WEBVTT

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<v Speaker 1>Hey, this is Brian wanting to let you know that

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<v Speaker 1>the Movie Film Podcast now has a Patreon. If you

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<v Speaker 1>please head over to Patreon dot com slash moviefilm podcast

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<v Speaker 1>and subscribe. We'd be very grateful and now on with

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<v Speaker 1>the show. Welcome Friends Podcasts podcast show Jacky and Brian.

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<v Speaker 1>They're talking about the group back.

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<v Speaker 2>I guess are you ready for the truth? I believe

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<v Speaker 2>comic book heroes walk the air. I believe you have a

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<v Speaker 2>lot of those individuals. It's all right. It could be

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<v Speaker 2>free David. That's this part.

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<v Speaker 1>It would be like a comic book.

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<v Speaker 2>That is winning. It's time for someone like you, Unbreakable.

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<v Speaker 2>Welcome to a movie film commentary track. My name is

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<v Speaker 2>Zachi Hassan, and here is the David Dunn to my

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<v Speaker 2>Elijah Price, Brian Hall.

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<v Speaker 1>Hey, how's it going, Zachie?

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<v Speaker 2>Brian when he woke up this morning, was the sadness gone?

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<v Speaker 1>Yes, because I knew I was going to be recording

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<v Speaker 1>with you, because I think that's my purpose.

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<v Speaker 2>Just stay out of the water and you'll be fine.

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<v Speaker 1>That's right, that's right.

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<v Speaker 2>We are here to watch and talk through two thousands Unbreakable.

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<v Speaker 1>Yeah, this is when you brought this up, I was like,

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<v Speaker 1>of course, Unbreakable. I love Unbreakable. This is just one

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<v Speaker 1>of those obvious ones. I can't believe we haven't done yet.

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<v Speaker 2>This is a fun one in the sense that it's

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<v Speaker 2>it's been interesting to watch over the last quarter century

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<v Speaker 2>as its reputation has grown.

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<v Speaker 1>Yes, absolutely, I mean that was an interesting part of

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<v Speaker 1>this for me because I do remember. I'll talk about

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<v Speaker 1>it a little bit more, but I remember liking this, right,

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<v Speaker 1>off the bat. But even the same night, people within

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<v Speaker 1>my friend group were split on it. And I saw it.

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<v Speaker 1>You say, oh, and we'll talk about that experience. By

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<v Speaker 1>the way, that was incredible. But I saw that this

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<v Speaker 1>had a cinema score of c as like early cow

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<v Speaker 1>all right. I don't know. I only remember how I

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<v Speaker 1>felt about it, maybe because it was less of an

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<v Speaker 1>Internet age than we're living in now, where I know, yeah,

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<v Speaker 1>what everybody thinks about everything. But this is gonna be

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<v Speaker 1>fun to get into.

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<v Speaker 2>I agree. So there is just the one cut of Unbreakable,

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<v Speaker 2>which makes this conversation a little bit easier. So we're

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<v Speaker 2>gonna get started on this now. Worth mentioning that that

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<v Speaker 2>they have Disney has added a little disclaimer at the

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<v Speaker 2>top that says this film contains tobacco depictions. I think

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<v Speaker 2>that's right.

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<v Speaker 1>Yeah, that's what I have.

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<v Speaker 2>Yeah, And so just for the sake if you're trying

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<v Speaker 2>to time it up, that's the version that we're watching.

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<v Speaker 2>So there there's like a it's like a six second

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<v Speaker 2>thing at the start there. In case your version does

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<v Speaker 2>not have that, just just bear that in mind. Yep,

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<v Speaker 2>there you go.

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<v Speaker 1>Oh, hold on, I have to light up just before

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<v Speaker 1>we record it soothes me, your regular don Draper over there.

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<v Speaker 2>Uh so, uh we going ready to do this? Ready,

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<v Speaker 2>all right, so we will hit play on three one

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<v Speaker 2>two three play and here you go one two three play.

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<v Speaker 1>Contains tobacco depictions. November twenty second, two thousand, when Touchstone

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<v Speaker 1>Pictures was still releasing movies.

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<v Speaker 2>Well, well, this, this movie very much came out in

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<v Speaker 2>the warm afterglow of the Sixth Sense. Yes, just over

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<v Speaker 2>a year prior.

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<v Speaker 1>Very very quick, isn't it, I mean very fast?

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<v Speaker 2>Turned around? Yeah, well, he had started writing the script

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<v Speaker 2>for this while making the Sixth Sense.

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<v Speaker 1>Yeah, I saw. He wrote this as a spec script,

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<v Speaker 1>and he wound up making five million dollars for the

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<v Speaker 1>script and five million dollars to direct it.

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<v Speaker 2>Not too shabby considering he was. He was not even

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<v Speaker 2>thirty at that time.

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<v Speaker 1>Yeah, that's right, twenty nine years old.

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<v Speaker 2>Now. I have to say I felt very targeted by

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<v Speaker 2>this intro thing right here with the text. What do

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<v Speaker 2>you mean about the evils of comic books? Oh?

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<v Speaker 1>Is that is that how you took it?

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<v Speaker 2>I was kind of like, I don't like where this

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<v Speaker 2>is headed. Oh you know, it's funny.

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<v Speaker 1>I took it as a little bit of a No. Seriously,

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<v Speaker 1>this is like big business, and despite how you feel

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<v Speaker 1>about what's coming up, you know, comic books are legit,

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<v Speaker 1>They've been around for a long time, they're you know

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<v Speaker 1>what I mean, almost.

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<v Speaker 2>Like that if that's what you thought at the beginning,

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<v Speaker 2>Definitely by the end, when when the comic book Nerd

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<v Speaker 2>turns out to be the raving psychopath.

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<v Speaker 1>That's so funny. Do you actually is that kind of

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<v Speaker 1>how you view this A.

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<v Speaker 2>Little bit, not so much. I was only kind of

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<v Speaker 2>joking about the beginning, but I definitely remember at the

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<v Speaker 2>end being like, all right, oh guys. I mean there's

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<v Speaker 2>like lots of people who read comics who you know,

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<v Speaker 2>they're fine.

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<v Speaker 1>That is really funny. I guess I never thought of

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<v Speaker 1>it that way. But you know, this is this is

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<v Speaker 1>such an interesting film, isn't it. I mean, there's so

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<v Speaker 1>much to talk about, but like this is. As I

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<v Speaker 1>was watching it, I was thinking, this movie is in

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<v Speaker 1>the year two thousand, ahead of its time, and ironically

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<v Speaker 1>also could have only been made in this time.

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<v Speaker 2>I was I had that exact putt well touching it right.

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<v Speaker 1>This is a movie that should come out right now

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<v Speaker 1>because we are now so steeped in comic book movies

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<v Speaker 1>and culture and whatever that this movie could be I think,

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<v Speaker 1>you know, appreciated by way more people if it were

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<v Speaker 1>to come out now. But they don't make movies like

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<v Speaker 1>this any sort. So yeah, but you know, there was

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<v Speaker 1>a lot of talk about when I was doing research

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<v Speaker 1>on this, about the marketing and uh yeah, yeah, you know,

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<v Speaker 1>and and a lot of I guess coming from Disney

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<v Speaker 1>or whoever, the marketing people, they kind of wanted to

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<v Speaker 1>obscure the fact that this was a comic book movie.

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<v Speaker 2>Actually real, real quick, Brian, before he leaves the stage,

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<v Speaker 2>I did want to Amon Walker, who plays the doctor here.

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<v Speaker 2>Oh yeah, he's just up until recently, he was a

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<v Speaker 2>regular on Chicago Fire.

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<v Speaker 1>Oh okay, and you know he's.

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<v Speaker 2>Kind of kind of the grizzled, the veteran. You know.

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<v Speaker 1>Oh that's so funny because he looks so young.

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<v Speaker 2>Here he's a young buckstrap right here. Anyway, he's great.

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<v Speaker 1>I mean, it's a very it's a small part, but

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<v Speaker 1>it's impactful, and it's it's kind of horrifying, you know,

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<v Speaker 1>knowing that this talk about.

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<v Speaker 2>The worst nightmare any new parent could could experience.

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<v Speaker 1>You know, Yeah, this one's just giving birth in a

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<v Speaker 1>department store, and then the baby's arms and legs are broken,

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<v Speaker 1>and and then it's just like fades the Black m

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<v Speaker 1>Night Shemalin Presents. You're like, oh, okay, so this that's

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<v Speaker 1>that's what we're for. And this is kind of a

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<v Speaker 1>you know, serious melancholy movie. Yeah, you know, this isn't

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<v Speaker 1>really a romp, which is kind of interesting. And you

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<v Speaker 1>know this movie too, and this is something I remembered,

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<v Speaker 1>and I was wondering if I would be distracted by

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<v Speaker 1>it or still enamored with it as I was in

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<v Speaker 1>two thousand. But this is a very deliberately paced.

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<v Speaker 2>Oh yeah, even more so than The Sixth Sense, Yes,

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<v Speaker 2>which is also deliberately paced.

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<v Speaker 1>But this is very I mean it's a slow burn,

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<v Speaker 1>and there are a lot of movies that are slow burns,

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<v Speaker 1>but I mean, this is a movie that has takes

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<v Speaker 1>that last several minutes. And this, I mean, this is

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<v Speaker 1>a prime example what we're looking at here where we

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<v Speaker 1>see Bruce Willis as David Dunn on the train and

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<v Speaker 1>we go through this whole little short film of he

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<v Speaker 1>seems like kind of a sad person. Yeah, and he's

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<v Speaker 1>wearing this wedding ring and then this cute woman sits

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<v Speaker 1>next to him and he tries to strike up a conversation.

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<v Speaker 1>He goes a little too far, oversteps kind of flirting

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<v Speaker 1>with her, and she decides to leave. Oh, but he

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<v Speaker 1>takes off his wedding ring to have this conversation. Yeah,

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<v Speaker 1>oversteps a little bit. She's uncomfortable, she leaves, he puts

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<v Speaker 1>the ring back on. But the way they do it,

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<v Speaker 1>it's not just I mean, you could imagine that in

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<v Speaker 1>a regular sort of film, but I mean, what we're

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<v Speaker 1>looking at here is the camera is positioned in the

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<v Speaker 1>seats in front of them on this train, and we're

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<v Speaker 1>peaking like we're almost like eavesdropping on this moment right

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<v Speaker 1>as the camera sort of is just looking through the

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<v Speaker 1>cracks of the two seats, going slowly moving back and

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<v Speaker 1>forth and back and forth, picking up on them during

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<v Speaker 1>this moment. It's I remember at the time this was.

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<v Speaker 1>You know, there are certain movies I think when you're

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<v Speaker 1>becoming a sinophile, or you start making your own movies

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<v Speaker 1>and going to film school, or you know, with your

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<v Speaker 1>video camera in your backyard or your phone now, and

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<v Speaker 1>there are things that you see that just spark something

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<v Speaker 1>inside of you and then you start trying to do

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<v Speaker 1>that kind of thing. I remember this.

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<v Speaker 2>Movie was a huge influence on me.

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<v Speaker 1>I did this short film at college, and I remember

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<v Speaker 1>there's a moment where these people are slowly figuring something

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<v Speaker 1>out in a restaurant, and I was like, because I

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<v Speaker 1>had this movie in my mind, it was like the

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<v Speaker 1>camera started like at the entrance of the restaurant and

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<v Speaker 1>it's like a waiter walks in front, and then it

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<v Speaker 1>goes over like a menu and a slowly reaching the

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<v Speaker 1>people as they hit their realization. And I know it

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<v Speaker 1>was because of this. Yeah, the style of this film.

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<v Speaker 2>That's really something. This is such an uncomfortable scene to watch.

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<v Speaker 1>It really is.

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<v Speaker 2>You do sort of a cringe on his behalf you

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<v Speaker 2>a mm hmmm hm.

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<v Speaker 1>And she's good too. The whole well, I guess, I

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<v Speaker 1>guess switch seats. But this is I hadn't seen this

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<v Speaker 1>in a while, and if there were certain things that

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<v Speaker 1>I remember from this, this is actually one of those,

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<v Speaker 1>like moments him taking off the ring then him putting

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<v Speaker 1>the ring back on.

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<v Speaker 2>Yeah, it is a terrific performance by Bruce Willis.

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<v Speaker 1>Yes, and Samuel Jackson. I mean, this is just talk

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<v Speaker 1>about like a gift this script for the both of them,

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<v Speaker 1>you know, for both them.

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<v Speaker 2>And it is funny because we began this year with

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<v Speaker 2>our commentary track for Diehard with a Vengeance, and they're

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<v Speaker 2>playing such different versions of themselves in that, you know,

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<v Speaker 2>mm hmm, yeah, you talk about their their respective range

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<v Speaker 2>as actors. You know.

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<v Speaker 1>I was thinking too, Pulp Fiction wasn't even ten years

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<v Speaker 1>before this, that's right, maybe like six or something, and

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<v Speaker 1>Pulp Fiction was ninety four.

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<v Speaker 2>Diehard was ninety five and this is two thousand. Yeah.

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<v Speaker 1>Yeah. I hadn't realized how often they had been on

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<v Speaker 1>screen together.

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<v Speaker 2>Yeah, yeah, and especially once you factor in glass.

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<v Speaker 1>Yep yep, which.

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<v Speaker 2>Their final, their final pairing.

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<v Speaker 1>It turns out, you know, this was making me want

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<v Speaker 1>to revisit that Yeah, And I was like, I don't know,

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<v Speaker 1>I just remember not really enjoying my time with that one.

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<v Speaker 2>Yeah.

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<v Speaker 1>So just in preparation for this, I didn't have time

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<v Speaker 1>to watch it. So I was like, all right, I'll

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<v Speaker 1>watch a recap. So I went on YouTube and I

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<v Speaker 1>saw one that was nine minutes. I was like hmmmm,

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<v Speaker 1>And then I saw one that was two minutes, and

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<v Speaker 1>I was like, bingo, Yeah, I'd be curious to watch

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<v Speaker 1>it again now that my expectations are set. Sure, still

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<v Speaker 1>don't know that I would love it, but now that

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<v Speaker 1>I know what it is, and having, you know.

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<v Speaker 2>Just watched this fresh, i'd be kind of curious.

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<v Speaker 1>Yeah, But anyway, so this, I mean, I was a

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<v Speaker 1>huge fan of The Sixth Sense. I mean, it's it's

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<v Speaker 1>worth noting again we both are. And that was one

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<v Speaker 1>of those movies where, now before the movie comes out,

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<v Speaker 1>you would be seeing on like social media or news

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<v Speaker 1>articles or whatever, like you won't believe the ending of

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<v Speaker 1>the Sixth Sense, right, you know, so you're you're walking

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<v Speaker 1>in knowing there's some sort of twist awaiting you. But

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<v Speaker 1>I think we both went in not knowing that there

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<v Speaker 1>was a twist, and so it was just one of

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<v Speaker 1>the most mind blowing, unexpected and satisfying film moments, you know,

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<v Speaker 1>that we had had in a long long time. So

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<v Speaker 1>then when you you know that this this guy who

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<v Speaker 1>you don't know who he is, and night Shyamalan is

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<v Speaker 1>coming out with a new movie, and then I remember

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<v Speaker 1>the trailer was the scene we're going to see in

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<v Speaker 1>a minute where he's at the hospital and it's a

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<v Speaker 1>doctor basically saying you know you or You're involved in

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<v Speaker 1>this train accident and every single person died except you.

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<v Speaker 1>There's not a scratch on you. And it's like from

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<v Speaker 1>the guy who brought you the sixth Sense, You're like, well,

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<v Speaker 1>come on, like sign me up. You know, like huge

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<v Speaker 1>anticipation for this.

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<v Speaker 2>And that gets to Obviously Disney leaned hard into the

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<v Speaker 2>sixth sense of it all in order to sell the movie,

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<v Speaker 2>and I guess that got them a decent opening weekend,

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<v Speaker 2>even though you know, the movie itself did not perform

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<v Speaker 2>at that level. You know, it's just a different movie.

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<v Speaker 2>But Shyamalan has talked about how I mean he wanted

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<v Speaker 2>to I mean, this was his superhero movie, and essentially

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<v Speaker 2>he was told, you can't say superhero right, you get right.

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<v Speaker 2>None of the stuff that would allow you to, you know,

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<v Speaker 2>the stuff you had put in a trailer was available

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<v Speaker 2>to them. And I really think that some of that

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<v Speaker 2>expectation setting would have been very helpful. And I also,

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<v Speaker 2>you know, Quentin Tarantino has talked about about how, I mean,

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<v Speaker 2>for him, this is one of his favorite movies, you know,

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<v Speaker 2>from from the time he started directing to now is

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<v Speaker 2>from like ninety two to now, and he he made

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<v Speaker 2>a great point, and he's like, it's a movie. What

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<v Speaker 2>if Superman was real? But he doesn't know he's Superman?

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<v Speaker 1>Right right?

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<v Speaker 2>What a great pitch? Yeah right, yeah uh, And so

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<v Speaker 2>that I do feel like they kind of handicap themselves

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<v Speaker 2>a little bit.

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<v Speaker 1>It's it's it's tough because I loved not knowing, like

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<v Speaker 1>the discovery for me and abilities, like, what a what

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<v Speaker 1>a gift to be able to step into a movie

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<v Speaker 1>like this that is going to become the perfect thing

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<v Speaker 1>that I will find enjoyable and delightful. And I get

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<v Speaker 1>that discovery, you know. But for a lot of people,

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<v Speaker 1>I think they were unprepared, you know, to what you're saying,

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<v Speaker 1>And so it might have been helpful to at least

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00:14:59.440 --> 00:15:03.279
<v Speaker 1>tease that little bit. Yeah, I don't know. Yeah, it

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<v Speaker 1>sounds like the marketing they were trying to lean more

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<v Speaker 1>into the sort of supernatural thriller sort of thing. Yeah,

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<v Speaker 1>hide the fact that this had anything to do with

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<v Speaker 1>comic books.

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<v Speaker 2>It's from the guy who made six Cents. It stars

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<v Speaker 2>the guy from six Cents. Yeah, if they could have

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<v Speaker 2>called it the seventh sense, they would have, right, right, Yeah, probably,

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<v Speaker 2>this whole sequence is so terrific, though the way you've

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<v Speaker 2>got Willis in in the background. He's framed perfectly, and

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<v Speaker 2>the scene is just playing out like you said, in

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<v Speaker 2>this long shot. And meanwhile in the foreground, we've got

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<v Speaker 2>this guy and we see or this person, I should say,

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<v Speaker 2>and we see him bleed out. Yes, I mean, just

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<v Speaker 2>just look at that right there. Yep, as the blood

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00:15:46.279 --> 00:15:49.279
<v Speaker 2>stain dis grows and goes. That's how masterfully executed, you know.

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<v Speaker 1>I mean truly, this is I think sixth sense. This

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<v Speaker 1>and Signs are Shyamalan at the height of his powers. Yeah,

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00:15:56.759 --> 00:16:01.559
<v Speaker 1>you know, where he he can be a little showy

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00:16:02.240 --> 00:16:04.840
<v Speaker 1>or whatever you want to call it, but like, when

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00:16:04.840 --> 00:16:08.399
<v Speaker 1>he does it correctly, it works. Yeah, you know, it

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00:16:08.480 --> 00:16:10.799
<v Speaker 1>makes you feel exactly what he wants you to feel.

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<v Speaker 1>And then he's done some other films where he's pushed

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<v Speaker 1>that a little too hard, maybe been a little too

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<v Speaker 1>confident or brazen, or not listen to other people's ideas

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00:16:20.240 --> 00:16:22.440
<v Speaker 1>or thoughts or pinions on what he's doing, and then

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<v Speaker 1>it does become like, okay, you know what I mean,

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<v Speaker 1>It does start to feel a little bit more showy

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00:16:28.080 --> 00:16:33.279
<v Speaker 1>than the perfect way to tell the story you want

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00:16:33.279 --> 00:16:36.080
<v Speaker 1>to tell. But this movie, so yeah, I went into

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00:16:36.120 --> 00:16:41.159
<v Speaker 1>this remembering that it was a very deliberately paced film

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00:16:41.360 --> 00:16:44.799
<v Speaker 1>in its shot lengths and its editing and its performances

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00:16:44.840 --> 00:16:47.039
<v Speaker 1>even I mean, everyone talks very slow and low, and

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<v Speaker 1>I was wondering if that would hold up or if

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00:16:49.919 --> 00:16:52.559
<v Speaker 1>I would find that a little bit like, oh yeah,

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00:16:52.600 --> 00:16:54.360
<v Speaker 1>I kind of remember he went for this, but otherwise

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<v Speaker 1>I enjoy it. But I found myself thinking it was

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<v Speaker 1>perfectly calibrated.

