it's high school. It's exactly it.

545
00:26:20,000 --> 00:26:20,440
Speaker 3: Number two.

546
00:26:20,640 --> 00:26:24,080
Speaker 1: Maybe I'll just sit here and bleed at you. Brendan

547
00:26:24,200 --> 00:26:27,240
Speaker 1: to the pin and then this is my number one,

548
00:26:27,560 --> 00:26:29,720
Speaker 1: Brendan to Laura. With you behind me, I have to

549
00:26:29,840 --> 00:26:32,600
Speaker 1: tie one eye up watching both of your hands. I

550
00:26:32,760 --> 00:26:36,320
Speaker 1: can't spare it. So here's here's the question. So tough

551
00:26:36,400 --> 00:26:38,399
Speaker 1: but fair, tough affair is good too.

552
00:26:39,160 --> 00:26:44,800
Speaker 2: Missus Castsvik who was my yeah, apame well he was tough,

553
00:26:44,840 --> 00:26:46,800
Speaker 2: but affair she was the best. She's the reason that

554
00:26:47,000 --> 00:26:49,879
Speaker 2: I ended up writing and and and taking. She was

555
00:26:49,920 --> 00:26:53,760
Speaker 2: the first person who who And this is like, yeah,

556
00:26:53,840 --> 00:26:56,439
Speaker 2: she passed away a few years ago, and she she.

557
00:26:56,720 --> 00:26:58,680
Speaker 5: I don't know teachers matter so much.

558
00:26:58,800 --> 00:27:03,119
Speaker 1: And she was the first she was. What did she

559
00:27:03,240 --> 00:27:05,639
Speaker 1: think about you memorializing her like this?

560
00:27:06,040 --> 00:27:07,600
Speaker 2: She yeah, I don't know if she would if she

561
00:27:07,640 --> 00:27:11,560
Speaker 2: ever saw the movie or if she yeah, but she yeah,

562
00:27:11,680 --> 00:27:14,280
Speaker 2: she really she was tough man, She was a tard ass,

563
00:27:14,480 --> 00:27:16,960
Speaker 2: but she was fair. She was fair, and she really

564
00:27:17,720 --> 00:27:20,840
Speaker 2: loved writing and loved her students and took them seriously

565
00:27:20,960 --> 00:27:24,160
Speaker 2: as writers and had a huge impact on a lot

566
00:27:24,240 --> 00:27:25,440
Speaker 2: of them and me included.

567
00:27:25,800 --> 00:27:28,159
Speaker 1: So do you have a favorite? Is there one as

568
00:27:28,240 --> 00:27:29,920
Speaker 1: you were writing it or as you sit in the

569
00:27:29,960 --> 00:27:32,960
Speaker 1: crowd and watch it now almost twenty years later you say, Okay, damn,

570
00:27:33,000 --> 00:27:35,480
Speaker 1: that's that's pretty good, you know, pat myself on the back.

571
00:27:36,320 --> 00:27:40,719
Speaker 1: And are there any that you remember being greatly improved

572
00:27:41,080 --> 00:27:44,159
Speaker 1: by the performances by actors like Joseph Gordon Levitt?

573
00:27:44,280 --> 00:27:48,040
Speaker 5: Every single one? I don't, Yeah, I don't.

574
00:27:48,080 --> 00:27:48,480
Speaker 3: I don't know.

575
00:27:48,640 --> 00:27:51,720
Speaker 2: It would feel it would feel untoured, So that would

576
00:27:51,720 --> 00:27:54,880
Speaker 2: feel weird saying, but I mean in terms of the dialogue,

577
00:27:54,960 --> 00:27:58,320
Speaker 2: though I do remember like it. We we had the

578
00:27:58,440 --> 00:28:01,480
Speaker 2: luxury of doing a ton of rehearsal for the movie,

579
00:28:01,960 --> 00:28:04,280
Speaker 2: and we really did have to kind of figure out

580
00:28:04,359 --> 00:28:07,399
Speaker 2: how to do this dialogue. And because the first thing

581
00:28:07,480 --> 00:28:10,920
Speaker 2: that we tried was a naturalistic approach which didn't work

582
00:28:10,960 --> 00:28:11,199
Speaker 2: at all.

583
00:28:11,280 --> 00:28:12,040
Speaker 5: It just fell flat.

584
00:28:12,119 --> 00:28:14,920
Speaker 2: And we realized, the actors realized, and Joe kind of

585
00:28:14,960 --> 00:28:16,879
Speaker 2: really led the charge with it, that we had to

586
00:28:17,000 --> 00:28:19,560
Speaker 2: just drill it. It was unlike kind of though, we'll

587
00:28:19,640 --> 00:28:21,920
Speaker 2: find it in the space type thing that No, we

588
00:28:22,560 --> 00:28:24,560
Speaker 2: just had to drill it over and over and over

589
00:28:24,840 --> 00:28:27,960
Speaker 2: until the words. It's almost like a pianist, practicing, practicing,

590
00:28:28,040 --> 00:28:30,959
Speaker 2: practicing until it's muscle memory, and once the words were

591
00:28:31,040 --> 00:28:33,280
Speaker 2: at that point, because the words are so weird, at

592
00:28:33,359 --> 00:28:36,560
Speaker 2: that point they could start to actually put something behind them.

593
00:28:36,720 --> 00:28:39,200
Speaker 2: But it was counter to the instincts a lot of

594
00:28:39,320 --> 00:28:42,920
Speaker 2: them kind of thought in terms of acting acting, But

595
00:28:43,000 --> 00:28:46,040
Speaker 2: it ended up being the way I sell it. Did

596
00:28:46,120 --> 00:28:48,520
Speaker 2: I get out of naming atlant?

597
00:28:48,960 --> 00:28:52,280
Speaker 1: That's what you were supposed to do? So slick, but

598
00:28:52,360 --> 00:28:55,160
Speaker 1: real quick, just a follow up is rehearsal something you

599
00:28:55,280 --> 00:28:57,320
Speaker 1: still have the luxury of doing much of them.

600
00:28:57,480 --> 00:28:59,160
Speaker 5: No, it gets really really hard.

601
00:28:59,360 --> 00:29:01,160
Speaker 2: The reason we had the luxury of it is because

602
00:29:01,240 --> 00:29:05,160
Speaker 2: we were all kids and we uh yeah, none of

603
00:29:05,240 --> 00:29:09,040
Speaker 2: us were that busy, and and so I would I

604
00:29:09,080 --> 00:29:11,200
Speaker 2: would have them over to my apartment and I would

605
00:29:11,240 --> 00:29:13,120
Speaker 2: cook them lunch and we would just like And we

606
00:29:13,160 --> 00:29:16,760
Speaker 2: spent months just hanging out and practicing, practicing, And that

607
00:29:17,040 --> 00:29:20,320
Speaker 2: gets really really hard to book out that amount of time.

608
00:29:20,480 --> 00:29:22,080
Speaker 1: Mac and cheese, orange juice.

609
00:29:22,480 --> 00:29:22,800
Speaker 3: I did.

610
00:29:23,200 --> 00:29:29,000
Speaker 2: My fancy go to was a cheesy risotto stuffed pepper. Wow,

611
00:29:29,480 --> 00:29:31,840
Speaker 2: sounds very fancy early.

612
00:29:31,960 --> 00:29:35,040
Speaker 5: So we're pulling that out Ryan, So easy to make.

613
00:29:35,760 --> 00:29:38,200
Speaker 1: We'll share the recipe later. Film spotting Instagram.

614
00:29:40,080 --> 00:29:42,240
Speaker 6: Can you talk a little bit about the camera work.

615
00:29:42,320 --> 00:29:47,640
Speaker 6: I think we might see Brendan's feet more or equally

616
00:29:47,680 --> 00:29:51,680
Speaker 6: as much as his face pops and yeah, great shoes,

617
00:29:51,880 --> 00:29:55,280
Speaker 6: and I'm just wondering about It's not just him though,

618
00:29:55,320 --> 00:29:57,600
Speaker 6: I feel like there are frequent shots kind of from

619
00:29:57,640 --> 00:30:01,440
Speaker 6: below where we're seeing characters knees down approaching. Is that

620
00:30:01,520 --> 00:30:03,800
Speaker 6: a reference pulled from other film noirs?

621
00:30:03,960 --> 00:30:06,240
Speaker 3: Was it a choice just for those characters?

622
00:30:06,920 --> 00:30:08,840
Speaker 6: How you wanted the audience to be brought into the story.

623
00:30:08,920 --> 00:30:10,160
Speaker 6: Can you just that choice in general?

624
00:30:10,200 --> 00:30:11,680
Speaker 1: Can you talk about here my theory.

625
00:30:11,760 --> 00:30:14,560
Speaker 5: No Adams here first, Adam is gonna take.

626
00:30:18,400 --> 00:30:19,040
Speaker 3: What's happening.

627
00:30:19,880 --> 00:30:22,720
Speaker 5: He might he might be impressed Adam go ahead.

628
00:30:23,160 --> 00:30:30,000
Speaker 1: Well, I love that that motif of him constantly crouching down.

629
00:30:30,960 --> 00:30:32,920
Speaker 1: You know, he he's going to get on their level.

630
00:30:33,000 --> 00:30:35,560
Speaker 1: He thinks we hear from Emily. He thinks he's above

631
00:30:35,600 --> 00:30:37,840
Speaker 1: everyone else. He thinks he exists in a little bit

632
00:30:37,840 --> 00:30:40,280
Speaker 1: of a different universe. And he is constantly having to

633
00:30:40,360 --> 00:30:44,160
Speaker 1: get down at eye level, and he has to get dirty.

634
00:30:44,440 --> 00:30:45,960
Speaker 1: He has to get really dirty to get to the

635
00:30:46,000 --> 00:30:46,520
Speaker 1: bottom of this.

636
00:30:47,440 --> 00:30:47,880
Speaker 3: How did I do?

637
00:30:48,080 --> 00:30:49,920
Speaker 5: Yeah, that's that's interesting. That's a theory.

638
00:30:51,440 --> 00:30:52,480
Speaker 1: At least I went for it.

639
00:30:53,280 --> 00:30:53,720
Speaker 5: That's good.

640
00:30:53,760 --> 00:30:55,760
Speaker 3: I like that. I mean I couldn't have scripted that.

641
00:30:57,640 --> 00:30:58,080
Speaker 1: Role playing.

642
00:30:59,160 --> 00:31:01,880
Speaker 5: Yeah that and I love shoes.

643
00:31:02,200 --> 00:31:06,440
Speaker 2: Shoes, but there is I I did get very much

644
00:31:06,520 --> 00:31:08,440
Speaker 2: on this kick of these characters that are you just

645
00:31:08,480 --> 00:31:10,840
Speaker 2: going to be defined kind of by their shoes? And

646
00:31:11,280 --> 00:31:14,320
Speaker 2: I think one of my favorite openings in it's not

647
00:31:14,480 --> 00:31:16,360
Speaker 2: really like a reference to this, but you think about

648
00:31:16,360 --> 00:31:19,040
Speaker 2: the opening of Strangers on a Train and with the

649
00:31:19,120 --> 00:31:21,240
Speaker 2: two feet just following into a pair of feet and

650
00:31:21,320 --> 00:31:24,000
Speaker 2: then the toes just there's something about Yeah, I don't know.

651
00:31:24,240 --> 00:31:25,840
Speaker 2: I was very much and I remember it's one of

652
00:31:25,840 --> 00:31:27,640
Speaker 2: the first things Joe and I talked about was like

653
00:31:27,720 --> 00:31:30,920
Speaker 2: shoes and those are his grandfather's shoes actually, and by

654
00:31:30,960 --> 00:31:33,640
Speaker 2: the end of it, they were falling apart and both

655
00:31:33,680 --> 00:31:33,920
Speaker 2: of us.

656
00:31:34,000 --> 00:31:35,880
Speaker 5: This is how like wrapped up we were in our heads.

657
00:31:35,880 --> 00:31:38,840
Speaker 5: We were all like, he's losing his soul's perfect.

658
00:31:40,160 --> 00:31:43,240
Speaker 1: It works on so many Now you're talking Adams like that. Yeah,

659
00:31:43,320 --> 00:31:44,080
Speaker 1: that's that's deep.

660
00:31:44,320 --> 00:31:47,000
Speaker 6: No, Like, I do like what you said, and I

661
00:31:47,040 --> 00:31:50,440
Speaker 6: think it'll lead into a good question about Brendan, because yeah,

662
00:31:50,480 --> 00:31:55,920
Speaker 6: you're totally right, he's he's not this altruistic hero. I mean,

663
00:31:56,040 --> 00:31:58,120
Speaker 6: he's he is a nor figure in that in that

664
00:31:58,240 --> 00:32:02,080
Speaker 6: he's corrupt. It's just not as corrupt as the people

665
00:32:02,200 --> 00:32:04,680
Speaker 6: he's going after in a way. And I think what

666
00:32:04,760 --> 00:32:06,600
Speaker 6: you were talking about in terms of how we see

667
00:32:06,680 --> 00:32:10,880
Speaker 6: him as vantage point, his station, his status, is all

668
00:32:10,960 --> 00:32:11,320
Speaker 6: part of that.

669
00:32:11,600 --> 00:32:11,800
Speaker 3: Yeah.

670
00:32:11,880 --> 00:32:15,960
Speaker 6: So I do wonder how you thought about Brendan and

671
00:32:16,080 --> 00:32:19,120
Speaker 6: maybe with Joseph Gordon Lennon, like kind of coming up

672
00:32:19,160 --> 00:32:21,600
Speaker 6: with this character who is very much in that tradition,

673
00:32:22,160 --> 00:32:26,520
Speaker 6: but also I think carries that high school psychology so

674
00:32:26,720 --> 00:32:28,960
Speaker 6: much that you were able to bring those two things together,

675
00:32:29,920 --> 00:32:33,320
Speaker 6: the striving for status and the one line that I love,

676
00:32:33,400 --> 00:32:35,920
Speaker 6: which is not next necessarily a punchline, is I don't

677
00:32:36,000 --> 00:32:38,880
Speaker 6: like to be told who side I'm on. That's high

678
00:32:38,920 --> 00:32:42,479
Speaker 6: school as I remember it. So can you, yeah, talk

679
00:32:42,520 --> 00:32:43,960
Speaker 6: a little bit about Brendan as a character.

680
00:32:44,120 --> 00:32:46,040
Speaker 5: Yeah, that's that's as a good summation.

681
00:32:46,200 --> 00:32:48,320
Speaker 2: I mean the end that for me was kind of

682
00:32:48,680 --> 00:32:51,920
Speaker 2: that self righteousness and when they talk about him just

683
00:32:52,000 --> 00:32:54,560
Speaker 2: either the spot in back of the school, the concrete

684
00:32:54,640 --> 00:32:56,560
Speaker 2: wall that's where me and my friends ate life. We

685
00:32:56,600 --> 00:32:58,200
Speaker 2: shot this at my high school at San Clement in

686
00:32:58,280 --> 00:33:01,520
Speaker 2: high school and at by the end of whatever our

687
00:33:01,560 --> 00:33:03,480
Speaker 2: eight days of shooting there, they were so ready to

688
00:33:03,560 --> 00:33:05,160
Speaker 2: kick us out, they were so sick of us. But

689
00:33:05,760 --> 00:33:08,320
Speaker 2: so that concrete walling back is where we called it

690
00:33:08,400 --> 00:33:10,240
Speaker 2: the pit of despair in high school. That's where me

691
00:33:10,320 --> 00:33:12,280
Speaker 2: and my friends ate lunch and we would just hide

692
00:33:12,320 --> 00:33:14,240
Speaker 2: from the world wall that while all the other kids

693
00:33:14,280 --> 00:33:14,880
Speaker 2: were like out.

694
00:33:14,760 --> 00:33:16,720
Speaker 5: In the parking lot at their cars and everything.

695
00:33:17,400 --> 00:33:19,000
Speaker 3: Are the stories I was trying to get up before.

696
00:33:20,840 --> 00:33:24,840
Speaker 2: And so I think that kind of self righteous sort

697
00:33:24,880 --> 00:33:27,560
Speaker 2: of which to me is such a big part of

698
00:33:28,520 --> 00:33:31,080
Speaker 2: and in is Brandan's fatal flaw. I think it's that

699
00:33:31,240 --> 00:33:35,040
Speaker 2: he has this self righteous, holier than thow thing where

700
00:33:35,200 --> 00:33:38,880
Speaker 2: he also he sets his moral compass, plows a forward

701
00:33:38,960 --> 00:33:41,040
Speaker 2: like a pit fist, and doesn't change it based on

702
00:33:41,160 --> 00:33:45,200
Speaker 2: new information, which I think is not a great rate.

703
00:33:45,560 --> 00:33:45,760
Speaker 5: Yeah.

704
00:33:46,080 --> 00:33:48,760
Speaker 1: Yeah, there's an anti hero element to him that's appropriate

705
00:33:48,840 --> 00:33:50,680
Speaker 1: for the material. But I'll say that's another thing. Back

706
00:33:50,720 --> 00:33:53,360
Speaker 1: in two thousand and six, I was so caught up

707
00:33:53,400 --> 00:33:55,320
Speaker 1: in seeing him as this kind of white knight who's

708
00:33:55,320 --> 00:33:57,040
Speaker 1: trying to get to the bottom of the truth. And

709
00:33:57,160 --> 00:33:59,800
Speaker 1: now you realize, especially those conversations with Emily are really

710
00:34:00,160 --> 00:34:03,040
Speaker 1: really potent, like he pushed her away.

711
00:34:03,280 --> 00:34:06,800
Speaker 2: Yeah yeah, and that I I that was very kind

712
00:34:06,840 --> 00:34:10,319
Speaker 2: of like yeah, very very conscious of that and very

713
00:34:10,640 --> 00:34:12,600
Speaker 2: but that. But that also that goes back to the hammet.

714
00:34:12,680 --> 00:34:15,239
Speaker 2: I mean they you know the detectives, and you know

715
00:34:15,320 --> 00:34:18,120
Speaker 2: whether it's whether it's Spade, whether it's a continental op is.

716
00:34:18,239 --> 00:34:21,839
Speaker 2: These are not good, great guys, and there are all

717
00:34:21,880 --> 00:34:26,000
Speaker 2: guys who are, Yeah, you don't wanna you don't wanna

718
00:34:26,200 --> 00:34:28,200
Speaker 2: base your life on I guess yeah.

719
00:34:28,280 --> 00:34:30,759
Speaker 1: You mentioned the lampshade, Josh, And it makes me think

720
00:34:30,800 --> 00:34:33,640
Speaker 1: one of my favorite kind of di I Y feeling

721
00:34:34,440 --> 00:34:38,440
Speaker 1: moments in the movie, which is when twice Tug has

722
00:34:38,520 --> 00:34:42,920
Speaker 1: to cover Brendan's eyes and and there's no there's no

723
00:34:43,080 --> 00:34:46,480
Speaker 1: sack or bag or there's no blindfold. He just like

724
00:34:46,880 --> 00:34:48,960
Speaker 1: almost puts him in a choke hold and covers his

725
00:34:49,080 --> 00:34:53,120
Speaker 1: eyes with his forearm, And I just I have to

726
00:34:53,280 --> 00:34:55,920
Speaker 1: know how you thought of that. I think so much

727
00:34:55,960 --> 00:34:57,920
Speaker 1: sense for Tug's character because he's such a brute.

728
00:34:57,960 --> 00:35:00,800
Speaker 2: Anyway, Noah Flices, who played him, one of my favorite

729
00:35:00,840 --> 00:35:02,839
Speaker 2: things was when he like brings him in the pins

730
00:35:02,920 --> 00:35:03,239
Speaker 2: room and.

731
00:35:03,320 --> 00:35:04,960
Speaker 1: He does this flourish reveal.

732
00:35:06,440 --> 00:35:12,560
Speaker 2: While that made me very happy, no I is so

733
00:35:12,680 --> 00:35:15,080
Speaker 2: good in this movie, so really I really enjoyed. That

734
00:35:15,160 --> 00:35:16,720
Speaker 2: was the other fun thing for me is just watching

735
00:35:16,800 --> 00:35:19,279
Speaker 2: these actors and watching a lot of them who I

736
00:35:19,320 --> 00:35:20,640
Speaker 2: know as adults, but a lot of them who have

737
00:35:20,760 --> 00:35:22,400
Speaker 2: kind of lost touch with over the years. And just

738
00:35:22,840 --> 00:35:24,799
Speaker 2: I mean, they were so young. It was a really

739
00:35:24,840 --> 00:35:27,640
Speaker 2: young cast, but they were all super seasons. Like all

740
00:35:27,760 --> 00:35:29,680
Speaker 2: of them have been acting since they were kids. So

741
00:35:29,920 --> 00:35:32,000
Speaker 2: I was the least experienced person on that side.

742
00:35:32,080 --> 00:35:35,120
Speaker 1: They're all making choices, and I might watch an entire

743
00:35:35,239 --> 00:35:36,960
Speaker 1: movie of Tug just walking towards the damp.

744
00:35:37,560 --> 00:35:40,480
Speaker 5: Honestly, he was supposed to have.

745
00:35:40,880 --> 00:35:46,160
Speaker 2: A shaved head and Noah's age, Noah place, his agent

746
00:35:46,280 --> 00:35:48,600
Speaker 2: begged me not to make him shave his head, and

747
00:35:48,719 --> 00:35:50,400
Speaker 2: so we came up with the beanie thing, which I

748
00:35:50,440 --> 00:35:51,080
Speaker 2: guess works.

749
00:35:51,200 --> 00:35:52,319
Speaker 3: But yeah, that's great.

750
00:35:53,840 --> 00:35:55,279
Speaker 5: CG we go special edition.

751
00:35:55,400 --> 00:35:55,640
Speaker 1: CG.

752
00:35:55,840 --> 00:35:56,839
Speaker 5: Get him on the shaved head.

753
00:35:58,719 --> 00:36:01,400
Speaker 6: So not to take us away from Brick, we can

754
00:36:01,480 --> 00:36:04,320
Speaker 6: return to it. But I know, I guess one reason

755
00:36:04,360 --> 00:36:07,239
Speaker 6: you connected with film spotting so early on is you're

756
00:36:07,680 --> 00:36:10,800
Speaker 6: a filmmaker but also a cinephile. You love movies, you

757
00:36:10,920 --> 00:36:14,040
Speaker 6: love thinking about them similarly to the way critics do

758
00:36:14,120 --> 00:36:17,719
Speaker 6: you like talking about them with others. So I felt

759
00:36:17,760 --> 00:36:19,919
Speaker 6: like I had to ask if you could share any

760
00:36:19,960 --> 00:36:23,319
Speaker 6: thoughts on the rest of our programming. We have five

761
00:36:23,400 --> 00:36:29,239
Speaker 6: films to go, and tomorrow's Tangerine, and then we are

762
00:36:29,760 --> 00:36:33,399
Speaker 6: going to Pother Panchalie Take Shelter Columbus, and then we're

763
00:36:33,480 --> 00:36:37,920
Speaker 6: back here for Before Sunrise. So any of those titles

764
00:36:38,239 --> 00:36:40,640
Speaker 6: jump out to you, ones that you know you have

765
00:36:41,160 --> 00:36:42,719
Speaker 6: special relationships with, or.

766
00:36:42,719 --> 00:36:45,080
Speaker 1: What he admits he's never seen him.

767
00:36:45,760 --> 00:36:48,520
Speaker 3: Then he's sticking around for a couple more days.

768
00:36:48,600 --> 00:36:48,680
Speaker 6: Now.

769
00:36:48,719 --> 00:36:51,279
Speaker 2: I was talking to because Alison Wilmore, who's doing the

770
00:36:51,480 --> 00:36:54,319
Speaker 2: Pother Panchelli screening. I was talking to her about how

771
00:36:54,480 --> 00:36:57,920
Speaker 2: that was something that trilogy that I watched fairly recently,

772
00:36:58,120 --> 00:37:01,319
Speaker 2: like after Criterion kind of yeah, brought back into the world.

773
00:37:01,440 --> 00:37:03,800
Speaker 5: It's so I don't know, I guess I hope it

774
00:37:03,880 --> 00:37:05,560
Speaker 5: is already sold out. Can I say go go?

775
00:37:06,040 --> 00:37:08,320
Speaker 1: Yeah? Bother is Dana Stevens.

776
00:37:08,480 --> 00:37:10,320
Speaker 5: I was standing and Allison's doing I was talking to

777
00:37:10,320 --> 00:37:11,040
Speaker 5: Alison about it.

778
00:37:11,160 --> 00:37:15,080
Speaker 1: Yeah, I like to talk about that ray here on film. Yeah,

779
00:37:15,640 --> 00:37:18,080
Speaker 1: tomorrow Pather PONCHOLLI is sold out.