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<v Speaker 2>I agree. I think the long takes really allow you

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00:17:03.960 --> 00:17:07.839
<v Speaker 2>to appreciate the nuances of the performances. And you know,

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<v Speaker 2>I'm a big fan of when you've got a conversation

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00:17:11.200 --> 00:17:13.759
<v Speaker 2>see or whatever and we're able to see both both

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00:17:13.799 --> 00:17:18.200
<v Speaker 2>players or you know, the players involved within the frame. Yeah,

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00:17:18.240 --> 00:17:22.160
<v Speaker 2>you get to see their real reactions, real time reactions,

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<v Speaker 2>without the intrusion of the edit. And so I think

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00:17:26.640 --> 00:17:29.319
<v Speaker 2>that's something that that Shyamalan does here, and he does

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<v Speaker 2>it to a far greater degree here than he did

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00:17:32.160 --> 00:17:36.039
<v Speaker 2>in The Six Suns, and it's it is very enjoyable. Now,

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00:17:36.039 --> 00:17:38.640
<v Speaker 2>I have not revisited Signs in a while, so I

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00:17:38.680 --> 00:17:42.799
<v Speaker 2>can't remember if he utilized a similar technique here, but

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00:17:42.880 --> 00:17:47.920
<v Speaker 2>it's very effectively executed in this film, you know, So

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<v Speaker 2>I'm curious. I'm curious to see how much of that

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<v Speaker 2>he puts into science.

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<v Speaker 1>If anything, Signs isn't as lingering as this movie is,

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00:17:58.079 --> 00:18:00.599
<v Speaker 1>but it is still his very much, which his voice,

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00:18:00.599 --> 00:18:02.279
<v Speaker 1>the voice we see in this movie. But I think he,

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<v Speaker 1>like I said, I mean, he knew what he was doing.

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<v Speaker 1>He was so on fire in that moment, and he

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00:18:07.599 --> 00:18:10.559
<v Speaker 1>knew that what exactly what he's doing in this wouldn't

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00:18:10.559 --> 00:18:12.759
<v Speaker 1>have worked for science. Signs needs to be a little

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00:18:12.759 --> 00:18:16.519
<v Speaker 1>bit snappier, a little bit more humor pepper throughout, but

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00:18:16.720 --> 00:18:18.680
<v Speaker 1>it still does feel very much like it's from the

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<v Speaker 1>same filmmaker.

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<v Speaker 2>You know.

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<v Speaker 1>Another thing, too, is what I remember about this movie.

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<v Speaker 1>I want to comment on what we just saw. I

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00:18:27.839 --> 00:18:33.319
<v Speaker 1>was like, whoa, that is some fish eye again. My

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00:18:33.440 --> 00:18:36.079
<v Speaker 1>memory of this is him realizing he has more strength

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00:18:36.119 --> 00:18:38.599
<v Speaker 1>than he realizes, and him and his boy putting you know,

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00:18:38.640 --> 00:18:41.200
<v Speaker 1>all the weights on, and you know, of course his

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00:18:41.240 --> 00:18:43.200
<v Speaker 1>mission at the end when he goes and tries to

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00:18:43.319 --> 00:18:45.880
<v Speaker 1>stop that janitor and whatever. But what I had forgotten

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00:18:45.880 --> 00:18:49.160
<v Speaker 1>about was, I mean, kind of what the movie's really about.

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<v Speaker 1>And it's themes I feel like resonated with me even

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<v Speaker 1>more as an adult and a big part of it is,

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<v Speaker 1>you know, an adult relationship deteriorating. That's very different than

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00:19:01.039 --> 00:19:04.319
<v Speaker 1>like a teenage relationship falling apart. And like everything that

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00:19:04.519 --> 00:19:07.759
<v Speaker 1>you know Bruce Willis and Robin Wright are doing, I mean,

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00:19:07.759 --> 00:19:12.319
<v Speaker 1>it's just so grounded and realistic. And like you said,

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<v Speaker 1>there's there's an amazing moment where they're talking together through

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<v Speaker 1>a doorway and and it's this two shot and you

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00:19:18.680 --> 00:19:21.319
<v Speaker 1>get to watch both of them just existing with one

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<v Speaker 1>another for a while.

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<v Speaker 2>Yeah, yeah, exactly.

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<v Speaker 1>And so there's there's that, which is a lot of

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<v Speaker 1>what this movie is about. Oh, and why I wanted

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00:19:28.200 --> 00:19:29.559
<v Speaker 1>to call what I wanted to call out was in

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<v Speaker 1>the hospital where you see the boy try to put

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<v Speaker 1>their hands together, to all the hands and as soon

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00:19:36.039 --> 00:19:38.200
<v Speaker 1>as he turns around and they start walking, they let go.

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00:19:38.960 --> 00:19:42.599
<v Speaker 1>I was like, oh, my heart. And then it's also

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00:19:42.839 --> 00:19:47.240
<v Speaker 1>about feeling blah, you know, at a certain age and

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00:19:47.279 --> 00:19:52.039
<v Speaker 1>you can't pinpoint why. And I was reading Shyamalan said

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<v Speaker 1>about this and the tone that he was trying to

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00:19:54.839 --> 00:19:58.359
<v Speaker 1>strike while writing a quote unquote superhero movie. Well, no,

382
00:19:58.359 --> 00:20:01.079
<v Speaker 1>not quote unquote. He said, time I wrote a scene

383
00:20:01.079 --> 00:20:04.640
<v Speaker 1>that was two comic bushes comic bookish I yanked it out.

384
00:20:05.160 --> 00:20:08.920
<v Speaker 1>It became much more about that unexplainable feeling of grayness

385
00:20:08.920 --> 00:20:11.079
<v Speaker 1>when you wake up in the morning, that feeling of

386
00:20:11.119 --> 00:20:14.000
<v Speaker 1>somberness when you're not fitting in which to some extent

387
00:20:14.039 --> 00:20:16.480
<v Speaker 1>I was struggling with at the time. It became about

388
00:20:16.480 --> 00:20:19.839
<v Speaker 1>being out of sync, and so I kind of watched

389
00:20:19.839 --> 00:20:23.920
<v Speaker 1>it with a different sort of you know eyes, you know,

390
00:20:23.960 --> 00:20:26.440
<v Speaker 1>forty five year old eyes versus my twenty year old

391
00:20:26.480 --> 00:20:32.319
<v Speaker 1>eyes when I first saw this, Jeez, when you put

392
00:20:32.319 --> 00:20:36.559
<v Speaker 1>it like that, good lord, Yeah, I had just turned

393
00:20:37.240 --> 00:20:42.400
<v Speaker 1>twenty one when this movie came out. Okay, yeah, what

394
00:20:42.400 --> 00:20:45.079
<v Speaker 1>an exciting time, though. I mean so much as written

395
00:20:45.119 --> 00:20:48.359
<v Speaker 1>about the year nineteen ninety nine possibly being one of

396
00:20:48.359 --> 00:20:50.640
<v Speaker 1>the best years in cinema ever, and it's because there

397
00:20:50.640 --> 00:20:54.559
<v Speaker 1>were so many interesting and innovative movies that were released

398
00:20:54.559 --> 00:20:57.599
<v Speaker 1>by major studios, right, you know, and then I think

399
00:20:57.640 --> 00:20:59.759
<v Speaker 1>this is we're still doing it when you get a

400
00:20:59.799 --> 00:21:00.640
<v Speaker 1>movie like this.

401
00:21:01.279 --> 00:21:05.240
<v Speaker 2>Well, and definitely when you situate this on the continuum

402
00:21:05.359 --> 00:21:08.720
<v Speaker 2>of superhero movies, I think that too, is very interesting

403
00:21:08.799 --> 00:21:12.440
<v Speaker 2>because it arrives just a year after The Matrix, which

404
00:21:12.480 --> 00:21:15.920
<v Speaker 2>I consider that a superhero origin story. Sure, right, and

405
00:21:16.400 --> 00:21:20.519
<v Speaker 2>it's just after It's it's mere months after the first

406
00:21:20.720 --> 00:21:25.039
<v Speaker 2>X Men, which, if you want to point to a

407
00:21:25.079 --> 00:21:28.279
<v Speaker 2>play like I mean, granted, Blade came out two years earlier,

408
00:21:28.279 --> 00:21:30.640
<v Speaker 2>but let's be honest, it was X Men that kickstarted

409
00:21:30.920 --> 00:21:35.039
<v Speaker 2>the whole Marvel movie thing for sure. And so it's

410
00:21:35.160 --> 00:21:38.920
<v Speaker 2>this pivot, you know what I mean. So Unbreakable exists

411
00:21:39.160 --> 00:21:45.640
<v Speaker 2>in within that prior era, even as it just came

412
00:21:45.680 --> 00:21:47.880
<v Speaker 2>out just after the beginning of the new era. Does

413
00:21:47.920 --> 00:21:51.319
<v Speaker 2>that make sense? Huh? Yeah, you know, because because from

414
00:21:51.599 --> 00:21:56.200
<v Speaker 2>X Men to now, you know, the superhero paradigm has

415
00:21:56.240 --> 00:22:04.480
<v Speaker 2>completely shifted, and yet this movie is just five years

416
00:22:04.519 --> 00:22:08.000
<v Speaker 2>before Bamman begins.

417
00:22:08.039 --> 00:22:10.880
<v Speaker 1>And thinking about that with James Newton Howard.

418
00:22:10.960 --> 00:22:17.720
<v Speaker 2>Yeah, yeah, right, And clearly Christopher Nolan is is I

419
00:22:17.759 --> 00:22:22.319
<v Speaker 2>have to believe he took inspiration from the grounded nature

420
00:22:22.359 --> 00:22:25.039
<v Speaker 2>of this story when he was telling his superhero story.

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00:22:24.839 --> 00:22:27.400
<v Speaker 1>For sure, or at least I have to imagine he

422
00:22:27.440 --> 00:22:30.319
<v Speaker 1>was really delighted by this movie. Yeah, this feels very

423
00:22:30.400 --> 00:22:37.519
<v Speaker 1>much in his arena. Yeah, this is just fun script stuff.

424
00:22:38.119 --> 00:22:41.960
<v Speaker 1>You know, where he gets the card on his windshield,

425
00:22:42.000 --> 00:22:43.720
<v Speaker 1>he doesn't know who it's from. Where, just asks this,

426
00:22:44.640 --> 00:22:47.799
<v Speaker 1>you know, he survives this impossible thing, this where a

427
00:22:47.880 --> 00:22:49.559
<v Speaker 1>train crash where everyone's died, and then he gets a

428
00:22:49.559 --> 00:22:51.880
<v Speaker 1>card from he doesn't know who that just says, have

429
00:22:51.960 --> 00:22:54.759
<v Speaker 1>you ever had? Have you ever been sick? What a

430
00:22:54.799 --> 00:22:57.000
<v Speaker 1>curious question, you know, And so then him going to

431
00:22:57.039 --> 00:22:59.039
<v Speaker 1>work and being the way that he does it is like,

432
00:22:59.720 --> 00:23:02.079
<v Speaker 1>oh have I ever how many sick days have I taken?

433
00:23:02.279 --> 00:23:05.400
<v Speaker 1>Just like that's his interesting way of trying to deduce that.

434
00:23:06.039 --> 00:23:07.839
<v Speaker 1>And then to have his boss show up like, fine,

435
00:23:07.880 --> 00:23:10.279
<v Speaker 1>you'll get a raise, Like I get what you're saying,

436
00:23:10.519 --> 00:23:12.519
<v Speaker 1>you haven't taken a sick day? Like what a more

437
00:23:12.759 --> 00:23:17.400
<v Speaker 1>interesting way to get that across, but that he's never

438
00:23:17.440 --> 00:23:20.920
<v Speaker 1>been sick, because then we get to see him at

439
00:23:20.960 --> 00:23:23.400
<v Speaker 1>work and we learn what his life is like at

440
00:23:23.440 --> 00:23:25.720
<v Speaker 1>work because we get to meet his boss. Also, it's

441
00:23:25.799 --> 00:23:30.680
<v Speaker 1>very clever stuff. Yeah, this stuff. So we know they're

442
00:23:30.720 --> 00:23:33.799
<v Speaker 1>in separate rooms, him and his wife.

443
00:23:34.119 --> 00:23:36.960
<v Speaker 2>That's what I love, right, They're in the same frame

444
00:23:37.039 --> 00:23:38.079
<v Speaker 2>but in different rooms.

445
00:23:38.240 --> 00:23:44.160
<v Speaker 1>Yes, that's great. Yeah, and just you know there's an

446
00:23:44.240 --> 00:23:48.799
<v Speaker 1>unease here, there's an unease with them period. But he

447
00:23:48.920 --> 00:23:50.960
<v Speaker 1>needs to ask her a question that only she could

448
00:23:51.000 --> 00:23:53.759
<v Speaker 1>answer for him. And you see a little bit of

449
00:23:53.799 --> 00:23:59.960
<v Speaker 1>a you know, not in a connection, but what you know,

450
00:24:00.160 --> 00:24:03.079
<v Speaker 1>familiarity that only like a husband and wife could could have,

451
00:24:03.200 --> 00:24:05.880
<v Speaker 1>you know, like a slight a mild barrier comes down

452
00:24:05.880 --> 00:24:08.640
<v Speaker 1>in this moment, right, because she's like, why, that's an

453
00:24:08.680 --> 00:24:10.240
<v Speaker 1>interesting question. I don't know. I guess I don't know

454
00:24:10.240 --> 00:24:12.400
<v Speaker 1>how to answer that question. It's just I don't know.

455
00:24:12.440 --> 00:24:14.319
<v Speaker 2>This movie is so much more textured than I remember.

456
00:24:15.000 --> 00:24:17.119
<v Speaker 2>That's really true. Yeah, but I mean I think it's

457
00:24:17.160 --> 00:24:21.440
<v Speaker 2>reflective of just a quarter century of living, which I

458
00:24:21.440 --> 00:24:24.480
<v Speaker 2>think you and I have had, you know, until you're

459
00:24:24.519 --> 00:24:27.319
<v Speaker 2>able to be like, oh, okay, I see I see

460
00:24:27.319 --> 00:24:31.200
<v Speaker 2>where where he's coming from. I mean, I know what

461
00:24:31.200 --> 00:24:34.359
<v Speaker 2>it's like to not be sick a day in your

462
00:24:34.359 --> 00:24:37.920
<v Speaker 2>life and lift every weight in the house.

463
00:24:37.960 --> 00:24:40.319
<v Speaker 1>I mean, I get it.

464
00:24:40.440 --> 00:24:44.079
<v Speaker 2>Me and David Dunn, we're not that sim dissimilar, you know.

465
00:24:44.640 --> 00:24:48.200
<v Speaker 1>Yeah. Yeah, it's also it's almost infuriating knowing that he

466
00:24:48.279 --> 00:24:49.400
<v Speaker 1>was twenty nine when he did this.

467
00:24:50.400 --> 00:24:52.319
<v Speaker 2>I was thinking about that and I was like, you know,

468
00:24:52.400 --> 00:24:57.319
<v Speaker 2>we heard those those Spielberg comparisons back then, and you

469
00:24:57.400 --> 00:25:00.599
<v Speaker 2>realize why, right, because Spielberg was what seven when he

470
00:25:00.640 --> 00:25:04.160
<v Speaker 2>made Jaws, right, right, And Shyamalan was twenty eight when

471
00:25:04.200 --> 00:25:08.119
<v Speaker 2>he made six cents, so you know, there was sort

472
00:25:08.119 --> 00:25:10.359
<v Speaker 2>of a wonder can aspect to it.

473
00:25:10.400 --> 00:25:13.519
<v Speaker 1>That's literally the word on my lips. Yep. Yeah, was

474
00:25:13.559 --> 00:25:18.039
<v Speaker 1>that when Signs was coming out that.

475
00:25:17.079 --> 00:25:19.119
<v Speaker 2>Yeah, it was. It was I believe it was Newsweek,

476
00:25:19.599 --> 00:25:21.519
<v Speaker 2>Oh news Okay that had him on the cover and

477
00:25:21.559 --> 00:25:23.480
<v Speaker 2>said the next Spielberg. And I remember seeing that being

478
00:25:23.559 --> 00:25:25.200
<v Speaker 2>like ooh.

479
00:25:24.519 --> 00:25:28.240
<v Speaker 1>Me too, Like no, I'm excited about this guy also,

480
00:25:28.319 --> 00:25:32.880
<v Speaker 1>but I thought I read somewhere that he actually reached

481
00:25:32.880 --> 00:25:34.079
<v Speaker 1>out to Spielberg.

482
00:25:33.640 --> 00:25:37.839
<v Speaker 2>And was like that was not my idea, and Spielberg's like, yeah,

483
00:25:37.839 --> 00:25:39.039
<v Speaker 2>whatever and hangs up on him.

484
00:25:40.440 --> 00:25:44.119
<v Speaker 1>He's like, yeah whatever. Do you remember the picture.

485
00:25:43.920 --> 00:25:47.000
<v Speaker 2>Spielberg being the guy on Reddit who's like talking shit

486
00:25:47.119 --> 00:25:50.880
<v Speaker 2>about him? He's he's like bugs Bunny and that Daffy

487
00:25:50.920 --> 00:25:57.559
<v Speaker 2>Duck cartoon. You know, ain't I Astinka? That's hilarious. Notice

488
00:25:57.559 --> 00:26:03.079
<v Speaker 2>how many shots in this film do through the reflection exposition.

489
00:26:03.960 --> 00:26:05.160
<v Speaker 1>I was just going to bring that up.

490
00:26:05.279 --> 00:26:08.119
<v Speaker 2>Yeah, because even his birth is I was gonna say,

491
00:26:08.119 --> 00:26:10.559
<v Speaker 2>like the birth scene is, or the post birth I

492
00:26:10.559 --> 00:26:13.079
<v Speaker 2>should say, it's fantastic because the whole you'd think you're

493
00:26:13.079 --> 00:26:15.960
<v Speaker 2>seeing what actually is. But it's a reflection, and of

494
00:26:15.960 --> 00:26:19.559
<v Speaker 2>course it's always Elijah and and you know he's a

495
00:26:19.599 --> 00:26:22.759
<v Speaker 2>distorted reflection of David.

496
00:26:23.160 --> 00:26:23.799
<v Speaker 1>Right, yep.

497
00:26:24.480 --> 00:26:28.279
<v Speaker 2>It's good stuff, yeah, yep.

498
00:26:28.880 --> 00:26:31.839
<v Speaker 1>And I mean all this stuff too, is just so.

499
00:26:33.279 --> 00:26:34.599
<v Speaker 2>Potent, you know.

500
00:26:34.599 --> 00:26:37.759
<v Speaker 1>It was it was putting a lump in my chest

501
00:26:37.880 --> 00:26:39.319
<v Speaker 1>or a lump in my throat last night, just this

502
00:26:39.400 --> 00:26:41.559
<v Speaker 1>poor boy. And there's that scene. There's a bunch of

503
00:26:41.559 --> 00:26:43.799
<v Speaker 1>deleted scenes from this movie. Do you remember the one

504
00:26:44.279 --> 00:26:47.319
<v Speaker 1>where he tries to go on that ride at the fair? Oh,

505
00:26:47.519 --> 00:26:52.039
<v Speaker 1>oh my god, it's harrowing, I know, because he wants

506
00:26:52.039 --> 00:26:54.720
<v Speaker 1>to ride this ride, and so he takes these stuffed

507
00:26:54.759 --> 00:26:58.720
<v Speaker 1>animals and in the very deliberate fashion you know that

508
00:26:58.799 --> 00:27:02.359
<v Speaker 1>this movie is shot, It just slowly like follows his

509
00:27:02.480 --> 00:27:04.640
<v Speaker 1>process of like, well, if I put these stuffed animals here,

510
00:27:05.039 --> 00:27:07.039
<v Speaker 1>and if I put my coat over this, you know,

511
00:27:07.119 --> 00:27:09.640
<v Speaker 1>protection bar, like I should be okay. And then as

512
00:27:09.680 --> 00:27:11.599
<v Speaker 1>the ride, oh, it's that you know, what do you

513
00:27:11.599 --> 00:27:13.519
<v Speaker 1>call it, like a centrifuge or something like the ride

514
00:27:13.559 --> 00:27:16.400
<v Speaker 1>that spins so the gravity forces you against the wall

515
00:27:17.160 --> 00:27:22.240
<v Speaker 1>and then slowly the stuffed animals come loose, and you're like, oh, no,

516
00:27:22.640 --> 00:27:24.880
<v Speaker 1>I know, and he's gonna get injured, and it's oh,

517
00:27:25.759 --> 00:27:28.799
<v Speaker 1>it's it's incredible filmmaking.

518
00:27:28.839 --> 00:27:33.400
<v Speaker 2>But it did they cut it? I'm actually I mean.

519
00:27:33.440 --> 00:27:36.240
<v Speaker 1>That scene with him falling down the stairs is that

520
00:27:37.119 --> 00:27:38.920
<v Speaker 1>it's hard enough exactly. I don't know if I could.

521
00:27:38.759 --> 00:27:40.720
<v Speaker 2>Take to them much much less seeing a little kid

522
00:27:40.759 --> 00:27:41.880
<v Speaker 2>go through it, exactly.

523
00:27:43.279 --> 00:27:46.119
<v Speaker 1>But just this whole conceit is so sweet, Like she

524
00:27:46.200 --> 00:27:48.039
<v Speaker 1>buys in this gift, but like puts it on a

525
00:27:48.079 --> 00:27:49.680
<v Speaker 1>bench so he'll get out of the house to go

526
00:27:49.720 --> 00:27:50.079
<v Speaker 1>get it.

527
00:27:50.200 --> 00:27:52.640
<v Speaker 2>And well, I'm just gonna put this out there. Maybe

528
00:27:52.680 --> 00:27:54.400
<v Speaker 2>she could have got him a pack of baseball card

529
00:27:54.480 --> 00:27:56.039
<v Speaker 2>or something and avoided a lot of this shit.

530
00:28:00.880 --> 00:28:01.680
<v Speaker 1>That's hilarious.

531
00:28:02.720 --> 00:28:08.680
<v Speaker 2>Yeah, I'm just saying mom bears some responsibility. I'm gonna say,

532
00:28:08.680 --> 00:28:11.119
<v Speaker 2>like thirty percent of everything. You know.

533
00:28:12.920 --> 00:28:14.440
<v Speaker 1>That would be kind of funny if there was a

534
00:28:14.440 --> 00:28:15.680
<v Speaker 1>scene and she was like, so, what did you think

535
00:28:15.720 --> 00:28:17.880
<v Speaker 1>of the story, and he goes, well, I think you know,

536
00:28:17.920 --> 00:28:20.240
<v Speaker 1>they treat the bad guy in this comic unfair. I mean,

537
00:28:20.240 --> 00:28:22.319
<v Speaker 1>maybe he's got a point. I mean, maybe, you know,

538
00:28:22.319 --> 00:28:26.799
<v Speaker 1>And then she's like, oh, okay, there are two shots

539
00:28:26.799 --> 00:28:28.799
<v Speaker 1>in this movie that do find kind of obnoxious. This

540
00:28:28.920 --> 00:28:33.200
<v Speaker 1>is one of them. I gotta be I gotta be fair.

541
00:28:33.880 --> 00:28:36.240
<v Speaker 2>So it's the camera turning turning.

542
00:28:36.440 --> 00:28:38.440
<v Speaker 1>With the com I just don't see the point of

543
00:28:38.480 --> 00:28:41.640
<v Speaker 1>it other than it being sort of complicated and showy.

544
00:28:42.119 --> 00:28:49.000
<v Speaker 1>But but I you know, as we know, I'm a

545
00:28:49.079 --> 00:28:52.279
<v Speaker 1>huge Shamalan apologist, and so I stick up for him

546
00:28:52.279 --> 00:28:54.000
<v Speaker 1>and gush over him a lot. So I will call

547
00:28:54.039 --> 00:28:55.599
<v Speaker 1>out that shot. And there's another shot.

548
00:28:55.440 --> 00:28:57.240
<v Speaker 2>That kind of annoys me later that I will call out.

549
00:28:57.640 --> 00:29:00.400
<v Speaker 1>But otherwise a plus.

550
00:29:01.039 --> 00:29:05.640
<v Speaker 2>Well, the idea is he he has an upside down worldview,

551
00:29:06.480 --> 00:29:08.839
<v Speaker 2>and so the movie is putting us in his headspace

552
00:29:09.000 --> 00:29:14.839
<v Speaker 2>where somehow what's upside down looks normal. All right, that's yeah.

553
00:29:14.680 --> 00:29:15.680
<v Speaker 1>Good, that's pretty good.

554
00:29:17.079 --> 00:29:19.799
<v Speaker 2>Do you really believe that, No, that's coming up with

555
00:29:19.839 --> 00:29:22.519
<v Speaker 2>something I was gonna say that. Actually I'll buy that

556
00:29:22.559 --> 00:29:25.799
<v Speaker 2>and I'll go with it. You know. Well, here's another reflection,

557
00:29:27.400 --> 00:29:31.200
<v Speaker 2>so this scene here, yes, now, now, I have many thoughts.

558
00:29:31.359 --> 00:29:34.920
<v Speaker 2>First of all, I don't I think Elijah's response is

559
00:29:34.960 --> 00:29:38.480
<v Speaker 2>the correct one. Uh if if, even if he's a

560
00:29:38.480 --> 00:29:45.319
<v Speaker 2>little bit you know, brusque with with the customer. Right. However, well, well,

561
00:29:45.400 --> 00:29:47.599
<v Speaker 2>I mean this is not that's not something you put

562
00:29:47.680 --> 00:29:49.519
<v Speaker 2>up in a in a kid's room. Come on, now,

563
00:29:49.680 --> 00:29:51.880
<v Speaker 2>right I would I would have handled it more delicately.

564
00:29:52.000 --> 00:29:53.720
<v Speaker 2>But my point is is what kind of stupid ass

565
00:29:53.799 --> 00:29:57.720
<v Speaker 2>dad goes into a fine art gallery? This is I mean,

566
00:29:57.960 --> 00:30:01.079
<v Speaker 2>he's again he's right, no, lie, just right. This isn't

567
00:30:01.119 --> 00:30:06.960
<v Speaker 2>kids r us you know, you know it's a fine

568
00:30:07.039 --> 00:30:08.880
<v Speaker 2>art gallery. And he'll be like, oh, I want to

569
00:30:08.920 --> 00:30:12.559
<v Speaker 2>put this in my four year old Jeb to name

570
00:30:12.640 --> 00:30:15.920
<v Speaker 2>your son Jeb. Come on, now, you.

571
00:30:15.880 --> 00:30:19.839
<v Speaker 1>Know what's funny. I do remember like getting it, you know,

572
00:30:19.880 --> 00:30:21.400
<v Speaker 1>when I first saw it, But last night I was

573
00:30:21.440 --> 00:30:24.880
<v Speaker 1>sort of like, well, what if that was like, you know,

574
00:30:25.000 --> 00:30:27.279
<v Speaker 1>super like Action Comics number one or whatever. Like this

575
00:30:27.279 --> 00:30:29.359
<v Speaker 1>guy is a huge comic book fan, and he wants

576
00:30:30.160 --> 00:30:32.400
<v Speaker 1>or like a star imagine like a Star Wars original

577
00:30:32.400 --> 00:30:35.599
<v Speaker 1>poster or something from nineteen seventy seven that costs ten

578
00:30:35.640 --> 00:30:38.680
<v Speaker 1>thousand dollars or something. But it's like he wants his

579
00:30:38.799 --> 00:30:41.079
<v Speaker 1>son to grow up loving Star Wars like he does,

580
00:30:41.119 --> 00:30:43.640
<v Speaker 1>and maybe he has the means, and so that's his

581
00:30:43.759 --> 00:30:46.240
<v Speaker 1>way of you know, I'm gonna put this. This is

582
00:30:46.279 --> 00:30:48.400
<v Speaker 1>the beginning. This is the beginning of a journey. I

583
00:30:48.440 --> 00:30:50.559
<v Speaker 1>want to share with my son. That's actually how I

584
00:30:50.559 --> 00:30:51.799
<v Speaker 1>looked at it, and I was like, oh, I gotta

585
00:30:51.799 --> 00:30:52.519
<v Speaker 1>feel bad for this.

586
00:30:52.640 --> 00:30:54.960
<v Speaker 2>Okay, let me let me put this. You've been in

587
00:30:55.039 --> 00:30:58.359
<v Speaker 2>my cave, Yes, you've seen the things I have in

588
00:30:58.400 --> 00:31:00.559
<v Speaker 2>my cave. Now do I want my kids to be

589
00:31:00.640 --> 00:31:02.720
<v Speaker 2>into that stuff? Absolutely? Do you think I should put

590
00:31:02.759 --> 00:31:05.200
<v Speaker 2>any one of the things in my cave in the

591
00:31:05.440 --> 00:31:06.799
<v Speaker 2>room where my baby sleeps.

592
00:31:09.279 --> 00:31:14.240
<v Speaker 1>I mean he don't know. Yeah, I'm truly. I mean,

593
00:31:14.279 --> 00:31:17.319
<v Speaker 1>like one of the I can imagine, like a Chewbacca

594
00:31:17.440 --> 00:31:19.599
<v Speaker 1>or something, just to sort of get them endeared.

595
00:31:19.759 --> 00:31:22.200
<v Speaker 2>Well, sure, but that's but that's my point. Something you

596
00:31:22.240 --> 00:31:27.599
<v Speaker 2>get from Walmart, not from you know, a high end gallery.

597
00:31:29.079 --> 00:31:31.440
<v Speaker 1>Don't get me wrong. I mean I this isn't something

598
00:31:31.480 --> 00:31:33.759
<v Speaker 1>I would do. But let me put it this way.

599
00:31:33.759 --> 00:31:35.519
<v Speaker 1>And why I actually kind of like this scene now

600
00:31:35.519 --> 00:31:38.440
<v Speaker 1>they think about it is I do actually feel a

601
00:31:38.440 --> 00:31:40.640
<v Speaker 1>little bit bad for the guy because you know, he

602
00:31:40.680 --> 00:31:46.319
<v Speaker 1>doesn't he's not like he's an idiot, Brian. I mean,

603
00:31:46.359 --> 00:31:48.240
<v Speaker 1>he seems sincere about what he wants to do. That's

604
00:31:48.240 --> 00:31:50.920
<v Speaker 1>a sincere decision. However, I do like that it helps

605
00:31:51.000 --> 00:31:54.960
<v Speaker 1>us understand Elijah in the way that he would never

606
00:31:55.640 --> 00:31:59.720
<v Speaker 1>like diminish. Anything that he sees is so valuable, those

607
00:31:59.720 --> 00:32:02.079
<v Speaker 1>cans aren't good enough for him, and so he's happy

608
00:32:02.119 --> 00:32:03.559
<v Speaker 1>to rudely say good day, sir.

609
00:32:04.119 --> 00:32:07.119
<v Speaker 2>I think what they should have that guy, the guy

610
00:32:07.359 --> 00:32:10.039
<v Speaker 2>should have. He should have been like wearing a starter

611
00:32:10.200 --> 00:32:13.400
<v Speaker 2>jacket and like snapping gum. And that's why I hear you,

612
00:32:13.599 --> 00:32:15.400
<v Speaker 2>I hear you got that dork shit here.

613
00:32:16.000 --> 00:32:18.160
<v Speaker 1>I mean that's kind of yeah. Actually that's what they

614
00:32:18.160 --> 00:32:20.599
<v Speaker 1>needed to do that maybe lean into that a little

615
00:32:20.599 --> 00:32:22.640
<v Speaker 1>bit more. And by the way, I don't actually even

616
00:32:22.680 --> 00:32:24.680
<v Speaker 1>think I never thought about this scene as much as

617
00:32:24.680 --> 00:32:27.160
<v Speaker 1>we're talking about it right now. But I did have

618
00:32:27.240 --> 00:32:28.920
<v Speaker 1>a feeling last night that I kind of felt bad

619
00:32:28.920 --> 00:32:30.240
<v Speaker 1>for him because I was like, well, maybe he wants

620
00:32:30.319 --> 00:32:32.279
<v Speaker 1>to share this thing that he's passionate about with his kid.

621
00:32:32.359 --> 00:32:34.640
<v Speaker 2>He should My kid's a dork. He likes this dork

622
00:32:34.680 --> 00:32:37.000
<v Speaker 2>stuff for you is a dork store, right, he should

623
00:32:37.000 --> 00:32:38.400
<v Speaker 2>have They should have like really leaned into that.

624
00:32:38.480 --> 00:32:40.079
<v Speaker 1>And if he was a really wealthy person and he

625
00:32:40.079 --> 00:32:42.839
<v Speaker 1>doesn't know the difference between high end dork stuff and

626
00:32:43.039 --> 00:32:45.400
<v Speaker 1>stuff he could get at Walmart, like you're saying, that's right,

627
00:32:45.519 --> 00:32:47.279
<v Speaker 1>that look, we just fixed it.

628
00:32:49.039 --> 00:32:50.039
<v Speaker 2>Night call us.

629
00:32:51.480 --> 00:32:53.279
<v Speaker 1>So you know another thing. I mean, this is gonna

630
00:32:53.279 --> 00:32:55.200
<v Speaker 1>sound kind of obvious, but when I saw this in

631
00:32:55.200 --> 00:32:59.039
<v Speaker 1>two thousand, I was admiring all the framing and the

632
00:32:59.039 --> 00:33:02.839
<v Speaker 1>camera work, but I wasn't thinking as much about how

633
00:33:02.880 --> 00:33:06.400
<v Speaker 1>this is framed like a comic book. So much of

634
00:33:06.440 --> 00:33:10.920
<v Speaker 1>this movie, the framing is like panels in a comic book,

635
00:33:11.079 --> 00:33:13.960
<v Speaker 1>and I just didn't think about it. But now I

636
00:33:14.279 --> 00:33:16.079
<v Speaker 1>think it's more obvious to me.

637
00:33:16.759 --> 00:33:24.200
<v Speaker 2>Yeah, you know what's interesting is that that, certainly thematically,

638
00:33:24.279 --> 00:33:29.880
<v Speaker 2>you see echoes of something like Watchmen, right, you know, Watchmen.

639
00:33:31.200 --> 00:33:34.079
<v Speaker 2>You know, the character of night Owl and Watchmen is

640
00:33:34.119 --> 00:33:38.160
<v Speaker 2>dealing with this malaise of you know, trying to find purpose,

641
00:33:38.279 --> 00:33:42.160
<v Speaker 2>very very much in the vein of David Dunn. And

642
00:33:42.960 --> 00:33:46.079
<v Speaker 2>watching this movie it makes me think, man, you wonder

643
00:33:46.119 --> 00:33:49.480
<v Speaker 2>what somebody like Shyamalan could have done or would do

644
00:33:49.519 --> 00:33:54.359
<v Speaker 2>with something like Watchmen. Sure, you know, yeah, because obviously

645
00:33:54.440 --> 00:33:59.359
<v Speaker 2>they went in kind of a different direction. I won't

646
00:33:59.359 --> 00:34:04.240
<v Speaker 2>say anything about the person who made that movie. He's

647
00:34:04.279 --> 00:34:05.119
<v Speaker 2>got a different approach.

648
00:34:06.839 --> 00:34:09.000
<v Speaker 1>That's funny. Yeah, you know, I haven't watched that in

649
00:34:09.000 --> 00:34:10.039
<v Speaker 1>a while, speaking.

650
00:34:09.719 --> 00:34:11.840
<v Speaker 2>Of I mean, I enjoyed it. I remember enjoying it

651
00:34:11.880 --> 00:34:12.320
<v Speaker 2>for me too.

652
00:34:12.400 --> 00:34:14.880
<v Speaker 1>I mean it, frankly, i'd never read the comic before.

653
00:34:14.880 --> 00:34:17.000
<v Speaker 1>It brought me to the comic, which I really enjoyed.

654
00:34:17.960 --> 00:34:18.239
<v Speaker 2>Nice.

655
00:34:18.840 --> 00:34:22.920
<v Speaker 1>Yeah, I do love the relationship, by the way that

656
00:34:23.440 --> 00:34:26.679
<v Speaker 1>between David and his son in this movie. You know,

657
00:34:26.800 --> 00:34:29.519
<v Speaker 1>like the way that the son really, i mean clearly

658
00:34:29.599 --> 00:34:31.400
<v Speaker 1>loves his dad, but the way that he like looks

659
00:34:31.440 --> 00:34:33.280
<v Speaker 1>up to him like a superhero throughout this movie. And

660
00:34:33.280 --> 00:34:35.960
<v Speaker 1>there's that great shot where he's David's reading the newspaper

661
00:34:35.960 --> 00:34:37.960
<v Speaker 1>and he lowers it and his boys just wrapped around

662
00:34:38.000 --> 00:34:41.920
<v Speaker 1>his chest, and the son so badly wants to believe

663
00:34:42.840 --> 00:34:44.800
<v Speaker 1>that his dad is this personal I just says he.

664
00:34:46.280 --> 00:34:47.320
<v Speaker 2>Yeah.

665
00:34:47.760 --> 00:34:50.000
<v Speaker 1>I think that's a really interesting angle, and I think

666
00:34:50.599 --> 00:34:52.480
<v Speaker 1>Spencer treat Clark does a really good job.

667
00:34:53.400 --> 00:34:55.239
<v Speaker 2>Yeah. Well we talked about this before. I mean, he

668
00:34:55.320 --> 00:34:58.000
<v Speaker 2>was in Gladiator a few months before this, so he

669
00:34:58.039 --> 00:34:59.280
<v Speaker 2>had a pretty good two thousand.

670
00:35:00.960 --> 00:35:03.360
<v Speaker 1>Yeah, he's looking up to a lot of male father

671
00:35:03.480 --> 00:35:07.639
<v Speaker 1>figure types in the Remember he really took the Maximus.

672
00:35:07.519 --> 00:35:09.760
<v Speaker 2>Fill in that niche Yeah.

673
00:35:09.800 --> 00:35:12.760
<v Speaker 1>And then if people will remember in the movie Glass,

674
00:35:13.599 --> 00:35:16.039
<v Speaker 1>his son kind of becomes the guy in the chair.

675
00:35:15.880 --> 00:35:19.760
<v Speaker 2>For him, that's right. Yeah. The continuing Adventures of David Dunn.

676
00:35:19.800 --> 00:35:21.679
<v Speaker 2>He has a name, don't They call him something like

677
00:35:21.719 --> 00:35:22.239
<v Speaker 2>the Watcher?

678
00:35:23.559 --> 00:35:26.880
<v Speaker 1>Oh I forget, Yeah, I don't remember, but they do

679
00:35:26.880 --> 00:35:28.320
<v Speaker 1>give him sort of a superhero name.

680
00:35:29.039 --> 00:35:33.000
<v Speaker 2>It is weird to think of Glass and realize that

681
00:35:33.000 --> 00:35:37.280
<v Speaker 2>that was probably like the last, or if not the last,

682
00:35:37.320 --> 00:35:40.800
<v Speaker 2>one of the last like performances where Bruce Willis was

683
00:35:40.800 --> 00:35:41.480
<v Speaker 2>fully present.

684
00:35:42.559 --> 00:35:45.320
<v Speaker 1>Yeah, yeah, I mean, recording this in twenty twenty five,

685
00:35:45.360 --> 00:35:48.840
<v Speaker 1>it's really difficult to think about.

686
00:35:48.920 --> 00:35:51.039
<v Speaker 2>Yeah, I mean, I just saw an interview with his

687
00:35:51.079 --> 00:35:55.639
<v Speaker 2>wife who said he's he's nonverbal at this point, which

688
00:35:55.760 --> 00:35:57.280
<v Speaker 2>is really heartbreaking, you know.

689
00:35:57.639 --> 00:36:00.760
<v Speaker 1>Yeah, yeah, I thought I read something somewhere well, I mean,

690
00:36:01.159 --> 00:36:04.320
<v Speaker 1>nonverbal and also just doesn't remember that he had a

691
00:36:04.360 --> 00:36:04.960
<v Speaker 1>film career.

692
00:36:05.400 --> 00:36:09.119
<v Speaker 2>Man, that's really I mean, it's this is one of

693
00:36:09.119 --> 00:36:11.719
<v Speaker 2>those things where just unfortunately, as we get older, we

694
00:36:11.760 --> 00:36:15.800
<v Speaker 2>have to reckon with so many of our childhood icons,

695
00:36:15.920 --> 00:36:21.079
<v Speaker 2>lifelong icons just going away. But unfortunately, you know, I

696
00:36:21.360 --> 00:36:24.039
<v Speaker 2>think with Bruce Willis, in addition to that, it's the

697
00:36:24.119 --> 00:36:30.800
<v Speaker 2>fact that this illness means that he's already gone kind

698
00:36:30.840 --> 00:36:34.280
<v Speaker 2>of you know, in a lot of ways. I don't

699
00:36:34.280 --> 00:36:35.000
<v Speaker 2>know if that makes sense.