780
00:37:18,120 --> 00:37:24,600
Speaker 2: Sorry, Dana, Dana Stevens Is that's an It's an absolutely

781
00:37:24,640 --> 00:37:26,840
Speaker 2: incredible film. But also, I mean all of them, you

782
00:37:26,880 --> 00:37:31,799
Speaker 2: guys have just the programmed Tangerine and also Clumbed. It's

783
00:37:32,000 --> 00:37:34,160
Speaker 2: just just a full list of bangers man. Yeah, and

784
00:37:34,280 --> 00:37:36,520
Speaker 2: also it's it I wish that I I have to

785
00:37:36,600 --> 00:37:38,319
Speaker 2: go back to work. I wish I could just stick

786
00:37:38,360 --> 00:37:41,319
Speaker 2: around and watch them with you guys, because seeing all

787
00:37:41,400 --> 00:37:43,560
Speaker 2: of these movies with a with a film spoiling crowd

788
00:37:43,640 --> 00:37:44,680
Speaker 2: is going to be pretty amazing.

789
00:37:44,920 --> 00:37:47,160
Speaker 1: Okay, well, let's let's get into the centophile stuff. Then

790
00:37:47,280 --> 00:37:49,840
Speaker 1: let's let's get a little geeky. I'm I'm watching this

791
00:37:50,000 --> 00:37:53,040
Speaker 1: last night, and there's a moment that I had never

792
00:37:53,120 --> 00:37:56,439
Speaker 1: noticed before where Brendan is in the school parking lot.

793
00:37:56,880 --> 00:37:59,320
Speaker 1: He enters the frame and as he's exiting, he seems

794
00:37:59,360 --> 00:38:02,840
Speaker 1: to notice something turns out its tugs vehicle. He stops,

795
00:38:02,960 --> 00:38:06,239
Speaker 1: and in that moment, the camera starts to pull back

796
00:38:06,520 --> 00:38:09,560
Speaker 1: away from him, but it seems like the background is

797
00:38:09,640 --> 00:38:13,360
Speaker 1: getting much much closer. And I'm going, is this is

798
00:38:13,480 --> 00:38:16,640
Speaker 1: Ryan Johnson in Brick with a four hundred and fifty

799
00:38:16,640 --> 00:38:20,520
Speaker 1: thousand dollars budget, pulling out a Dolly zoom vertigo shot?

800
00:38:20,719 --> 00:38:22,880
Speaker 1: Or are my eyes deceiving me? So I did what

801
00:38:23,000 --> 00:38:24,960
Speaker 1: everyone does in this moment. I paused it and I

802
00:38:25,040 --> 00:38:28,400
Speaker 1: went to Google and I asked the machine whether or

803
00:38:28,400 --> 00:38:30,879
Speaker 1: not Ryan Johnson does a vertigo shot?

804
00:38:31,000 --> 00:38:31,760
Speaker 5: You asked AI?

805
00:38:31,960 --> 00:38:35,279
Speaker 1: I asked Ai, my God, and no oscar for you?

806
00:38:35,600 --> 00:38:42,320
Speaker 1: Now an AI? It's true? Well, and this will support

807
00:38:42,400 --> 00:38:45,520
Speaker 1: that because the AI told me that although Ryan Johnson

808
00:38:46,000 --> 00:38:49,239
Speaker 1: has done vertigo shots before, there are none in Brick.

809
00:38:49,520 --> 00:38:51,359
Speaker 1: So I'm taking a bit of a chance.

810
00:38:51,400 --> 00:38:53,480
Speaker 3: But am I? Am I right?

811
00:38:53,640 --> 00:38:56,319
Speaker 1: Or is the machine right? Ryan? And if I'm right?

812
00:38:57,440 --> 00:38:58,440
Speaker 3: What what?

813
00:39:00,120 --> 00:39:02,279
Speaker 1: Here's the this is? I don't I actually don't care

814
00:39:02,280 --> 00:39:03,800
Speaker 1: about whether or not I'm right. I want to know

815
00:39:04,560 --> 00:39:08,960
Speaker 1: about that ingenuity, that confidence as a young filmmaker or

816
00:39:09,040 --> 00:39:11,880
Speaker 1: is it just naivete actually to take chances like that

817
00:39:12,040 --> 00:39:14,600
Speaker 1: and pull out shots like that, to go for moments

818
00:39:14,719 --> 00:39:14,880
Speaker 1: like that?

819
00:39:15,400 --> 00:39:19,400
Speaker 5: Score is Adam one? AI zero? Take that?

820
00:39:19,600 --> 00:39:19,839
Speaker 1: Josh?

821
00:39:21,239 --> 00:39:23,920
Speaker 2: That was I'm really happy that you not said, because

822
00:39:23,960 --> 00:39:26,000
Speaker 2: that was something that like. And by the way, I like.

823
00:39:26,160 --> 00:39:28,640
Speaker 2: So I wrote Brick when I was like twenty two.

824
00:39:28,800 --> 00:39:30,920
Speaker 2: I didn't get made until I was trending thirty. I

825
00:39:31,000 --> 00:39:34,880
Speaker 2: basically spent my twenties failing to get Brick made. So

826
00:39:35,160 --> 00:39:38,120
Speaker 2: I had all that time, and the movie is in

827
00:39:38,320 --> 00:39:43,440
Speaker 2: terms of the shot design, is so probably overbaked because

828
00:39:43,440 --> 00:39:45,120
Speaker 2: I had all that time to story for it, to

829
00:39:45,160 --> 00:39:47,600
Speaker 2: make my little storyboards and think about each shot, and

830
00:39:47,800 --> 00:39:50,560
Speaker 2: that shot specifically, it was kind of this sense of

831
00:39:51,160 --> 00:39:53,239
Speaker 2: I don't know, I grew up kind of you know,

832
00:39:53,360 --> 00:39:55,880
Speaker 2: I went to high school in San Clemente, and the

833
00:39:56,000 --> 00:39:59,400
Speaker 2: landscape of the movie, of those kind of vast vistas

834
00:39:59,600 --> 00:40:03,120
Speaker 2: of track homes and the you know, streets that are

835
00:40:03,200 --> 00:40:05,800
Speaker 2: incredibly too wide, and just kind of this sense of

836
00:40:05,960 --> 00:40:08,480
Speaker 2: space is something I grew up with and kind of

837
00:40:08,520 --> 00:40:11,560
Speaker 2: the ominous feeling of that, And so I wanted to

838
00:40:11,680 --> 00:40:15,000
Speaker 2: do a Dolly counter zoom in a landscape shot which

839
00:40:15,040 --> 00:40:17,680
Speaker 2: I didn't feel like I had really seen before. Usually

840
00:40:17,719 --> 00:40:20,560
Speaker 2: it's something with a distinct foreground and background to take

841
00:40:20,560 --> 00:40:23,640
Speaker 2: advantage of, yeah, to smartly use it, and I decided

842
00:40:23,680 --> 00:40:25,480
Speaker 2: to not smartly use it and do it with a

843
00:40:26,400 --> 00:40:28,200
Speaker 2: which it creates a really subtle effect.

844
00:40:28,280 --> 00:40:31,080
Speaker 5: So kudos to you, and fuck you, AI, we win.

845
00:40:32,080 --> 00:40:32,960
Speaker 5: We're gonna be okay.

846
00:40:34,080 --> 00:40:36,160
Speaker 1: Well, kudos to you for the great shot. Let's keep

847
00:40:36,200 --> 00:40:38,400
Speaker 1: this theme going. I not only came to the top

848
00:40:38,480 --> 00:40:40,200
Speaker 1: five list. I want to play a little game. This

849
00:40:40,320 --> 00:40:46,759
Speaker 1: game is called homage, influence or coincidence. So Joseph Gordon

850
00:40:46,800 --> 00:40:50,239
Speaker 1: Levit at one point, after getting punched repeatedly, has the

851
00:40:50,520 --> 00:40:52,440
Speaker 1: tissue sticking out of his nose that cuts on his

852
00:40:52,600 --> 00:40:55,880
Speaker 1: nose A lah ja gettis in Chinatown.

853
00:40:56,440 --> 00:40:59,480
Speaker 5: Yes, whether the two choices there or not, homage influence

854
00:40:59,600 --> 00:41:02,879
Speaker 5: or con isn't a homage just a influence. Yeah, that's

855
00:41:02,880 --> 00:41:06,120
Speaker 5: a little French or a little more French. Homage is

856
00:41:06,160 --> 00:41:07,440
Speaker 5: an influence in the beret.

857
00:41:07,600 --> 00:41:08,160
Speaker 3: That's all right?

858
00:41:08,400 --> 00:41:14,919
Speaker 1: Yeah, yes, it it rates your intentionality, I suppose, right, Okay,

859
00:41:15,040 --> 00:41:19,960
Speaker 1: So the the moment when we get the standoff at

860
00:41:20,040 --> 00:41:24,960
Speaker 1: the tunnel with Doad, started noticing, especially tonight, how good,

861
00:41:25,000 --> 00:41:27,279
Speaker 1: the bad and the ugly that felt, including with the

862
00:41:27,880 --> 00:41:31,160
Speaker 1: the the grass or the weeds. That that that great

863
00:41:31,200 --> 00:41:34,000
Speaker 1: effect that adds the tension, builds up the tension of

864
00:41:34,160 --> 00:41:37,239
Speaker 1: tug pull into that. And then we see it just

865
00:41:37,360 --> 00:41:40,520
Speaker 1: before the violence explodes. We see the grass float in

866
00:41:40,600 --> 00:41:44,480
Speaker 1: the water almost like sagebrush, just going between the cowboys.

867
00:41:44,560 --> 00:41:47,759
Speaker 1: So what about Leone's influence, Yeah, that's that's there.

868
00:41:47,960 --> 00:41:50,960
Speaker 5: These are yeah, oh my I, guys are fucking spelm nerds.

869
00:41:51,239 --> 00:41:54,759
Speaker 1: Here It's okay, So here these get a little bit

870
00:41:54,800 --> 00:41:59,080
Speaker 1: more out there. When Tug is talking after that, in

871
00:41:59,160 --> 00:42:02,560
Speaker 1: the aftermath of of that, and he's talking about Emily's death,

872
00:42:02,600 --> 00:42:07,560
Speaker 1: and he's talking about Doade's death, and he says to Brendan,

873
00:42:08,719 --> 00:42:12,080
Speaker 1: it's a hell of a thing, which made me think

874
00:42:12,080 --> 00:42:14,880
Speaker 1: of the Schofield kid talking to William Money and unforgiven

875
00:42:15,520 --> 00:42:17,080
Speaker 1: about it's a hell of a thing to kill a.

876
00:42:17,120 --> 00:42:21,000
Speaker 2: Man, probably subconsciously stolen. Okay, so maybe it has a

877
00:42:21,160 --> 00:42:23,480
Speaker 2: great line or could be coincidence.

878
00:42:23,520 --> 00:42:23,800
Speaker 3: Okay.

879
00:42:24,080 --> 00:42:27,600
Speaker 1: So when when Brendan is meeting the Pin for the

880
00:42:27,640 --> 00:42:30,920
Speaker 1: first time and Tug gets very angry with him, stomps

881
00:42:30,960 --> 00:42:32,759
Speaker 1: on him a bit, and then he wakes up in

882
00:42:32,800 --> 00:42:35,439
Speaker 1: the other room and he's coming to and he's very disoriented.

883
00:42:35,520 --> 00:42:38,200
Speaker 1: He's in and out of consciousness. And then all of

884
00:42:38,200 --> 00:42:40,200
Speaker 1: a sudden, we start to hear the Pin, I think

885
00:42:40,239 --> 00:42:42,839
Speaker 1: before we even see him, and his head in close

886
00:42:42,920 --> 00:42:47,400
Speaker 1: up starts to emerge in front of the bewildered Brendan,

887
00:42:48,160 --> 00:42:50,759
Speaker 1: and he's got that sort of glow, but he's silhouetted

888
00:42:50,800 --> 00:42:55,160
Speaker 1: in black, and I thought this really feels like Captain

889
00:42:55,200 --> 00:42:59,080
Speaker 1: Willard in front of Colonel Kurtz late in Apocalypse Now.

890
00:42:59,239 --> 00:43:03,000
Speaker 1: And you know what, you even have the pin called

891
00:43:03,040 --> 00:43:05,400
Speaker 1: Brendan Soldier twice in that sequence.

892
00:43:05,480 --> 00:43:08,760
Speaker 5: You're in too deep, Kevin, You're in too deep.

893
00:43:10,920 --> 00:43:14,279
Speaker 2: Here is though, well that is yeah, I completely see

894
00:43:14,320 --> 00:43:16,879
Speaker 2: how that's similar. That is a coincidence. The big thing

895
00:43:17,000 --> 00:43:19,560
Speaker 2: that is actually a reference it with all the stuff

896
00:43:19,600 --> 00:43:21,440
Speaker 2: of the brick kind. And there's this thing where he

897
00:43:21,520 --> 00:43:24,600
Speaker 2: goes into the darkness and she and Laura comes out

898
00:43:24,640 --> 00:43:27,040
Speaker 2: a little too soon, like he melts. There's a shot

899
00:43:27,120 --> 00:43:29,360
Speaker 2: in Blue Velvet where Laura Durn comes out of the

900
00:43:29,440 --> 00:43:32,360
Speaker 2: shadows underneath these trees. That's just one of my faces.

901
00:43:33,040 --> 00:43:35,360
Speaker 1: It's like it's like we plan this, Brian because and

902
00:43:35,400 --> 00:43:39,040
Speaker 1: then my last one, Emily's body, the blonde hair lying

903
00:43:39,080 --> 00:43:43,080
Speaker 1: near the water dark forces nefarious goings on of high school. Josh,

904
00:43:43,160 --> 00:43:44,879
Speaker 1: you know what we're talking about, because you finally caught

905
00:43:44,960 --> 00:43:48,640
Speaker 1: up with ten peaks Coffee and pie. Oh my, the

906
00:43:48,760 --> 00:43:53,680
Speaker 1: weirdos out back behind the restaurant occasional cut. Next on

907
00:43:53,800 --> 00:44:00,920
Speaker 1: my list, the shot I'll just try to interrupt the

908
00:44:00,960 --> 00:44:05,160
Speaker 1: shots of Emily's not so ruby slippers even the opening score,

909
00:44:05,320 --> 00:44:07,920
Speaker 1: which to me sounds not at all like noir but

910
00:44:08,440 --> 00:44:11,799
Speaker 1: sort of Leone by way of Battle Lamente. Yeah, I'm

911
00:44:11,800 --> 00:44:15,040
Speaker 1: thinking Twin Peaks. I'm thinking Blue Velvet, Mulholland Dry, Wild

912
00:44:15,040 --> 00:44:18,200
Speaker 1: at Heart, and especially with David Lynch recently passing away,

913
00:44:18,360 --> 00:44:20,239
Speaker 1: I had the great pleasure of coming to a Q

914
00:44:20,360 --> 00:44:22,200
Speaker 1: and a here at the Music Box with David Lynch

915
00:44:22,239 --> 00:44:24,759
Speaker 1: once for Inland Empire and have great memories of that.

916
00:44:25,200 --> 00:44:26,879
Speaker 1: How big of an influence was Lynch.

917
00:44:27,040 --> 00:44:30,400
Speaker 2: There's probably more Lynch, Yeah, in this influence in this

918
00:44:30,520 --> 00:44:33,480
Speaker 2: movie then there is film noir influences. The reality I

919
00:44:33,680 --> 00:44:37,240
Speaker 2: was in high school, Twin Peaks was a massive, massive,

920
00:44:37,320 --> 00:44:39,880
Speaker 2: massive thing for man in high school, and all the

921
00:44:39,880 --> 00:44:43,600
Speaker 2: stuff that you mentioned was drawn straight from steal from

922
00:44:43,640 --> 00:44:45,040
Speaker 2: the best, That's what I said.

923
00:44:46,280 --> 00:44:48,880
Speaker 6: So talking about technology a little bit, going back to

924
00:44:48,960 --> 00:44:52,200
Speaker 6: that shot, and I think one of the things that's

925
00:44:52,200 --> 00:44:54,160
Speaker 6: been a marker of your film's movie for in your

926
00:44:54,239 --> 00:44:59,040
Speaker 6: career is the thoughtful embrace of technology as it has developed,

927
00:44:59,160 --> 00:45:02,200
Speaker 6: whether it's been different types of cameras or special effects,

928
00:45:02,239 --> 00:45:05,960
Speaker 6: how to incorporate such things. Is there any sort of

929
00:45:06,440 --> 00:45:10,960
Speaker 6: tool that you wish you could have brought to bear

930
00:45:11,800 --> 00:45:14,400
Speaker 6: on brick. Now, obviously the right answer is no, this

931
00:45:14,560 --> 00:45:16,600
Speaker 6: is a time capsule. You don't touch it. As we

932
00:45:16,760 --> 00:45:18,759
Speaker 6: started with, right, you want this to be a movie

933
00:45:19,400 --> 00:45:23,200
Speaker 6: pre mobile phone age and exist in that space. But

934
00:45:23,320 --> 00:45:25,759
Speaker 6: as a filmmaker, it does make me curious if there's

935
00:45:25,840 --> 00:45:29,480
Speaker 6: any sort of tool that you think you might have

936
00:45:29,560 --> 00:45:32,400
Speaker 6: been able to bring to bear on this particular story.

937
00:45:32,840 --> 00:45:33,239
Speaker 5: I don't know.

938
00:45:33,320 --> 00:45:35,160
Speaker 2: I don't think so, but I mean that opens up

939
00:45:35,200 --> 00:45:37,080
Speaker 2: the question are there things that you would do? Like

940
00:45:37,239 --> 00:45:39,319
Speaker 2: are there things that when watching it, I'm like, oh,

941
00:45:39,480 --> 00:45:42,239
Speaker 2: I wish I could change that, And that inevitably is

942
00:45:42,400 --> 00:45:45,120
Speaker 2: like a thing that I would never I would never

943
00:45:45,200 --> 00:45:47,719
Speaker 2: do that. I think I'm not going to ever go

944
00:45:47,840 --> 00:45:50,320
Speaker 2: back into anything and change anything. But in terms of tools,

945
00:45:50,360 --> 00:45:53,520
Speaker 2: I don't know, not really, but tools are I don't know.

946
00:45:53,680 --> 00:45:57,400
Speaker 2: Maybe tools for me are never limiting factors really, And

947
00:45:57,520 --> 00:45:59,560
Speaker 2: the reality is that's another thing in my memory of

948
00:45:59,640 --> 00:46:02,360
Speaker 2: making as it was just in that world where like

949
00:46:02,440 --> 00:46:04,560
Speaker 2: the shot looking up at the fan with its spinning

950
00:46:04,600 --> 00:46:07,600
Speaker 2: in the room, spinning, that that's something where there could

951
00:46:07,600 --> 00:46:09,400
Speaker 2: have been sophisticated to it. We probably would have just

952
00:46:09,480 --> 00:46:11,960
Speaker 2: done that using CG at this using you know, cut

953
00:46:12,040 --> 00:46:14,600
Speaker 2: it out and day and after effects. But back then

954
00:46:15,000 --> 00:46:17,000
Speaker 2: we didn't have that, And so we stuck the dolly

955
00:46:17,120 --> 00:46:20,760
Speaker 2: on a lazy Susan, wrapped the chord around it thirty times,

956
00:46:21,120 --> 00:46:23,560
Speaker 2: and I'll watched the monitor together to get the speed

957
00:46:23,640 --> 00:46:26,359
Speaker 2: exactly right of matching the fan and started cheering when

958
00:46:26,400 --> 00:46:29,719
Speaker 2: we got it, and started like and so it and

959
00:46:30,280 --> 00:46:32,680
Speaker 2: so No. I wouldn't give that up to throw it

960
00:46:32,719 --> 00:46:34,399
Speaker 2: to an after effects guys a million years.

961
00:46:34,640 --> 00:46:37,040
Speaker 6: Yeah, because that's an example where and you know, I

962
00:46:37,120 --> 00:46:40,000
Speaker 6: think CGI has its place today, but still there's an

963
00:46:40,080 --> 00:46:44,680
Speaker 6: eeriness to the technique you use that probably would have

964
00:46:44,760 --> 00:46:46,680
Speaker 6: been lost if you'd applied CGI there.

965
00:46:47,200 --> 00:46:47,960
Speaker 5: I don't know about.

966
00:46:48,040 --> 00:46:50,560
Speaker 2: Maybe maybe there would be, it would be I wouldn't

967
00:46:50,560 --> 00:46:51,759
Speaker 2: have that great memory, I guess.

968
00:46:52,239 --> 00:46:54,000
Speaker 5: But I also I'm with you.

969
00:46:54,160 --> 00:46:57,799
Speaker 2: I I tend to instinctively push back against the notion

970
00:46:58,200 --> 00:47:01,640
Speaker 2: of you know, whether it's anal versus digital, whether it's

971
00:47:01,840 --> 00:47:05,400
Speaker 2: practical versus cGy, everything, everything's a tool, everything can be

972
00:47:05,520 --> 00:47:08,040
Speaker 2: used to its own thing, but also going back to

973
00:47:08,080 --> 00:47:10,640
Speaker 2: the original thing. It's also so much about the experience

974
00:47:10,719 --> 00:47:13,080
Speaker 2: of making a thing, and that's why it's never wrong

975
00:47:13,200 --> 00:47:15,759
Speaker 2: to go back to the old analog stuff. If that's

976
00:47:15,800 --> 00:47:18,080
Speaker 2: what makes you excited about the thing that you're created.

977
00:47:18,680 --> 00:47:25,560
Speaker 1: How about the sequence where Tug finds Brendan snooping around

978
00:47:25,840 --> 00:47:29,279
Speaker 1: at the fantast with the mirror and the lighting and

979
00:47:29,640 --> 00:47:33,200
Speaker 1: that disorienting effect of the whole time he's confronting him

980
00:47:33,200 --> 00:47:36,440
Speaker 1: and has him up against the wall, the mirror is

981
00:47:36,560 --> 00:47:39,840
Speaker 1: tilting and it offers a sort of kaleidoscopic effect, and

982
00:47:39,920 --> 00:47:44,320
Speaker 1: then it stops at the exact moment where the conversation dissipates,

983
00:47:44,600 --> 00:47:46,799
Speaker 1: where the tension finally kind of resolves a little bit.

984
00:47:47,120 --> 00:47:50,439
Speaker 1: How difficult was it to shoot that scene? And also

985
00:47:50,520 --> 00:47:51,920
Speaker 1: just tell us where I mean, is that something you

986
00:47:52,000 --> 00:47:53,560
Speaker 1: have in mind when you're writing the script?

987
00:47:54,200 --> 00:47:55,440
Speaker 5: Yeah, that was script.

988
00:47:55,520 --> 00:47:57,960
Speaker 2: That was storyboard. That was like all really intentional. The

989
00:47:58,040 --> 00:48:01,799
Speaker 2: things stopping exactly then though, was just that's that's just luck.

990
00:48:01,920 --> 00:48:03,360
Speaker 5: That's movie magic.

991
00:48:03,440 --> 00:48:04,040
Speaker 3: You just get that.

992
00:48:04,239 --> 00:48:06,799
Speaker 2: But my main memory of that scene is we had

993
00:48:06,960 --> 00:48:09,520
Speaker 2: no money, and so we only had enough money to

994
00:48:09,600 --> 00:48:12,760
Speaker 2: build one room of a set, and so that's actually

995
00:48:12,800 --> 00:48:16,560
Speaker 2: the same room as the Pin's office, and Jody had

996
00:48:16,680 --> 00:48:19,239
Speaker 2: like one night to paint it all black and cut

997
00:48:19,280 --> 00:48:23,440
Speaker 2: a window in the wall and stuff, and the paint fumes.

998
00:48:23,520 --> 00:48:25,960
Speaker 2: We were all super high by the end, and so

999
00:48:26,560 --> 00:48:29,360
Speaker 2: the thing's spinning and the whole thing and like and

1000
00:48:29,480 --> 00:48:31,680
Speaker 2: also that it's kind of crazy that he's holding him

1001
00:48:31,880 --> 00:48:33,720
Speaker 2: up by his neck and he says, like a paragraph

1002
00:48:33,760 --> 00:48:37,759
Speaker 2: of dialogue, well he was like yeah, like, ah, I

1003
00:48:37,800 --> 00:48:39,040
Speaker 2: should have grabbed the lapels.

1004
00:48:39,160 --> 00:48:39,480
Speaker 3: I don't know.