700
00:36:36.320 --> 00:36:39.119
<v Speaker 1>Yeah, no, yeah, but I mean, like you said, I

701
00:36:39.119 --> 00:36:44.679
<v Speaker 1>mean a childhood icon. I mean so many. He made

702
00:36:44.719 --> 00:36:47.360
<v Speaker 1>an impact in a lot of people's lives through the entertainment.

703
00:36:47.400 --> 00:36:48.320
<v Speaker 1>He was a part of you know.

704
00:36:48.719 --> 00:36:54.159
<v Speaker 2>Well, and and you know, you realize that his association

705
00:36:54.280 --> 00:37:01.079
<v Speaker 2>with Shyamalan happened at a really or tune time, you know,

706
00:37:01.199 --> 00:37:06.480
<v Speaker 2>where he was transitioning into being more than just an

707
00:37:06.519 --> 00:37:07.679
<v Speaker 2>action icon, you know.

708
00:37:08.320 --> 00:37:11.119
<v Speaker 1>And didn't he do that out of a contractual obligation?

709
00:37:11.199 --> 00:37:12.159
<v Speaker 2>Yeah, yeah, that's right.

710
00:37:12.400 --> 00:37:17.159
<v Speaker 1>How wild one of his defining roles. I mean, it

711
00:37:17.280 --> 00:37:20.199
<v Speaker 1>just worked in everyone's best interest. The way that that

712
00:37:20.360 --> 00:37:26.519
<v Speaker 1>came together, it's amazing. It's the Chekhov's gun checkofs guy.

713
00:37:28.920 --> 00:37:31.639
<v Speaker 1>I was I was reading a lot about this movie

714
00:37:31.639 --> 00:37:34.599
<v Speaker 1>in preparation, and someone was just like the checkouts gun moment.

715
00:37:34.639 --> 00:37:37.639
<v Speaker 1>It's like, literally, he just takes the gun, looks at it,

716
00:37:37.679 --> 00:37:38.400
<v Speaker 1>and puts it back.

717
00:37:39.119 --> 00:37:41.039
<v Speaker 2>He should look, he should look right up to camera.

718
00:37:41.039 --> 00:37:42.360
<v Speaker 2>Everybody got that right.

719
00:37:43.320 --> 00:37:46.199
<v Speaker 1>It works though, because he's looking in that area for something,

720
00:37:46.639 --> 00:37:48.400
<v Speaker 1>and it works. I like this shot, by the way,

721
00:37:49.119 --> 00:37:50.920
<v Speaker 1>from above in the closets frequently well.

722
00:37:51.000 --> 00:37:58.159
<v Speaker 2>It reminds me of the john Ford moment in the Fablements.

723
00:37:58.239 --> 00:38:02.000
<v Speaker 2>Right if the horizon at is at the looks good.

724
00:38:02.000 --> 00:38:03.880
<v Speaker 2>If horizon at the bottom, it looks If it's horis

725
00:38:03.920 --> 00:38:05.800
<v Speaker 2>in the middle, it looks like shit, you know.

726
00:38:05.920 --> 00:38:09.280
<v Speaker 1>Yeah, yeah, yeah, I mean this this movie just filled

727
00:38:09.320 --> 00:38:10.719
<v Speaker 1>with interesting photography.

728
00:38:11.039 --> 00:38:13.280
<v Speaker 2>Yeah, but I think to the point you made about

729
00:38:13.320 --> 00:38:16.119
<v Speaker 2>it feeling like comic book panels that I'll be honest,

730
00:38:16.199 --> 00:38:18.000
<v Speaker 2>I hadn't even clocked that.

731
00:38:18.679 --> 00:38:21.199
<v Speaker 1>Yeah, I mean it's pretty bang on in this. I

732
00:38:21.280 --> 00:38:25.760
<v Speaker 1>love this shot that low half the frame filled with.

733
00:38:26.119 --> 00:38:28.559
<v Speaker 2>Whenever you dirty the frame a little bit, right, it

734
00:38:28.599 --> 00:38:34.880
<v Speaker 2>looks the shot just it's just instinctively more interesting.

735
00:38:35.280 --> 00:38:37.199
<v Speaker 1>Yeah, there's just so much to look at, and there's

736
00:38:37.239 --> 00:38:40.039
<v Speaker 1>not much to look at, but it's also his face

737
00:38:40.079 --> 00:38:42.960
<v Speaker 1>is obscured by the folder, so we know he's engrossed

738
00:38:42.960 --> 00:38:44.400
<v Speaker 1>in it.

739
00:38:44.559 --> 00:38:46.440
<v Speaker 2>Just good.

740
00:38:46.719 --> 00:38:49.639
<v Speaker 1>I just feel like this is my common complaint, and

741
00:38:49.679 --> 00:38:53.000
<v Speaker 1>I I'm not exactly right, because we see tons of

742
00:38:53.039 --> 00:38:56.000
<v Speaker 1>interesting movies these days still, but it just feels like

743
00:38:56.239 --> 00:39:00.719
<v Speaker 1>it was more common in big popular movies to see interesting,

744
00:39:00.800 --> 00:39:05.760
<v Speaker 1>dynamic stuff like this. That's right, you know, Yeah, like

745
00:39:05.840 --> 00:39:08.679
<v Speaker 1>the moments like this, this like really probably as a

746
00:39:08.920 --> 00:39:12.000
<v Speaker 1>twenty year old, I was just like, oh, that's nice.

747
00:39:12.039 --> 00:39:14.559
<v Speaker 1>His wife wants to hang out again, but like, this

748
00:39:14.639 --> 00:39:18.719
<v Speaker 1>is a really well written, well performed scene. Yeah, you know,

749
00:39:20.559 --> 00:39:23.320
<v Speaker 1>her being like, if you want to ask me out sometime,

750
00:39:23.360 --> 00:39:23.800
<v Speaker 1>you can do that.

751
00:39:24.800 --> 00:39:33.880
<v Speaker 2>Yeah, I mean there's there's this there's this sadness when

752
00:39:33.880 --> 00:39:37.199
<v Speaker 2>you see a couple that they clearly have love for

753
00:39:37.280 --> 00:39:42.679
<v Speaker 2>each other mm hm, but whatever spark they had seems

754
00:39:42.760 --> 00:39:46.880
<v Speaker 2>to have have faded away, and so it's kind of like,

755
00:39:46.920 --> 00:39:50.480
<v Speaker 2>what are we trying to keep alive here? You know?

756
00:39:50.559 --> 00:39:52.079
<v Speaker 2>I mean there is a sadness there.

757
00:39:52.320 --> 00:39:56.440
<v Speaker 1>Yeah, there's a golf, a real palpable golf. But because

758
00:39:56.679 --> 00:39:59.920
<v Speaker 1>these are such great performances captured so well, you can

759
00:40:00.280 --> 00:40:05.639
<v Speaker 1>sense the thread, the reason they feel something for one another,

760
00:40:05.679 --> 00:40:08.639
<v Speaker 1>and just seeing them try to repair this in her

761
00:40:08.760 --> 00:40:11.679
<v Speaker 1>performance here is just so amazing. Everything she's going through.

762
00:40:11.719 --> 00:40:14.039
<v Speaker 1>I mean, obviously she's experienced a lot of hurt, but

763
00:40:14.159 --> 00:40:16.559
<v Speaker 1>then she thought she might have lost him forever, and

764
00:40:16.599 --> 00:40:20.519
<v Speaker 1>now she's just saying, hey, you know, if you want

765
00:40:20.559 --> 00:40:22.519
<v Speaker 1>to ask me out again some time, maybe do that.

766
00:40:23.079 --> 00:40:23.360
<v Speaker 2>Yeah.

767
00:40:23.400 --> 00:40:24.960
<v Speaker 1>It's just I don't know, it's just so rich and

768
00:40:25.079 --> 00:40:27.639
<v Speaker 1>I feel very mature for someone in their twenties to

769
00:40:28.079 --> 00:40:29.480
<v Speaker 1>write and to direct like this.

770
00:40:29.800 --> 00:40:39.679
<v Speaker 2>Yeah. Yeah, very sophisticated. This role originally went to Julianne Moore,

771
00:40:40.920 --> 00:40:44.079
<v Speaker 2>which I can imagine. Yeah, oh easily, I wouldn't.

772
00:40:44.079 --> 00:40:45.960
<v Speaker 1>I wouldn't change. I like Robin Wright a lot in

773
00:40:45.960 --> 00:40:47.960
<v Speaker 1>this movie, so I'm happy it's well.

774
00:40:48.679 --> 00:40:54.239
<v Speaker 2>Julianne Moore dipped to do Hannibal, which you can understand

775
00:40:54.320 --> 00:40:57.880
<v Speaker 2>from her perspective because she gets to be the lead,

776
00:40:58.239 --> 00:41:01.920
<v Speaker 2>you know. But but that being said, I mean, I

777
00:41:02.280 --> 00:41:06.119
<v Speaker 2>don't think anybody has particularly good feelings about that movie. Yeah,

778
00:41:06.480 --> 00:41:08.960
<v Speaker 2>so I think I think Robin Wright did okay. In fact,

779
00:41:09.079 --> 00:41:10.840
<v Speaker 2>probably the most dated thing about this movie is the

780
00:41:10.880 --> 00:41:12.760
<v Speaker 2>fact that she's credited is Robin Right, Penn.

781
00:41:13.639 --> 00:41:15.000
<v Speaker 1>Oh yeah, that's right.

782
00:41:15.079 --> 00:41:16.679
<v Speaker 2>There's a little stick pin in time right there.

783
00:41:16.840 --> 00:41:19.360
<v Speaker 1>Actually, I had to stop myself from saying Penn when

784
00:41:19.360 --> 00:41:21.239
<v Speaker 1>I said her name earlier, because I'm so used to that.

785
00:41:21.679 --> 00:41:26.639
<v Speaker 2>Oh how funny, I even right Pen? Yeah, see look

786
00:41:26.639 --> 00:41:29.400
<v Speaker 2>at this shot. I love this, you know, so observational

787
00:41:29.639 --> 00:41:30.280
<v Speaker 2>through the gate.

788
00:41:32.679 --> 00:41:37.199
<v Speaker 1>It's funny, you know, him trying to sincerely reach out

789
00:41:37.239 --> 00:41:39.519
<v Speaker 1>to him again, then throwing his own joke back at him.

790
00:41:42.159 --> 00:41:48.320
<v Speaker 2>Give me your credit card? Yeah, now, did you go

791
00:41:48.519 --> 00:41:50.840
<v Speaker 2>into this expecting a twist? Ending?

792
00:41:52.119 --> 00:41:56.360
<v Speaker 1>I wish I could remember. I don't remember. I really don't.

793
00:41:56.480 --> 00:42:00.079
<v Speaker 1>I mean, obviously by signs I did, sure, because that

794
00:42:00.159 --> 00:42:02.760
<v Speaker 1>had become his thing. I mean, even Elijah's mom.

795
00:42:02.840 --> 00:42:04.920
<v Speaker 2>Sort of like little I heard there's a twist ending

796
00:42:05.039 --> 00:42:05.639
<v Speaker 2>in this one.

797
00:42:05.599 --> 00:42:07.079
<v Speaker 1>Yeah, about the comic book he's looking at?

798
00:42:07.840 --> 00:42:08.119
<v Speaker 2>Did you.

799
00:42:12.880 --> 00:42:13.280
<v Speaker 1>Not that?

800
00:42:13.440 --> 00:42:22.559
<v Speaker 2>I remember? However, I definitely figured out that Elijah was

801
00:42:22.599 --> 00:42:23.559
<v Speaker 2>the bad guy.

802
00:42:24.480 --> 00:42:24.800
<v Speaker 1>Mmm.

803
00:42:26.719 --> 00:42:29.280
<v Speaker 2>I mean not like at this point, but but definitely

804
00:42:29.360 --> 00:42:32.800
<v Speaker 2>by the end before the reveal, Right, I remember leaning

805
00:42:32.840 --> 00:42:34.760
<v Speaker 2>to my cousin who I went with, and I was like,

806
00:42:34.920 --> 00:42:36.239
<v Speaker 2>he's the villain. No.

807
00:42:36.880 --> 00:42:39.840
<v Speaker 1>See, it's funny because I'm I'm sure I was surprised,

808
00:42:40.320 --> 00:42:42.480
<v Speaker 1>but watching it now, I feel like it's almost hard

809
00:42:42.599 --> 00:42:44.960
<v Speaker 1>not Yeah, how would you not clock that? I mean

810
00:42:44.960 --> 00:42:46.119
<v Speaker 1>even just the way he's dressed.

811
00:42:46.519 --> 00:42:48.480
<v Speaker 2>I was about to say, he's wearing like a super

812
00:42:48.559 --> 00:42:54.880
<v Speaker 2>villain costume. Yes, yeah, And you know what's funny is that, like.

813
00:42:56.400 --> 00:42:56.760
<v Speaker 1>You kin't.

814
00:42:57.159 --> 00:42:59.280
<v Speaker 2>On the one level, You're like, why would he want

815
00:42:59.400 --> 00:43:02.719
<v Speaker 2>to fashion himself as a villain. He's like a comic

816
00:43:02.760 --> 00:43:08.360
<v Speaker 2>book guy, Like, wouldn't you want to be a hero? Right, Like, like,

817
00:43:08.519 --> 00:43:11.400
<v Speaker 2>if you're a comic book nerd, you're you'd be like, no,

818
00:43:11.559 --> 00:43:13.360
<v Speaker 2>I'm you know, I'm the hero of my story. Why

819
00:43:13.360 --> 00:43:15.000
<v Speaker 2>does he want to be a villain? Right? But look

820
00:43:15.000 --> 00:43:17.960
<v Speaker 2>at it through his lens. His act of heroism is

821
00:43:18.000 --> 00:43:19.719
<v Speaker 2>he had to do all that in order to give

822
00:43:19.800 --> 00:43:23.039
<v Speaker 2>the world this hero. Right.

823
00:43:23.119 --> 00:43:25.760
<v Speaker 1>If not for him, David doesn't become a hero, which

824
00:43:25.880 --> 00:43:29.079
<v Speaker 1>is typically how villains think, right, right, Like their perspective

825
00:43:29.199 --> 00:43:33.039
<v Speaker 1>is they're coming from some sort of understandable place, right.

826
00:43:33.719 --> 00:43:35.800
<v Speaker 1>And then the other thing is, if you go to

827
00:43:36.119 --> 00:43:38.960
<v Speaker 1>comic Con or whatever, I would say, you see more

828
00:43:38.960 --> 00:43:44.599
<v Speaker 1>people dressed up like villains than than heroes because it's

829
00:43:44.679 --> 00:43:48.360
<v Speaker 1>more fun, it's more flamboyant, you know, yeah, sure, how

830
00:43:48.400 --> 00:43:50.920
<v Speaker 1>many how many Heath Ledger jokers do you see? You know,

831
00:43:51.159 --> 00:43:54.159
<v Speaker 1>that's that's a really good point. That's a great point. Yeah,

832
00:43:54.239 --> 00:44:00.920
<v Speaker 1>you know, I just I don't know this, you know,

833
00:44:01.000 --> 00:44:04.360
<v Speaker 1>it's funny. I had this thought because I just recently

834
00:44:04.480 --> 00:44:07.480
<v Speaker 1>read the book The Man Who Heard Voices, which is

835
00:44:07.559 --> 00:44:10.480
<v Speaker 1>basically following him night Shyamalan as he's making Lady in

836
00:44:10.519 --> 00:44:13.039
<v Speaker 1>the Water Lady in the Water, and he talks about

837
00:44:13.079 --> 00:44:17.079
<v Speaker 1>that being his bedtime story, and it really is in

838
00:44:17.159 --> 00:44:19.480
<v Speaker 1>a way, because it does feel like he's making it

839
00:44:19.639 --> 00:44:21.280
<v Speaker 1>up as he goes, and by the end you're sort

840
00:44:21.320 --> 00:44:22.960
<v Speaker 1>of like, I don't know where, you know, like and

841
00:44:23.360 --> 00:44:25.679
<v Speaker 1>then the end, you know. But I was like this,

842
00:44:26.320 --> 00:44:29.000
<v Speaker 1>there's something about this movie that I really love that

843
00:44:29.079 --> 00:44:31.679
<v Speaker 1>almost feels kind of like a bedtime story. It's if

844
00:44:31.719 --> 00:44:34.519
<v Speaker 1>you were to like say this movie back to someone,

845
00:44:34.719 --> 00:44:39.320
<v Speaker 1>it's very simple, you know. It's it's I don't know,

846
00:44:39.800 --> 00:44:41.519
<v Speaker 1>you know. There's this guy and then he works a

847
00:44:41.559 --> 00:44:43.960
<v Speaker 1>security guard and sometimes he gets these instincts like I

848
00:44:44.039 --> 00:44:46.079
<v Speaker 1>think that guy's a gun with a silver thing and

849
00:44:46.119 --> 00:44:48.639
<v Speaker 1>a black handle, and so the guy follows him and

850
00:44:48.719 --> 00:44:51.360
<v Speaker 1>it turns out he did. Like it feels like a story,

851
00:44:51.440 --> 00:44:53.440
<v Speaker 1>you could. It does kind of feel bedtime story in

852
00:44:53.519 --> 00:44:56.239
<v Speaker 1>that way, right, yeah. And then it's just so simple.

853
00:44:56.320 --> 00:45:00.360
<v Speaker 2>But it's so this shot by the real quickly, what

854
00:45:00.480 --> 00:45:01.599
<v Speaker 2>a beautiful shot right here?

855
00:45:01.800 --> 00:45:02.519
<v Speaker 1>Oh gorgeous.

856
00:45:02.840 --> 00:45:06.280
<v Speaker 2>So many times again, it's like two people in the shot.

857
00:45:06.360 --> 00:45:08.719
<v Speaker 2>It's framed in this interesting way. They're standing in this

858
00:45:09.079 --> 00:45:12.159
<v Speaker 2>kind of a doorway thing, and and we're not even

859
00:45:12.760 --> 00:45:15.760
<v Speaker 2>we're not cutting in at any point mm hmmm. We're

860
00:45:15.800 --> 00:45:18.079
<v Speaker 2>just letting the performance happen, you know. And anyway, I

861
00:45:18.119 --> 00:45:20.679
<v Speaker 2>wanted to clock that before before we moved on. Sorry,

862
00:45:20.719 --> 00:45:21.320
<v Speaker 2>go ahead, no.

863
00:45:21.400 --> 00:45:24.280
<v Speaker 1>And you're just adding to my point where it's like

864
00:45:24.360 --> 00:45:27.679
<v Speaker 1>it is really simple on paper, but it's the performances.

865
00:45:27.719 --> 00:45:31.599
<v Speaker 1>It's the commitment from the filmmakers, from the performers, from

866
00:45:31.639 --> 00:45:33.000
<v Speaker 1>whatever that make this feel.

867
00:45:33.119 --> 00:45:33.159
<v Speaker 2>So.

868
00:45:34.039 --> 00:45:37.719
<v Speaker 1>I mean, this is kind of a silly idea, honestly,

869
00:45:38.280 --> 00:45:40.599
<v Speaker 1>you know what I mean, but like it's it's executed

870
00:45:40.639 --> 00:45:44.280
<v Speaker 1>with such gravitas and like sincerity that you just get

871
00:45:44.320 --> 00:45:46.719
<v Speaker 1>swept up and invested in it. And I think that

872
00:45:47.039 --> 00:45:49.920
<v Speaker 1>see cinema score from the ending and why my friend

873
00:45:50.159 --> 00:45:52.760
<v Speaker 1>hated it. I'll never forget my friend Adrian back in

874
00:45:52.800 --> 00:45:55.400
<v Speaker 1>the year two thousand. We walked out half of us

875
00:45:55.440 --> 00:45:57.760
<v Speaker 1>really loving it, and she was. She was literally telling

876
00:45:57.760 --> 00:45:59.440
<v Speaker 1>people on line for the next showing not to go,

877
00:45:59.639 --> 00:46:01.760
<v Speaker 1>and we were no kidding. I remember picking her.

878
00:46:01.760 --> 00:46:04.519
<v Speaker 2>Up and be like, no, stop, stop, Like how funny.

879
00:46:04.880 --> 00:46:09.159
<v Speaker 1>But I think it's because the movie trips at the

880
00:46:09.320 --> 00:46:13.440
<v Speaker 1>end and interesting, this is a this is a tightrope,

881
00:46:13.519 --> 00:46:15.880
<v Speaker 1>like you're telling a story that is inherently kind of

882
00:46:17.199 --> 00:46:19.440
<v Speaker 1>could possibly be seen as silly, but you're doing it

883
00:46:19.639 --> 00:46:22.679
<v Speaker 1>so well and so convincingly and so sincere. And then

884
00:46:22.880 --> 00:46:25.280
<v Speaker 1>they accidentally kind of trip at the end, at the

885
00:46:25.400 --> 00:46:27.960
<v Speaker 1>very very end, the very very end. And I think

886
00:46:29.000 --> 00:46:31.480
<v Speaker 1>for me, and I was watching the Ebert and Roper

887
00:46:32.199 --> 00:46:34.159
<v Speaker 1>review last night. Ebert, it's like, well, the ending kind

888
00:46:34.159 --> 00:46:36.280
<v Speaker 1>of but like, oh man, this is a great movie.

889
00:46:37.000 --> 00:46:38.519
<v Speaker 1>And that's how I felt. I was like, you know,

890
00:46:38.559 --> 00:46:40.360
<v Speaker 1>I don't care, like I get it. That was a

891
00:46:40.400 --> 00:46:42.800
<v Speaker 1>great experience. But for some people that trip might have

892
00:46:42.840 --> 00:46:45.360
<v Speaker 1>been like wait, wait, wait, wait, wait wait, you know

893
00:46:45.360 --> 00:46:49.559
<v Speaker 1>what I mean? And then I think that's yeah, this

894
00:46:49.719 --> 00:46:52.000
<v Speaker 1>is one of the most harrowing scenes I can write this.

895
00:46:52.320 --> 00:46:56.679
<v Speaker 2>This is harrowing enough. We didn't need that theme park.

896
00:46:57.039 --> 00:47:00.360
<v Speaker 1>Yes, So Dunn has said that he had a vision

897
00:47:00.559 --> 00:47:04.079
<v Speaker 1>of the person in the camouflage coat having a specific

898
00:47:04.119 --> 00:47:07.519
<v Speaker 1>type of gun, and of course Glass wants to know.

899
00:47:07.679 --> 00:47:11.920
<v Speaker 1>Elijah'll come alt Elijah out of respect, Elijah, don't be

900
00:47:12.039 --> 00:47:17.280
<v Speaker 1>like the kids. I was just watching his cane. But

901
00:47:17.679 --> 00:47:20.079
<v Speaker 1>Elijah has to know because this will prove his theory.

902
00:47:20.119 --> 00:47:22.760
<v Speaker 1>He's gone through so much. He sacrificed almost five hundred

903
00:47:22.840 --> 00:47:25.039
<v Speaker 1>people to find out if this guy is the guy

904
00:47:25.079 --> 00:47:26.440
<v Speaker 1>he believes him to be. So he has to know

905
00:47:26.519 --> 00:47:29.559
<v Speaker 1>if that guy has the gun. But he's got to

906
00:47:29.599 --> 00:47:31.679
<v Speaker 1>go down all these stairs very quickly, and his bones

907
00:47:31.719 --> 00:47:34.559
<v Speaker 1>are like glass and watching him try to hurry and

908
00:47:34.639 --> 00:47:37.079
<v Speaker 1>his feet slip, and the way that it's filmed and edited,

909
00:47:37.679 --> 00:47:41.039
<v Speaker 1>and then that shot, that twisting shot with the glass

910
00:47:41.320 --> 00:47:46.599
<v Speaker 1>cane smashing on the ground, h incredible.

911
00:47:47.039 --> 00:47:49.360
<v Speaker 2>Now I have to ask why on earth would one

912
00:47:49.440 --> 00:47:55.800
<v Speaker 2>have a glass cane? What possible practical application is there

913
00:47:55.840 --> 00:47:56.000
<v Speaker 2>for that?

914
00:47:56.360 --> 00:47:59.920
<v Speaker 1>Because it would make excellent symbolism. It just the right moment,

915
00:48:02.400 --> 00:48:05.199
<v Speaker 1>which I read that that was Samuel L. Jackson's idea,

916
00:48:05.880 --> 00:48:08.360
<v Speaker 1>the glass kane. Yeah, all right, well then you got

917
00:48:08.440 --> 00:48:13.480
<v Speaker 1>to go with sam Yeah, purple lightsaber, glass kane. You listen,

918
00:48:15.039 --> 00:48:19.039
<v Speaker 1>he's a man who has his predilections. Yeah, yeah, I

919
00:48:19.159 --> 00:48:24.159
<v Speaker 1>do love though. Also how from the start again is

920
00:48:24.480 --> 00:48:26.920
<v Speaker 1>grounded as this is the world that we're living in here.

921
00:48:28.079 --> 00:48:30.400
<v Speaker 2>Well, by the way, I love how this is the

922
00:48:30.480 --> 00:48:32.960
<v Speaker 2>guy that that reporter was talking about, right, yes, the

923
00:48:33.039 --> 00:48:37.599
<v Speaker 2>agent on the agent excuse me, yeah, yep. But the

924
00:48:37.880 --> 00:48:42.480
<v Speaker 2>other thing where uh you know, when Joseph goes to David.

925
00:48:42.599 --> 00:48:45.519
<v Speaker 2>First of all, their dialogue is just playing out fully

926
00:48:45.920 --> 00:48:48.639
<v Speaker 2>in the background, which I love and I love the

927
00:48:48.719 --> 00:48:51.320
<v Speaker 2>rack focus here, but he's like, do you know how

928
00:48:51.360 --> 00:48:52.960
<v Speaker 2>your what your mother would say, if she knew I

929
00:48:53.000 --> 00:48:55.920
<v Speaker 2>saw you playing football, right, I was seeing it like, yeah,

930
00:48:56.000 --> 00:48:59.400
<v Speaker 2>she's a physical therapist, so she deals with this ship

931
00:48:59.840 --> 00:49:02.840
<v Speaker 2>like all the time. Yep, you know yep.

932
00:49:03.000 --> 00:49:05.239
<v Speaker 1>I had forgotten about that component of it, that him

933
00:49:05.679 --> 00:49:08.280
<v Speaker 1>faking the injury, and they probably wouldn't have been together

934
00:49:08.320 --> 00:49:10.920
<v Speaker 1>if he had continued playing full's right, So that was

935
00:49:10.920 --> 00:49:12.039
<v Speaker 1>an opportunity for him.

936
00:49:12.719 --> 00:49:15.320
<v Speaker 2>I loved the little thing though, of Joseph being like, yeah, no,

937
00:49:15.320 --> 00:49:16.599
<v Speaker 2>I'll help you work out. He's like, no, you don't, No,

938
00:49:16.880 --> 00:49:18.559
<v Speaker 2>I'm heppy. I'm helping my dad work out.

939
00:49:18.840 --> 00:49:19.360
<v Speaker 1>It's cute.

940
00:49:19.679 --> 00:49:20.239
<v Speaker 2>So sweet.

941
00:49:22.199 --> 00:49:24.199
<v Speaker 1>Yeah, these these If you had asked me about this

942
00:49:24.320 --> 00:49:27.360
<v Speaker 1>movie before I rewatched it last night, I would have

943
00:49:27.360 --> 00:49:29.239
<v Speaker 1>been like, oh, it's great and told you certain things

944
00:49:29.239 --> 00:49:31.920
<v Speaker 1>about it. But I just feel like, well, this scene,

945
00:49:32.320 --> 00:49:34.559
<v Speaker 1>which is great, but I just I came away from

946
00:49:34.639 --> 00:49:37.880
<v Speaker 1>it appreciating it even more because I just had forgotten

947
00:49:37.920 --> 00:49:40.400
<v Speaker 1>how great the characters and their relationships to each other.

948
00:49:40.519 --> 00:49:43.000
<v Speaker 1>Mm hmm, Like the father son thing, the husband and

949
00:49:43.039 --> 00:49:44.840
<v Speaker 1>the wife thing. I just that was the stuff I

950
00:49:44.920 --> 00:49:45.960
<v Speaker 1>hadn't remembered as well.

951
00:49:46.280 --> 00:49:49.920
<v Speaker 2>See the loading up the weights the barbells is like

952
00:49:50.000 --> 00:49:52.239
<v Speaker 2>one of those memories that stayed with me about this

953
00:49:52.360 --> 00:49:54.000
<v Speaker 2>movie since the first time I saw it, you know,

954
00:49:54.440 --> 00:49:55.880
<v Speaker 2>totally very distinctive.

955
00:49:57.719 --> 00:50:00.679
<v Speaker 1>Yep, I love Yeah, even like the way that's framed

956
00:50:00.679 --> 00:50:02.400
<v Speaker 1>off screen. I think you could have beaten up Bruce

957
00:50:02.480 --> 00:50:08.280
<v Speaker 1>Lee just asking all these questions because Elijah incepted the

958
00:50:08.360 --> 00:50:10.280
<v Speaker 1>idea into his brain and now he can't get it out.

959
00:50:10.360 --> 00:50:17.559
<v Speaker 2>The boy. But there's a naturalism slash unnaturalism that Shyamalan

960
00:50:18.039 --> 00:50:23.159
<v Speaker 2>constantly bounces between in all of his scripts. Totally right.

961
00:50:23.280 --> 00:50:26.000
<v Speaker 2>It diff like the one thing you can't say about

962
00:50:26.000 --> 00:50:30.239
<v Speaker 2>a Shamalan's script is that it was punched out by Ai. Yeah. Yeah,

963
00:50:30.280 --> 00:50:34.760
<v Speaker 2>because there's something so so esoteric about how he how

964
00:50:34.840 --> 00:50:36.639
<v Speaker 2>he has his characters internet, you know what I mean.

965
00:50:36.840 --> 00:50:39.960
<v Speaker 1>It's it's so true and sometimes it really works and

966
00:50:40.079 --> 00:50:41.519
<v Speaker 1>sometimes it really stands out.

967
00:50:42.000 --> 00:50:50.760
<v Speaker 2>Sometimes it's what no from the happening that's I think.

968
00:50:50.840 --> 00:50:53.239
<v Speaker 2>I think when you the metaphor used for a tightrope,

969
00:50:53.280 --> 00:50:56.880
<v Speaker 2>that could just as easily apply to Schamalan's career. Yeah,

970
00:50:57.639 --> 00:50:59.920
<v Speaker 2>Like for these first three movies he was able to

971
00:50:59.920 --> 00:51:03.079
<v Speaker 2>to stay on the right side of that tightrope. But

972
00:51:03.199 --> 00:51:07.199
<v Speaker 2>then once you trip, you really trip, you know.

973
00:51:08.960 --> 00:51:11.280
<v Speaker 1>Yeah, the Village it was like he had already pulled

974
00:51:11.360 --> 00:51:13.920
<v Speaker 1>one too many punches, and this was a punch that

975
00:51:14.079 --> 00:51:17.440
<v Speaker 1>was just a little too asking, a little too much.

976
00:51:18.280 --> 00:51:23.480
<v Speaker 2>The water. To me, the village is that sketch from

977
00:51:23.519 --> 00:51:27.719
<v Speaker 2>the Ben Stiller show Bad Twist ending theater remind me,

978
00:51:28.480 --> 00:51:31.199
<v Speaker 2>it's just again, it's like twist, twist, twist, like one

979
00:51:31.280 --> 00:51:33.400
<v Speaker 2>too many twists. And that's that's what makes you know,

980
00:51:33.639 --> 00:51:37.880
<v Speaker 2>that's what's funny. Yeah, and and that that's my recollection

981
00:51:38.000 --> 00:51:38.519
<v Speaker 2>of the Village.

982
00:51:39.039 --> 00:51:39.440
<v Speaker 1>Mm hmm.

983
00:51:41.280 --> 00:51:42.599
<v Speaker 2>I didn't even watch The Lady in the Water.

984
00:51:42.960 --> 00:51:45.599
<v Speaker 1>Oh, it's it's not great, unfortunately.

985
00:51:45.199 --> 00:51:49.159
<v Speaker 2>I would say from the Village on. I've I've definitely

986
00:51:49.239 --> 00:51:52.719
<v Speaker 2>not seen every Shamalan movie. I know you have. You're

987
00:51:52.920 --> 00:51:53.920
<v Speaker 2>you're like Ride or Die.

988
00:51:54.119 --> 00:51:57.280
<v Speaker 1>I'm a Rider Die. Yeah, even when I don't like it,

989
00:51:57.400 --> 00:51:59.199
<v Speaker 1>I'm there opening day for the next one.

990
00:51:59.760 --> 00:52:02.920
<v Speaker 2>Yeah. Yeah, I mean I I've seen the visit. I've

991
00:52:03.000 --> 00:52:06.280
<v Speaker 2>seen Glass and but and Trap.

992
00:52:07.880 --> 00:52:08.119
<v Speaker 1>Yeah.

993
00:52:09.639 --> 00:52:11.360
<v Speaker 2>And we had a fun conversation about that about a

994
00:52:11.400 --> 00:52:11.679
<v Speaker 2>year ago.

995
00:52:12.079 --> 00:52:13.679
<v Speaker 1>Yeah. He have you seen Split?

996
00:52:14.239 --> 00:52:15.159
<v Speaker 2>I did not see Split.

997
00:52:15.400 --> 00:52:16.559
<v Speaker 1>Have you seen the ending of Split?

998
00:52:17.760 --> 00:52:19.800
<v Speaker 2>On YouTube? I saw the ending of Split. Yeah, Okay,

999
00:52:20.039 --> 00:52:21.360
<v Speaker 2>that's the only part of Split. I've seen.

1000
00:52:21.599 --> 00:52:25.159
<v Speaker 1>Yeah, I think this might be the shot that annoys me,

1001
00:52:26.599 --> 00:52:29.199
<v Speaker 1>where the camera is sticking with the weights and going

1002
00:52:29.360 --> 00:52:32.519
<v Speaker 1>up and down into his face, Like, I don't see

1003
00:52:32.559 --> 00:52:40.079
<v Speaker 1>the need for this. I don't want to talk over

1004
00:52:40.159 --> 00:52:42.880
<v Speaker 1>it so I can listen to you watch it.

1005
00:52:46.360 --> 00:52:49.360
<v Speaker 2>Is that right? Yeah, yeah, that's right.

1006
00:52:50.119 --> 00:52:52.239
<v Speaker 1>I just I don't I was like, all right, all right,

1007
00:52:52.880 --> 00:52:54.920
<v Speaker 1>but I mean if you were like starting to lose

1008
00:52:54.960 --> 00:52:57.599
<v Speaker 1>your day, I'd be like, maybe we can like forego this.

1009
00:53:00.760 --> 00:53:05.719
<v Speaker 1>But all that aside, the tone and the pacing and

1010
00:53:05.800 --> 00:53:08.840
<v Speaker 1>the score and the performances in the scene are so fun.

1011
00:53:09.000 --> 00:53:11.920
<v Speaker 1>It's like this little twinkly magical sort of thing between

1012
00:53:11.960 --> 00:53:14.840
<v Speaker 1>a father and his son. You know, the son truly

1013
00:53:14.920 --> 00:53:17.559
<v Speaker 1>believing his dad as a superhero and just keeps tacking

1014
00:53:17.639 --> 00:53:20.360
<v Speaker 1>on more weight. Even this shot too, like this is cute,

1015
00:53:20.880 --> 00:53:23.840
<v Speaker 1>the son leaning over into his dad's perspective, Like, dude,

1016
00:53:25.719 --> 00:53:27.519
<v Speaker 1>it's very very nice.

1017
00:53:30.599 --> 00:53:34.920
<v Speaker 2>This is I mean the score, right, we alluded to

1018
00:53:35.079 --> 00:53:42.639
<v Speaker 2>James Ehoward. It's the I mean, it works very well

1019
00:53:42.719 --> 00:53:44.400
<v Speaker 2>with the film, but it also works as its own

1020
00:53:44.440 --> 00:53:47.679
<v Speaker 2>experience because the motifs are so strong. Yep, I love

1021
00:53:47.960 --> 00:53:52.960
<v Speaker 2>the sort of the heroic theme you know, oh it's

1022
00:53:53.079 --> 00:53:53.760
<v Speaker 2>so good.

1023
00:53:53.679 --> 00:53:55.679
<v Speaker 1>This, this and sixth sense. I had those scores and

1024
00:53:55.840 --> 00:53:58.519
<v Speaker 1>just like listen to them like regular music in my

1025
00:53:58.679 --> 00:54:02.280
<v Speaker 1>dorm room. It is it's weird that James Newton Howard

1026
00:54:02.360 --> 00:54:07.679
<v Speaker 1>doesn't get talked about the same way like you're John

1027
00:54:07.719 --> 00:54:09.559
<v Speaker 1>Williams and his or your Jery you know, like you're

1028
00:54:09.639 --> 00:54:11.679
<v Speaker 1>James Horner. Is that you know, like, yeah, he should

1029
00:54:11.679 --> 00:54:13.320
<v Speaker 1>be one of those names that comes up with like

1030
00:54:13.440 --> 00:54:15.480
<v Speaker 1>the five or six or seven people you talk about

1031
00:54:15.960 --> 00:54:16.559
<v Speaker 1>right like that.

1032
00:54:16.719 --> 00:54:19.440
<v Speaker 2>That is weird to me because he's he's been like

1033
00:54:19.559 --> 00:54:20.599
<v Speaker 2>so consistently good.

1034
00:54:22.079 --> 00:54:26.320
<v Speaker 1>Completely. I completely agree that. By the way, that is

1035
00:54:26.400 --> 00:54:29.599
<v Speaker 1>such an incredible I mean, I would like to think

1036
00:54:29.639 --> 00:54:33.559
<v Speaker 1>that was in the script. But David realizing he's stronger

1037
00:54:33.599 --> 00:54:39.039
<v Speaker 1>than he ever knew. Hard cut. There's Elijah broken in bed.

1038
00:54:39.079 --> 00:54:49.119
<v Speaker 1>He's the opposite. Oh wrenches my heart, but he's on

1039
00:54:49.199 --> 00:54:52.000
<v Speaker 1>his way like I actually I paused it. And the

1040
00:54:52.079 --> 00:54:54.320
<v Speaker 1>shot when he falls down the stairs and he sees

1041
00:54:54.480 --> 00:54:56.679
<v Speaker 1>Elijah sees that that man does have the gun that

1042
00:54:56.800 --> 00:55:00.280
<v Speaker 1>David envisioned, right I I. And it's filmed up side

1043
00:55:00.320 --> 00:55:02.639
<v Speaker 1>down or Elijah's upside down on the stairs and you

1044
00:55:02.719 --> 00:55:03.639
<v Speaker 1>see his head upside down.

1045
00:55:03.679 --> 00:55:04.000
<v Speaker 2>I pause.

1046
00:55:04.119 --> 00:55:06.519
<v Speaker 1>I was like, I have to know what Samuel Jackson

1047
00:55:06.599 --> 00:55:09.079
<v Speaker 1>is doing. What's the expression he makes during this? And

1048
00:55:09.199 --> 00:55:13.119
<v Speaker 1>it is a very like he's probably like shutting down

1049
00:55:13.239 --> 00:55:16.000
<v Speaker 1>because of the pain, but there is just the slightest

1050
00:55:16.119 --> 00:55:27.199
<v Speaker 1>of satisfaction and this almost becomes kind of uncomfortable. Now

1051
00:55:27.639 --> 00:55:35.559
<v Speaker 1>he's getting he's getting into David's life here, but it's

1052
00:55:35.639 --> 00:55:40.559
<v Speaker 1>just by chance, right I you know, I mean I

1053
00:55:40.599 --> 00:55:42.639
<v Speaker 1>don't Yeah, I guess it would be difficult. The way

1054
00:55:42.679 --> 00:55:44.920
<v Speaker 1>I thought of it last night was he tried to

1055
00:55:45.039 --> 00:55:48.320
<v Speaker 1>maybe worm his way to her specifically, but I don't

1056
00:55:48.400 --> 00:55:51.239
<v Speaker 1>know how one would do that. Yeah, But obviously he

1057
00:55:51.280 --> 00:55:53.000
<v Speaker 1>has a lot of questions for her now, like he's

1058
00:55:53.039 --> 00:55:54.920
<v Speaker 1>not getting what he needs out of David, so he's like,

1059
00:55:54.960 --> 00:55:57.719
<v Speaker 1>all right, gotta gotta talk to his wife.

1060
00:55:58.519 --> 00:55:58.679
<v Speaker 2>Right.

1061
00:56:01.800 --> 00:56:03.400
<v Speaker 1>You know, I didn't know this, but I was reading

1062
00:56:04.960 --> 00:56:10.119
<v Speaker 1>the Osteogenesis imperfecta, you know, the disease that he has, yeah,

1063
00:56:11.199 --> 00:56:14.840
<v Speaker 1>which makes his bones less dense and fragile. I didn't know.

1064
00:56:14.960 --> 00:56:15.599
<v Speaker 2>But there's.