1005
00:48:39,800 --> 00:48:42,000
Speaker 6: So this this has been great stuff about the making

1006
00:48:42,080 --> 00:48:43,439
Speaker 6: of it. I wonder if we can move a little

1007
00:48:43,440 --> 00:48:47,720
Speaker 6: bit towards the release of Brick as this low budget,

1008
00:48:47,880 --> 00:48:52,920
Speaker 6: as you say, kids making it debut, and we've described

1009
00:48:52,960 --> 00:48:56,240
Speaker 6: it in the context of being critics and being excited

1010
00:48:56,239 --> 00:48:58,200
Speaker 6: about it and trying to get behind movies like this

1011
00:48:58,400 --> 00:49:01,800
Speaker 6: and championing them. Do you remember at the time just

1012
00:49:01,960 --> 00:49:05,800
Speaker 6: what that was like, not knowing what will happen. I

1013
00:49:05,880 --> 00:49:08,320
Speaker 6: imagine with this movie you're putting out in the world,

1014
00:49:08,719 --> 00:49:11,920
Speaker 6: and how you experienced all those channels, whether it was

1015
00:49:12,040 --> 00:49:16,480
Speaker 6: your interaction with critics like film spotting and realized this

1016
00:49:16,719 --> 00:49:21,600
Speaker 6: is like a galvanizing force we can be alongside, or

1017
00:49:21,680 --> 00:49:26,080
Speaker 6: maybe marketing or you know, studio how that all worked.

1018
00:49:26,120 --> 00:49:28,080
Speaker 6: But if you can go back and talk about what

1019
00:49:28,160 --> 00:49:30,040
Speaker 6: it was like to have a small film like this

1020
00:49:31,000 --> 00:49:32,960
Speaker 6: become a real thing, yeah, I.

1021
00:49:33,000 --> 00:49:36,800
Speaker 2: Mean it is. It is really and I mean to

1022
00:49:36,920 --> 00:49:39,600
Speaker 2: talk about like what you guys do a little bit.

1023
00:49:39,680 --> 00:49:41,880
Speaker 2: I mean, first of all, just the fact that you

1024
00:49:42,000 --> 00:49:45,320
Speaker 2: guys were championing the movie and the fact that you

1025
00:49:45,360 --> 00:49:49,560
Speaker 2: guys were behind it it, especially with like a small movie,

1026
00:49:49,600 --> 00:49:52,759
Speaker 2: and it's exactly right. I mean, it's you know, I

1027
00:49:52,960 --> 00:49:55,120
Speaker 2: edited this movie in my bedroom. I just maybe we

1028
00:49:55,280 --> 00:49:58,040
Speaker 2: just like I said, Nathan was making the score with whisks.

1029
00:49:58,160 --> 00:50:00,560
Speaker 2: Like any movie this size, it doesn't feel real to

1030
00:50:00,680 --> 00:50:03,279
Speaker 2: the feel. It feels like this dinky little thing you're

1031
00:50:03,320 --> 00:50:05,840
Speaker 2: putting together on your own and then you put it

1032
00:50:06,000 --> 00:50:08,080
Speaker 2: on the world, and it almost feels like you're pulling

1033
00:50:08,120 --> 00:50:10,319
Speaker 2: a trick that suddenly people think it's a real movie

1034
00:50:10,440 --> 00:50:13,880
Speaker 2: or something. And so getting people who actually see it

1035
00:50:13,960 --> 00:50:17,480
Speaker 2: and see the intention and to champion it and discover it.

1036
00:50:17,560 --> 00:50:20,839
Speaker 2: And this movie took some discovering, and you know, that's

1037
00:50:20,880 --> 00:50:23,040
Speaker 2: what you guys do, and and the other elements I

1038
00:50:23,160 --> 00:50:27,160
Speaker 2: think of what I just why I've I've been a

1039
00:50:27,239 --> 00:50:30,080
Speaker 2: listener for all these years with you guys, is you

1040
00:50:30,200 --> 00:50:34,880
Speaker 2: guys are also just great critics in that it's not

1041
00:50:35,160 --> 00:50:38,360
Speaker 2: about and and in that little montage before it was

1042
00:50:38,400 --> 00:50:42,200
Speaker 2: put really really well that you guys analyzed the movie

1043
00:50:42,320 --> 00:50:43,719
Speaker 2: that was intended.

1044
00:50:43,760 --> 00:50:45,200
Speaker 5: I would put it even a little bit differently.

1045
00:50:45,239 --> 00:50:48,040
Speaker 2: I would say, you guys bring a personal perspective to

1046
00:50:48,800 --> 00:50:52,040
Speaker 2: your analysis, which is what great film criticism. It was

1047
00:50:52,080 --> 00:50:55,400
Speaker 2: why I love film criticism, it's why I love reading it.

1048
00:50:55,560 --> 00:50:59,440
Speaker 2: It's because it's a documentary of the person's experience in

1049
00:50:59,520 --> 00:51:02,160
Speaker 2: the theater, or of that personal experience that the person

1050
00:51:02,280 --> 00:51:05,080
Speaker 2: had watching it. And in that way, it's not even

1051
00:51:05,280 --> 00:51:08,680
Speaker 2: like a it's as much about the critic as it

1052
00:51:08,840 --> 00:51:11,000
Speaker 2: is about not in the derisive and it's just about you,

1053
00:51:11,200 --> 00:51:13,000
Speaker 2: but in a way that actually makes it and that's

1054
00:51:13,040 --> 00:51:15,680
Speaker 2: what makes it good writing or interesting conversation. And you

1055
00:51:15,760 --> 00:51:18,960
Speaker 2: guys bring that personal perspective to everything that you analyze

1056
00:51:19,400 --> 00:51:22,960
Speaker 2: in a way that I don't know, especially if it's

1057
00:51:23,000 --> 00:51:25,239
Speaker 2: your movie, it means a lot, but even just any

1058
00:51:25,360 --> 00:51:27,640
Speaker 2: movie that I want to hear your guys' take of,

1059
00:51:27,760 --> 00:51:30,640
Speaker 2: it's because I want to hear your guys's experience of it.

1060
00:51:30,800 --> 00:51:32,640
Speaker 5: So I know that was a lot of words that

1061
00:51:32,719 --> 00:51:35,000
Speaker 5: was worth But we are you guys, rock, is what

1062
00:51:35,080 --> 00:51:36,399
Speaker 5: I'm saying, right.

1063
00:51:36,560 --> 00:51:42,399
Speaker 1: Yeah, yeah, you you have talked a little bit about

1064
00:51:42,400 --> 00:51:44,279
Speaker 1: the origins and how long you know, how much time

1065
00:51:44,320 --> 00:51:46,960
Speaker 1: you spent making this movie and how personal it was.

1066
00:51:47,080 --> 00:51:48,600
Speaker 1: But I don't know if we've really gotten to the

1067
00:51:49,160 --> 00:51:51,800
Speaker 1: the crux of it. Do you remember the exact moment

1068
00:51:51,880 --> 00:51:55,000
Speaker 1: where you you knew this is a film I have

1069
00:51:55,239 --> 00:51:57,880
Speaker 1: to make, like you the idea crystallized for you? And

1070
00:51:58,000 --> 00:52:00,560
Speaker 1: what what was it? Was it? Concept? Was it character?

1071
00:52:01,400 --> 00:52:02,840
Speaker 1: With a dialogue scene?

1072
00:52:03,880 --> 00:52:05,759
Speaker 2: I think, I mean, we talked earlier about the thing

1073
00:52:05,800 --> 00:52:08,319
Speaker 2: of expressing the high school thing through the film, right.

1074
00:52:08,360 --> 00:52:10,600
Speaker 2: The reality is, though, it's like I wrote the script

1075
00:52:10,680 --> 00:52:14,080
Speaker 2: and I kind of I kind of just didn't write

1076
00:52:14,120 --> 00:52:16,800
Speaker 2: anything else that was that good for the rest of it,

1077
00:52:16,840 --> 00:52:19,440
Speaker 2: I do, so I'm like, let's keep trying to get

1078
00:52:19,480 --> 00:52:19,879
Speaker 2: brick made.

1079
00:52:19,920 --> 00:52:21,160
Speaker 5: Let's try. I think this is good.

1080
00:52:21,440 --> 00:52:23,440
Speaker 2: And the reality is, it's not like I don't know,

1081
00:52:23,520 --> 00:52:26,000
Speaker 2: I wouldn't have stopped until I got the thing made,

1082
00:52:26,280 --> 00:52:28,759
Speaker 2: but not necessarily because it's the only thing that I

1083
00:52:28,840 --> 00:52:30,960
Speaker 2: had to make, just because it's the only thing I

1084
00:52:31,040 --> 00:52:33,440
Speaker 2: wanted to do was make stuff, and this was the

1085
00:52:33,520 --> 00:52:36,719
Speaker 2: thing that kind of was was present in my heart

1086
00:52:36,760 --> 00:52:39,279
Speaker 2: for that whole time. So so yeah, no, I don't

1087
00:52:39,320 --> 00:52:41,440
Speaker 2: know that there's like one one moment or something like that.

1088
00:52:41,719 --> 00:52:43,160
Speaker 2: I wish there was, I would be I should make

1089
00:52:43,200 --> 00:52:43,600
Speaker 2: something up.

1090
00:52:43,840 --> 00:52:47,160
Speaker 1: But I mean, has that has that changed at all

1091
00:52:47,239 --> 00:52:51,560
Speaker 1: for you? Have you've gotten better at if something isn't

1092
00:52:51,600 --> 00:52:54,880
Speaker 1: working you you can set it aside or does or

1093
00:52:55,000 --> 00:52:57,120
Speaker 1: do you stay determined to see it through?

1094
00:52:58,440 --> 00:53:00,719
Speaker 2: Well, it's I mean, I guess the answer is it's

1095
00:53:00,800 --> 00:53:02,759
Speaker 2: kind of the same. I mean it's different because this

1096
00:53:02,880 --> 00:53:06,239
Speaker 2: took me eight years to get made, and so in

1097
00:53:06,320 --> 00:53:08,560
Speaker 2: a way that does kind of like it's a little

1098
00:53:08,600 --> 00:53:11,920
Speaker 2: bit like, you know, the Crucible a little bit, and

1099
00:53:12,239 --> 00:53:14,600
Speaker 2: it does make it into kind of maybe arguably a

1100
00:53:14,680 --> 00:53:16,759
Speaker 2: more refined thing or something. But the reality is also

1101
00:53:17,239 --> 00:53:20,359
Speaker 2: I've been really lucky that anything that I've made has

1102
00:53:20,440 --> 00:53:23,080
Speaker 2: been just the thing I want to make the most next.

1103
00:53:23,120 --> 00:53:25,680
Speaker 2: I've been able to just kind of follow follow my

1104
00:53:25,760 --> 00:53:28,359
Speaker 2: heart with each new movie, and so in that way,

1105
00:53:28,400 --> 00:53:30,000
Speaker 2: it's similar to this, where it's just like, Yeah, this

1106
00:53:30,120 --> 00:53:32,120
Speaker 2: is the thing I'm genuinely most excited about, this thing

1107
00:53:32,160 --> 00:53:32,440
Speaker 2: to make.

1108
00:53:32,880 --> 00:53:34,560
Speaker 3: So I have a bit of a broader question for you.

1109
00:53:35,280 --> 00:53:37,839
Speaker 6: I think of your movies as having and really all

1110
00:53:37,920 --> 00:53:42,320
Speaker 6: of them they're very realistic about the state of things.

1111
00:53:42,440 --> 00:53:44,360
Speaker 6: Whatever the state of things happen to be in that

1112
00:53:44,480 --> 00:53:47,879
Speaker 6: particular story, but there's a hopefulness underneath that as well.

1113
00:53:48,480 --> 00:53:51,200
Speaker 6: Interesting now, after just watching Brick, what the ratio is there?

1114
00:53:51,640 --> 00:53:54,000
Speaker 6: But I think those two elements are in all of them.

1115
00:53:54,200 --> 00:53:57,759
Speaker 6: So projecting outside of your own filmography, this is a

1116
00:53:57,880 --> 00:53:59,640
Speaker 6: dark time in a lot of ways. It's also an

1117
00:53:59,719 --> 00:54:04,120
Speaker 6: uns time for cinema in particular. What's exciting and hopeful

1118
00:54:04,200 --> 00:54:07,600
Speaker 6: for you? What do you see about what's going on

1119
00:54:07,760 --> 00:54:11,879
Speaker 6: in cinema right now that gets you excited, that makes

1120
00:54:11,920 --> 00:54:15,160
Speaker 6: you feel hopeful, whether it's a type of filmmaker or

1121
00:54:15,400 --> 00:54:18,960
Speaker 6: a region of films, a technology that's open doors, You're

1122
00:54:18,960 --> 00:54:23,560
Speaker 6: excited about collaborators you've met recently. Something I'm not listening here.

1123
00:54:23,600 --> 00:54:27,319
Speaker 6: I'm giving you time because because I'm really I'm really

1124
00:54:27,400 --> 00:54:29,239
Speaker 6: interested in your thoughts on this.

1125
00:54:29,560 --> 00:54:32,040
Speaker 2: I mean, there's I think there's a lot of exciting

1126
00:54:32,080 --> 00:54:35,080
Speaker 2: young filmmakers working today. The thing, honestly though, that gives

1127
00:54:35,239 --> 00:54:38,880
Speaker 2: me the most kind of like just hope and thrill

1128
00:54:39,160 --> 00:54:42,879
Speaker 2: and excitement I feel like. I mean, first of all,

1129
00:54:43,120 --> 00:54:46,000
Speaker 2: I do feel a little bit like we're the conditions

1130
00:54:46,080 --> 00:54:48,680
Speaker 2: feel right right now for some kind of new wave

1131
00:54:48,960 --> 00:54:51,759
Speaker 2: in terms of cinema, for something new genuinely new to

1132
00:54:51,840 --> 00:54:52,799
Speaker 2: come along and.

1133
00:54:52,960 --> 00:54:55,680
Speaker 5: We're you we'll probably hate it world, We'll probably not

1134
00:54:55,840 --> 00:54:56,800
Speaker 5: understand it and hate it.

1135
00:54:57,400 --> 00:55:01,240
Speaker 2: But something that there's a genuine new wave to crest

1136
00:55:01,280 --> 00:55:02,880
Speaker 2: and break and there's a lot of great work being

1137
00:55:02,960 --> 00:55:03,400
Speaker 2: done right now.

1138
00:55:03,440 --> 00:55:04,120
Speaker 5: There's a lot of that.

1139
00:55:04,200 --> 00:55:06,880
Speaker 2: I feel like there's it just feels a little bit

1140
00:55:07,200 --> 00:55:09,920
Speaker 2: like it's you know, the studios are putting out you know,

1141
00:55:10,120 --> 00:55:12,680
Speaker 2: like Doctor Doolittle, and it's time for time for us

1142
00:55:12,719 --> 00:55:14,160
Speaker 2: to find our easy rider a little bit.

1143
00:55:14,200 --> 00:55:16,520
Speaker 5: It feels like maybe, but beyond.

1144
00:55:16,320 --> 00:55:18,560
Speaker 2: That, whatever that ends up being, or whether that ends

1145
00:55:18,640 --> 00:55:21,400
Speaker 2: up being the place where at or whatever, what's genuinely

1146
00:55:21,520 --> 00:55:24,520
Speaker 2: exciting to me. My wife Karana and I we go

1147
00:55:24,600 --> 00:55:27,080
Speaker 2: do a lot of old Ukraine A long worth.

1148
00:55:27,960 --> 00:55:30,520
Speaker 5: Now you must remember this, you must remember this.

1149
00:55:30,680 --> 00:55:32,799
Speaker 2: One of the great podcasts, another one of the pre

1150
00:55:32,960 --> 00:55:34,080
Speaker 2: serial podcasts.

1151
00:55:34,120 --> 00:55:35,919
Speaker 5: Along with you guys. It's a small club.

1152
00:55:37,440 --> 00:55:39,399
Speaker 2: We go to a lot of revival cinema in LA

1153
00:55:39,640 --> 00:55:41,560
Speaker 2: and suddenly it's a great time in La to go

1154
00:55:41,640 --> 00:55:45,680
Speaker 2: to revival cinema. And what's most encouraging to me and

1155
00:55:45,840 --> 00:55:51,040
Speaker 2: most thrilling is to go to these screenings of We

1156
00:55:51,160 --> 00:55:53,719
Speaker 2: went to the Paul Schrader Mischima movie the other day

1157
00:55:53,960 --> 00:55:56,520
Speaker 2: going to see a Claire Denis film, or going to

1158
00:55:56,600 --> 00:55:58,960
Speaker 2: see in one of her earlier movies and seeing it.

1159
00:56:00,040 --> 00:56:02,359
Speaker 2: I'm a Thursday and the theater is packed, and it's

1160
00:56:02,480 --> 00:56:06,040
Speaker 2: packed with young people and we are the old people there.

1161
00:56:06,080 --> 00:56:10,080
Speaker 2: And to see that with young filmgoers there is a

1162
00:56:10,280 --> 00:56:14,440
Speaker 2: thirst for stuff that genuinely surprises them and turns them

1163
00:56:14,440 --> 00:56:16,600
Speaker 2: on in that way that that to me is the

1164
00:56:16,640 --> 00:56:18,600
Speaker 2: most hopeful thing I can possibly see. And you can

1165
00:56:18,640 --> 00:56:19,960
Speaker 2: feel a little band are right and now I mean

1166
00:56:20,160 --> 00:56:22,000
Speaker 2: you get you guys coming out for this festival and

1167
00:56:22,080 --> 00:56:23,880
Speaker 2: coming out to these screening and I mean this is

1168
00:56:24,360 --> 00:56:27,120
Speaker 2: to me, if the love of cinema there and is there,

1169
00:56:27,560 --> 00:56:30,160
Speaker 2: and the love of like genuinely good stuff, that that

1170
00:56:30,320 --> 00:56:32,719
Speaker 2: to me is like a you know, you can just

1171
00:56:32,760 --> 00:56:34,840
Speaker 2: hold your finger up to the wind and see there's

1172
00:56:34,880 --> 00:56:36,160
Speaker 2: probably some good stuff coming.

1173
00:56:36,480 --> 00:56:37,319
Speaker 3: And that's happening here.

1174
00:56:37,480 --> 00:56:40,520
Speaker 6: Music Box has a matine a series of older films

1175
00:56:40,560 --> 00:56:42,440
Speaker 6: and they're packed with younger audiences.

1176
00:56:42,480 --> 00:56:44,200
Speaker 5: So yeah, and that to me is the most hopeful

1177
00:56:44,239 --> 00:56:44,799
Speaker 5: thing in the world.

1178
00:56:44,880 --> 00:56:48,320
Speaker 1: Man. Yeah, So producer Sam, this may annoy him, but

1179
00:56:48,760 --> 00:56:51,279
Speaker 1: he's such an integral part of the show. Obviously, and

1180
00:56:51,400 --> 00:56:54,560
Speaker 1: with such a huge champion for this movie, an advocate

1181
00:56:54,680 --> 00:56:57,400
Speaker 1: at the time enthusiastic, as he said, he had the

1182
00:56:57,440 --> 00:56:59,600
Speaker 1: premonition he knew twenty years later we'd be sitting here

1183
00:56:59,600 --> 00:57:01,480
Speaker 1: talking to how great it is. Sam. I'm going to

1184
00:57:01,520 --> 00:57:04,920
Speaker 1: give you a chance to produce the show now instead

1185
00:57:04,920 --> 00:57:08,200
Speaker 1: of telling me later what I screwed up. So what

1186
00:57:09,080 --> 00:57:11,520
Speaker 1: do we need to ask Ryan that we haven't gotten

1187
00:57:11,600 --> 00:57:17,280
Speaker 1: to so for recording? If I heard Sam correctly talking

1188
00:57:17,280 --> 00:57:19,640
Speaker 1: about how you give yourself, it seems a challenge a

1189
00:57:19,720 --> 00:57:23,000
Speaker 1: puzzle with your films. The films are often puzzles themselves,

1190
00:57:23,080 --> 00:57:25,680
Speaker 1: but the process is that part of the pleasure for

1191
00:57:25,800 --> 00:57:27,280
Speaker 1: you is solving that puzzle.

1192
00:57:27,560 --> 00:57:30,280
Speaker 2: Yeah, there, there always is, but it always to me,

1193
00:57:30,600 --> 00:57:33,280
Speaker 2: the real puzzle element of it is not even though

1194
00:57:33,280 --> 00:57:36,040
Speaker 2: I've written, I have written movies that have kind of

1195
00:57:36,120 --> 00:57:39,240
Speaker 2: puzzle like plots. To me, the actual thing that's exciting

1196
00:57:39,360 --> 00:57:41,520
Speaker 2: to me is going to sound very, very kind of

1197
00:57:41,640 --> 00:57:42,400
Speaker 2: basic and dumb.

1198
00:57:42,480 --> 00:57:43,400
Speaker 5: But the reality is just.

1199
00:57:45,280 --> 00:57:47,920
Speaker 2: Of having an emotional impact on an audience by the

1200
00:57:48,040 --> 00:57:49,560
Speaker 2: end of it, the totally of it, and that I

1201
00:57:49,640 --> 00:57:51,919
Speaker 2: feel like is the real thing that I keep trying

1202
00:57:51,960 --> 00:57:55,200
Speaker 2: to get better at. I keep trying to learn by watching.

1203
00:57:55,320 --> 00:57:58,520
Speaker 2: I keep trying to because the reality is that's also

1204
00:57:58,640 --> 00:58:01,160
Speaker 2: an element of puzzle create. I guess you know, you're

1205
00:58:01,240 --> 00:58:04,080
Speaker 2: creating something that is going to guide the audience through it,

1206
00:58:04,160 --> 00:58:06,680
Speaker 2: but it becomes less and less interesting. The notion of

1207
00:58:06,760 --> 00:58:09,520
Speaker 2: kind of aha moments and surprises, it becomes more and

1208
00:58:09,600 --> 00:58:12,439
Speaker 2: more interesting, the notion of how do you emotionally draw

1209
00:58:12,480 --> 00:58:15,920
Speaker 2: the audience in deeper and have a surprise in the

1210
00:58:16,040 --> 00:58:19,240
Speaker 2: sense of an emotional turn that makes them feel something

1211
00:58:19,360 --> 00:58:20,160
Speaker 2: huge at the end of it.

1212
00:58:20,360 --> 00:58:23,440
Speaker 5: So to me that I file that under kind.

1213
00:58:23,280 --> 00:58:26,200
Speaker 2: Of puzzle creation also in terms of the puzzle of screenwriting,

1214
00:58:26,240 --> 00:58:28,120
Speaker 2: and that's actually the hardest.

1215
00:58:27,800 --> 00:58:28,120
Speaker 3: Thing to do.

1216
00:58:28,400 --> 00:58:31,360
Speaker 6: You know, one quick one for me before we get

1217
00:58:31,400 --> 00:58:34,120
Speaker 6: to the end here. This relates to the repertory aspect.

1218
00:58:34,720 --> 00:58:37,720
Speaker 6: What should this audience go home and tomorrow or the

1219
00:58:37,800 --> 00:58:39,520
Speaker 6: next day, what detective film?

1220
00:58:39,640 --> 00:58:40,640
Speaker 3: What noir film?

1221
00:58:40,840 --> 00:58:40,880
Speaker 1: What?

1222
00:58:41,440 --> 00:58:44,560
Speaker 6: What should they make a priority of seeing maybe in

1223
00:58:44,640 --> 00:58:45,560
Speaker 6: the next week or so?

1224
00:58:45,960 --> 00:58:48,840
Speaker 2: Oh boy, I mean, there's so much good stuff, and

1225
00:58:48,960 --> 00:58:52,720
Speaker 2: the the uh and the catalog of noir is so vast.

1226
00:58:52,760 --> 00:58:54,440
Speaker 2: I would I would say, I'm sure most people here

1227
00:58:54,480 --> 00:58:57,760
Speaker 2: have seen Miller's Crossing. If you haven't it's it's an

1228
00:58:57,800 --> 00:59:01,880
Speaker 2: all it's an all time. I would also say, well,

1229
00:59:02,000 --> 00:59:05,160
Speaker 2: it's on my mind. It's not really a it's not

1230
00:59:05,720 --> 00:59:08,760
Speaker 2: strictly speaking a film noir, but it has some elements

1231
00:59:08,800 --> 00:59:11,840
Speaker 2: of it. And because we just lost Gene Hackman, the

1232
00:59:11,920 --> 00:59:16,880
Speaker 2: conversation has been on my mind recently, which it sounds

1233
00:59:16,960 --> 00:59:19,040
Speaker 2: like everyone here, you guys are too good of cinephiles.

1234
00:59:19,080 --> 00:59:21,120
Speaker 2: You're gonna see anything I throw out, You've probably seen

1235
00:59:21,200 --> 00:59:24,400
Speaker 2: it all. So but the reality is what what What's

1236
00:59:24,440 --> 00:59:28,200
Speaker 2: also fun about the genre of noir is it's virtually

1237
00:59:28,280 --> 00:59:31,680
Speaker 2: bottomless and if you go, if you just order one

1238
00:59:31,720 --> 00:59:34,920
Speaker 2: of those like five DVD box sets of like The

1239
00:59:35,240 --> 00:59:38,160
Speaker 2: North City, So it is just an endless pool to

1240
00:59:38,280 --> 00:59:40,720
Speaker 2: draw from, and there's an endless array of things that

1241
00:59:40,880 --> 00:59:45,360
Speaker 2: will look up. Any Ida Lapino noir and I pulled

1242
00:59:45,360 --> 00:59:47,240
Speaker 2: off the shelf and you're gonna you guys have seen.

1243
00:59:49,280 --> 00:59:51,280
Speaker 6: Anyway a marathon we've long considered.

1244
00:59:51,440 --> 00:59:54,760
Speaker 1: Yeah, yeah, we watched one of hers.

1245
00:59:54,840 --> 00:59:56,840
Speaker 5: I'm kind of obsessed with Ida Lapino.

1246
00:59:57,000 --> 00:59:59,320
Speaker 1: Actually, yeah, Anyway, it might be the push for us

1247
00:59:59,360 --> 01:00:01,919
Speaker 1: to finally do that. So you know, I was looking

1248
01:00:01,960 --> 01:00:04,800
Speaker 1: back Ryan at some of our exchanges over the years,

1249
01:00:04,800 --> 01:00:06,520
Speaker 1: You've been so gracious being part of the show and

1250
01:00:06,800 --> 01:00:10,360
Speaker 1: contributing voicemails to end of year shows and of course

1251
01:00:10,480 --> 01:00:12,760
Speaker 1: being a big part of not only a celebration a

1252
01:00:12,800 --> 01:00:16,280
Speaker 1: milestone like this twenty years and hitting one thousand episodes,

1253
01:00:16,320 --> 01:00:19,040
Speaker 1: but also episode five hundred. And you would plan we

1254
01:00:19,160 --> 01:00:21,000
Speaker 1: did that at the music Box. You would planned to

1255
01:00:21,120 --> 01:00:24,040
Speaker 1: be here at the music Box for it. A new

1256
01:00:24,160 --> 01:00:27,080
Speaker 1: job came up, took you out of town, took you away,

1257
01:00:27,920 --> 01:00:30,800
Speaker 1: but you still made the time and joined us virtually.

1258
01:00:30,920 --> 01:00:33,120
Speaker 1: We had you, as we alluded to earlier on the

1259
01:00:33,160 --> 01:00:36,000
Speaker 1: big screen via Skype. Had a great conversation with you

1260
01:00:36,120 --> 01:00:37,960
Speaker 1: then and afterwards you sent me a note and you said,

1261
01:00:38,000 --> 01:00:40,479
Speaker 1: head a blast. Hope I didn't say anything dumb. Thanks

1262
01:00:40,520 --> 01:00:42,440
Speaker 1: again for having me. I promised to be there in

1263
01:00:42,520 --> 01:00:45,080
Speaker 1: person for one thousand and leadies and gentlemen, here he

1264
01:00:45,240 --> 01:00:51,480
Speaker 1: is right, made good on his promise. That a wonderful

1265
01:00:52,280 --> 01:00:54,200
Speaker 1: a wonderful guy, a wonderful filmmaker.

1266
01:00:54,760 --> 01:00:57,200
Speaker 5: Thank you, guys for doing what you do. And here's

1267
01:00:57,200 --> 01:00:59,120
Speaker 5: to another twenty years. Guys, Thanks so.

1268
01:00:59,200 --> 01:01:01,920
Speaker 3: Much, Ryan, Thank you, Thank you Ryan Johnson.

1269
01:01:01,920 --> 01:01:02,880
Speaker 5: I think ask for Van here.

1270
01:01:06,120 --> 01:01:08,960
Speaker 1: Okay, so maybe I got a little into deep as

1271
01:01:09,040 --> 01:01:12,560
Speaker 1: Ryan suggested with the Apocalypse now stuff, but I'm gonna

1272
01:01:12,560 --> 01:01:13,040
Speaker 1: stand by it.

1273
01:01:13,680 --> 01:01:16,000
Speaker 3: That was classic. That was I'm so glad we have

1274
01:01:16,160 --> 01:01:16,760
Speaker 3: that recorded.

1275
01:01:17,000 --> 01:01:19,880
Speaker 1: Yeah, from the first ever Film spotting Fest our Q

1276
01:01:20,000 --> 01:01:22,600
Speaker 1: and A with director Ryan Johnson after a thirty five

1277
01:01:22,680 --> 01:01:27,120
Speaker 1: millimeter screening of his six debut film Brick. We will

1278
01:01:27,200 --> 01:01:29,959
Speaker 1: have more audio from Film spotting Fest and some video

1279
01:01:30,480 --> 01:01:34,680
Speaker 1: coming sometime. We don't exactly have a plan as of yet,

1280
01:01:34,960 --> 01:01:37,800
Speaker 1: but we know Coganata, for example, another guest at Film

1281
01:01:37,880 --> 01:01:41,440
Speaker 1: Spotting Fest, has a big film coming out sometime this year,

1282
01:01:41,800 --> 01:01:45,240
Speaker 1: currently scheduled for May. We'll see if the schedule holds,

1283
01:01:45,520 --> 01:01:48,760
Speaker 1: but we're expecting a big, bold, beautiful journey. I believe

1284
01:01:48,800 --> 01:01:51,360
Speaker 1: that's what it's called. Sounds right, Yep, we're expecting that

1285
01:01:51,520 --> 01:01:55,480
Speaker 1: this year. We'll probably pair our Columbus Q and A

1286
01:01:56,040 --> 01:01:59,720
Speaker 1: with that review of his new film, and then we've

1287
01:01:59,760 --> 01:02:01,600
Speaker 1: got Hoost screening Q and a's with some of our

1288
01:02:01,640 --> 01:02:05,320
Speaker 1: favorite critic friends. Danas Stevens talking with you about pother Panchali,

1289
01:02:05,640 --> 01:02:09,440
Speaker 1: Matt Singer talking with me about Take Shelter. Alison Wilmore,

1290
01:02:09,800 --> 01:02:12,760
Speaker 1: that was a great conversation about Sean Baker's Tangerine, and

1291
01:02:12,800 --> 01:02:16,320
Speaker 1: then we closed out Film Spotting Fest with Scott Tobias

1292
01:02:16,440 --> 01:02:20,360
Speaker 1: and Sam van Holgren talking about before Sunrise. So we will,

1293
01:02:20,800 --> 01:02:23,200
Speaker 1: we promise share all of that audio and as I said,

1294
01:02:23,240 --> 01:02:26,600
Speaker 1: some video as well as we get a little deeper

1295
01:02:26,920 --> 01:02:30,160
Speaker 1: into twenty twenty five and Josh one more note. I

1296
01:02:30,240 --> 01:02:32,000
Speaker 1: know I mentioned it a couple weeks ago, but we

1297
01:02:32,120 --> 01:02:34,160
Speaker 1: do still have and the orders have been coming in.

1298
01:02:34,280 --> 01:02:36,720
Speaker 1: I promise I'll be hitting the post office soon, everybody.

1299
01:02:37,040 --> 01:02:40,600
Speaker 1: We do have some more of those Sam's myth custom designed,

1300
01:02:41,200 --> 01:02:45,560
Speaker 1: numbered limited edition Film spotting Fest posters. You can find

1301
01:02:46,000 --> 01:02:48,840
Speaker 1: more about those and how to order at film spotting

1302
01:02:48,880 --> 01:02:51,400
Speaker 1: dot net slash shop, or you could also go to

1303
01:02:51,720 --> 01:02:55,440
Speaker 1: the home page of film spotting Fest film spottingfest dot com,

1304
01:02:55,800 --> 01:03:00,920
Speaker 1: see some pictures from the festival, read about screenings and

1305
01:03:01,200 --> 01:03:03,760
Speaker 1: some of the background and context for our choices, and

1306
01:03:03,880 --> 01:03:06,320
Speaker 1: again click that order form if you would like to

1307
01:03:06,320 --> 01:03:07,360
Speaker 1: get one of those posters.

1308
01:03:07,920 --> 01:03:09,640
Speaker 6: Listening is the number one thing you can do to

1309
01:03:09,680 --> 01:03:13,000
Speaker 6: support an independently produced show like Film Spotting Here are

1310
01:03:13,040 --> 01:03:14,919
Speaker 6: a couple more things you can do. Take a minute

1311
01:03:14,960 --> 01:03:17,440
Speaker 6: to give us a rating or review on Apple Podcasts

1312
01:03:17,600 --> 01:03:18,360
Speaker 6: or Spotify.

1313
01:03:18,800 --> 01:03:19,280
Speaker 3: You can do this.

1314
01:03:19,360 --> 01:03:21,000
Speaker 6: If you're a first time listener, you can do this.

1315
01:03:21,080 --> 01:03:23,480
Speaker 6: If you've been listening for twenty years. Heck, you can

1316
01:03:23,560 --> 01:03:25,280
Speaker 6: do this if you reviewed us I don't know, ten

1317
01:03:25,360 --> 01:03:28,720
Speaker 6: years ago, and it's time to share some fresh thoughts.

1318
01:03:28,760 --> 01:03:31,960
Speaker 6: Every one of these reviews does help us reach new listeners.

1319
01:03:32,480 --> 01:03:35,280
Speaker 6: We want to thank Ryan Droddy for his recent review

1320
01:03:35,280 --> 01:03:38,200
Speaker 6: at Apple Podcasts. Ryan wrote in I've listened to Film

1321
01:03:38,240 --> 01:03:40,200
Speaker 6: Spotting off and on for the last few years, but

1322
01:03:40,240 --> 01:03:43,200
Speaker 6: I always return because it's such a comfort show for cinophiles.

1323
01:03:43,560 --> 01:03:46,600
Speaker 6: The top five lists appeal to my innate love for countdowns,

1324
01:03:46,920 --> 01:03:49,600
Speaker 6: and the end of year roundtables are a fantastic overview

1325
01:03:49,720 --> 01:03:51,880
Speaker 6: of each year in film. With that episode alone, you

1326
01:03:51,920 --> 01:03:54,360
Speaker 6: can ensure most of your annual blind spots will be

1327
01:03:54,480 --> 01:03:57,720
Speaker 6: taken care of. And outside of that show, the marathons

1328
01:03:57,800 --> 01:04:02,080
Speaker 6: and madness brackets give listeners continue rooting interests. I always

1329
01:04:02,080 --> 01:04:05,200
Speaker 6: feel inspired to keep watching and discovering new movies after

1330
01:04:05,440 --> 01:04:08,560
Speaker 6: I listen. Thank you very much for that. It's you, Ryan.

1331
01:04:09,200 --> 01:04:11,120
Speaker 6: There's another way to support us. You could join the

1332
01:04:11,160 --> 01:04:15,080
Speaker 6: Film Spotting Family over at film Spottingfamily dot com. We

1333
01:04:15,200 --> 01:04:20,360
Speaker 6: want to welcome Family Plus member Jonathan B. From South Atlanta, Georgia.

1334
01:04:20,880 --> 01:04:24,080
Speaker 6: Jonathan is on letterboxed. If you want to follow him there,

1335
01:04:24,560 --> 01:04:27,920
Speaker 6: look for Parma Jonathan one word.

1336
01:04:28,320 --> 01:04:33,480
Speaker 1: Kind of like parmjan paar n maybe, but that's what

1337
01:04:33,560 --> 01:04:36,280
Speaker 1: I'm going with, okay, josh He writes, I think I

1338
01:04:36,360 --> 01:04:39,080
Speaker 1: found you in twenty nineteen. Maybe I just graduated college

1339
01:04:39,080 --> 01:04:41,600
Speaker 1: and was into year two of teaching theater. I needed

1340
01:04:41,640 --> 01:04:44,880
Speaker 1: someone to discuss Midsummer. I think it was Joshua's pronunciation.

1341
01:04:45,000 --> 01:04:46,880
Speaker 1: I'll never forget when I hear that title. You did

1342
01:04:47,000 --> 01:04:50,520
Speaker 1: like to lean into the midsummar. Yeah, I loved.

1343
01:04:50,320 --> 01:04:52,960
Speaker 3: Hearing you to honor the authentics.

1344
01:04:53,440 --> 01:04:55,800
Speaker 1: Of course, I loved hearing you two bounce back and

1345
01:04:55,880 --> 01:04:57,840
Speaker 1: forth like my friends and I used to do. I

1346
01:04:57,920 --> 01:04:59,920
Speaker 1: listen almost every morning on my forty five minute dr

1347
01:05:00,160 --> 01:05:02,400
Speaker 1: to work. Taken a break on teaching to pursue a

1348
01:05:02,480 --> 01:05:04,560
Speaker 1: career in film, and I cannot thank you both enough

1349
01:05:04,640 --> 01:05:07,720
Speaker 1: for keeping film alive for me. I like theater, but

1350
01:05:07,880 --> 01:05:12,600
Speaker 1: I love film. A favorite review or segment well. Jonathan

1351
01:05:12,640 --> 01:05:15,960
Speaker 1: also loves the madnesses and marathons. Anything to make my

1352
01:05:16,120 --> 01:05:18,720
Speaker 1: fomo so bad that I finally watch all of those

1353
01:05:18,840 --> 01:05:22,880
Speaker 1: old classics Sitting on my shelves, nice letterbox, Top four,

1354
01:05:23,640 --> 01:05:28,720
Speaker 1: Black Swan, The Rocky Horror Picture Show, The Shining, and Psycho.

1355
01:05:28,920 --> 01:05:31,720
Speaker 1: So there's a little bit bit of a theme. A

1356
01:05:31,800 --> 01:05:35,160
Speaker 1: favorite movie he revisited recently The Master, Oh Moment of

1357
01:05:35,240 --> 01:05:38,400
Speaker 1: Silence for the Master being out of film Spotting Madness.

1358
01:05:38,600 --> 01:05:41,440
Speaker 1: A random filmmaker he loves Ingmar Bergmann, a movie he

1359
01:05:41,520 --> 01:05:44,960
Speaker 1: credits with becoming a cinophile. There is Psycho, and finally

1360
01:05:45,040 --> 01:05:47,680
Speaker 1: a book about movies or movie making, Save the Cat.

1361
01:05:48,000 --> 01:05:51,440
Speaker 1: Basic but a good base for understanding and teaching structure.

1362
01:05:52,040 --> 01:05:55,120
Speaker 1: I am intrigued, Jonathan. Thank you for joining the family,

1363
01:05:55,280 --> 01:05:57,240
Speaker 1: and thank you for all the years of listening. In

1364
01:05:57,320 --> 01:05:59,880
Speaker 1: addition to keeping us doing what we're doing, your support

1365
01:06:00,200 --> 01:06:02,840
Speaker 1: comes with perks. You get to listen early in AD free,

1366
01:06:02,880 --> 01:06:05,959
Speaker 1: You get the weekly newsletter, You get to join exclusive

1367
01:06:06,040 --> 01:06:09,120
Speaker 1: forums like the Film Spotting Family Discord, You get monthly

1368
01:06:09,200 --> 01:06:12,520
Speaker 1: bonus shows, and you get to participate in events we

1369
01:06:12,640 --> 01:06:15,080
Speaker 1: have a couple times a year, like the March bonus,

1370
01:06:15,120 --> 01:06:17,920
Speaker 1: which is Trivia Spotting. As we're taping this, Josh, we

1371
01:06:18,080 --> 01:06:21,760
Speaker 1: are primed for our next round of Trivia Spotting just

1372
01:06:22,120 --> 01:06:25,320
Speaker 1: one night away. Got I think ninety family members who

1373
01:06:25,360 --> 01:06:30,320
Speaker 1: have signed up fantastic to play, and we always do

1374
01:06:30,440 --> 01:06:33,560
Speaker 1: have fun, even if we inevitably end up proving that

1375
01:06:33,720 --> 01:06:35,520
Speaker 1: we know almost no movie trivia.

1376
01:06:35,720 --> 01:06:38,240
Speaker 6: I mean, that's a secret that only Film Spotting Family

1377
01:06:38,320 --> 01:06:40,320
Speaker 6: members get to discover. You shouldn't say it on the show,

1378
01:06:40,480 --> 01:06:40,840
Speaker 6: That's right.

1379
01:06:41,120 --> 01:06:44,520
Speaker 1: Yeah, Film Spottingfamily dot com is where you can learn more.

1380
01:06:44,960 --> 01:06:47,080
Speaker 6: We bid goodbye to some of the best films of

1381
01:06:47,160 --> 01:06:49,880
Speaker 6: the century when we come back with Round one results

1382
01:06:49,920 --> 01:06:53,120
Speaker 6: of Film Spotted Madness and Round two matchups stay with us.

1383
01:06:57,920 --> 01:07:01,360
Speaker 3: Unicorns used to be seen at these divine monsters because

1384
01:07:01,440 --> 01:07:03,600
Speaker 3: people fully believe that they could heald it early anything.

1385
01:07:05,480 --> 01:07:10,880
Speaker 6: It's an opportunity, but immortality, we have a moral imperative

1386
01:07:11,080 --> 01:07:12,280
Speaker 6: to harvest every last one.

1387
01:07:13,320 --> 01:07:16,680
Speaker 1: You're listening to Film Spotting. That's Will Poulter, Richard Grant,

1388
01:07:16,840 --> 01:07:19,680
Speaker 1: and Jenny Ortega in the trailer for Death of a Unicorn.

1389
01:07:19,760 --> 01:07:23,000
Speaker 1: It's new in theaters this weekend. Paul Rudd also starts

1390
01:07:23,040 --> 01:07:25,760
Speaker 1: in the feature debut of writer director Alex Scharfman For

1391
01:07:25,880 --> 01:07:28,600
Speaker 1: what It's Worth, Josh, this is an a twenty four film,

1392
01:07:28,920 --> 01:07:31,920
Speaker 1: usually a good sign. The trailer doesn't make it entirely

1393
01:07:31,960 --> 01:07:36,600
Speaker 1: clear what the tone here is comedy, comedy, thriller, comedy, fantasy.

1394
01:07:37,320 --> 01:07:39,760
Speaker 1: Can you enlighten me what's going on with Death of

1395
01:07:39,800 --> 01:07:41,040
Speaker 1: a Unicorn? And does it work?

1396
01:07:41,560 --> 01:07:44,480
Speaker 6: Yeah, you've gotten to the main issue with Death of

1397
01:07:44,520 --> 01:07:46,880
Speaker 6: a Unicorn, At least for me. I'll be curious to

1398
01:07:46,920 --> 01:07:49,720
Speaker 6: see if others respond to that tone balance, that tone

1399
01:07:49,800 --> 01:07:54,440
Speaker 6: management that this movie attempts. But I think it's just

1400
01:07:55,480 --> 01:07:59,840
Speaker 6: too much, probably for a debut feature filmmaker taking on

1401
01:08:00,480 --> 01:08:04,520
Speaker 6: too much. It's all those things you mentioned, but none

1402
01:08:04,600 --> 01:08:10,800
Speaker 6: of them consistently or as evocatively as you would hope.

1403
01:08:10,960 --> 01:08:13,200
Speaker 6: You do have to admire the ambition, though, of this movie,

1404
01:08:13,680 --> 01:08:17,559
Speaker 6: and you have to admire the Bonker's vision. Basically Rudd

1405
01:08:17,640 --> 01:08:21,759
Speaker 6: plays this He's like the lawyer to this pharmaceutical empire,

1406
01:08:22,200 --> 01:08:24,880
Speaker 6: this family that runs a pharmaceutical empire. He's called to

1407
01:08:24,920 --> 01:08:28,800
Speaker 6: their mountain estate because the father played by Richard Grant,

1408
01:08:29,000 --> 01:08:31,599
Speaker 6: he wants to basically you get his estate in order.

1409
01:08:32,120 --> 01:08:35,560
Speaker 6: He's sick and so so Rudd's character goes with his

1410
01:08:35,800 --> 01:08:38,479
Speaker 6: daughter played by Ortega because he wants to present himself

1411
01:08:38,479 --> 01:08:40,559
Speaker 6: as this family man and hopefully get into a higher

1412
01:08:40,600 --> 01:08:43,360
Speaker 6: position with the company. So it's a little bit about

1413
01:08:43,560 --> 01:08:47,080
Speaker 6: you know, the daughter. Ortega's character is suspicious not only

1414
01:08:47,120 --> 01:08:51,080
Speaker 6: of her dad, but also of this entire empire. Everything

1415
01:08:51,200 --> 01:08:55,080
Speaker 6: is very clearly set out, and then the movie throws

1416
01:08:55,080 --> 01:08:58,800
Speaker 6: in a magical unicorn, a magical healing unicorn. That's kind

1417
01:08:58,840 --> 01:09:00,760
Speaker 6: of where I was in in terms of I got

1418
01:09:00,880 --> 01:09:03,800
Speaker 6: to check this out, especially being you know, a new

1419
01:09:03,880 --> 01:09:07,160
Speaker 6: filmmaker as well, and I got to say, I haven't

1420
01:09:07,320 --> 01:09:11,519
Speaker 6: seen a performance this humorless from Paul Rudd in a

1421
01:09:11,680 --> 01:09:14,960
Speaker 6: long time. That sort of shocked me. I think it's

1422
01:09:15,040 --> 01:09:19,040
Speaker 6: not entirely his fault. This character is from the get

1423
01:09:19,200 --> 01:09:23,600
Speaker 6: go not only boring but clearly greedy and kind of spineless.

1424
01:09:23,960 --> 01:09:26,439
Speaker 6: So there's no tension there between you know, him and

1425
01:09:26,479 --> 01:09:29,280
Speaker 6: the daughter or Tega does what she can to kind

1426
01:09:29,320 --> 01:09:32,400
Speaker 6: of humanize and bring nuance to the relationship. She's working

1427
01:09:32,560 --> 01:09:35,160
Speaker 6: really hard. I don't know that the movie entirely knows

1428
01:09:35,200 --> 01:09:37,880
Speaker 6: what to do with her authenticity. I will say that

1429
01:09:38,000 --> 01:09:41,400
Speaker 6: Taylioni and Will Polter have a lot of funny moment moments.

1430
01:09:41,479 --> 01:09:44,280
Speaker 6: They seem to be on the right wavelength of farce

1431
01:09:44,560 --> 01:09:47,280
Speaker 6: almost and their timing is good. But then after a

1432
01:09:47,360 --> 01:09:50,320
Speaker 6: while they two you get the joke like the one

1433
01:09:50,400 --> 01:09:52,560
Speaker 6: joke they each are. It's the spoiled son and the

1434
01:09:52,800 --> 01:09:57,719
Speaker 6: sort of you know, performatively philanthropic wife. They don't progress

1435
01:09:57,800 --> 01:10:00,439
Speaker 6: much beyond that. And I have to say the creature

1436
01:10:00,560 --> 01:10:05,760
Speaker 6: stuff without spoiling too much, it never clicked for me.

1437
01:10:06,360 --> 01:10:09,760
Speaker 6: It goes for schlock and Gore in a way that

1438
01:10:10,880 --> 01:10:14,679
Speaker 6: I suppose the budget should match with. But you see

1439
01:10:14,720 --> 01:10:17,920
Speaker 6: a lot of these unicorns in this movie, and the

1440
01:10:18,000 --> 01:10:20,960
Speaker 6: effects aren't up to the amount of screen time they're given.

1441
01:10:21,240 --> 01:10:23,559
Speaker 6: And I don't blame that on the effects artists. It's

1442
01:10:23,560 --> 01:10:26,400
Speaker 6: almost like the vision is ahead of what the budget

1443
01:10:26,439 --> 01:10:29,920
Speaker 6: could handle, and so that felt off to me as well. Now,

1444
01:10:30,040 --> 01:10:33,759
Speaker 6: all that being said, this is unique kind of crazy

1445
01:10:34,040 --> 01:10:35,880
Speaker 6: going out on a limb, and I never want to

1446
01:10:35,920 --> 01:10:39,080
Speaker 6: hold that against a filmmaker too much. So, as I

1447
01:10:39,120 --> 01:10:41,320
Speaker 6: said at the top, it might work for some people.

1448
01:10:41,400 --> 01:10:44,400
Speaker 6: The tones might all meld perfectly and they could have

1449
01:10:44,479 --> 01:10:46,400
Speaker 6: a good time with it. So maybe give it a try.

1450
01:10:46,479 --> 01:10:49,080
Speaker 6: If any of this sounds intriguing to you, it was

1451
01:10:49,280 --> 01:10:51,760
Speaker 6: just one of those clunkers in terms of tone for me.

1452
01:10:52,560 --> 01:10:56,280
Speaker 1: Death of a Unicorn is currently playing in wide release.