1065
00:56:16.880 --> 00:56:22.400
<v Speaker 1>This Australian celebrity, Quinton Kenahan, Okay, and he's the guy

1066
00:56:22.519 --> 00:56:25.679
<v Speaker 1>we see in Mad Max Fury Road. He's a little

1067
00:56:25.760 --> 00:56:28.199
<v Speaker 1>person and he's in that chair and he's talking into

1068
00:56:28.239 --> 00:56:30.920
<v Speaker 1>like a megaphone or whatever. Oh yea, so he has

1069
00:56:31.239 --> 00:56:34.519
<v Speaker 1>he has that. Yeah, I didn't know that. Oh my gosh,

1070
00:56:35.920 --> 00:56:37.119
<v Speaker 1>can't imagine. It's an easy life.

1071
00:56:37.159 --> 00:56:38.679
<v Speaker 2>But I didn't know it was a real thing. I

1072
00:56:38.760 --> 00:56:40.039
<v Speaker 2>thought it was just made up for the movie.

1073
00:56:40.360 --> 00:56:42.119
<v Speaker 1>So did I I was, I didn't know, so I

1074
00:56:42.199 --> 00:56:42.639
<v Speaker 1>looked it up.

1075
00:56:43.000 --> 00:56:43.280
<v Speaker 2>Wow.

1076
00:56:44.239 --> 00:56:47.280
<v Speaker 1>But yeah, I don't know a lot about him other

1077
00:56:47.400 --> 00:56:49.719
<v Speaker 1>than what I've read because he was in Mad Max

1078
00:56:49.800 --> 00:56:52.239
<v Speaker 1>and whatever. But apparently, I mean, people can write in

1079
00:56:52.320 --> 00:56:54.519
<v Speaker 1>and correct me or or add to this. But in

1080
00:56:54.719 --> 00:56:57.199
<v Speaker 1>Australia he's he's a bit of a celebrity over there.

1081
00:56:57.559 --> 00:57:04.199
<v Speaker 2>Okay, So but how common is this illness that I

1082
00:57:04.280 --> 00:57:05.320
<v Speaker 2>don't know? Yeah?

1083
00:57:09.679 --> 00:57:12.440
<v Speaker 1>Yeah, So now we're learning the car You know, it's funny.

1084
00:57:12.440 --> 00:57:16.440
<v Speaker 1>I there's the car accident component in this, and there's

1085
00:57:16.440 --> 00:57:19.239
<v Speaker 1>also a car accident in signs. And there's also the

1086
00:57:19.320 --> 00:57:21.920
<v Speaker 1>water component, water being like a threatening thing.

1087
00:57:22.239 --> 00:57:24.360
<v Speaker 2>Yeah, in both. I was thinking of the water aspect.

1088
00:57:24.639 --> 00:57:26.280
<v Speaker 1>It was making me like, oh, he's kind of got

1089
00:57:26.320 --> 00:57:27.920
<v Speaker 1>like these hooks in his brain?

1090
00:57:36.400 --> 00:57:38.840
<v Speaker 2>Is this the shemalin Shemalan came?

1091
00:57:40.440 --> 00:57:42.440
<v Speaker 1>So at what point did we know what he looked

1092
00:57:42.559 --> 00:57:44.440
<v Speaker 1>like and it'd start going, oh.

1093
00:57:45.719 --> 00:57:51.159
<v Speaker 2>I recognize I. I clocked him in the sixth sense

1094
00:57:52.920 --> 00:57:56.719
<v Speaker 2>because he's the doctor, right, And I didn't realize it

1095
00:57:56.840 --> 00:57:59.440
<v Speaker 2>was him, but I reckon. I was like, oh, Indian guy,

1096
00:57:59.519 --> 00:58:01.840
<v Speaker 2>because like that's what happens when you're a brown person.

1097
00:58:01.880 --> 00:58:04.559
<v Speaker 2>You're like, oh that sure, sure, And then I saw

1098
00:58:04.639 --> 00:58:06.400
<v Speaker 2>him in an interview I was like, oh, okay, that's him,

1099
00:58:06.440 --> 00:58:08.239
<v Speaker 2>and so by this time I knew it was him.

1100
00:58:09.000 --> 00:58:11.079
<v Speaker 1>You know, I have a feeling I kind of have

1101
00:58:11.159 --> 00:58:13.599
<v Speaker 1>a memory of knowing that, yeah, this is good, So

1102
00:58:13.719 --> 00:58:14.320
<v Speaker 1>this is like him.

1103
00:58:14.880 --> 00:58:15.519
<v Speaker 2>I like it too.

1104
00:58:15.559 --> 00:58:18.360
<v Speaker 1>I had forgotten this because I remember that David can

1105
00:58:18.440 --> 00:58:23.360
<v Speaker 1>get these visions when he touches people and he so

1106
00:58:23.480 --> 00:58:25.280
<v Speaker 1>then I was kind of thinking like, well, how does

1107
00:58:25.320 --> 00:58:27.559
<v Speaker 1>he not? And this feels like something you'd be very

1108
00:58:27.719 --> 00:58:32.239
<v Speaker 1>aware of. But he with the first time it happens

1109
00:58:32.280 --> 00:58:34.639
<v Speaker 1>with the man with the gun. He's telling Elijah it's

1110
00:58:34.719 --> 00:58:39.320
<v Speaker 1>just like a feelings and Elijah says something about sharpening it,

1111
00:58:40.039 --> 00:58:42.159
<v Speaker 1>and I had forgotten about that component of it, like, oh,

1112
00:58:42.280 --> 00:58:44.239
<v Speaker 1>so this is something that if he works on it,

1113
00:58:44.639 --> 00:58:45.880
<v Speaker 1>it will become stronger, which.

1114
00:58:46.039 --> 00:58:47.400
<v Speaker 2>It'll be more than just a feeling.

1115
00:58:47.480 --> 00:58:51.639
<v Speaker 1>It'll be a vision, yeah, which he's now starting to have, right,

1116
00:58:51.719 --> 00:58:54.199
<v Speaker 1>because I don't think he even sees anything more with

1117
00:58:54.320 --> 00:58:58.239
<v Speaker 1>that mother and the boy, but he it's more heightened

1118
00:58:58.519 --> 00:59:02.440
<v Speaker 1>than the slightly imperceptible vision of the gun he had earlier.

1119
00:59:03.679 --> 00:59:06.199
<v Speaker 1>And then eventually it'll be come with the drug dealer.

1120
00:59:06.800 --> 00:59:08.159
<v Speaker 1>He can actually see that's right.

1121
00:59:08.280 --> 00:59:08.480
<v Speaker 2>Yeah.

1122
00:59:08.719 --> 00:59:18.280
<v Speaker 1>Yeah, but I think you know the Shyamalan thing. It's

1123
00:59:18.280 --> 00:59:22.400
<v Speaker 1>funny because it became like escalating like his roles, you

1124
00:59:22.440 --> 00:59:24.840
<v Speaker 1>know what I mean, Like it was that's really it.

1125
00:59:26.039 --> 00:59:28.280
<v Speaker 2>We've joked about this before, but I'm sorry, father.

1126
00:59:29.920 --> 00:59:31.480
<v Speaker 1>That'xt the what I always think of in science.

1127
00:59:31.519 --> 00:59:34.719
<v Speaker 2>Yeah, and I remember watching that. I remember I saw

1128
00:59:34.760 --> 00:59:37.760
<v Speaker 2>an early screening of that with Sean and I remember

1129
00:59:37.840 --> 00:59:41.079
<v Speaker 2>just being like, oh, dude, like why would you give

1130
00:59:41.079 --> 00:59:43.039
<v Speaker 2>yourself such an important role in this movie?

1131
00:59:43.239 --> 00:59:46.280
<v Speaker 1>Yes, we were explaining so much that's happening in the movie,

1132
00:59:46.519 --> 00:59:49.519
<v Speaker 1>like this is like it's like whatever, I'll go with it. Yeah.

1133
00:59:51.440 --> 00:59:54.440
<v Speaker 1>I always do find it funny though, when you're watching

1134
00:59:54.679 --> 00:59:56.239
<v Speaker 1>I'm trying to think of other examples, but when the

1135
00:59:56.320 --> 00:59:58.280
<v Speaker 1>director is in the film and you're watching the actor

1136
00:59:58.320 --> 01:00:00.760
<v Speaker 1>you've been following the whole time, talking that character because

1137
01:00:00.760 --> 01:00:03.480
<v Speaker 1>I always think it's weird. It's like, oh when nailed cut,

1138
01:00:03.639 --> 01:00:07.400
<v Speaker 1>like that person is telling the main guy what to do,

1139
01:00:08.360 --> 01:00:11.119
<v Speaker 1>right Otherwise, Like, I just find that it's a funny real.

1140
01:00:10.960 --> 01:00:12.760
<v Speaker 2>World thing that gets into my head when I see

1141
01:00:12.800 --> 01:00:16.719
<v Speaker 2>stuff like this. See well, it's as we're recording this,

1142
01:00:16.840 --> 01:00:20.320
<v Speaker 2>I literally just watched Do the Right Thing like an

1143
01:00:20.360 --> 01:00:23.800
<v Speaker 2>hour ago. Oh in my class, right, and that that

1144
01:00:24.159 --> 01:00:26.960
<v Speaker 2>is a situation where Spike Lee gave himself the lead role.

1145
01:00:27.239 --> 01:00:30.280
<v Speaker 2>Yeah right, right right, And you know, the seams show

1146
01:00:30.280 --> 01:00:33.280
<v Speaker 2>a little bit because he's not a professional actor, But

1147
01:00:33.400 --> 01:00:35.360
<v Speaker 2>I think it works in the context of that movie

1148
01:00:35.400 --> 01:00:38.760
<v Speaker 2>because the movie itself is kind of spunky and you know,

1149
01:00:40.119 --> 01:00:46.719
<v Speaker 2>you know, unrefined, you know, and so his his lack

1150
01:00:46.800 --> 01:00:49.280
<v Speaker 2>of experience kind of works for that character, you know.

1151
01:00:49.400 --> 01:00:52.800
<v Speaker 2>And so so I'm I'm like the most generous reading,

1152
01:00:52.880 --> 01:00:56.480
<v Speaker 2>like maybe Shyamalan was trying to do a Spike Lee

1153
01:00:56.559 --> 01:00:57.880
<v Speaker 2>as mooky situation.

1154
01:00:58.079 --> 01:01:01.000
<v Speaker 1>You know, Oh, that's interest sting. I didn't even think

1155
01:01:01.000 --> 01:01:03.599
<v Speaker 1>of it that way. For some reason, I'm thinking of

1156
01:01:03.679 --> 01:01:07.039
<v Speaker 1>that line from pulp fiction to Samuel Jackson where he's like,

1157
01:01:07.119 --> 01:01:10.079
<v Speaker 1>you know, personality goes a long way and it's like,

1158
01:01:10.119 --> 01:01:11.880
<v Speaker 1>you know, maybe there's something too where it's like maybe

1159
01:01:11.920 --> 01:01:14.800
<v Speaker 1>he's not super refined, but he's got a lot of personality.

1160
01:01:14.960 --> 01:01:16.079
<v Speaker 1>Personality goes a long way.

1161
01:01:16.199 --> 01:01:18.880
<v Speaker 2>I mean, I Spike definitely and do the right thing.

1162
01:01:19.119 --> 01:01:19.360
<v Speaker 2>That's what.

1163
01:01:19.519 --> 01:01:20.760
<v Speaker 1>Yeah, sorry, I was talking about Spike Lee.

1164
01:01:20.840 --> 01:01:24.039
<v Speaker 2>Yeah. Although it's funny because you talk about pulp fiction,

1165
01:01:24.119 --> 01:01:25.440
<v Speaker 2>and I would say one of the worst parts of

1166
01:01:25.519 --> 01:01:28.920
<v Speaker 2>that movie is Quentin's role in the as the the

1167
01:01:29.599 --> 01:01:31.719
<v Speaker 2>N word saying guy, oh my gosh.

1168
01:01:31.920 --> 01:01:36.000
<v Speaker 1>I mean, yeah, I know. I mean, I'll say it

1169
01:01:36.079 --> 01:01:38.000
<v Speaker 1>like sort of vacillates for me. Like there's some things

1170
01:01:38.039 --> 01:01:39.880
<v Speaker 1>he does in there that I do find kind of amusing,

1171
01:01:40.239 --> 01:01:42.480
<v Speaker 1>you know, And it's like what does he look like Jimmy.

1172
01:01:42.320 --> 01:01:44.639
<v Speaker 2>Or what they look like? Dorks? Look like a couple

1173
01:01:44.679 --> 01:01:45.079
<v Speaker 2>of dorks.

1174
01:01:45.239 --> 01:01:47.920
<v Speaker 1>Like that's kind of funny. And then the coffee thing too,

1175
01:01:48.119 --> 01:01:51.159
<v Speaker 1>like you know, I buy the coffee. You know my wife,

1176
01:01:54.519 --> 01:01:55.599
<v Speaker 1>I know my coffee's good.

1177
01:01:56.519 --> 01:01:58.760
<v Speaker 2>We're talking about Tarantino and and you know, there's a

1178
01:01:58.840 --> 01:02:01.920
<v Speaker 2>video that I saw where he's talking about this movie

1179
01:02:03.000 --> 01:02:07.599
<v Speaker 2>and he's like Unbreakable by m Night Shamalama ding dong

1180
01:02:08.000 --> 01:02:10.360
<v Speaker 2>h And I'm like, I don't know, man, that seems

1181
01:02:10.440 --> 01:02:13.039
<v Speaker 2>kind of racist to me. Yeah.

1182
01:02:13.199 --> 01:02:15.599
<v Speaker 1>I had actually not long ago, someone I said something

1183
01:02:15.599 --> 01:02:17.519
<v Speaker 1>about Shyamalan and they said that, and I was like.

1184
01:02:17.840 --> 01:02:20.519
<v Speaker 2>Hmm, right, Like, I mean, I don't know if he's

1185
01:02:20.559 --> 01:02:22.960
<v Speaker 2>okay with it, but I am like, it's I'm like,

1186
01:02:23.320 --> 01:02:26.239
<v Speaker 2>what you're saying not not your friend, but Quentin. I'm like,

1187
01:02:26.280 --> 01:02:29.039
<v Speaker 2>what you're saying is more complicated than his actual name.

1188
01:02:29.760 --> 01:02:34.039
<v Speaker 1>Yes, I know, I know. It feels a little dismissive, right,

1189
01:02:34.280 --> 01:02:36.760
<v Speaker 1>you know, kind of like it felt odd to me

1190
01:02:36.960 --> 01:02:42.559
<v Speaker 1>to have Tarantino saying that about, you know, a colleague basically, yeah, exactly,

1191
01:02:42.639 --> 01:02:45.400
<v Speaker 1>a colleague. Yeah, appear, Yeah, it feels I don't know,

1192
01:02:46.239 --> 01:02:49.559
<v Speaker 1>like again, let's stipulate maybe they know each other and

1193
01:02:49.679 --> 01:02:52.480
<v Speaker 1>it's hilarious between them. Yeah.

1194
01:02:52.960 --> 01:02:55.559
<v Speaker 2>If I were to guess, I would say that Shyamalan,

1195
01:02:56.000 --> 01:02:59.239
<v Speaker 2>as an Indian kid growing up in Philadelphia, probably heard

1196
01:02:59.280 --> 01:03:00.920
<v Speaker 2>that shit all the time time when he was in

1197
01:03:01.039 --> 01:03:02.079
<v Speaker 2>junior high in high.

1198
01:03:01.880 --> 01:03:06.119
<v Speaker 1>School, right, right, That's that's my guess, right well, and

1199
01:03:06.239 --> 01:03:10.559
<v Speaker 1>even I mean, that's that's part of his story, right,

1200
01:03:10.639 --> 01:03:13.519
<v Speaker 1>I mean, night was something that he added himself because

1201
01:03:13.559 --> 01:03:16.039
<v Speaker 1>it was a little easier for people to say and

1202
01:03:16.119 --> 01:03:19.039
<v Speaker 1>he kind of adopted that for himself, So you have

1203
01:03:19.119 --> 01:03:21.159
<v Speaker 1>to imagine that comes from some sort of experience where

1204
01:03:21.159 --> 01:03:27.280
<v Speaker 1>people aren't saying his name correctly and right. But yeah, man,

1205
01:03:28.000 --> 01:03:32.320
<v Speaker 1>don't love it, and I also don't love everything Garantino

1206
01:03:32.320 --> 01:03:33.280
<v Speaker 1>doesn't pulp fiction.

1207
01:03:34.920 --> 01:03:36.480
<v Speaker 2>Or says I should say, We're gonna have to come

1208
01:03:36.559 --> 01:03:37.639
<v Speaker 2>back and talk through that movie.

1209
01:03:37.880 --> 01:03:40.719
<v Speaker 1>Oh man, I watched like the last thirty minutes, if

1210
01:03:40.760 --> 01:03:42.400
<v Speaker 1>the last thirty minutes of that movie on TV.

1211
01:03:42.960 --> 01:03:46.599
<v Speaker 2>That's it. That's what I'm Oh, yeah, absolutely thinging the diner. Dude,

1212
01:03:47.119 --> 01:03:51.719
<v Speaker 2>give me, give me Sam Jackson sitting across a table

1213
01:03:51.800 --> 01:03:54.159
<v Speaker 2>from Tim Roth for days. Oh.

1214
01:03:55.519 --> 01:03:57.719
<v Speaker 1>I was actually thinking, I've probably seen this movie like

1215
01:03:57.840 --> 01:04:00.239
<v Speaker 1>ten times something like that all the way through. But

1216
01:04:00.400 --> 01:04:03.079
<v Speaker 1>that scene I'm sure I've seen at least twenty times.

1217
01:04:03.559 --> 01:04:06.519
<v Speaker 1>Like I always stop on it. It is just mesmerizing.

1218
01:04:07.079 --> 01:04:09.880
<v Speaker 2>Yeah yeah, and that's I mean, it's the same thing

1219
01:04:09.960 --> 01:04:14.079
<v Speaker 2>here right again. When you have great performers with interesting

1220
01:04:14.159 --> 01:04:16.400
<v Speaker 2>dialogue to say, just turn the camera on and let

1221
01:04:16.440 --> 01:04:17.039
<v Speaker 2>them do their thing.

1222
01:04:18.760 --> 01:04:19.800
<v Speaker 1>Mm hmmmm hmm.

1223
01:04:22.239 --> 01:04:26.599
<v Speaker 2>I do like the sorry real quick, the authenticity of

1224
01:04:27.400 --> 01:04:31.920
<v Speaker 2>of just shooting in Philadelphia. It reminds me of rocky

1225
01:04:32.159 --> 01:04:36.239
<v Speaker 2>you know, m yeah, very you know, these just lived

1226
01:04:36.280 --> 01:04:39.760
<v Speaker 2>in streets. It's it's it's not showy, but it feels

1227
01:04:40.159 --> 01:04:42.800
<v Speaker 2>it feels real. You know, this house, I feel like

1228
01:04:42.840 --> 01:04:44.679
<v Speaker 2>I've been in this house, you know. I mean I've

1229
01:04:44.760 --> 01:04:46.960
<v Speaker 2>been with Philadelphia, but this feels like a house that

1230
01:04:47.079 --> 01:04:51.760
<v Speaker 2>we've we visited, you know, many times. Totally Oh this

1231
01:04:51.880 --> 01:04:52.760
<v Speaker 2>right here, this scene.

1232
01:04:52.880 --> 01:04:55.760
<v Speaker 1>Yeah, I was gonna talk about something else, but I

1233
01:04:55.840 --> 01:04:57.559
<v Speaker 1>was like, nope, can't hit.

1234
01:04:57.599 --> 01:04:59.960
<v Speaker 2>Pause on that. So this see, So you got Joe's

1235
01:05:00.079 --> 01:05:03.519
<v Speaker 2>if who's holding Chekhov's gun and he's like, well you're

1236
01:05:03.519 --> 01:05:05.079
<v Speaker 2>a superhero dad, so I'm about to shoot you.

1237
01:05:06.440 --> 01:05:08.000
<v Speaker 1>So yeah, yeah, so good.

1238
01:05:08.320 --> 01:05:10.920
<v Speaker 2>Well what I love is a couple of things, right,

1239
01:05:13.159 --> 01:05:17.760
<v Speaker 2>the way that plays out in just one shot, right, yes,

1240
01:05:19.000 --> 01:05:22.519
<v Speaker 2>But the fact that David is not like I'm not

1241
01:05:23.639 --> 01:05:27.000
<v Speaker 2>super you idiot, or you're gonna kill me. He's like

1242
01:05:27.679 --> 01:05:33.159
<v Speaker 2>he's trying to not tear down the kid's illusion while

1243
01:05:33.280 --> 01:05:37.599
<v Speaker 2>still making clear, hey don't shoot me, you know, And

1244
01:05:37.760 --> 01:05:39.880
<v Speaker 2>that's a trick. And actually I was reading that this

1245
01:05:40.000 --> 01:05:42.599
<v Speaker 2>is inspired by a real thing that happened to George Reeves.