1453
01:10:56,320 --> 01:10:58,639
Speaker 1: If you see it in agree or disagree with Josh,

1454
01:10:58,720 --> 01:11:02,519
Speaker 1: you can email us feedback at filmspotting dot net. Next

1455
01:11:02,600 --> 01:11:05,400
Speaker 1: week on the show, the top five we promised you

1456
01:11:05,880 --> 01:11:09,720
Speaker 1: last week are Gene Hackman scenes. We gave ourselves an

1457
01:11:09,720 --> 01:11:13,320
Speaker 1: extra week, and you seem to be taking advantage of that, Josh,

1458
01:11:13,439 --> 01:11:16,639
Speaker 1: judging by your letterboxed diary, I've only fit in one

1459
01:11:17,479 --> 01:11:20,280
Speaker 1: Gene Hackman blind spot. I would say it's fruitful. And

1460
01:11:20,400 --> 01:11:23,000
Speaker 1: it turns out you've also watched this film and given

1461
01:11:23,040 --> 01:11:25,160
Speaker 1: it a very high rating. That's Scarecrow.

1462
01:11:25,439 --> 01:11:25,880
Speaker 3: Oh man.

1463
01:11:26,920 --> 01:11:30,240
Speaker 6: We're going to have such a good time talking about Scarecrow,

1464
01:11:30,400 --> 01:11:33,880
Speaker 6: I think, and particularly if a scene I know, a

1465
01:11:33,920 --> 01:11:35,439
Speaker 6: scene from there is going to make it for my list.

1466
01:11:35,520 --> 01:11:37,840
Speaker 6: If it does for you as well, that'd be awesome.

1467
01:11:37,920 --> 01:11:39,800
Speaker 6: But just to get to talk about this movie, which

1468
01:11:40,040 --> 01:11:42,479
Speaker 6: I'd heard of with Pacino being in it and was

1469
01:11:42,840 --> 01:11:46,200
Speaker 6: mildly aware of, but it never rose to the level

1470
01:11:46,240 --> 01:11:48,240
Speaker 6: of discussion when it came to seventies movies where I

1471
01:11:48,560 --> 01:11:50,720
Speaker 6: had to rush and make sure I saw it. So

1472
01:11:50,960 --> 01:11:53,599
Speaker 6: grateful for the excuse to have caught this, And yeah,

1473
01:11:53,640 --> 01:11:56,600
Speaker 6: I did a couple revisits as well. Wanted something like

1474
01:11:56,680 --> 01:12:00,479
Speaker 6: the French connection to be fresh in my mind. Moves

1475
01:12:00,520 --> 01:12:03,880
Speaker 6: as well, those two i'd seen before, finally knocked out

1476
01:12:03,920 --> 01:12:08,120
Speaker 6: Mississippi Burning, which I had somehow never seen. So this

1477
01:12:08,280 --> 01:12:11,280
Speaker 6: has been a good couple of weeks of spending time

1478
01:12:12,160 --> 01:12:15,439
Speaker 6: reacquainting myself with Hackman and getting a better handle on

1479
01:12:15,600 --> 01:12:17,040
Speaker 6: what made him so special.

1480
01:12:17,320 --> 01:12:19,720
Speaker 1: Okay, well I'm not there quite yet, have a lot

1481
01:12:19,800 --> 01:12:22,439
Speaker 1: of work still to do. Scarecrow, like I said, the

1482
01:12:22,560 --> 01:12:25,519
Speaker 1: only bit of homework I've done so far in terms

1483
01:12:25,600 --> 01:12:30,040
Speaker 1: of seeing something new, and I probably should be rewatching

1484
01:12:30,400 --> 01:12:32,880
Speaker 1: some of these films. That would actually probably be more productive,

1485
01:12:33,280 --> 01:12:36,080
Speaker 1: because you know, he's got one hundred and twenty something

1486
01:12:36,160 --> 01:12:38,439
Speaker 1: credits over on Letterbox. There's certainly films of his I

1487
01:12:38,520 --> 01:12:41,040
Speaker 1: need to see, but in doing a little bit of research,

1488
01:12:41,439 --> 01:12:43,439
Speaker 1: Scarecrow was the biggest one I felt like I needed

1489
01:12:43,479 --> 01:12:45,640
Speaker 1: to cross off. There are a few others I'd like

1490
01:12:45,800 --> 01:12:49,519
Speaker 1: to see, but the chances realistically that any of those

1491
01:12:49,600 --> 01:12:52,720
Speaker 1: scenes from these movies and those characters are going to

1492
01:12:52,800 --> 01:12:58,000
Speaker 1: compete with the already seven to twelve. I'm struggling to

1493
01:12:58,120 --> 01:13:01,479
Speaker 1: choose between. I can't say for sure. My instinct is

1494
01:13:01,520 --> 01:13:05,719
Speaker 1: to always watch stuff I haven't seen versus rewatching something.

1495
01:13:05,920 --> 01:13:08,960
Speaker 1: But I know rewatching something is where the real fertile

1496
01:13:09,000 --> 01:13:10,799
Speaker 1: ground is gonna be Well, the hard.

1497
01:13:10,680 --> 01:13:13,360
Speaker 6: Thing is I'm discovering he doesn't really have a bad scene.

1498
01:13:14,320 --> 01:13:18,000
Speaker 6: So yeah, even when you're revisiting something, it's like, well,

1499
01:13:18,000 --> 01:13:19,639
Speaker 6: I thought it was going to be this one from

1500
01:13:19,720 --> 01:13:22,799
Speaker 6: this movie because it's what I remembered, But what about

1501
01:13:23,200 --> 01:13:27,200
Speaker 6: this other one, which is again maybe not the highlight reel,

1502
01:13:27,720 --> 01:13:29,840
Speaker 6: but does it get This is what's interesting about these

1503
01:13:29,840 --> 01:13:31,880
Speaker 6: sorts of top five lists. If it doesn't make the

1504
01:13:31,960 --> 01:13:35,200
Speaker 6: highlight reel, is there something about that moment that captures Hackman?

1505
01:13:35,840 --> 01:13:38,080
Speaker 6: And those are the ones that are fun to either

1506
01:13:38,120 --> 01:13:39,960
Speaker 6: discover or rediscover on a revisit.

1507
01:13:40,160 --> 01:13:42,320
Speaker 1: Also, next week we will be down to the sweet

1508
01:13:42,439 --> 01:13:45,920
Speaker 1: sixteen in Film Spotting Madness best of the two thousand

1509
01:13:45,960 --> 01:13:48,360
Speaker 1: and so far, we will have much more madness in

1510
01:13:48,439 --> 01:13:51,880
Speaker 1: a moment. For future show plans, you can check out

1511
01:13:51,920 --> 01:13:54,719
Speaker 1: our itinerary for at least the next few weeks Film

1512
01:13:54,800 --> 01:13:57,240
Speaker 1: Spotting dot Net slash episodes.

1513
01:13:57,720 --> 01:14:00,679
Speaker 6: Adam, I want to remind listeners about Ebert Into, which

1514
01:14:00,760 --> 01:14:04,560
Speaker 6: is just around the corner, and plans are getting finalized

1515
01:14:04,600 --> 01:14:07,000
Speaker 6: coming together. We're up there on the schedule now at

1516
01:14:07,040 --> 01:14:10,639
Speaker 6: the Conference on World Affairs in Boulder, Colorado. And yeah,

1517
01:14:10,760 --> 01:14:14,280
Speaker 6: as I mentioned, we will be doing the Wizard of Oz.

1518
01:14:14,439 --> 01:14:20,799
Speaker 6: So we've secured that first uninterrupted showing for Monday, April seven,

1519
01:14:21,360 --> 01:14:24,719
Speaker 6: and we're doing this just ahead of Cynthia Arrivo giving

1520
01:14:24,840 --> 01:14:27,000
Speaker 6: the keynote for the conference. So in the afternoon we'll

1521
01:14:27,000 --> 01:14:29,679
Speaker 6: watch the Wizard of Oz. Then in the evening Arrivo

1522
01:14:29,880 --> 01:14:32,760
Speaker 6: is going to be giving that presentation. Then we get

1523
01:14:32,800 --> 01:14:36,479
Speaker 6: back together on Monday, April eight. That'll be around five

1524
01:14:36,520 --> 01:14:38,840
Speaker 6: o'clock at the conference and we're going to go through

1525
01:14:38,840 --> 01:14:41,439
Speaker 6: the Wizard of Oz starting with Seene one, spend the

1526
01:14:41,560 --> 01:14:45,439
Speaker 6: next three days breaking it down, interrupting it whenever people want.

1527
01:14:45,560 --> 01:14:46,240
Speaker 3: This is free.

1528
01:14:46,360 --> 01:14:48,639
Speaker 6: I don't know if I've mentioned that before. It's free.

1529
01:14:48,720 --> 01:14:51,280
Speaker 6: It's open to anyone. Takes place on the campus of

1530
01:14:51,439 --> 01:14:55,679
Speaker 6: University of Colorado, Boulder, so we'd love to see film

1531
01:14:55,720 --> 01:14:59,479
Speaker 6: spotting listeners there. We always get a good representation about five,

1532
01:14:59,600 --> 01:15:02,679
Speaker 6: sometimes even ten folks ten listeners who are there. Whether

1533
01:15:02,760 --> 01:15:04,800
Speaker 6: or not you can make interrupt us. I do want

1534
01:15:04,840 --> 01:15:07,640
Speaker 6: to mention the annual film spotting meetup we always have

1535
01:15:07,840 --> 01:15:10,400
Speaker 6: in Boulder. This has been nailed down as well. It's

1536
01:15:10,439 --> 01:15:14,200
Speaker 6: going to be Thursday, April ten that evening new location

1537
01:15:14,479 --> 01:15:16,519
Speaker 6: for those of you who have come for all the years,

1538
01:15:16,600 --> 01:15:20,240
Speaker 6: We're moving on to a new place called Boulder Social.

1539
01:15:20,840 --> 01:15:23,479
Speaker 6: So all the details about that we will link to

1540
01:15:24,200 --> 01:15:27,200
Speaker 6: in the show notes. There's an RSVP you can fill

1541
01:15:27,280 --> 01:15:29,639
Speaker 6: out there, and if you're a film Spotting family member,

1542
01:15:30,160 --> 01:15:33,160
Speaker 6: jump on over to the discord and look at the

1543
01:15:33,280 --> 01:15:36,800
Speaker 6: meetups channel and you'll find all the details there. So yeah,

1544
01:15:36,840 --> 01:15:39,360
Speaker 6: eager to go to interrupt us. Always fun to see

1545
01:15:39,400 --> 01:15:42,360
Speaker 6: film Spotting listeners. Hope to do that and catch up

1546
01:15:42,400 --> 01:15:44,439
Speaker 6: with some of you in a couple of weeks. This week,

1547
01:15:44,479 --> 01:15:47,479
Speaker 6: on our sister podcast, The Next Picture Show, we want

1548
01:15:47,560 --> 01:15:50,080
Speaker 6: to mention they're doing part two of their Kill Them

1549
01:15:50,120 --> 01:15:53,360
Speaker 6: All pairing, so they're following up an earlier discussion of

1550
01:15:53,360 --> 01:15:58,360
Speaker 6: Starship Troopers with Mickey seventeen makes a lot of sense.

1551
01:15:58,439 --> 01:16:01,760
Speaker 6: New episodes drop every Tuesday, and you can find The

1552
01:16:01,880 --> 01:16:04,120
Speaker 6: Next Picture Show wherever you get your podcasts.

1553
01:16:05,360 --> 01:16:06,160
Speaker 3: This episode is.

1554
01:16:06,160 --> 01:16:08,760
Speaker 4: Brought to you by Peloton break through the busiest time

1555
01:16:08,800 --> 01:16:11,439
Speaker 4: of year with the brand new Peloton Cross Training tread

1556
01:16:11,479 --> 01:16:15,040
Speaker 4: Plus powered by Peloton Iq. With real time guidance and

1557
01:16:15,160 --> 01:16:18,080
Speaker 4: endless ways to move, you can personalize your workouts and

1558
01:16:18,200 --> 01:16:21,519
Speaker 4: train with confidence, helping you reach your goals in less time.

1559
01:16:21,800 --> 01:16:26,120
Speaker 4: Let yourself run, lift, scold to push and go. Explore

1560
01:16:26,160 --> 01:16:29,080
Speaker 4: the new Peloton Cross Training tread plus at one peloton

1561
01:16:29,160 --> 01:16:29,559
Speaker 4: dot com.

1562
01:16:30,520 --> 01:16:31,320
Speaker 3: This is blessoming.

1563
01:16:32,000 --> 01:16:32,839
Speaker 1: This is madness.

1564
01:16:33,160 --> 01:16:35,160
Speaker 3: This is absolute madness.

1565
01:16:35,280 --> 01:16:36,120
Speaker 1: This is madness.

1566
01:16:36,320 --> 01:16:39,040
Speaker 3: Madness, but this.

1567
01:16:39,160 --> 01:16:43,040
Speaker 6: Is absolute madness, Ambassador, Why should you build such a thing?

1568
01:16:44,400 --> 01:16:45,200
Speaker 3: Bad news.

1569
01:16:47,840 --> 01:16:52,720
Speaker 1: Us smart off. I was a little worried, Josh, but no,

1570
01:16:53,120 --> 01:16:56,400
Speaker 1: you did not break madness. I think both you and

1571
01:16:56,760 --> 01:16:59,920
Speaker 1: Roxanna ended up being good Steward.

1572
01:17:00,800 --> 01:17:02,720
Speaker 3: We may have this tournament, we may have broken rock

1573
01:17:02,760 --> 01:17:06,439
Speaker 3: Sanna maybe so. I don't know how much she enjoyed it,

1574
01:17:06,520 --> 01:17:07,639
Speaker 3: but she was a very good sport.

1575
01:17:07,960 --> 01:17:08,120
Speaker 6: You know.

1576
01:17:08,439 --> 01:17:10,599
Speaker 1: I am always happy to have Roxanna on the show.

1577
01:17:10,720 --> 01:17:14,519
Speaker 1: But after listening to your madness segment, come on, talk

1578
01:17:14,520 --> 01:17:17,040
Speaker 1: about a critic after my own heart. Lots of love

1579
01:17:17,120 --> 01:17:20,680
Speaker 1: for Cameron Crow's almost famous, even though she ultimately did

1580
01:17:20,840 --> 01:17:24,680
Speaker 1: vote against it, going with leading Leo Once upon a

1581
01:17:24,760 --> 01:17:27,679
Speaker 1: time in Hollywood. How about all that Love for the Departed,

1582
01:17:28,000 --> 01:17:31,240
Speaker 1: a movie I've mentioned multiple times is comfort food for me?

1583
01:17:31,680 --> 01:17:35,880
Speaker 1: So much comfort food that on the way back flying

1584
01:17:35,960 --> 01:17:39,280
Speaker 1: from Rome to Chicago just a few days ago, here

1585
01:17:40,200 --> 01:17:43,120
Speaker 1: I didn't want to dive into a full movie, and

1586
01:17:43,200 --> 01:17:45,320
Speaker 1: so I do what I often do. The Departed is

1587
01:17:45,360 --> 01:17:47,800
Speaker 1: available on the screen right in front of me. I'm

1588
01:17:47,840 --> 01:17:49,559
Speaker 1: going to fire it up and watch the first thirty

1589
01:17:49,600 --> 01:17:52,760
Speaker 1: to forty minutes. I sure I can just always do it.

1590
01:17:52,880 --> 01:17:56,200
Speaker 1: It is pure cinema and pure fun for me. And

1591
01:17:56,280 --> 01:17:58,479
Speaker 1: I also, I have to say, because I did just

1592
01:17:58,560 --> 01:18:02,240
Speaker 1: watch this part, I love that. She mentioned the line

1593
01:18:02,880 --> 01:18:05,880
Speaker 1: in the Office with Martin Sheen and Mark Wahlberg where

1594
01:18:05,960 --> 01:18:10,080
Speaker 1: DiCaprio quotes Hawthorne and says, well, families are always rising

1595
01:18:10,120 --> 01:18:12,400
Speaker 1: and falling in America? Am I right? And Martin Sheen said,

1596
01:18:12,400 --> 01:18:15,920
Speaker 1: who said that? And he goes Hawthorne and Wallberg in

1597
01:18:16,000 --> 01:18:20,960
Speaker 1: a movie filled with great Wallberg comedic moments, he makes

1598
01:18:21,040 --> 01:18:26,000
Speaker 1: a fart noise and says something like, what's wrong, smart ass?

1599
01:18:26,120 --> 01:18:30,519
Speaker 1: Don't know any Ethan Shakespeare? It's so good. I love

1600
01:18:30,600 --> 01:18:32,400
Speaker 1: the Department. So I just had to get that out there.

1601
01:18:32,520 --> 01:18:36,640
Speaker 1: Thank you, Roxanda for confirming, for validating my love for

1602
01:18:36,720 --> 01:18:39,519
Speaker 1: that film, even though you voted against it. And now

1603
01:18:39,960 --> 01:18:42,160
Speaker 1: it may be the case where we don't have any

1604
01:18:42,200 --> 01:18:44,719
Speaker 1: Martin Scorsese I know left in this tournament.

1605
01:18:44,880 --> 01:18:47,240
Speaker 3: We will I have to get to might beyond the table.

1606
01:18:47,760 --> 01:18:51,479
Speaker 1: Yeah, this is our annual bracket style movie elimination tournament.

1607
01:18:51,600 --> 01:18:55,360
Speaker 1: Sixty four films, only one will survive. We are doing

1608
01:18:55,439 --> 01:18:57,800
Speaker 1: the best films of the twenty first century so far.

1609
01:18:57,960 --> 01:19:01,680
Speaker 1: So it's always hard to get this list down to

1610
01:19:01,800 --> 01:19:04,360
Speaker 1: sixty four or to ninety six or wherever we start

1611
01:19:04,400 --> 01:19:06,439
Speaker 1: with all the play ins, but especially when you're considering

1612
01:19:06,479 --> 01:19:08,519
Speaker 1: not just a decade, as we have been for the

1613
01:19:08,560 --> 01:19:11,920
Speaker 1: past five years or so, you're considering twenty five years

1614
01:19:12,600 --> 01:19:15,479
Speaker 1: really really hard. We do have your round one results

1615
01:19:15,520 --> 01:19:18,960
Speaker 1: and those Round two matchups, which are live right now

1616
01:19:19,040 --> 01:19:23,320
Speaker 1: at filmspotting dot net slash Madness. So thirty two matchups

1617
01:19:23,400 --> 01:19:25,640
Speaker 1: Josh in Round one, sixty four films. As we note it,

1618
01:19:25,880 --> 01:19:28,960
Speaker 1: we are not going to dig into all of them,

1619
01:19:29,240 --> 01:19:32,639
Speaker 1: but I did want to mention some of the closer matchups,

1620
01:19:32,680 --> 01:19:36,000
Speaker 1: the tight ones, some of the bigger upsets, and then yeah,

1621
01:19:36,040 --> 01:19:38,880
Speaker 1: we had a few surprises maybe along the way in

1622
01:19:39,000 --> 01:19:44,240
Speaker 1: terms of the biggest margins, though the favorites that won easily.

1623
01:19:44,560 --> 01:19:47,160
Speaker 1: I don't know that any of these are probably big surprises.

1624
01:19:47,800 --> 01:19:50,639
Speaker 1: The number one seed there will be blood took down.

1625
01:19:50,840 --> 01:19:53,160
Speaker 1: There was blood all Right took down four Months, three weeks,

1626
01:19:53,200 --> 01:19:56,760
Speaker 1: and two days ninety one percent to nine. We had

1627
01:19:56,840 --> 01:20:00,360
Speaker 1: only one other matchup, Josh, that was in the ninety

1628
01:20:00,800 --> 01:20:04,800
Speaker 1: ten range, and that was Parasite over twelve years of Slave,

1629
01:20:05,240 --> 01:20:09,160
Speaker 1: and that was exactly the final ninety percent to ten percent.

1630
01:20:09,600 --> 01:20:14,280
Speaker 1: We had three more in the eighties. Mulholland Drive defeated

1631
01:20:14,400 --> 01:20:17,960
Speaker 1: Talk to Her eighty eight percent to twelve percent, Eternal

1632
01:20:18,000 --> 01:20:21,519
Speaker 1: Sunshine of the Spotless Mind, Sorry, Coganata took down Columbus

1633
01:20:21,680 --> 01:20:24,920
Speaker 1: eighty six percent to fourteen fight. Good fight, Yeah, good fight.

1634
01:20:25,160 --> 01:20:30,240
Speaker 1: And then finally No Country for Old Men defeating Anatomy

1635
01:20:30,280 --> 01:20:33,439
Speaker 1: of a Fall eighty three percent to seventeen percent. We

1636
01:20:33,520 --> 01:20:36,960
Speaker 1: have there will be blood. The number one seed mulhalland Drive,

1637
01:20:37,000 --> 01:20:39,720
Speaker 1: I think the number three seed e Turtal Sunshine, the

1638
01:20:39,760 --> 01:20:41,880
Speaker 1: four seed, I think Parasites to do. It's basically the

1639
01:20:41,920 --> 01:20:45,120
Speaker 1: top five seeds that took down those other films. They

1640
01:20:45,120 --> 01:20:46,320
Speaker 1: didn't really have much of a chance.

1641
01:20:46,760 --> 01:20:48,600
Speaker 6: These are the titles too, you'll look on in the

1642
01:20:48,640 --> 01:20:52,200
Speaker 6: prediction bracket like, yeah, people have mostly picked one of

1643
01:20:52,280 --> 01:20:54,320
Speaker 6: those five titles to win the entire tournament.

1644
01:20:54,439 --> 01:20:54,599
Speaker 3: Yeah.

1645
01:20:54,640 --> 01:20:57,479
Speaker 1: So in terms of biggest upsets, I'll set this one

1646
01:20:57,560 --> 01:21:00,599
Speaker 1: up and then you can reveal the results. I knew

1647
01:21:00,640 --> 01:21:03,880
Speaker 1: this was going to be a tough one. It was

1648
01:21:03,920 --> 01:21:06,200
Speaker 1: a tough one for me to vote in. I think

1649
01:21:06,240 --> 01:21:08,519
Speaker 1: it might have been the first one I mentioned as

1650
01:21:08,560 --> 01:21:12,439
Speaker 1: far as toughest to pick for me. Alex Scarland's x

1651
01:21:12,520 --> 01:21:17,080
Speaker 1: Macana up against the sort of like minded Spike Jones's

1652
01:21:17,640 --> 01:21:20,960
Speaker 1: her Sam will now make me remind you and listeners,

1653
01:21:21,080 --> 01:21:23,639
Speaker 1: and that's fine, I'll eat it that. I didn't think

1654
01:21:23,800 --> 01:21:26,439
Speaker 1: X Makina would get out of its play and matchup

1655
01:21:26,680 --> 01:21:30,599
Speaker 1: against Steven Spielberg's AI artificial intelligence. So then we seated

1656
01:21:30,760 --> 01:21:34,680
Speaker 1: X Makina at forty one up against her at twenty four,

1657
01:21:34,720 --> 01:21:37,400
Speaker 1: And in fairness, we knew we did know X Machana

1658
01:21:37,479 --> 01:21:41,120
Speaker 1: definitely had a shot, especially writing high off that AI

1659
01:21:41,320 --> 01:21:44,160
Speaker 1: victory and what happens Josh.

1660
01:21:44,680 --> 01:21:47,960
Speaker 6: Pretty decisive win for X Makana here fifty nine percent

1661
01:21:48,040 --> 01:21:49,679
Speaker 6: to forty one percent.

1662
01:21:50,080 --> 01:21:52,960
Speaker 1: Yeah. Two movies in X Macana and HERD that we've

1663
01:21:53,040 --> 01:21:56,280
Speaker 1: revisited recently, just over the past couple of years for anniversaries.

1664
01:21:56,600 --> 01:22:00,000
Speaker 1: Ex Macana at almost ten last year, episode nine sixty two,

1665
01:22:00,520 --> 01:22:02,800
Speaker 1: Her at ten in May twenty twenty three, that was

1666
01:22:02,840 --> 01:22:05,320
Speaker 1: actually a bonus show for Film Spotting family members, and

1667
01:22:05,600 --> 01:22:08,720
Speaker 1: that means that the Spike Jones is now out of

1668
01:22:08,840 --> 01:22:11,920
Speaker 1: the tournament, Josh, no more Spike No all Right.

1669
01:22:11,960 --> 01:22:14,800
Speaker 6: Our next one Scorsese's Wolf of Wall Street that was

1670
01:22:14,920 --> 01:22:18,880
Speaker 6: seated at twenty five versus Christopher Nolan's Memento seated at forty.

1671
01:22:19,040 --> 01:22:22,599
Speaker 6: How do you feel now, Adam about those seedings looking

1672
01:22:22,720 --> 01:22:24,599
Speaker 6: at the things are playing out?

1673
01:22:24,760 --> 01:22:28,639
Speaker 1: This was another tough one. Sam and I both picked

1674
01:22:29,320 --> 01:22:32,280
Speaker 1: Memento to advance on our brackets, so we thought it

1675
01:22:32,280 --> 01:22:34,240
Speaker 1: would win. We thought it would win. We thought it

1676
01:22:34,320 --> 01:22:37,400
Speaker 1: would be an upset, even though that defies all the

1677
01:22:37,520 --> 01:22:40,799
Speaker 1: logic whatever logic there is ever in a Film Spotting

1678
01:22:40,880 --> 01:22:45,439
Speaker 1: Madness tournament and going through that whole selection process, because

1679
01:22:46,000 --> 01:22:48,600
Speaker 1: in theory, we've seated them based on the fact that

1680
01:22:48,680 --> 01:22:50,519
Speaker 1: we think the movies with the higher seeds are going

1681
01:22:50,560 --> 01:22:54,720
Speaker 1: to win. This was one we knew always had a

1682
01:22:54,840 --> 01:22:58,439
Speaker 1: shot at being an upset, just because of the love

1683
01:22:58,920 --> 01:23:03,000
Speaker 1: for nolan breakout film and the Wolf of Wall Street

1684
01:23:03,040 --> 01:23:05,160
Speaker 1: being a film as we very well know, Josh, they

1685
01:23:05,200 --> 01:23:06,200
Speaker 1: can be a little divisive.

1686
01:23:06,479 --> 01:23:09,920
Speaker 6: Yeah, I mean, maybe not this divisive, though I would

1687
01:23:09,960 --> 01:23:11,720
Speaker 6: have thought there would have been more Wolf of Wall

1688
01:23:11,800 --> 01:23:15,080
Speaker 6: Street fans, but it ended up losing thirty four percent

1689
01:23:15,120 --> 01:23:18,080
Speaker 6: for Wolf of Wall Street sixty six percent for Memento.

1690
01:23:18,200 --> 01:23:21,280
Speaker 6: Now this does mean by losing Wolf of Wall Street,

1691
01:23:21,920 --> 01:23:25,120
Speaker 6: no more Scarcese either, No more Spike Jones, no more Scarcese.

1692
01:23:25,280 --> 01:23:27,640
Speaker 3: That's right. This was his only film because the.

1693
01:23:27,680 --> 01:23:30,519
Speaker 6: Departed lost in the play and lost you once upon

1694
01:23:30,560 --> 01:23:31,400
Speaker 6: a time in Hollywood.

1695
01:23:31,520 --> 01:23:34,040
Speaker 1: So in terms of our Cinderellas, if you will, so far,

1696
01:23:34,200 --> 01:23:38,920
Speaker 1: even though Cinderella's often are big surprises, not so much here,

1697
01:23:39,240 --> 01:23:41,720
Speaker 1: but the forty one seed advancing in ex Makana, the

1698
01:23:41,880 --> 01:23:45,200
Speaker 1: forty seed advancing in Memento. We also had the number

1699
01:23:45,320 --> 01:23:50,360
Speaker 1: thirty seven seed advance pans Labyrinth taking down Yrgo's Lanthymos

1700
01:23:50,520 --> 01:23:53,880
Speaker 1: and the Lobster the number twenty eight seed, and it

1701
01:23:54,000 --> 01:23:57,200
Speaker 1: wasn't that close sixty percent to forty percent. That means

1702
01:23:57,280 --> 01:24:01,559
Speaker 1: Lanthemos is also Lanthemos, which which seems crazy for best

1703
01:24:01,640 --> 01:24:04,559
Speaker 1: of the centuries so far, I mean, yeah, I think

1704
01:24:04,640 --> 01:24:08,040
Speaker 1: maybe we're doing something wrong here. Yeah, well, guess who

1705
01:24:08,080 --> 01:24:13,240
Speaker 1: else is out? Someone we honored by watching Tangerine and

1706
01:24:13,640 --> 01:24:16,479
Speaker 1: having a discussion about it at Film spotting fests. Our

1707
01:24:16,680 --> 01:24:21,360
Speaker 1: current reigning Best Director and Best Picture winner at the

1708
01:24:21,400 --> 01:24:25,360
Speaker 1: Oscar Sean Baker, The Florida Project. This one we always

1709
01:24:25,400 --> 01:24:28,320
Speaker 1: knew could be just switched either way. The thirty two

1710
01:24:28,439 --> 01:24:32,200
Speaker 1: seed versus the thirty three seed, it should be one

1711
01:24:32,280 --> 01:24:34,479
Speaker 1: of the toughest, if not the toughest matchup. We have

1712
01:24:34,520 --> 01:24:38,160
Speaker 1: the Florida Project at thirty two, dnni Villeneuve's Arrival at

1713
01:24:38,320 --> 01:24:41,960
Speaker 1: thirty three the only film in the tournament for each filmmaker,

1714
01:24:42,600 --> 01:24:45,200
Speaker 1: and it was pretty close. It was pretty close at

1715
01:24:45,280 --> 01:24:48,799
Speaker 1: fifty six percent to forty four percent, but ultimately Arrival

1716
01:24:49,400 --> 01:24:50,960
Speaker 1: Josh is moving on in the tournament.

1717
01:24:51,000 --> 01:24:54,400
Speaker 6: People do absolutely love Arrival, and I'm sure it's been

1718
01:24:54,439 --> 01:24:58,600
Speaker 6: seen more than the Florida Project. Still feels wrong not

1719
01:24:58,760 --> 01:25:01,320
Speaker 6: to have a Baker film with us. He'll just have

1720
01:25:01,439 --> 01:25:02,679
Speaker 6: to be happy with his oscars.

1721
01:25:02,800 --> 01:25:05,880
Speaker 1: Yeah, I suppose he can live with that. Okay, those

1722
01:25:06,520 --> 01:25:09,400
Speaker 1: were some of the bigger upsets, and we got to

1723
01:25:09,479 --> 01:25:12,400
Speaker 1: the widest margins. How about the ones that were the closest,

1724
01:25:12,439 --> 01:25:14,920
Speaker 1: the ones that myself and Sam just had to click

1725
01:25:15,080 --> 01:25:18,439
Speaker 1: refresh on over the past week or so because it

1726
01:25:18,800 --> 01:25:23,160
Speaker 1: just kept fluctuating back and forth, really neck and neck here, Josh.

1727
01:25:23,680 --> 01:25:28,000
Speaker 1: We had Interstellar, one of three Christopher Nolan films in

1728
01:25:28,040 --> 01:25:33,679
Speaker 1: the bracket, going up against another multi dimensional tour, Spider

1729
01:25:33,760 --> 01:25:37,280
Speaker 1: Man into the spider Verse, Interstellar at number twenty two

1730
01:25:37,760 --> 01:25:40,599
Speaker 1: in terms of seeding, forty three seeds spider Man and Josh.

1731
01:25:40,640 --> 01:25:44,040
Speaker 1: I'm going to tell you all week long, spider Man

1732
01:25:44,560 --> 01:25:50,320
Speaker 1: was just barely beating Interstellar, but consistently in the lead.

1733
01:25:50,680 --> 01:25:54,000
Speaker 1: We thought for sure Spider Man was pulling off the upset,

1734
01:25:54,520 --> 01:26:00,840
Speaker 1: and about two hours before the polls closed, Interstellar just

1735
01:26:01,000 --> 01:26:06,200
Speaker 1: nudged ahead and it hung on and it won. Interstellar

1736
01:26:06,360 --> 01:26:09,519
Speaker 1: ended up winning by eight votes. If you look at

1737
01:26:09,560 --> 01:26:12,840
Speaker 1: the bracket, it says fifty to fifty Interstellar one, But

1738
01:26:12,880 --> 01:26:15,000
Speaker 1: it says fifty to fifty because that's how close it was.

1739
01:26:15,280 --> 01:26:18,080
Speaker 6: And that's that's insane, because that's out of how many votes.

1740
01:26:18,120 --> 01:26:22,120
Speaker 6: I mean, yeah, thousands, Yes, exactly. And I never would

1741
01:26:22,120 --> 01:26:24,920
Speaker 6: have guessed that it would be this close. I just

1742
01:26:25,400 --> 01:26:28,000
Speaker 6: I would have thought people would pause that long over

1743
01:26:28,120 --> 01:26:28,479
Speaker 6: this one.

1744
01:26:28,520 --> 01:26:29,360
Speaker 3: Apparently they did.

1745
01:26:29,800 --> 01:26:33,400
Speaker 1: Yeah. You know how Sam and I both feel about Interstellar.

1746
01:26:33,520 --> 01:26:35,960
Speaker 1: We think it's his best film, it's technically his most

1747
01:26:36,000 --> 01:26:40,000
Speaker 1: popular on letterbox, but another one that can be divisive.

1748
01:26:40,360 --> 01:26:42,200
Speaker 1: Some people like you, Josh, have it more in that

1749
01:26:42,800 --> 01:26:47,240
Speaker 1: middle to lower Nolan tiers. Some people actively really disliked

1750
01:26:47,280 --> 01:26:50,240
Speaker 1: the movie. I assume that's what's happening here. I also

1751
01:26:50,400 --> 01:26:54,880
Speaker 1: know how much people adore the New Spider Man film,

1752
01:26:55,040 --> 01:26:59,600
Speaker 1: So maybe also it was the Nolan fatigue, considering he

1753
01:26:59,680 --> 01:27:02,200
Speaker 1: had three films in the tournament, and at this point

1754
01:27:02,280 --> 01:27:06,320
Speaker 1: he does have all three films still in the tournament Interstellar, Memento,

1755
01:27:06,439 --> 01:27:09,439
Speaker 1: and Oppenheimer, which knocked out Spike Lee's twenty fifth Hour.

1756
01:27:09,600 --> 01:27:11,560
Speaker 6: And see, this is the logic that's always bit me

1757
01:27:11,680 --> 01:27:14,880
Speaker 6: in my prediction bracket. I usually are in the past

1758
01:27:15,200 --> 01:27:18,200
Speaker 6: think yeah, but people will vote against this one because

1759
01:27:18,200 --> 01:27:19,880
Speaker 6: they know there are other films still in there. And

1760
01:27:19,920 --> 01:27:22,840
Speaker 6: I had to learn by mistakes over the years that

1761
01:27:22,960 --> 01:27:26,320
Speaker 6: it doesn't always work that way. And I don't know,

1762
01:27:26,560 --> 01:27:29,439
Speaker 6: maybe maybe that was the case here too. They didn't

1763
01:27:29,439 --> 01:27:32,560
Speaker 6: really care that Memento and Oppenheimer were likely going to

1764
01:27:32,600 --> 01:27:36,040
Speaker 6: move ahead. They wanted at least these these eight final

1765
01:27:36,160 --> 01:27:38,240
Speaker 6: voters that srouded their Interstellar.

1766
01:27:38,560 --> 01:27:41,400
Speaker 1: Yeah, so we have another one that was in near upset,

1767
01:27:41,840 --> 01:27:44,519
Speaker 1: but the favorite does move on. Talk about a tough

1768
01:27:44,600 --> 01:27:47,639
Speaker 1: one to pick. Sean of the Dead, the number thirty

1769
01:27:47,720 --> 01:27:52,040
Speaker 1: seed going up against Angley Crouching Tiger, Hidden Dragon, the

1770
01:27:52,120 --> 01:27:55,799
Speaker 1: thirty five seed. Well, we had an eight vote decider,

1771
01:27:56,160 --> 01:27:59,880
Speaker 1: have about twelve votes. Twelve votes, Sean of the Dead

1772
01:28:00,080 --> 01:28:01,120
Speaker 1: moves on, And this.

1773
01:28:01,240 --> 01:28:04,320
Speaker 6: Is one of those nonsensical pairings that just exposes the

1774
01:28:04,800 --> 01:28:05,559
Speaker 6: stupidity of.

1775
01:28:05,560 --> 01:28:08,599
Speaker 1: All this exactly. I'll go along with that word choice.

1776
01:28:08,600 --> 01:28:12,400
Speaker 1: Here we also have Celine Siama's Portrait of a Lady

1777
01:28:12,560 --> 01:28:15,360
Speaker 1: on Fire. This is our thirty four seed going up

1778
01:28:15,360 --> 01:28:19,000
Speaker 1: against Quentin Tarantino Once upon a Time in Hollywood. The

1779
01:28:19,200 --> 01:28:23,880
Speaker 1: thirty first seed very close, not quite fifty to fifty,

1780
01:28:24,080 --> 01:28:26,960
Speaker 1: in fact, fifty one to forty nine. And yes, technically

1781
01:28:26,960 --> 01:28:29,840
Speaker 1: an upset, even though this is another case where we

1782
01:28:29,960 --> 01:28:35,439
Speaker 1: knew that the absolute justified adoration for Portrait of a

1783
01:28:35,479 --> 01:28:39,599
Speaker 1: Lady on Fire could carry it over even a heavyweight

1784
01:28:39,680 --> 01:28:42,599
Speaker 1: like Quentin Tarantino. That's what happened. Portrait of a Lady

1785
01:28:42,640 --> 01:28:44,559
Speaker 1: on Fire moves on fifty one percent.

1786
01:28:44,800 --> 01:28:46,920
Speaker 6: I kind of love this, and I say that as

1787
01:28:47,000 --> 01:28:49,400
Speaker 6: someone who thinks Once upon a Time in Hollywood is

1788
01:28:49,520 --> 01:28:52,800
Speaker 6: one of Tarantino's best films. It's not, because you know,

1789
01:28:53,200 --> 01:28:55,280
Speaker 6: if it had been Portrait over in Glorious Bastards, I

1790
01:28:55,280 --> 01:28:58,519
Speaker 6: would have been cheeriated on right more loudly, but still

1791
01:28:58,720 --> 01:29:01,840
Speaker 6: a movie that's just so delicate and beautiful.

1792
01:29:02,600 --> 01:29:04,880
Speaker 3: Taking on Tarantino he can have.

1793
01:29:05,080 --> 01:29:06,640
Speaker 6: I guess he can have those sorts of things in

1794
01:29:06,720 --> 01:29:08,719
Speaker 6: his movies occasionally, but not often.

1795
01:29:09,160 --> 01:29:11,200
Speaker 3: I kind of like that this happened. Well.

1796
01:29:11,240 --> 01:29:14,320
Speaker 1: I can't wait to reveal to you the film Portrait

1797
01:29:14,360 --> 01:29:16,160
Speaker 1: of a Lady on Fire has to go up against

1798
01:29:16,560 --> 01:29:20,320
Speaker 1: Oh next, Tarantino does still have a dog in the fight, because,

1799
01:29:20,479 --> 01:29:22,880
Speaker 1: even though Josh doesn't like it much, in Glorious Bastard's

1800
01:29:23,320 --> 01:29:26,920
Speaker 1: handily beat the Safty Brothers uncut Gem, so we do

1801
01:29:27,120 --> 01:29:32,200
Speaker 1: still have a Quentin Tarantino offering. Finally, Wally, the sole

1802
01:29:32,439 --> 01:29:34,960
Speaker 1: Pixar film in the bracket was our thirty eight seed,

1803
01:29:35,320 --> 01:29:37,680
Speaker 1: and it went down. Josh in upset lost to the

1804
01:29:37,720 --> 01:29:42,200
Speaker 1: twenty seven seed Phantom Thread, one of two PTA films

1805
01:29:42,240 --> 01:29:45,280
Speaker 1: in the bracket. Very close, this one decided by I

1806
01:29:45,360 --> 01:29:47,920
Speaker 1: think two percent. I think this is another fifty one

1807
01:29:48,000 --> 01:29:54,720
Speaker 1: to forty nine. Ultimately, Wally goes down and mister Woodcock

1808
01:29:54,960 --> 01:29:57,160
Speaker 1: himself will advance.

1809
01:29:57,080 --> 01:30:03,000
Speaker 6: Another nonsensical pairing obviously, but man, i'd like to. I

1810
01:30:03,200 --> 01:30:06,120
Speaker 6: love seeing this much affection for Phantom Thread because I

1811
01:30:06,240 --> 01:30:08,479
Speaker 6: feel like around the time it came out, people liked it,

1812
01:30:08,760 --> 01:30:11,280
Speaker 6: and you know, the years after kind of thought of

1813
01:30:11,320 --> 01:30:13,800
Speaker 6: it as lesser Pta. I absolutely do not think it's

1814
01:30:13,880 --> 01:30:17,000
Speaker 6: lesser Pta. So yeah, kind of encouraging that it got

1815
01:30:17,080 --> 01:30:17,519
Speaker 6: this much.

1816
01:30:17,479 --> 01:30:21,280
Speaker 1: Support and just speaking more to the madness that is

1817
01:30:21,400 --> 01:30:24,840
Speaker 1: film spotting madness. Phantom Thread wasn't even supposed to be

1818
01:30:24,880 --> 01:30:27,519
Speaker 1: in the tournament, honestly, not that I wasn't considering it,

1819
01:30:27,680 --> 01:30:31,800
Speaker 1: And don't think it is justified being among the final

1820
01:30:31,840 --> 01:30:34,880
Speaker 1: sixty four or those ninety six that were part of

1821
01:30:34,920 --> 01:30:37,760
Speaker 1: the play ins one hundred, whatever it was. But we

1822
01:30:37,840 --> 01:30:39,519
Speaker 1: have there will be Blood as the number one seed.

1823
01:30:40,160 --> 01:30:42,479
Speaker 1: I tend to give a little bit more credence to

1824
01:30:42,560 --> 01:30:45,400
Speaker 1: The Master as a greater achievement than Phantom Thread, and

1825
01:30:45,479 --> 01:30:47,600
Speaker 1: I thought, well, those two films just need to be

1826
01:30:47,880 --> 01:30:51,360
Speaker 1: in SAM. Ultimately, the last minute said why don't we

1827
01:30:51,439 --> 01:30:54,960
Speaker 1: make The Master a play in versus Phantom Thread, just

1828
01:30:55,080 --> 01:30:58,040
Speaker 1: in case there's actually that much love for that film,

1829
01:30:58,080 --> 01:31:00,840
Speaker 1: what if it takes it down? And I went along

1830
01:31:00,920 --> 01:31:03,760
Speaker 1: with it, and here we are Phantom Threat advancing to

1831
01:31:03,880 --> 01:31:04,280
Speaker 1: round two.

1832
01:31:04,640 --> 01:31:06,240
Speaker 3: Something of a cinder Alla them.

1833
01:31:06,479 --> 01:31:09,720
Speaker 1: There you go. Complete Round one results are available at

1834
01:31:09,760 --> 01:31:13,120
Speaker 1: filmspotting dot net slash madness. That's the hub for all

1835
01:31:13,160 --> 01:31:16,200
Speaker 1: things madness. Click on the bracket. It will take you

1836
01:31:16,439 --> 01:31:19,320
Speaker 1: to those first round results. You can see all of

1837
01:31:19,360 --> 01:31:21,280
Speaker 1: the scores, all the ones that we covered and all

1838
01:31:21,360 --> 01:31:23,960
Speaker 1: of the ones we didn't cover. That means we are

1839
01:31:24,080 --> 01:31:28,000
Speaker 1: on to Round two sixteen matchups now, And as we

1840
01:31:28,120 --> 01:31:30,920
Speaker 1: did the last time we spoke about madness, Josh, we'll

1841
01:31:30,960 --> 01:31:33,320
Speaker 1: break it down this way. We'll give you some of

1842
01:31:33,360 --> 01:31:35,479
Speaker 1: the matchups we think are the easiest, We'll give you

1843
01:31:35,560 --> 01:31:38,000
Speaker 1: some of the matchups we think are the toughest in

1844
01:31:38,120 --> 01:31:42,559
Speaker 1: terms of choosing ourselves, and then maybe the toughest to predict.

1845
01:31:42,640 --> 01:31:44,400
Speaker 1: And that's actually where I want to start, because of

1846
01:31:44,560 --> 01:31:49,519
Speaker 1: the sixteen, I have two in that toughest to predict category,

1847
01:31:49,520 --> 01:31:52,439
Speaker 1: and I wonder if they align with you my two

1848
01:31:52,680 --> 01:31:55,080
Speaker 1: that I really just have no clue how they're going

1849
01:31:55,120 --> 01:32:01,519
Speaker 1: to come out. Children of Men versus The Dark Night.

1850
01:32:02,439 --> 01:32:06,000
Speaker 1: I know how people feel about that Christopher Nolan film,

1851
01:32:06,040 --> 01:32:08,519
Speaker 1: and actually it only just now occurs to me. Christopher

1852
01:32:08,520 --> 01:32:13,000
Speaker 1: Nolan doesn't have three films in the tournament. He has fourth, right, yeah,

1853
01:32:13,120 --> 01:32:15,800
Speaker 1: in the tournament with the Dark Knight, doesn't he I

1854
01:32:15,920 --> 01:32:18,240
Speaker 1: know how people feel about that film, maybe the greatest

1855
01:32:18,280 --> 01:32:21,960
Speaker 1: comic book movie ever made. But Children of Men is

1856
01:32:22,120 --> 01:32:28,639
Speaker 1: also a revered Alfonso Qoran film that feels really since

1857
01:32:28,680 --> 01:32:35,559
Speaker 1: it came out like a relevant, a constantly relevant film, sadly,

1858
01:32:36,040 --> 01:32:39,240
Speaker 1: and I do think Children of Men, which I'm pretty

1859
01:32:39,240 --> 01:32:42,840
Speaker 1: sure is the higher seed, slightly higher seed, I think

1860
01:32:42,840 --> 01:32:45,040
Speaker 1: it's going to advance. I think it's going to win,

1861
01:32:45,640 --> 01:32:47,160
Speaker 1: but I think it's going to be very close.

1862
01:32:47,560 --> 01:32:49,479
Speaker 6: Yeah, that was a difficult one to predict for me

1863
01:32:49,720 --> 01:32:53,160
Speaker 6: as well. I think you're right when you bring up

1864
01:32:53,200 --> 01:32:56,280
Speaker 6: the relevancy of Children of Men carrying a lot of

1865
01:32:56,400 --> 01:33:00,000
Speaker 6: weight especially. Yes, it's not that it just became relevant

1866
01:33:00,200 --> 01:33:03,000
Speaker 6: in the last six months or whatever. It was relevant

1867
01:33:03,240 --> 01:33:05,920
Speaker 6: here and there for years since it came out. It

1868
01:33:06,000 --> 01:33:09,639
Speaker 6: was relevant then, but this month when people are voting, Yeah,

1869
01:33:09,800 --> 01:33:12,200
Speaker 6: I think that's going to be in voters' minds. That's

1870
01:33:12,200 --> 01:33:16,960
Speaker 6: where i'd lean, but not confidently because Nolan Man. Don't

1871
01:33:17,040 --> 01:33:21,439
Speaker 6: count Nolan out as we've seen, So this one is

1872
01:33:21,479 --> 01:33:22,320
Speaker 6: a bit of a toss up.

1873
01:33:22,479 --> 01:33:25,439
Speaker 1: The aforementioned Portrait of a Lady on Fire is one

1874
01:33:25,560 --> 01:33:28,840
Speaker 1: part of my second toughest to predict matchup. And I

1875
01:33:28,840 --> 01:33:30,240
Speaker 1: wish I could say that Sam and I had the

1876
01:33:30,280 --> 01:33:35,639
Speaker 1: foresight to imagine in round two that two movies about

1877
01:33:36,120 --> 01:33:40,000
Speaker 1: lesbian relationships, one with the brunette and one with the blonde,

1878
01:33:40,680 --> 01:33:43,040
Speaker 1: would face off against each other and should face off

1879
01:33:43,080 --> 01:33:45,639
Speaker 1: against each other, But we didn't really plan it that way.

1880
01:33:46,280 --> 01:33:48,960
Speaker 1: Here we are, nevertheless, Portrait of a Lady on Fire

1881
01:33:49,080 --> 01:33:52,160
Speaker 1: going up against one of the top four seeds, Mulholland Drive.

1882
01:33:52,320 --> 01:33:55,000
Speaker 1: And yes it's a top four seed, and yes, I

1883
01:33:55,280 --> 01:33:57,840
Speaker 1: actually and I'm feeling a little foolish about this now.