1246
01:05:43.800 --> 01:05:46.679
<v Speaker 1>Oh really that yeah, well, you know actor who played Superman.

1247
01:05:46.519 --> 01:05:48.360
<v Speaker 2>Who played Superman. I think has alluded to a little

1248
01:05:48.360 --> 01:05:50.559
<v Speaker 2>bit in Hollywood Land. I haven't seen that movie, but

1249
01:05:52.320 --> 01:05:54.000
<v Speaker 2>you know, kids would be like, oh, Superman, let me

1250
01:05:54.000 --> 01:05:56.679
<v Speaker 2>shoot you and so at some show or whatever where

1251
01:05:56.679 --> 01:05:58.679
<v Speaker 2>he showed up, because he would show up in costume,

1252
01:05:59.599 --> 01:06:02.079
<v Speaker 2>and back then, apparently it was a lot easier for

1253
01:06:02.159 --> 01:06:03.639
<v Speaker 2>kids to get a hold of guns, just like well,

1254
01:06:03.639 --> 01:06:07.880
<v Speaker 2>I guess that has changed actually, But basically he's like, hey,

1255
01:06:08.360 --> 01:06:10.760
<v Speaker 2>you know, if you shoot and it bounced off me,

1256
01:06:10.880 --> 01:06:14.079
<v Speaker 2>somebody else could get hurt, right, And the kid puts

1257
01:06:14.119 --> 01:06:18.599
<v Speaker 2>down the gun. You know, wow, can you imagine?

1258
01:06:19.400 --> 01:06:23.519
<v Speaker 1>No, I mean this scene. So I remembered this scene,

1259
01:06:23.559 --> 01:06:26.119
<v Speaker 1>like if you asked me to list five sixteensmths movie.

1260
01:06:26.119 --> 01:06:28.679
<v Speaker 1>I remember this. But rewatching this last night, I was like,

1261
01:06:28.800 --> 01:06:32.920
<v Speaker 1>this is making my like I am clenching. This is

1262
01:06:33.079 --> 01:06:37.719
<v Speaker 1>so uncomfortable and like like a couple steps into like

1263
01:06:37.800 --> 01:06:42.079
<v Speaker 1>an idea that is so realistic and so dangerous and

1264
01:06:42.199 --> 01:06:45.239
<v Speaker 1>so uncomfortable that it's making me really really uncomfortable to

1265
01:06:45.280 --> 01:06:47.039
<v Speaker 1>watch it, but in a good way.

1266
01:06:47.920 --> 01:06:54.480
<v Speaker 2>Right, But I didn't see that was our first cut

1267
01:06:54.599 --> 01:06:54.920
<v Speaker 2>right there?

1268
01:06:55.480 --> 01:07:00.280
<v Speaker 1>Yes, right, I didn't remember the whole escalation with the

1269
01:07:00.400 --> 01:07:03.159
<v Speaker 1>boy and his belief and his dad. So he hears

1270
01:07:03.199 --> 01:07:05.960
<v Speaker 1>this story from Elijah and then we see him, you know,

1271
01:07:06.039 --> 01:07:08.519
<v Speaker 1>hugging his dad reading the paper later and then he's

1272
01:07:08.599 --> 01:07:11.840
<v Speaker 1>just like, you know, you know, maybe we try these weights,

1273
01:07:11.880 --> 01:07:13.199
<v Speaker 1>and he's like, well, it could hurt me. He's like, yeah,

1274
01:07:13.239 --> 01:07:14.800
<v Speaker 1>but let's just try. And then he's like, well, I

1275
01:07:14.880 --> 01:07:16.159
<v Speaker 1>want to be like you at school. So I was

1276
01:07:16.199 --> 01:07:19.639
<v Speaker 1>trying to defense like but the dad keeps, you know,

1277
01:07:19.800 --> 01:07:22.920
<v Speaker 1>kind of turning him down with this idea. So eventually

1278
01:07:23.000 --> 01:07:24.559
<v Speaker 1>it's like, I'm going to prove it to you, dad,

1279
01:07:25.519 --> 01:07:27.599
<v Speaker 1>and you know, I'm going to point this gun at you.

1280
01:07:27.800 --> 01:07:29.480
<v Speaker 1>I love there's this funny line too, and the MILLI

1281
01:07:29.519 --> 01:07:31.159
<v Speaker 1>He's like, I'll only shoot you once.

1282
01:07:32.639 --> 01:07:34.480
<v Speaker 2>It's like, in a kid's head, that makes all the

1283
01:07:34.519 --> 01:07:35.199
<v Speaker 2>sense in the world.

1284
01:07:37.079 --> 01:07:40.559
<v Speaker 1>But I was reading Spencer Tree Clark talking about it.

1285
01:07:40.559 --> 01:07:43.320
<v Speaker 1>There's an oral History in Entertainment Weekly several years ago.

1286
01:07:43.360 --> 01:07:46.239
<v Speaker 1>It's really good and I recommend it. But he was

1287
01:07:47.639 --> 01:07:50.239
<v Speaker 1>talking about that scene. So this is quoting Clark. He says,

1288
01:07:50.599 --> 01:07:52.079
<v Speaker 1>there's that scene in the kitchen where I'm holding the

1289
01:07:52.079 --> 01:07:54.119
<v Speaker 1>gun up to Bruce Willis. It's a four minute scene

1290
01:07:54.320 --> 01:07:56.559
<v Speaker 1>all in one take, and we filmed it nine times.

1291
01:07:57.519 --> 01:07:59.199
<v Speaker 1>It was so taxing on all of us, and not

1292
01:07:59.320 --> 01:08:03.159
<v Speaker 1>just because it was an emotional scene. Eduardo Sierra, who

1293
01:08:03.280 --> 01:08:06.599
<v Speaker 1>is our cinematographer, with sweating bullets, and then Shyamalan picks

1294
01:08:06.639 --> 01:08:08.840
<v Speaker 1>up on that and he goes the camera operator at

1295
01:08:08.840 --> 01:08:11.519
<v Speaker 1>one point walked off the set because I was like, no,

1296
01:08:11.719 --> 01:08:15.480
<v Speaker 1>you have to pan here with his line here, and

1297
01:08:15.559 --> 01:08:18.119
<v Speaker 1>he goes, you're anticipating here. You have to listen to

1298
01:08:18.199 --> 01:08:21.279
<v Speaker 1>the actors, and he says the guy stormed off and

1299
01:08:21.399 --> 01:08:23.439
<v Speaker 1>was like, I'm sorry. Oh, so Shaman was like, I'm sorry,

1300
01:08:23.520 --> 01:08:26.680
<v Speaker 1>come back, and Shaman was saying I felt like the

1301
01:08:26.720 --> 01:08:28.319
<v Speaker 1>world was going to come to an end if he

1302
01:08:28.439 --> 01:08:30.800
<v Speaker 1>didn't move at this point or didn't slow down at

1303
01:08:30.840 --> 01:08:33.159
<v Speaker 1>that point. I remember feeling like, I don't know if

1304
01:08:33.199 --> 01:08:35.600
<v Speaker 1>I can do the entire shoot like this. Wow, And

1305
01:08:35.680 --> 01:08:38.600
<v Speaker 1>I mean, can you imagine working with see This is

1306
01:08:38.640 --> 01:08:40.640
<v Speaker 1>something reminds me about making movies when I was a kid,

1307
01:08:40.720 --> 01:08:42.920
<v Speaker 1>because and I'm sure you could speak to this too.

1308
01:08:43.399 --> 01:08:45.159
<v Speaker 1>You were the one holding the camera. You were doing

1309
01:08:45.239 --> 01:08:47.199
<v Speaker 1>exactly what you wanted. And so when I got older

1310
01:08:47.239 --> 01:08:49.399
<v Speaker 1>and realized that that's not how filmmaking worked, Like you

1311
01:08:49.560 --> 01:08:52.880
<v Speaker 1>hire a director of photography, you have camera operators. I

1312
01:08:52.960 --> 01:08:55.279
<v Speaker 1>remember thinking, oh, that'd be so frustrating because I would

1313
01:08:55.319 --> 01:08:57.600
<v Speaker 1>know exactly what I want. But I have to trust

1314
01:08:58.279 --> 01:08:59.920
<v Speaker 1>that a chain of command is going to lead to

1315
01:09:00.399 --> 01:09:03.680
<v Speaker 1>this one person doing exactly what's in my brain. Yeah,

1316
01:09:03.800 --> 01:09:05.840
<v Speaker 1>and it sounds like that's exactly what was happening here.

1317
01:09:06.439 --> 01:09:08.760
<v Speaker 1>Shamlan knew exactly when he wanted the camera to move.

1318
01:09:08.840 --> 01:09:11.319
<v Speaker 1>It was all intuition and instinct in his brain, and

1319
01:09:11.399 --> 01:09:14.079
<v Speaker 1>he was frustrated that this other human being didn't have

1320
01:09:14.119 --> 01:09:16.640
<v Speaker 1>the precise intuition and instinct that he had.

1321
01:09:17.520 --> 01:09:20.479
<v Speaker 2>And real quick, I should say, these these six comics

1322
01:09:20.560 --> 01:09:22.920
<v Speaker 2>that we see right in the foreground here, yes, I

1323
01:09:23.039 --> 01:09:25.199
<v Speaker 2>have every single one of those. Do you really I know,

1324
01:09:25.279 --> 01:09:26.840
<v Speaker 2>I know exactly what comics those are.

1325
01:09:26.960 --> 01:09:27.600
<v Speaker 1>Oh that's great.

1326
01:09:28.039 --> 01:09:30.520
<v Speaker 2>Do they like themes?

1327
01:09:30.600 --> 01:09:32.880
<v Speaker 1>Do they have anything to do possibly with a story.

1328
01:09:32.760 --> 01:09:34.920
<v Speaker 2>Or is it I mean only in a very broad sense, right,

1329
01:09:35.039 --> 01:09:37.680
<v Speaker 2>I mean, it's just just in that they are superhero

1330
01:09:38.159 --> 01:09:40.279
<v Speaker 2>stuff and you got you got it because it's Daredevil,

1331
01:09:40.359 --> 01:09:45.319
<v Speaker 2>Spider Man and Punisher, HM and and all Marvel stuff.

1332
01:09:45.359 --> 01:09:49.000
<v Speaker 2>So that that itself is very interesting that this movie

1333
01:09:49.079 --> 01:09:51.159
<v Speaker 2>center is on like made up. Well, they're all made up,

1334
01:09:51.199 --> 01:09:52.840
<v Speaker 2>but like made up for the movie characters.

1335
01:09:53.159 --> 01:09:55.039
<v Speaker 1>Right, They never say Batman or Super.

1336
01:09:55.039 --> 01:09:57.960
<v Speaker 2>Yeah, but the only comics we see are Marvel. So

1337
01:09:58.560 --> 01:10:00.920
<v Speaker 2>I wonder if that was some kind of a agreement, like, fine,

1338
01:10:00.920 --> 01:10:02.520
<v Speaker 2>we'll let you use our comics, but you have to

1339
01:10:02.880 --> 01:10:04.319
<v Speaker 2>only use our comics kind of thing.

1340
01:10:04.760 --> 01:10:07.279
<v Speaker 1>Oh, that makes sense because there was a an action

1341
01:10:07.520 --> 01:10:08.960
<v Speaker 1>comics looking thing at the beginning.

1342
01:10:09.119 --> 01:10:11.640
<v Speaker 2>It was active comics exactly.

1343
01:10:11.720 --> 01:10:13.079
<v Speaker 1>Yeah, okay, that makes sense.

1344
01:10:15.319 --> 01:10:19.239
<v Speaker 2>So we we talked past the the shamal On cameo

1345
01:10:19.319 --> 01:10:21.359
<v Speaker 2>and I wanted to mention you know that that character

1346
01:10:22.279 --> 01:10:27.600
<v Speaker 2>ends up being a runner through this whole trilogy because

1347
01:10:27.600 --> 01:10:30.000
<v Speaker 2>we see him again. We see him again in in Split,

1348
01:10:31.039 --> 01:10:34.159
<v Speaker 2>but we also see him in Glass where and he

1349
01:10:34.279 --> 01:10:38.199
<v Speaker 2>recognizes David and he's like, hey, I remember you. You

1350
01:10:38.359 --> 01:10:40.119
<v Speaker 2>used to work at that stadium, and you know I

1351
01:10:40.399 --> 01:10:42.000
<v Speaker 2>turned my life around after meeting you.

1352
01:10:44.319 --> 01:10:45.760
<v Speaker 1>I don't even remember.

1353
01:10:45.520 --> 01:10:47.760
<v Speaker 2>That that part I did remember. Now this part hurts

1354
01:10:47.800 --> 01:10:53.600
<v Speaker 2>me where he just like actively stopping the guy from

1355
01:10:53.640 --> 01:10:55.680
<v Speaker 2>taking him out of the store, and meanwhile, these comics

1356
01:10:55.720 --> 01:10:56.800
<v Speaker 2>are just getting wrecked and.

1357
01:10:56.840 --> 01:10:58.520
<v Speaker 1>I was thinking about them rolling over them.

1358
01:10:58.560 --> 01:11:03.439
<v Speaker 2>I was like, oh, so this is Elijah's angst because

1359
01:11:03.520 --> 01:11:08.560
<v Speaker 2>David in fact nearly died, yes, the pool accident. Yeah,

1360
01:11:08.720 --> 01:11:11.159
<v Speaker 2>so so he's this is him throwing a tantrum over

1361
01:11:11.399 --> 01:11:13.399
<v Speaker 2>that realization. Basically is it the pool?

1362
01:11:13.479 --> 01:11:15.439
<v Speaker 1>And he also heard about the car accident, right, and

1363
01:11:15.560 --> 01:11:17.920
<v Speaker 1>he he doesn't know the truth yet, right, that he

1364
01:11:18.039 --> 01:11:18.359
<v Speaker 1>faked that.

1365
01:11:19.720 --> 01:11:24.399
<v Speaker 2>Yes, but I think this is in reference to the pool.

1366
01:11:24.439 --> 01:11:27.880
<v Speaker 2>I think, okay, yeah, because yeah, that was like he'd

1367
01:11:27.880 --> 01:11:29.520
<v Speaker 2>forgotten about that. David had forgotten about that.

1368
01:11:29.760 --> 01:11:32.239
<v Speaker 1>Yeah, I forgot because yeah, we were talking through it,

1369
01:11:32.319 --> 01:11:35.359
<v Speaker 1>but he went and confronted David confronted Elijah at the shop.

1370
01:11:35.600 --> 01:11:37.279
<v Speaker 2>Yeah, he's like, hey, my son tried to kill me,

1371
01:11:37.399 --> 01:11:38.359
<v Speaker 2>so knocked that shot.

1372
01:11:39.159 --> 01:11:48.479
<v Speaker 1>Yeah, no, just going. I was just thinking about we

1373
01:11:48.800 --> 01:11:50.880
<v Speaker 1>got a little brief scene where the David and his

1374
01:11:50.920 --> 01:11:52.079
<v Speaker 1>wife are going to go out to dinner and then

1375
01:11:52.279 --> 01:11:54.960
<v Speaker 1>telling the kid, and I was just thinking, like, man,

1376
01:11:55.039 --> 01:12:00.159
<v Speaker 1>that kid got off pretty uh for literally talking a

1377
01:12:00.239 --> 01:12:08.239
<v Speaker 1>handgun and pointing it at his dad. Yeah that was

1378
01:12:08.399 --> 01:12:09.840
<v Speaker 1>I like that shot though, by the way too, with

1379
01:12:09.960 --> 01:12:13.319
<v Speaker 1>the low angle with the wheelchair getting pushed through, and.

1380
01:12:13.359 --> 01:12:14.279
<v Speaker 2>Yeah, yeah that's great.

1381
01:12:14.760 --> 01:12:15.520
<v Speaker 1>Sorry, yeah gohead.

1382
01:12:16.159 --> 01:12:17.760
<v Speaker 2>No, I was saying, doesn't this kind of remind you

1383
01:12:17.800 --> 01:12:19.319
<v Speaker 2>of the six sends a little bit of the restaurant

1384
01:12:19.359 --> 01:12:19.640
<v Speaker 2>in there.

1385
01:12:20.720 --> 01:12:24.359
<v Speaker 1>Yeah, totally same vibe. I wonder if it is, I

1386
01:12:24.399 --> 01:12:24.720
<v Speaker 1>don't know.

1387
01:12:25.359 --> 01:12:25.960
<v Speaker 2>Very similar.

1388
01:12:26.319 --> 01:12:35.079
<v Speaker 1>Yeah, but this is sweet. I agree seeing them reconnect.

1389
01:12:36.159 --> 01:12:37.800
<v Speaker 2>She's a Prince fan. That's a good thing.

1390
01:12:38.439 --> 01:12:43.399
<v Speaker 1>That's right, good, good music taste, Robin Wright. You know,

1391
01:12:43.479 --> 01:12:45.199
<v Speaker 1>it's so funny because I think, of of course, Jenny

1392
01:12:45.279 --> 01:12:46.840
<v Speaker 1>from Forrest Gump and House are.

1393
01:12:46.880 --> 01:12:50.760
<v Speaker 2>Aka one of the worst people in movie history.

1394
01:12:50.840 --> 01:12:53.520
<v Speaker 1>All right, So you know, I was literally I don't

1395
01:12:53.520 --> 01:12:56.000
<v Speaker 1>know why, Oh, because it's playing in theaters this month

1396
01:12:56.039 --> 01:12:57.920
<v Speaker 1>and I want to go see it. And I was

1397
01:12:58.000 --> 01:12:59.439
<v Speaker 1>just thinking about that movie, and I was thinking, we

1398
01:12:59.640 --> 01:13:01.239
<v Speaker 1>need to do a commentary, and I was thinking, if

1399
01:13:01.239 --> 01:13:02.880
<v Speaker 1>we did, I would have to be prepared for the

1400
01:13:02.960 --> 01:13:06.960
<v Speaker 1>Jenny conversation, and not just not because of you, but

1401
01:13:07.119 --> 01:13:11.279
<v Speaker 1>just because she is so some would say polarizing. I

1402
01:13:11.319 --> 01:13:15.520
<v Speaker 1>would say a prism, and I should say I got

1403
01:13:15.640 --> 01:13:19.439
<v Speaker 1>there way before the world, because I.

1404
01:13:19.479 --> 01:13:24.199
<v Speaker 2>Remember watching that on home video in ninety four or

1405
01:13:24.239 --> 01:13:26.760
<v Speaker 2>five whenever I saw it on BHS, and I was like, man,

1406
01:13:26.840 --> 01:13:29.600
<v Speaker 2>she's awful, and it's hard for me because I love

1407
01:13:29.720 --> 01:13:33.239
<v Speaker 2>Robin Wright. I think she's incredibly sexy, you know, I've

1408
01:13:33.319 --> 01:13:37.560
<v Speaker 2>loved her since Princess Bride, you know. Yeah, so I

1409
01:13:37.720 --> 01:13:40.319
<v Speaker 2>understand where forrests coming from. But I'm also like, god,

1410
01:13:40.439 --> 01:13:41.600
<v Speaker 2>she is the worst.

1411
01:13:42.800 --> 01:13:46.239
<v Speaker 1>Okay to be continued, I have a I have a

1412
01:13:46.319 --> 01:13:47.960
<v Speaker 1>take on her, and it's a little more generous.

1413
01:13:49.119 --> 01:13:50.079
<v Speaker 2>I'm looking forward to hearing it.

1414
01:13:50.399 --> 01:13:53.960
<v Speaker 1>Yeah, yeah, but that you actually mentioned it. But I

1415
01:13:54.039 --> 01:13:57.199
<v Speaker 1>was gonna say the movie I always forget is Princess Bride,

1416
01:13:57.279 --> 01:13:59.279
<v Speaker 1>And not because I forget the movie, but I don't

1417
01:13:59.399 --> 01:14:01.640
<v Speaker 1>think of it like, oh, that's the same person. That's Jenny,

1418
01:14:01.760 --> 01:14:05.399
<v Speaker 1>that's yeah House of Cars, like she just I know

1419
01:14:05.520 --> 01:14:07.439
<v Speaker 1>she's much younger in that, but I just I always

1420
01:14:07.479 --> 01:14:15.479
<v Speaker 1>forget that. That's that's Robin right, Yeah, I mean that

1421
01:14:15.600 --> 01:14:17.039
<v Speaker 1>was like a thing that was a thing until it

1422
01:14:17.119 --> 01:14:17.760
<v Speaker 1>wasn't anymore.