1884
01:33:58,000 --> 01:34:01,160
Speaker 1: I think Mulholland Drive, or I predicted Holland Drive could

1885
01:34:01,200 --> 01:34:04,000
Speaker 1: win the entire tournament. But Josh, I think Portrait of

1886
01:34:04,120 --> 01:34:08,040
Speaker 1: Lady on Fire, especially with how recent that film is

1887
01:34:08,160 --> 01:34:11,560
Speaker 1: compared to the twenty plus year old Mulholland Drive, I

1888
01:34:11,600 --> 01:34:13,880
Speaker 1: think Portrait of Lady on Fire has a shot. I

1889
01:34:14,000 --> 01:34:16,200
Speaker 1: certainly think it's going to be closer than one might

1890
01:34:16,280 --> 01:34:19,000
Speaker 1: think it would be going up against what is the

1891
01:34:19,240 --> 01:34:20,760
Speaker 1: number three seed in the whole thing.

1892
01:34:21,080 --> 01:34:23,080
Speaker 6: I would love to see that happen. I mean, I

1893
01:34:23,200 --> 01:34:25,559
Speaker 6: hold nothing against Mulholland Drive. It's a movie I absolutely

1894
01:34:25,600 --> 01:34:28,840
Speaker 6: need to revisit. And yeah, I just spoke earlier about

1895
01:34:28,840 --> 01:34:31,200
Speaker 6: my love for Portrait of a Lady on Fire. I

1896
01:34:31,360 --> 01:34:33,240
Speaker 6: find it hard to believe that it could happen. I

1897
01:34:33,439 --> 01:34:36,320
Speaker 6: just wonder, you know the thing about a movie that

1898
01:34:36,560 --> 01:34:39,960
Speaker 6: here's what moholland Drive has not only its revered status

1899
01:34:40,040 --> 01:34:43,720
Speaker 6: in Lynch's filmography, but it has the time where more

1900
01:34:43,800 --> 01:34:46,080
Speaker 6: people have had the chance to be able to see it,

1901
01:34:46,439 --> 01:34:48,960
Speaker 6: and with Lynch's passing, they're re seeing it. So in

1902
01:34:49,040 --> 01:34:51,840
Speaker 6: a way it has you know, your strategy makes a

1903
01:34:51,880 --> 01:34:55,200
Speaker 6: lot of sense because it has longevity and timeliness. It

1904
01:34:55,280 --> 01:34:58,240
Speaker 6: has recency and longevity. I'm not saying that's going to

1905
01:34:58,240 --> 01:35:00,280
Speaker 6: carry it all the way to the top. I didn't

1906
01:35:00,280 --> 01:35:03,040
Speaker 6: predict that, but I do think it will carry it

1907
01:35:03,080 --> 01:35:04,559
Speaker 6: past Portrait of a Lady on Fire.

1908
01:35:04,680 --> 01:35:06,160
Speaker 1: Okay, I'll throw it over to you. Do you want

1909
01:35:06,200 --> 01:35:09,040
Speaker 1: to go with easiest toughest or do you have some

1910
01:35:09,240 --> 01:35:11,200
Speaker 1: toughest to predict that I didn't mention?

1911
01:35:11,320 --> 01:35:13,360
Speaker 6: Yeah, I'll give you one more toughest to predict, and

1912
01:35:13,479 --> 01:35:15,759
Speaker 6: this is, you know, we're trying to read the minds

1913
01:35:15,800 --> 01:35:19,200
Speaker 6: of listeners and when it comes to this, and I'm

1914
01:35:19,400 --> 01:35:23,200
Speaker 6: really torn over Get Out versus Ladybird.

1915
01:35:24,400 --> 01:35:24,800
Speaker 3: To a bit.

1916
01:35:24,960 --> 01:35:28,439
Speaker 6: It's that like timeliness thing, you know, and relevancy thing

1917
01:35:29,160 --> 01:35:32,240
Speaker 6: that Get Out absolutely has. It's a movie that represents

1918
01:35:32,840 --> 01:35:37,559
Speaker 6: this era we're considering, so particularly Ladybird is a little

1919
01:35:37,760 --> 01:35:42,679
Speaker 6: more timeless and universal. We know it's beloved. I wonder

1920
01:35:43,439 --> 01:35:46,559
Speaker 6: if you go by chatter, like the feedback we get

1921
01:35:47,080 --> 01:35:50,880
Speaker 6: or things we see from listeners on social you would

1922
01:35:50,920 --> 01:35:54,600
Speaker 6: guess Ladybird, I think, But I sometimes wonder is it

1923
01:35:54,760 --> 01:36:01,519
Speaker 6: the same people constantly talking about Ladybird? But there's more

1924
01:36:01,760 --> 01:36:04,360
Speaker 6: people who might vote for Get Out if that makes

1925
01:36:04,400 --> 01:36:07,240
Speaker 6: any sense? Sure, And there's no way to predict that, right,

1926
01:36:07,320 --> 01:36:07,640
Speaker 6: there's this.

1927
01:36:07,960 --> 01:36:09,960
Speaker 1: Curvil majority is that you're going with.

1928
01:36:10,160 --> 01:36:13,680
Speaker 6: There are both great films in such different ways, and

1929
01:36:13,800 --> 01:36:18,000
Speaker 6: I know they're both beloved by our listeners. So yeah,

1930
01:36:18,240 --> 01:36:20,240
Speaker 6: I have no real sense of what's going to happen there.

1931
01:36:20,400 --> 01:36:21,960
Speaker 1: I like it all right. So what about for you

1932
01:36:22,080 --> 01:36:26,559
Speaker 1: as far as either easy to choose or really difficult

1933
01:36:26,560 --> 01:36:26,960
Speaker 1: to choose?

1934
01:36:28,240 --> 01:36:31,959
Speaker 6: Well, I've been talking about this idea of timely versus timeless,

1935
01:36:32,040 --> 01:36:35,639
Speaker 6: So let's go to a hardest it's parasite versus phantom

1936
01:36:35,720 --> 01:36:39,920
Speaker 6: threat scene where this is and I'm especially flummoxed because

1937
01:36:40,200 --> 01:36:44,439
Speaker 6: I thought Wally would take out Phantom Threat, and now

1938
01:36:44,560 --> 01:36:47,320
Speaker 6: I've got this new factor to deal with in my predicting.

1939
01:36:47,880 --> 01:36:51,599
Speaker 6: This Cinderella, this, this you know has more love than

1940
01:36:51,640 --> 01:36:57,640
Speaker 6: I thought it did. Now Parasite, you know, is that

1941
01:36:57,680 --> 01:36:59,720
Speaker 6: would be a strong predictor to win the whole thing.

1942
01:37:00,320 --> 01:37:03,639
Speaker 6: So I guess in that sense for predicting, it's maybe

1943
01:37:03,760 --> 01:37:06,120
Speaker 6: not so difficult for me for voting, though for my

1944
01:37:06,280 --> 01:37:10,360
Speaker 6: personal vote is really difficult because Parasite has the timeliness.

1945
01:37:10,680 --> 01:37:15,479
Speaker 6: Phantom Thread has the timelessness. It's this unique love story

1946
01:37:15,560 --> 01:37:19,280
Speaker 6: set in an earlier era. It really doesn't say anything

1947
01:37:19,320 --> 01:37:23,439
Speaker 6: specific about this century so far. Parasite is all about

1948
01:37:23,560 --> 01:37:27,320
Speaker 6: that right in so many ways, and so normally my

1949
01:37:27,520 --> 01:37:30,320
Speaker 6: temptation if I were making like my list of the

1950
01:37:30,360 --> 01:37:33,160
Speaker 6: top ten films of this era, I'd want to go

1951
01:37:33,280 --> 01:37:38,200
Speaker 6: with one that represents the era better. But man, personally,

1952
01:37:38,439 --> 01:37:41,160
Speaker 6: recency bias is going to come into play here. I

1953
01:37:41,360 --> 01:37:45,000
Speaker 6: just spent four days with Phantom Thread for Cinema Interruptis

1954
01:37:45,200 --> 01:37:47,920
Speaker 6: here in Chicago last December. I can't give it up.

1955
01:37:47,960 --> 01:37:50,160
Speaker 6: After that, I'd watch it again right now, And so

1956
01:37:50,640 --> 01:37:52,719
Speaker 6: that's where I would go not easy.

1957
01:37:52,560 --> 01:37:55,040
Speaker 1: Though not easy. That one is a tough one for me.

1958
01:37:55,200 --> 01:37:59,320
Speaker 1: I've got it among my list of the toughest, Josh,

1959
01:37:59,439 --> 01:38:03,360
Speaker 1: but it does not compete with my number one most

1960
01:38:03,439 --> 01:38:07,680
Speaker 1: difficult in the mood for love, Wankar Wise in the

1961
01:38:07,760 --> 01:38:09,519
Speaker 1: mood for love. I know this one won't be as

1962
01:38:09,640 --> 01:38:12,880
Speaker 1: hard for you, but as someone who has us okay,

1963
01:38:13,200 --> 01:38:16,960
Speaker 1: as someone who has Inside Lewyn Davis as his first

1964
01:38:17,160 --> 01:38:22,000
Speaker 1: or second all time favorite Coen Brothers film, going up

1965
01:38:22,040 --> 01:38:26,040
Speaker 1: against Wan car Wise masterpiece. You had it in your

1966
01:38:26,120 --> 01:38:29,120
Speaker 1: top ten of all time on your site and sound

1967
01:38:29,120 --> 01:38:29,800
Speaker 1: the last time we did it.

1968
01:38:30,000 --> 01:38:30,800
Speaker 3: That's why this is easy.

1969
01:38:31,040 --> 01:38:33,479
Speaker 1: And I didn't quite have it in that top ten,

1970
01:38:33,640 --> 01:38:36,040
Speaker 1: but I begrudge no one putting it that high. It

1971
01:38:36,040 --> 01:38:39,000
Speaker 1: would certainly be in my conversation of films that I

1972
01:38:39,160 --> 01:38:42,800
Speaker 1: think deserve to be considered among the top, let's say

1973
01:38:42,880 --> 01:38:45,439
Speaker 1: twenty five greatest of all time. But Josh, if there's

1974
01:38:45,600 --> 01:38:47,960
Speaker 1: one between the two of those that I'm gonna put

1975
01:38:48,040 --> 01:38:51,679
Speaker 1: on my TV right now and just get lost in again,

1976
01:38:52,320 --> 01:38:56,120
Speaker 1: it's gonna be Inside Lewyn Davis. That is just my preference.

1977
01:38:56,240 --> 01:38:59,880
Speaker 1: I love that film so much and that's why I

1978
01:39:00,000 --> 01:39:02,760
Speaker 1: I'm actually voting for it. I voted for it over

1979
01:39:02,800 --> 01:39:04,759
Speaker 1: in the mood for love, but I did not feel

1980
01:39:04,840 --> 01:39:07,439
Speaker 1: good about it. For a second, vote your heart, Adam

1981
01:39:07,520 --> 01:39:09,960
Speaker 1: vot I did, I voted my heart. I also had

1982
01:39:10,000 --> 01:39:14,760
Speaker 1: a tough time with Spirited Away going up against in

1983
01:39:14,880 --> 01:39:17,720
Speaker 1: Glorious Bastards. I do love that Tarantino film, and I

1984
01:39:17,760 --> 01:39:20,840
Speaker 1: would generally say between the two filmmakers, I am more

1985
01:39:20,880 --> 01:39:23,960
Speaker 1: of a Tarantino guy. This is my heart, this is

1986
01:39:24,040 --> 01:39:26,519
Speaker 1: my taste. I'm more of a Tarantino guy than I

1987
01:39:26,600 --> 01:39:31,720
Speaker 1: am an anime Miyazaki guy. But thinking about the incinerator

1988
01:39:32,680 --> 01:39:37,160
Speaker 1: from that standpoint, thinking about losing a film like Spirited

1989
01:39:37,200 --> 01:39:41,080
Speaker 1: Away or losing in Glorious Bastards, I found myself today,

1990
01:39:41,160 --> 01:39:46,519
Speaker 1: Josh ultimately hovering over and clicking on the Miyazaki over

1991
01:39:46,640 --> 01:39:49,880
Speaker 1: Tarantino again. Good for you, feel didn't feel good about it,

1992
01:39:49,960 --> 01:39:50,559
Speaker 1: Though you.

1993
01:39:50,560 --> 01:39:52,439
Speaker 6: Should feel good, you should feel very good about that.

1994
01:39:53,160 --> 01:39:55,920
Speaker 6: I had a different hard one. It was lost in

1995
01:39:56,000 --> 01:39:58,120
Speaker 6: translation versus royal Ton of Bombs.

1996
01:39:57,880 --> 01:39:58,879
Speaker 1: And one of my easiest.

1997
01:39:59,479 --> 01:40:03,040
Speaker 6: Yeah no, but it's like when you're using the rankings

1998
01:40:03,120 --> 01:40:07,000
Speaker 6: to help guide you my favorite Sofia Coppola versus you know,

1999
01:40:08,000 --> 01:40:11,040
Speaker 6: maybe not my favorite Wes Anderson, but still among the

2000
01:40:11,160 --> 01:40:15,519
Speaker 6: very top of his I was tempted to go Copola here, honestly,

2001
01:40:15,640 --> 01:40:19,080
Speaker 6: because here's where I look at the bracket and the

2002
01:40:19,120 --> 01:40:22,080
Speaker 6: other titles. Grand Budapest still there, and I would vote.

2003
01:40:22,120 --> 01:40:25,360
Speaker 6: I know it's paired against matched up against Before Sunset,

2004
01:40:25,680 --> 01:40:28,519
Speaker 6: which is brilliant, and that'll be very difficult for a

2005
01:40:28,560 --> 01:40:30,280
Speaker 6: lot of folks, but for me, I would I would

2006
01:40:30,280 --> 01:40:33,080
Speaker 6: go with Grand Budapest. So so maybe I vote Lost

2007
01:40:33,120 --> 01:40:36,320
Speaker 6: in Translation here and then throw my throw my West

2008
01:40:36,360 --> 01:40:40,040
Speaker 6: Wait behind Grand Budapest. But you know what, no, no,

2009
01:40:40,400 --> 01:40:43,840
Speaker 6: I just rewatched Ten of Bombs for that Gene Hackman scenes. Yeah,

2010
01:40:44,400 --> 01:40:48,080
Speaker 6: project we're doing. It's brilliant, it's got it, it's got

2011
01:40:48,160 --> 01:40:50,840
Speaker 6: to stick around. I gotta have both it and Budapest.

2012
01:40:50,920 --> 01:40:53,840
Speaker 6: So I am so sorry. I'll just pretend Bill Murray

2013
01:40:53,960 --> 01:40:57,240
Speaker 6: in tenebaums is, you know, also playing his part in

2014
01:40:57,360 --> 01:40:59,920
Speaker 6: Lost in Translation, and try to find some consolation there.

2015
01:41:00,200 --> 01:41:02,960
Speaker 1: Yeah, relatively easy for me, just because ten and Bomb's

2016
01:41:03,160 --> 01:41:05,200
Speaker 1: I'm pretty sure I do have. Ranked is my favorite

2017
01:41:05,240 --> 01:41:08,080
Speaker 1: Wes Anderson, and it is probably one of my top

2018
01:41:08,240 --> 01:41:11,599
Speaker 1: ten favorite films in this entire tournament. So it's going

2019
01:41:11,680 --> 01:41:14,160
Speaker 1: to beat a lot of movies that it could go

2020
01:41:14,320 --> 01:41:17,559
Speaker 1: up against. We'll see, of course, as we get through

2021
01:41:17,600 --> 01:41:19,760
Speaker 1: the bracket. If ten and Baum's advances, it's only going

2022
01:41:19,840 --> 01:41:22,439
Speaker 1: to get tougher. But ten and Bomb's a pretty easy

2023
01:41:22,520 --> 01:41:25,280
Speaker 1: pick for me. You mentioned Sunset Before Sunset, the Link

2024
01:41:25,360 --> 01:41:30,040
Speaker 1: Later film, and of course five years ago, pre twenty twenty,

2025
01:41:30,160 --> 01:41:33,200
Speaker 1: when I went back through Wes Anderson's films with my

2026
01:41:33,320 --> 01:41:36,600
Speaker 1: older children, I think that was during COVID, and I

2027
01:41:37,400 --> 01:41:40,840
Speaker 1: discovered I had that epiphany finally that so many other

2028
01:41:40,880 --> 01:41:43,719
Speaker 1: people had with the Grand Budapest Hotel, and I realized

2029
01:41:43,760 --> 01:41:46,920
Speaker 1: that it truly is one of Wes Anderson's great films,

2030
01:41:46,960 --> 01:41:50,040
Speaker 1: one of his masterpieces. Picking Before Sunset prior to that

2031
01:41:50,120 --> 01:41:51,680
Speaker 1: would have just been a no brainer. It would have

2032
01:41:51,680 --> 01:41:54,040
Speaker 1: been one of my easiest choices in this entire tournament.

2033
01:41:54,800 --> 01:41:56,280
Speaker 1: As much as I love that film, and I am,

2034
01:41:56,439 --> 01:41:58,599
Speaker 1: let me be clear, I am voting for Before Sunset,

2035
01:41:58,800 --> 01:42:00,640
Speaker 1: but another one I don't feel good about because I

2036
01:42:00,760 --> 01:42:02,680
Speaker 1: love the Grand Budapest Hotel.

2037
01:42:02,920 --> 01:42:05,760
Speaker 6: That much, and good I'm glad you struggled there.

2038
01:42:05,880 --> 01:42:09,200
Speaker 1: I I do you expect it to be close? Hell,

2039
01:42:09,240 --> 01:42:12,200
Speaker 1: I think Grand Budapest could take the upset.

2040
01:42:11,960 --> 01:42:14,240
Speaker 3: Josh, I think it's got a shot. It has a shot.

2041
01:42:14,560 --> 01:42:17,439
Speaker 1: Any other matchups that you would like to single out?

2042
01:42:17,600 --> 01:42:17,760
Speaker 2: You know.

2043
01:42:17,920 --> 01:42:19,880
Speaker 6: The other tough one for me was No Country for

2044
01:42:19,920 --> 01:42:24,960
Speaker 6: Old Men versus Pans Labyrinth, And you know, logic math rankings,

2045
01:42:25,160 --> 01:42:27,639
Speaker 6: I should go with Pans Labyrinth here. It's my favorite

2046
01:42:27,680 --> 01:42:30,560
Speaker 6: Del Toro. No Country is my second favorite Cohen, so

2047
01:42:30,640 --> 01:42:32,240
Speaker 6: it has a little bit edge there, but screw it,

2048
01:42:32,280 --> 01:42:33,840
Speaker 6: screw all that. It's got to be a Cohens. I

2049
01:42:33,920 --> 01:42:36,240
Speaker 6: can't get get rid of No Country for Old Men

2050
01:42:36,360 --> 01:42:40,600
Speaker 6: quite this soon, but definitely one I struggled over and

2051
01:42:41,200 --> 01:42:44,560
Speaker 6: you referenced, you know, Adam where our top ten of

2052
01:42:44,640 --> 01:42:47,920
Speaker 6: all time lists, those faux Citan sound lists we make

2053
01:42:48,000 --> 01:42:51,840
Speaker 6: every ten years coming to play, And for me it

2054
01:42:52,000 --> 01:42:54,599
Speaker 6: led to an easy one, Zodiac versus The Tree of Life.

2055
01:42:54,720 --> 01:42:56,479
Speaker 6: You know, I'm I'm just going to keep having the

2056
01:42:56,520 --> 01:42:59,120
Speaker 6: Tree of Life in my easy category because it wasn't

2057
01:42:59,120 --> 01:43:00,519
Speaker 6: in my top ten of all time, but it was

2058
01:43:00,560 --> 01:43:03,040
Speaker 6: in my eleventh through twenty back when we did that

2059
01:43:03,320 --> 01:43:06,920
Speaker 6: what three years ago now, And so yeah, if that's

2060
01:43:06,960 --> 01:43:08,639
Speaker 6: the case, I've got to keep voting for it sure

2061
01:43:08,720 --> 01:43:10,080
Speaker 6: as best of the century here.

2062
01:43:10,280 --> 01:43:12,240
Speaker 1: So I'll just run through a few more easy ones

2063
01:43:12,680 --> 01:43:15,320
Speaker 1: for me, Interstellar over Fellowship of the Ring. I know

2064
01:43:15,400 --> 01:43:19,800
Speaker 1: you're going the opposite way. No Country not a tough

2065
01:43:19,920 --> 01:43:22,280
Speaker 1: choice for me over Pans Labyrinth, even though that film

2066
01:43:22,320 --> 01:43:24,680
Speaker 1: I'm pretty sure was in my top ten of that year.

2067
01:43:24,880 --> 01:43:27,320
Speaker 1: I mentioned ten of Bombs over Lost in translation, there

2068
01:43:27,360 --> 01:43:30,400
Speaker 1: will be Blood over Arrival relatively easy, as much as

2069
01:43:30,439 --> 01:43:34,559
Speaker 1: I do appreciate Arrival, Fury Road taking down Oppenheimer. Yeah,

2070
01:43:35,080 --> 01:43:38,680
Speaker 1: Ladybird over get Out for me, Ladybird over get Out

2071
01:43:38,840 --> 01:43:41,920
Speaker 1: is a relatively easy choice. And finally, I love Shanna

2072
01:43:41,960 --> 01:43:44,280
Speaker 1: the Dead again. I love pretty much every film in

2073
01:43:44,360 --> 01:43:48,759
Speaker 1: this entire tournament, but not hard to pick Eternal Sunshine

2074
01:43:49,320 --> 01:43:50,640
Speaker 1: just a little bit ahead of it.

2075
01:43:50,960 --> 01:43:51,800
Speaker 3: Yeah, i'd agree.

2076
01:43:52,040 --> 01:43:56,519
Speaker 1: Okay, Madness Round two polls. They are open. They close

2077
01:43:56,840 --> 01:44:01,160
Speaker 1: on Tuesday April first, Tuesday April first, at five pm

2078
01:44:01,400 --> 01:44:04,280
Speaker 1: Central time. Everything you need to know about Film Spotting

2079
01:44:04,320 --> 01:44:09,120
Speaker 1: Madness is available at filmspotting dot net, slash Madness and

2080
01:44:09,240 --> 01:44:12,040
Speaker 1: now Josh. For those of you who submitted a bracket

2081
01:44:12,600 --> 01:44:17,000
Speaker 1: in our prediction bracket challenge, you can go there. You

2082
01:44:17,040 --> 01:44:18,599
Speaker 1: can see how you're doing, and we're going to give

2083
01:44:18,600 --> 01:44:22,000
Speaker 1: a quick update here. First of all love seeing this.

2084
01:44:23,000 --> 01:44:25,080
Speaker 1: In the five or six years that we have done

2085
01:44:25,120 --> 01:44:29,400
Speaker 1: Madness where we opened up the bracket challenge, we finished

2086
01:44:29,479 --> 01:44:33,400
Speaker 1: this year with eight hundred and twenty five brackets, our

2087
01:44:33,479 --> 01:44:35,120
Speaker 1: biggest total defeat.

2088
01:44:35,720 --> 01:44:36,240
Speaker 3: That's awesome.

2089
01:44:36,320 --> 01:44:41,280
Speaker 1: And of those eight hundred and twenty five through round one,

2090
01:44:42,160 --> 01:44:46,760
Speaker 1: we have three listeners who have perfect brackets. Okay, tied

2091
01:44:46,840 --> 01:44:51,320
Speaker 1: for first place. Thirty two out of thirty two called

2092
01:44:51,680 --> 01:44:54,960
Speaker 1: correctly in some familiar names here, so tied for first.

2093
01:44:55,600 --> 01:44:58,639
Speaker 1: We have longtime listener who we just saw in person

2094
01:44:58,680 --> 01:45:01,200
Speaker 1: at Film Spotting Fest, Carl b Orkman.

2095
01:45:01,520 --> 01:45:01,960
Speaker 3: That's right.

2096
01:45:02,200 --> 01:45:06,439
Speaker 1: Congratulations Carl, congratulations. Also go to how about this Josh?

2097
01:45:06,520 --> 01:45:10,920
Speaker 1: Do you remember Ricky Kendall in the UK? Because last

2098
01:45:11,000 --> 01:45:15,000
Speaker 1: year he won the whole Shebang and ended up recording

2099
01:45:15,520 --> 01:45:19,040
Speaker 1: a bonus episode with Me, You and Sam as part

2100
01:45:19,080 --> 01:45:19,639
Speaker 1: of his prize.

2101
01:45:19,800 --> 01:45:22,120
Speaker 6: What are these dark arts these people are playing?

2102
01:45:22,360 --> 01:45:22,640
Speaker 4: I know?

2103
01:45:22,800 --> 01:45:25,000
Speaker 1: And remember when we asked him about it, He's like, yeah,

2104
01:45:25,040 --> 01:45:26,920
Speaker 1: I didn't really have a system or anything. I just

2105
01:45:27,760 --> 01:45:31,080
Speaker 1: kind of picked. Well, he's doing something right, because here

2106
01:45:31,160 --> 01:45:33,559
Speaker 1: he is again tied for first. And then I thought

2107
01:45:33,600 --> 01:45:39,200
Speaker 1: this name seemed familiar, the last name amongst this triumvirate

2108
01:45:39,720 --> 01:45:46,080
Speaker 1: Oscary Vaneo. He is from Finland and sure enough, back

2109
01:45:46,120 --> 01:45:49,519
Speaker 1: in twenty twenty two, Sam reached out to him and said, hey,

2110
01:45:49,960 --> 01:45:52,920
Speaker 1: you're a top the Madness bracket. Can you give some

2111
01:45:53,040 --> 01:45:56,479
Speaker 1: information about yourself? We want to highlight you on the show.

2112
01:45:56,680 --> 01:45:59,040
Speaker 1: So that was the best of the nineteen seventies. And

2113
01:46:00,280 --> 01:46:04,200
Speaker 1: at some point during that tournament, early on he was

2114
01:46:04,600 --> 01:46:09,240
Speaker 1: in first place, riding high. You're thinking Oscary is gonna

2115
01:46:09,240 --> 01:46:14,360
Speaker 1: take it. Well, things can happen quickly in film spotting Madness.

2116
01:46:14,720 --> 01:46:19,040
Speaker 1: You can have reversals of fortune. Oscary finished one hundred

2117
01:46:19,040 --> 01:46:19,680
Speaker 1: and sixty.

2118
01:46:19,479 --> 01:46:23,559
Speaker 6: Fourth that year, but he learned, he learned from his experience, maybe,

2119
01:46:23,600 --> 01:46:24,839
Speaker 6: and he came back stronger.

2120
01:46:25,080 --> 01:46:25,360
Speaker 3: Maybe.

2121
01:46:26,320 --> 01:46:30,400
Speaker 1: So congratulations to Carl, to Ricky, all three perfect brackets

2122
01:46:30,400 --> 01:46:33,160
Speaker 1: so far. We will see how those hold up as

2123
01:46:33,240 --> 01:46:36,600
Speaker 1: we get into round two. That brings us to and

2124
01:46:36,640 --> 01:46:38,439
Speaker 1: I don't know if you've looked at this, and if

2125
01:46:38,479 --> 01:46:41,080
Speaker 1: you haven't, don't I want to get your reaction in

2126
01:46:41,280 --> 01:46:44,400
Speaker 1: real time, Josh, have you looked at your bracket? Do

2127
01:46:44,479 --> 01:46:45,320
Speaker 1: you know how you're doing?

2128
01:46:46,479 --> 01:46:46,920
Speaker 3: I don't.

2129
01:46:47,439 --> 01:46:52,080
Speaker 1: Okay, then then allow me to elucidate. I can always

2130
01:46:52,160 --> 01:46:55,880
Speaker 1: do yes, I mean, based on if you can We

2131
01:46:56,160 --> 01:47:01,960
Speaker 1: always do this internal bracket challenge me, you, Sam, and

2132
01:47:02,080 --> 01:47:06,679
Speaker 1: the godfather of film spotting Madness Indover New Hampshire, Mike Marrigan.

2133
01:47:07,160 --> 01:47:09,880
Speaker 1: We really play for bragging rights, and we're not so

2134
01:47:10,000 --> 01:47:13,960
Speaker 1: much worried about who's gonna win. We're worried about who loses,

2135
01:47:14,320 --> 01:47:18,600
Speaker 1: because there is usually some kind of punishment. You have

2136
01:47:19,000 --> 01:47:22,880
Speaker 1: lost a few times. I think I've lost once. Mike

2137
01:47:22,960 --> 01:47:26,080
Speaker 1: has done pretty well in these tournaments to date. Sam

2138
01:47:26,200 --> 01:47:29,000
Speaker 1: is definitely lost. In fact, Sam lost last year and

2139
01:47:29,120 --> 01:47:31,680
Speaker 1: we need to figure out what his penance would be.

2140
01:47:32,240 --> 01:47:34,200
Speaker 1: We also need to decide what the penance will be

2141
01:47:34,320 --> 01:47:38,800
Speaker 1: for this year's loser, and that loser probably will be

2142
01:47:39,000 --> 01:47:41,720
Speaker 1: me in fourth place. Well, I'm the only one who

2143
01:47:41,800 --> 01:47:46,439
Speaker 1: went against the grain with my winner overall, picking Mullhall

2144
01:47:46,479 --> 01:47:49,320
Speaker 1: and Drive. That will either be what sends me. It

2145
01:47:49,360 --> 01:47:52,240
Speaker 1: could be what sends me to victory, or it could

2146
01:47:52,280 --> 01:47:55,720
Speaker 1: be the thing that really is my downfall. I'm in

2147
01:47:55,760 --> 01:47:59,639
Speaker 1: fourth place right now because I only called twenty eight

2148
01:48:00,000 --> 01:48:02,519
Speaker 1: out of thirty two correctly. I am tied for one

2149
01:48:02,600 --> 01:48:06,080
Speaker 1: hundred and forty fifth. It was all upsets that threw me.

2150
01:48:06,439 --> 01:48:09,880
Speaker 1: Josh Memento beating the Wolf of Wall Street. I didn't

2151
01:48:10,560 --> 01:48:14,599
Speaker 1: pick x Makina beating her. I didn't pick Pan's Labyrinth

2152
01:48:15,040 --> 01:48:18,120
Speaker 1: defeating the Lobster. I also did not choose Portrait of

2153
01:48:18,240 --> 01:48:22,839
Speaker 1: Lady on Fire defeating Tarantinos Once upon a Time in Hollywood.

2154
01:48:22,960 --> 01:48:26,120
Speaker 1: So there, I am way down there, Josh in one

2155
01:48:26,240 --> 01:48:29,479
Speaker 1: hundred and forty fifth place. Sam, he's doing a little better.

2156
01:48:29,920 --> 01:48:33,519
Speaker 1: He's in third. He got thirty of thirty two. Correct,

2157
01:48:33,680 --> 01:48:36,800
Speaker 1: He's tied for fifty seventh. He was thrown by two

2158
01:48:36,880 --> 01:48:39,519
Speaker 1: of the same ones that got me two of the upsets.

2159
01:48:39,560 --> 01:48:42,400
Speaker 1: He thought her would beat x Macina. He also thought

2160
01:48:42,520 --> 01:48:47,840
Speaker 1: Hollywood would beat portrait. So where does that leave you, Josh?

2161
01:48:47,920 --> 01:48:52,160
Speaker 1: Where does that leave Mike Marrigan? Well, in our bracket challenge,

2162
01:48:52,439 --> 01:48:56,200
Speaker 1: our internal bracket challenge, you're both tied for first. Hey,

2163
01:48:56,880 --> 01:49:00,840
Speaker 1: and how about this, you are, Josh, enjoy it while

2164
01:49:00,880 --> 01:49:05,080
Speaker 1: it lasts. You and Mike are both tied for fourth

2165
01:49:05,280 --> 01:49:09,760
Speaker 1: overall out twenty five. No, come on, that's not you

2166
01:49:10,000 --> 01:49:13,680
Speaker 1: are you both picked? You both picked thirty one out

2167
01:49:13,680 --> 01:49:14,719
Speaker 1: of thirty two. Correct?

2168
01:49:15,400 --> 01:49:15,719
Speaker 5: Wow?

2169
01:49:16,240 --> 01:49:18,160
Speaker 1: I think the best you've ever done in round one.

2170
01:49:18,880 --> 01:49:19,600
Speaker 3: I mean it has to be.

2171
01:49:19,680 --> 01:49:22,000
Speaker 6: I don't remember ever being up that high. I've had

2172
01:49:22,080 --> 01:49:25,280
Speaker 6: good Round one showings, but it doesn't always last. So

2173
01:49:25,800 --> 01:49:29,200
Speaker 6: I will enjoy this for now. I and I got

2174
01:49:29,320 --> 01:49:31,720
Speaker 6: to say, you know, not to sound like oscary, but

2175
01:49:31,840 --> 01:49:35,120
Speaker 6: I didn't put a ton of I put less research

2176
01:49:35,200 --> 01:49:37,680
Speaker 6: into this right than previous years. But I did have

2177
01:49:37,720 --> 01:49:41,800
Speaker 6: a different strategy. I dropped the like hanging out in

2178
01:49:41,920 --> 01:49:44,680
Speaker 6: letterbox forever and looking at views and all that like

2179
01:49:44,760 --> 01:49:46,479
Speaker 6: that I did last year and it didn't help me.

2180
01:49:46,560 --> 01:49:47,559
Speaker 1: I need to learn that lesson.

2181
01:49:47,680 --> 01:49:50,639
Speaker 6: I just went really basic and looked at how these

2182
01:49:50,720 --> 01:49:55,920
Speaker 6: titles fared in previous Madness tournaments, because a lot of

2183
01:49:56,000 --> 01:49:58,960
Speaker 6: them have come up, and you know, also when we've

2184
01:49:59,080 --> 01:50:02,439
Speaker 6: done just general polls about these topics, because it is recent,

2185
01:50:02,520 --> 01:50:05,439
Speaker 6: we've covered this territory before, so I kind of used

2186
01:50:05,520 --> 01:50:08,040
Speaker 6: that as my guide and then maybe threw in a

2187
01:50:08,080 --> 01:50:13,559
Speaker 6: few you know, wrinkles here or there, hoping it might

2188
01:50:13,640 --> 01:50:16,320
Speaker 6: differentiate the bracket. So that may be where it comes

2189
01:50:16,400 --> 01:50:18,800
Speaker 6: back to bite me down the road, but hey, I'll

2190
01:50:18,840 --> 01:50:20,439
Speaker 6: take it. I'll take where I am for now.

2191
01:50:20,760 --> 01:50:24,559
Speaker 1: Mm hm. As you said earlier, Phantom Thread beating Wally

2192
01:50:24,960 --> 01:50:27,400
Speaker 1: was the only one you got in correct, and there

2193
01:50:27,479 --> 01:50:30,200
Speaker 1: was that pesky portrait of Lady on fire beating once

2194
01:50:30,280 --> 01:50:34,320
Speaker 1: upon a time in Hollywood. That was Mike's only misstep.

2195
01:50:35,320 --> 01:50:39,679
Speaker 1: Worth noting that you and Mike both have the exact

2196
01:50:39,760 --> 01:50:43,840
Speaker 1: same final four and the exact same champion. Oh, there

2197
01:50:43,840 --> 01:50:47,519
Speaker 1: will be blood, parasite, no country for old men, Mulholland Drive,

2198
01:50:47,600 --> 01:50:50,880
Speaker 1: there will be blood as the winner. What's interesting, I

2199
01:50:51,000 --> 01:50:55,439
Speaker 1: did a little bit of digging arm rustle you might,

2200
01:50:55,960 --> 01:50:57,800
Speaker 1: you might, I don't think so. I don't think so.

2201
01:50:57,960 --> 01:51:01,040
Speaker 1: And here's why. And maybe I needed to be clearer

2202
01:51:01,160 --> 01:51:03,760
Speaker 1: with my notes here because I can't remember which one

2203
01:51:03,840 --> 01:51:08,800
Speaker 1: of you I think I'm correct that Mike has in

2204
01:51:08,960 --> 01:51:13,000
Speaker 1: the mood for love advancing to the Elite eight. But Josh,

2205
01:51:13,120 --> 01:51:15,439
Speaker 1: not only do you not have it advancing to the

2206
01:51:15,520 --> 01:51:18,719
Speaker 1: Elite eight where you have get out moving on, instead,

2207
01:51:19,160 --> 01:51:24,040
Speaker 1: you have inside Lewin Davis upsetting in the mood for love.

2208
01:51:24,520 --> 01:51:25,880
Speaker 3: Yeah, in this round.

2209
01:51:26,240 --> 01:51:29,679
Speaker 1: So this matchup here in round two, the seventh seed

2210
01:51:29,720 --> 01:51:31,679
Speaker 1: in the mood for love against number twenty six inside

2211
01:51:31,720 --> 01:51:35,360
Speaker 1: Lewin Davis. That really is going to make or break

2212
01:51:35,600 --> 01:51:36,200
Speaker 1: your bracket.

2213
01:51:36,400 --> 01:51:40,920
Speaker 6: Yeah, and differentiate me from Mike, which I'm already regretting

2214
01:51:41,080 --> 01:51:43,519
Speaker 6: because you know my logic.

2215
01:51:43,640 --> 01:51:45,240
Speaker 3: There was just the Adam influence.

2216
01:51:45,320 --> 01:51:47,479
Speaker 6: You know, you've already tried to sway people by talking

2217
01:51:47,520 --> 01:51:50,160
Speaker 6: about Lewin Davis, right, you know, saying the same things

2218
01:51:50,240 --> 01:51:52,960
Speaker 6: you've said a million times before about it, and and

2219
01:51:53,439 --> 01:51:55,080
Speaker 6: I usually give that a lot of weight when I

2220
01:51:55,120 --> 01:51:59,439
Speaker 6: predict things. But that's burnt me. That's particularly sure. It

2221
01:51:59,520 --> 01:52:03,920
Speaker 6: has previous years, So that might that might be the

2222
01:52:03,960 --> 01:52:04,439
Speaker 6: weak spot.

2223
01:52:04,520 --> 01:52:07,320
Speaker 1: Okay, So of course, as we've been talking about toughest

2224
01:52:07,360 --> 01:52:09,599
Speaker 1: to predict and which ones are easy and toughest, I've

2225
01:52:09,960 --> 01:52:12,000
Speaker 1: I've been clicking on the polls to get a sense

2226
01:52:12,040 --> 01:52:14,080
Speaker 1: of where some of them stand, and I haven't wanted

2227
01:52:14,120 --> 01:52:16,960
Speaker 1: to mention anything because I don't want to sway voting

2228
01:52:17,000 --> 01:52:19,720
Speaker 1: one way or another. I don't have to worry about

2229
01:52:19,760 --> 01:52:21,680
Speaker 1: swaying voting one way or another. When it comes to

2230
01:52:21,760 --> 01:52:24,080
Speaker 1: this matchup, I will simply say this. The voting is

2231
01:52:24,439 --> 01:52:27,920
Speaker 1: still very new. We're only about four hours in at

2232
01:52:27,960 --> 01:52:32,519
Speaker 1: this point as we're talking, Josh. But right now inside

2233
01:52:32,560 --> 01:52:34,880
Speaker 1: lew and Davis and in the Mood for Love are

2234
01:52:35,000 --> 01:52:37,880
Speaker 1: tied with the exact same number of votes. This one

2235
01:52:38,040 --> 01:52:40,240
Speaker 1: could come down to the wire. I can't believe it.

2236
01:52:40,600 --> 01:52:43,120
Speaker 1: I sign in the Mood for Love would take this one.

2237
01:52:43,240 --> 01:52:46,280
Speaker 1: At least sixty forty. Honestly, I would have guessed seventy thirty.

2238
01:52:46,840 --> 01:52:50,880
Speaker 3: I mean, I from the sake of my prediction bracket.

2239
01:52:50,920 --> 01:52:52,760
Speaker 3: I hope that's how it goes. I'll just say that.

2240
01:52:53,080 --> 01:52:56,200
Speaker 1: Our final reminder that everything Film Spotting Madness, including all

2241
01:52:56,240 --> 01:52:59,200
Speaker 1: of these Round two poles, is available at filmspotting dot

2242
01:52:59,280 --> 01:53:02,200
Speaker 1: net slash Madness. We will be back next week with

2243
01:53:02,400 --> 01:53:06,360
Speaker 1: more insanity and we will reveal the Sweet sixteen. That's

2244
01:53:06,400 --> 01:53:07,040
Speaker 1: our show, Josh.

2245
01:53:07,320 --> 01:53:09,120
Speaker 6: If you want to connect with us on social media,

2246
01:53:09,200 --> 01:53:12,559
Speaker 6: you can find Adam and the show on Instagram and Facebook.

2247
01:53:12,600 --> 01:53:15,320
Speaker 6: He's at film Spotting. You can find me at those

2248
01:53:15,360 --> 01:53:19,120
Speaker 6: places as Larsen on film We are independently produced and

2249
01:53:19,240 --> 01:53:21,960
Speaker 6: listeners supported. You can support the show by joining the

2250
01:53:22,040 --> 01:53:25,960
Speaker 6: film Spotting Family at filmspottingfamily dot com. You can listen

2251
01:53:26,040 --> 01:53:28,360
Speaker 6: early and ad free. You'll also get a weekly newsletter,

2252
01:53:28,479 --> 01:53:32,400
Speaker 6: monthly bonus episodes, and access to the entire show archive.

2253
01:53:32,920 --> 01:53:35,120
Speaker 6: For show t shirts or other merch go to film

2254
01:53:35,160 --> 01:53:37,360
Speaker 6: spotting dot net slash shop.

2255
01:53:37,840 --> 01:53:40,439
Speaker 1: In that film Spotting archive, you can find lots of

2256
01:53:40,520 --> 01:53:43,080
Speaker 1: Ryan Johnson. We reviewed Brick in the early days. The

2257
01:53:43,120 --> 01:53:46,560
Speaker 1: Brothers Bloom episode two fifty nine. Interviewed Ryan for The

2258
01:53:46,640 --> 01:53:50,320
Speaker 1: Brothers Bloom. We reviewed Looper episode four sixteen, The Last

2259
01:53:50,400 --> 01:53:54,240
Speaker 1: Jedi six sixty Knives Out seven fifty five, The Second

2260
01:53:54,479 --> 01:53:58,839
Speaker 1: Knives Out on episode eight ninety eight out in limited

2261
01:53:58,920 --> 01:54:01,800
Speaker 1: release this weekend. You can see Misserracordia. This is one

2262
01:54:01,840 --> 01:54:04,000
Speaker 1: that's getting a lot of praise. It's the latest from

2263
01:54:04,040 --> 01:54:07,120
Speaker 1: the director of Stranger by the Lake. Bob Trevino likes

2264
01:54:07,160 --> 01:54:09,559
Speaker 1: it as a movie Josh that some film spotting family

2265
01:54:09,640 --> 01:54:13,000
Speaker 1: members in the discord have been praising and singling out

2266
01:54:13,000 --> 01:54:16,519
Speaker 1: as a potential Golden Brick candidate. Barbie Ferrara becomes a

2267
01:54:16,560 --> 01:54:19,320
Speaker 1: strange from her father, only to befriend a childless man

2268
01:54:19,400 --> 01:54:22,519
Speaker 1: online with the same name as her father. It co

2269
01:54:22,680 --> 01:54:25,720
Speaker 1: stars John Leguizamo and was the Grand Jury Award and

2270
01:54:25,840 --> 01:54:30,680
Speaker 1: Audience Award winner at last year's South By Southwest. Also out,

2271
01:54:30,800 --> 01:54:34,000
Speaker 1: Julie Keeps Quiet. A coach comes under investigation at an

2272
01:54:34,040 --> 01:54:37,760
Speaker 1: elite tennis academy. Our friend Isaac Feldberg says it's a

2273
01:54:37,920 --> 01:54:41,360
Speaker 1: silent scream that keeps building in its intensity and restraint.

2274
01:54:41,720 --> 01:54:43,880
Speaker 1: That is playing at the Gene Sisco Film Center in

2275
01:54:44,000 --> 01:54:47,520
Speaker 1: Chicago and one of my favorites. Steve Coogan plays a

2276
01:54:47,600 --> 01:54:50,200
Speaker 1: world weary English teacher. The movie is called The Penguin Lessons.

2277
01:54:50,600 --> 01:54:53,320
Speaker 1: He's a world weary English teacher who regains his compassion

2278
01:54:53,360 --> 01:54:57,520
Speaker 1: for others thanks to spoilers A Penguin that co stars

2279
01:54:58,000 --> 01:55:02,720
Speaker 1: Jonathan Price in wide release Death of a Unicorn. Josh

2280
01:55:03,400 --> 01:55:05,600
Speaker 1: wanted to recommend it couldn't quite get there.

2281
01:55:05,840 --> 01:55:07,640
Speaker 3: I mean, give it a shot, give it a shot

2282
01:55:07,640 --> 01:55:08,440
Speaker 3: if you're intrigued.

2283
01:55:09,280 --> 01:55:11,320
Speaker 1: Should we give the Woman in the Yard a shot?

2284
01:55:12,040 --> 01:55:14,560
Speaker 6: I was hoping that there was going to be a

2285
01:55:14,600 --> 01:55:18,720
Speaker 6: press screening for this and looked intriguing. I have appreciated

2286
01:55:18,760 --> 01:55:21,920
Speaker 6: some of the director's work, jaw Ma Colett Sarah, I'm

2287
01:55:21,960 --> 01:55:24,640
Speaker 6: not sure if I'm getting that correctly, but he's done

2288
01:55:24,680 --> 01:55:28,080
Speaker 6: some interesting genre stuff, but not a peep, not a

2289
01:55:28,160 --> 01:55:30,240
Speaker 6: peep in terms of press screenings.

2290
01:55:30,800 --> 01:55:34,400
Speaker 1: That film, starring Danielle Deadwiler, is out wide and finally

2291
01:55:34,880 --> 01:55:39,320
Speaker 1: a workingman. Jason Statham leaves behind a decorated military career

2292
01:55:39,360 --> 01:55:41,120
Speaker 1: in Black Ops, only to be drawn back in when

2293
01:55:41,120 --> 01:55:44,400
Speaker 1: his boss's daughter is taken by human traffickers. It's directed

2294
01:55:44,440 --> 01:55:47,320
Speaker 1: by David Air and Josh, I know you can't wait

2295
01:55:47,360 --> 01:55:50,200
Speaker 1: for this co written by Slice Stallone.

2296
01:55:50,440 --> 01:55:52,680
Speaker 6: I just think it's amazing how they find new ways

2297
01:55:53,160 --> 01:55:56,360
Speaker 6: to invigorate this sort of idea. It's not his daughter,

2298
01:55:57,320 --> 01:55:58,400
Speaker 6: did you catch at him?

2299
01:55:58,560 --> 01:56:00,160
Speaker 1: His boss's daughter's right right?

2300
01:56:01,080 --> 01:56:02,760
Speaker 3: What's that going to be like?

2301
01:56:02,840 --> 01:56:06,720
Speaker 1: You gotta find variations, variations on a theme, Josh and

2302
01:56:07,560 --> 01:56:10,560
Speaker 1: I don't think we will be dissecting those themes sadly

2303
01:56:10,800 --> 01:56:12,560
Speaker 1: next week on the show. We've got too much other

2304
01:56:13,080 --> 01:56:14,840
Speaker 1: work to do. Not only do we have that sweet

2305
01:56:14,880 --> 01:56:17,080
Speaker 1: sixteen of film Spotting madness, but we're going to finally

2306
01:56:17,480 --> 01:56:19,680
Speaker 1: do our best to pay tribute to one of the

2307
01:56:19,880 --> 01:56:23,360
Speaker 1: all time great screen actors, the legend Gene Hackman. We

2308
01:56:23,400 --> 01:56:26,040
Speaker 1: will share our top five Gene Hackman scenes.

2309
01:56:26,480 --> 01:56:28,960
Speaker 6: Film Spotting is produced by Golden Joe Desso and Sam

2310
01:56:29,080 --> 01:56:31,960
Speaker 6: Van Hogren. Without Sam and Golden Joe, this show wouldn't go.

2311
01:56:32,440 --> 01:56:36,120
Speaker 6: Our production assistant is Veronica Phillips. Special thanks to everyone

2312
01:56:36,280 --> 01:56:40,480
Speaker 6: at wb easy Chicago. More information is available at wbez

2313
01:56:40,800 --> 01:56:43,640
Speaker 6: dot org for Film Spotting, I'm Josh Larson and.

2314
01:56:43,680 --> 01:56:45,560
Speaker 1: I'm Adam Kempinar. Thanks for listening.

2315
01:56:45,720 --> 01:56:48,600
Speaker 3: This conversation can serve no purpose anymore.

2316
01:56:49,560 --> 01:56:50,200
Speaker 6: The burn.

2317
01:57:12,640 --> 01:57:15,600
Speaker 1: Film Spotting is listeners supported Join the film Spotting Family

2318
01:57:15,680 --> 01:57:18,520
Speaker 1: at film spottingfamily dot com and get access to ad

2319
01:57:18,600 --> 01:57:22,000
Speaker 1: free episodes, monthly bonus shows, our weekly newsletter, and, for

2320
01:57:22,080 --> 01:57:24,720
Speaker 1: the first time, all in one place, the entire film

2321
01:57:24,760 --> 01:57:27,400
Speaker 1: spotting archive going back to two thousand and five. That's

2322
01:57:27,440 --> 01:57:29,200
Speaker 1: a film spotting Family dot com.

2323
01:57:32,200 --> 01:57:32,680
Speaker 2: Panicicly