1423
01:14:18.720 --> 01:14:24.159
<v Speaker 2>Yeah, well, Kevin Spacey, sure, it's almost like it collapsed,

1424
01:14:24.239 --> 01:14:29.399
<v Speaker 2>like a like you know, you know, something that collapses.

1425
01:14:29.399 --> 01:14:30.840
<v Speaker 2>I don't know, I'm sure the phrase will come to me.

1426
01:14:32.520 --> 01:14:33.279
<v Speaker 1>Sorry, what were you saying?

1427
01:14:34.319 --> 01:14:38.239
<v Speaker 2>No, I love that Robin Wright has never stopped working,

1428
01:14:38.640 --> 01:14:42.800
<v Speaker 2>you know, and she's you know, she's just a consistently

1429
01:14:42.880 --> 01:14:46.359
<v Speaker 2>good performer and and you know, to to whatever extent

1430
01:14:46.439 --> 01:14:50.880
<v Speaker 2>I mean, I think this character, you know, I mean,

1431
01:14:50.920 --> 01:14:54.199
<v Speaker 2>she doesn't get a ton to do, but I think

1432
01:14:54.239 --> 01:14:55.039
<v Speaker 2>what she gets.

1433
01:14:54.840 --> 01:14:57.920
<v Speaker 1>To do matters. I agree, I agree. I think again

1434
01:14:58.520 --> 01:15:02.399
<v Speaker 1>this viewing, I appreciated her in this movie more than

1435
01:15:02.439 --> 01:15:05.159
<v Speaker 1>I think I ever have, realizing how much she's bringing.

1436
01:15:06.239 --> 01:15:08.159
<v Speaker 1>Even though she doesn't get a ton to do, she's

1437
01:15:08.199 --> 01:15:08.800
<v Speaker 1>bringing a lot.

1438
01:15:10.680 --> 01:15:13.239
<v Speaker 2>Like I remember being disappointed that she wasn't in class

1439
01:15:13.359 --> 01:15:15.319
<v Speaker 2>and that they killed off her character in between. I

1440
01:15:15.479 --> 01:15:16.119
<v Speaker 2>wasn't a fan of that.

1441
01:15:16.359 --> 01:15:18.880
<v Speaker 1>Yeah, I remember that too, I do remember that. Yeah,

1442
01:15:20.760 --> 01:15:25.880
<v Speaker 1>this babysitter is kind of funny. Yeah, it's like, you know,

1443
01:15:26.359 --> 01:15:28.840
<v Speaker 1>she finds out through the answering machine that they might

1444
01:15:28.920 --> 01:15:30.680
<v Speaker 1>be moving. She's like, yeah, so thanks for telling me.

1445
01:15:31.520 --> 01:15:34.199
<v Speaker 1>And then she walks outside it's raining. She's like, oh great,

1446
01:15:36.319 --> 01:15:39.800
<v Speaker 1>so funny. What a funny, little memorable thing. You know,

1447
01:15:40.039 --> 01:15:47.279
<v Speaker 1>So you give the actress something to do. You know

1448
01:15:47.359 --> 01:15:48.840
<v Speaker 1>something else I wanted to bring up real quick because

1449
01:15:48.840 --> 01:15:52.600
<v Speaker 1>we've been talking about this in our regular episodes. So

1450
01:15:52.920 --> 01:15:55.560
<v Speaker 1>this movie had a budget of seventy five million. Yeah,

1451
01:15:56.319 --> 01:15:58.560
<v Speaker 1>it made under one hundred million in the US only

1452
01:15:58.680 --> 01:15:59.840
<v Speaker 1>ninety five million.

1453
01:16:00.039 --> 01:16:00.439
<v Speaker 2>Remember that.

1454
01:16:00.640 --> 01:16:03.960
<v Speaker 1>Yeah, Worldwide, about two hundred and forty eight million. And

1455
01:16:04.119 --> 01:16:07.199
<v Speaker 1>what we've been talking about is, you know people who

1456
01:16:10.119 --> 01:16:13.279
<v Speaker 1>compare movies by their box office and say, basically, this

1457
01:16:13.439 --> 01:16:15.600
<v Speaker 1>movie won because it made this much at the box office,

1458
01:16:15.680 --> 01:16:18.399
<v Speaker 1>or this movie lost because it only made this at

1459
01:16:18.439 --> 01:16:21.439
<v Speaker 1>the box office. But what we were saying recently was, yeah,

1460
01:16:21.479 --> 01:16:25.279
<v Speaker 1>but movies have long, long, long lives after box office,

1461
01:16:25.319 --> 01:16:27.399
<v Speaker 1>and it's funny that if we're going to look at

1462
01:16:27.439 --> 01:16:30.880
<v Speaker 1>that as some sort of worth for a film, it's

1463
01:16:30.960 --> 01:16:33.119
<v Speaker 1>interesting that we're just looking at one brief moment in

1464
01:16:33.199 --> 01:16:36.399
<v Speaker 1>time for that film that's right right the box office.

1465
01:16:37.199 --> 01:16:40.920
<v Speaker 1>So I looked it up and Unbreakable so world you know,

1466
01:16:41.159 --> 01:16:43.920
<v Speaker 1>under hundred million US two hundred and forty eight million worldwide,

1467
01:16:44.199 --> 01:16:48.880
<v Speaker 1>made one hundred and twenty three million on home video amazing, Right,

1468
01:16:49.119 --> 01:16:53.720
<v Speaker 1>So that's way more than it made in the US alone, Right,

1469
01:16:53.800 --> 01:16:58.479
<v Speaker 1>So it's just value whatever you want to call it, earning.

1470
01:16:59.319 --> 01:17:02.359
<v Speaker 1>It doesn't end when the box office ends. It continues

1471
01:17:02.399 --> 01:17:06.039
<v Speaker 1>and it can be even more right after life, and

1472
01:17:06.399 --> 01:17:09.920
<v Speaker 1>so it's it's global. Theatrical home video puts it almost

1473
01:17:09.960 --> 01:17:12.960
<v Speaker 1>closer to four hundred million, amazing, which is well crazy.

1474
01:17:13.359 --> 01:17:16.239
<v Speaker 2>This is something that Shamalan talked about where the movie

1475
01:17:16.399 --> 01:17:18.479
<v Speaker 2>came and you know, it came and went and it

1476
01:17:18.800 --> 01:17:23.800
<v Speaker 2>did whatever it did, but it really like this. You know,

1477
01:17:25.279 --> 01:17:27.960
<v Speaker 2>this was at the peak of DVDs.

1478
01:17:28.760 --> 01:17:31.000
<v Speaker 1>Mm hmm, yeah, yeah, yeah right, and they and they.

1479
01:17:31.039 --> 01:17:35.239
<v Speaker 2>Put out, you know, a pretty pretty loaded special edition

1480
01:17:35.520 --> 01:17:40.520
<v Speaker 2>disc and I remember that. Yeah. It came in like

1481
01:17:40.600 --> 01:17:43.039
<v Speaker 2>a digit pack you folded open and there was like

1482
01:17:43.319 --> 01:17:46.279
<v Speaker 2>I remember there were like little little lobby cards painted

1483
01:17:46.319 --> 01:17:47.239
<v Speaker 2>by Alex Ross.

1484
01:17:48.039 --> 01:17:49.159
<v Speaker 1>Oh I don't remember that.

1485
01:17:49.520 --> 01:17:51.680
<v Speaker 2>Yeah, yeah, it was. It was a pretty sweet deal,

1486
01:17:51.760 --> 01:17:54.319
<v Speaker 2>I remember, And that was probably two thousand and one,

1487
01:17:54.319 --> 01:17:58.880
<v Speaker 2>I'm guessing. And regardless, I mean it, it just it.

1488
01:17:59.520 --> 01:18:03.720
<v Speaker 2>It had a very healthy home video afterlife, to the

1489
01:18:03.800 --> 01:18:06.239
<v Speaker 2>point where, you know, he talked about this before how

1490
01:18:06.319 --> 01:18:08.680
<v Speaker 2>he meant this as the first of a trilogy and

1491
01:18:09.880 --> 01:18:12.800
<v Speaker 2>you know, this was Act one or whatever, and the

1492
01:18:13.159 --> 01:18:16.479
<v Speaker 2>movie's performance didn't really warrant a sequel and so you

1493
01:18:16.520 --> 01:18:18.399
<v Speaker 2>just forgot about it. But he said that just he

1494
01:18:18.600 --> 01:18:20.640
<v Speaker 2>was constantly asked about whether there was going to be

1495
01:18:20.640 --> 01:18:21.720
<v Speaker 2>an Unbreakable sequel.

1496
01:18:22.039 --> 01:18:24.439
<v Speaker 1>I remember that that would come up a lot with him.

1497
01:18:25.279 --> 01:18:29.399
<v Speaker 2>The funny thing, though, is is I always felt that

1498
01:18:30.600 --> 01:18:32.760
<v Speaker 2>the movie was fine as is, like it didn't need

1499
01:18:32.840 --> 01:18:34.600
<v Speaker 2>a follow up, and this is completely separate from what

1500
01:18:34.680 --> 01:18:36.800
<v Speaker 2>I think about Glass. But I'm just like, in general,

1501
01:18:36.880 --> 01:18:41.479
<v Speaker 2>I'm like I, you know, I almost thought it worked

1502
01:18:41.600 --> 01:18:43.840
<v Speaker 2>better as just as a one and done.

1503
01:18:44.159 --> 01:18:46.640
<v Speaker 1>I kind of agree because I remember always thinking, well,

1504
01:18:46.640 --> 01:18:48.800
<v Speaker 1>where do you go from here? It can only like

1505
01:18:48.960 --> 01:18:53.520
<v Speaker 1>betray the groundedness that you set up. Yeah, and this,

1506
01:18:53.680 --> 01:18:55.359
<v Speaker 1>because then it will just have to get a little

1507
01:18:55.760 --> 01:18:58.359
<v Speaker 1>crazier or something like this.

1508
01:18:59.640 --> 01:19:03.840
<v Speaker 2>This sequence, No, no, I just like this on its own, yeah, right,

1509
01:19:04.800 --> 01:19:06.520
<v Speaker 2>And I like the sequence on its own, by the Yeah,

1510
01:19:06.680 --> 01:19:09.479
<v Speaker 2>it's good. The music in this whole scene is terrific,

1511
01:19:09.520 --> 01:19:11.720
<v Speaker 2>by the way, but yeah, the well, and I guess

1512
01:19:11.760 --> 01:19:13.600
<v Speaker 2>we'll be able to thread back to this when we

1513
01:19:13.640 --> 01:19:17.600
<v Speaker 2>get to the ending. But I think this film's ending

1514
01:19:17.760 --> 01:19:22.600
<v Speaker 2>is almost an admission, like, well, this is how it

1515
01:19:22.600 --> 01:19:25.199
<v Speaker 2>would play out in real life, Like yeah, yeah.

1516
01:19:25.119 --> 01:19:26.399
<v Speaker 1>Right, right, right right, you know.

1517
01:19:28.359 --> 01:19:31.000
<v Speaker 2>So, and again I want to say that that's completely

1518
01:19:31.039 --> 01:19:34.920
<v Speaker 2>separate from what I thought of Glass, which I like you,

1519
01:19:35.039 --> 01:19:36.840
<v Speaker 2>I have not revisited it since it came out, but

1520
01:19:36.920 --> 01:19:39.359
<v Speaker 2>I remember being being underwhelmed by it when I did

1521
01:19:39.439 --> 01:19:39.640
<v Speaker 2>see it.

1522
01:19:40.520 --> 01:19:43.520
<v Speaker 1>Yeah, it almost felt My memory of it was it

1523
01:19:43.680 --> 01:19:46.560
<v Speaker 1>was a lot of people sitting in a room just

1524
01:19:46.600 --> 01:19:49.800
<v Speaker 1>sort of talking. You know, there's like a psychiatrist and

1525
01:19:49.920 --> 01:19:52.000
<v Speaker 1>three people in a chair. Just I was like, this

1526
01:19:52.119 --> 01:19:56.319
<v Speaker 1>is not what I imagined. And then basically everyone's dead

1527
01:19:56.359 --> 01:19:58.680
<v Speaker 1>by the end, and I was like, that's right, what

1528
01:19:58.800 --> 01:20:03.840
<v Speaker 1>are you doing? Sorry spoiler, but sorry guys truly if

1529
01:20:03.880 --> 01:20:07.520
<v Speaker 1>you guys haven't seen it. But I am a little

1530
01:20:07.680 --> 01:20:09.479
<v Speaker 1>curious to go back and see if I'll be a

1531
01:20:09.560 --> 01:20:11.680
<v Speaker 1>little more Yeah, if I can try to get on

1532
01:20:11.760 --> 01:20:12.640
<v Speaker 1>its wavelength now that.

1533
01:20:12.680 --> 01:20:15.399
<v Speaker 2>I know we've done a six years of living in

1534
01:20:15.479 --> 01:20:17.079
<v Speaker 2>the interim, see if that's a change.

1535
01:20:17.359 --> 01:20:20.439
<v Speaker 1>Yeah, and that and then and just revisiting this and

1536
01:20:20.520 --> 01:20:22.159
<v Speaker 1>liking it so much, I'm in the universe, so I

1537
01:20:22.199 --> 01:20:24.920
<v Speaker 1>may as well, you know, go back for Yeah.

1538
01:20:25.039 --> 01:20:31.960
<v Speaker 2>Well, Shyamalan talked about how initially the the the Kevin

1539
01:20:32.079 --> 01:20:37.039
<v Speaker 2>Crumb character from Split was supposed to be the villain

1540
01:20:37.119 --> 01:20:41.640
<v Speaker 2>in this interesting which and he said, very different, very different,

1541
01:20:41.840 --> 01:20:44.560
<v Speaker 2>he he he took out like twenty pages from this

1542
01:20:44.760 --> 01:20:46.319
<v Speaker 2>and just put them in Split.

1543
01:20:47.800 --> 01:20:48.319
<v Speaker 1>Fascinating.

1544
01:20:48.399 --> 01:20:49.199
<v Speaker 2>Okay, yeah. Yeah.

1545
01:20:50.960 --> 01:20:52.399
<v Speaker 1>By the way, this I don't even want to call

1546
01:20:52.439 --> 01:20:56.960
<v Speaker 1>it dreams flashback. I guess films really really effectively, like

1547
01:20:57.680 --> 01:21:01.279
<v Speaker 1>like so brilliant that you're not even thinking about how

1548
01:21:01.319 --> 01:21:04.760
<v Speaker 1>brilliant it is, Like it does feel slightly dreamlike. You've

1549
01:21:04.800 --> 01:21:08.960
<v Speaker 1>got these two actors who do kind of resemble our

1550
01:21:09.039 --> 01:21:14.439
<v Speaker 1>main actors enough, but they're obscured perfectly, right, so you

1551
01:21:14.640 --> 01:21:19.199
<v Speaker 1>just hear their voices, which I think is tweaked Bruce Willis,

1552
01:21:19.560 --> 01:21:24.600
<v Speaker 1>that's right. But yeah, but it's also you're not distracted

1553
01:21:24.600 --> 01:21:27.000
<v Speaker 1>by any of that either, you know, it's just it's

1554
01:21:27.079 --> 01:21:29.279
<v Speaker 1>very effective, and we're finally getting to see the thing

1555
01:21:29.359 --> 01:21:31.359
<v Speaker 1>that they've alluded to a couple times throughout this movie,

1556
01:21:31.399 --> 01:21:33.479
<v Speaker 1>this car accident that was a big moment in their lives,

1557
01:21:35.119 --> 01:21:37.720
<v Speaker 1>and we got to see the superhuman strength.

1558
01:21:38.239 --> 01:21:38.479
<v Speaker 2>Yep.

1559
01:21:40.319 --> 01:21:41.920
<v Speaker 1>And by the way, this when it slows down here

1560
01:21:41.920 --> 01:21:44.199
<v Speaker 1>and we see this actor's face, I mean, come on, man,

1561
01:21:44.359 --> 01:21:45.880
<v Speaker 1>he like right, he does look like he give you

1562
01:21:45.920 --> 01:21:52.079
<v Speaker 1>Bruce Willis's son amazing. And that's a woner to get

1563
01:21:52.119 --> 01:21:54.720
<v Speaker 1>all that perfectly. I wonder how many takes a head

1564
01:21:54.760 --> 01:21:54.920
<v Speaker 1>to do.

1565
01:21:56.000 --> 01:21:58.279
<v Speaker 2>By the way, so the comic book that Elijah was

1566
01:21:58.319 --> 01:22:00.319
<v Speaker 2>looking at that was like his light bulb moment. It's

1567
01:22:00.319 --> 01:22:03.760
<v Speaker 2>called Sentry Man, and I kind of love that. And

1568
01:22:03.880 --> 01:22:06.439
<v Speaker 2>this is not intentional, it couldn't have been, but the

1569
01:22:06.720 --> 01:22:13.800
<v Speaker 2>characters David and the Sentry are very similar, like Marvel Centry, right,

1570
01:22:13.840 --> 01:22:16.479
<v Speaker 2>because you know we saw the Sentry and Thunderbolts, right.

1571
01:22:17.600 --> 01:22:18.760
<v Speaker 1>Oh yeah.

1572
01:22:19.640 --> 01:22:21.880
<v Speaker 2>In the in the comic books, he's a little different, right.

1573
01:22:21.920 --> 01:22:24.520
<v Speaker 2>He's a guy who who was a superhero. He was,

1574
01:22:25.039 --> 01:22:30.640
<v Speaker 2>but he's he he he has through through various shenanigans.

1575
01:22:30.720 --> 01:22:34.079
<v Speaker 2>He has that's been erased from his memory. So he

1576
01:22:34.159 --> 01:22:37.920
<v Speaker 2>goes through life just moros and feeling like there's something missing.

1577
01:22:39.359 --> 01:22:42.239
<v Speaker 2>And it's the fact that he's a superhero. You know. Again,

1578
01:22:42.640 --> 01:22:44.880
<v Speaker 2>that's just a weird coincidence because they couldn't have planned that.

1579
01:22:45.119 --> 01:22:51.359
<v Speaker 2>But interesting, this this sequence is one of the best

1580
01:22:51.439 --> 01:22:54.279
<v Speaker 2>in the movie. I love the kind of you know,

1581
01:22:54.479 --> 01:22:59.079
<v Speaker 2>the sort of crucifixion pose that he he puts on,

1582
01:22:59.279 --> 01:23:02.520
<v Speaker 2>you know. Yeah, but just the music is so great.

1583
01:23:02.560 --> 01:23:09.800
<v Speaker 1>So it's lit incredibly, the tone is incredible. Yeah. Yeah.

1584
01:23:11.279 --> 01:23:15.479
<v Speaker 1>The use of color, Yeah, I was thinking about it earlier.

1585
01:23:15.520 --> 01:23:18.399
<v Speaker 1>I mean, how perfect a superhero whose weakness is water.

1586
01:23:18.680 --> 01:23:22.000
<v Speaker 1>His uniform is a trench coat, yep, or a raincoat.

1587
01:23:22.079 --> 01:23:25.600
<v Speaker 1>A raincoat. Yeah, you know red.

1588
01:23:25.680 --> 01:23:27.560
<v Speaker 2>Shamalan loves his red and I remember that from the

1589
01:23:27.840 --> 01:23:32.079
<v Speaker 2>sixth sense. I also like, you know, he he's getting

1590
01:23:32.359 --> 01:23:34.920
<v Speaker 2>inklings of all these people's evil, but he has to decide,

1591
01:23:35.000 --> 01:23:38.079
<v Speaker 2>like what's the what do I intervene in? You know?

1592
01:23:38.439 --> 01:23:42.640
<v Speaker 1>Yep? Yep. Well, and also those things are kind of

1593
01:23:43.760 --> 01:23:46.840
<v Speaker 1>over with, but then he kind of catches something that's

1594
01:23:46.840 --> 01:23:50.560
<v Speaker 1>still active, right right right, But this is this is

1595
01:23:50.800 --> 01:23:52.439
<v Speaker 1>see and this is what is interesting about Yeah.

1596
01:23:52.439 --> 01:23:52.720
<v Speaker 2>I like this.

1597
01:23:53.000 --> 01:23:55.319
<v Speaker 1>I mean even just that slow the reframing and the

1598
01:23:55.359 --> 01:23:57.199
<v Speaker 1>push in and seeing his arms go out like this,

1599
01:23:58.920 --> 01:24:04.039
<v Speaker 1>and even you know, as a hero figure, the look

1600
01:24:04.079 --> 01:24:05.760
<v Speaker 1>of that sort of the cloak like look of that

1601
01:24:06.960 --> 01:24:09.680
<v Speaker 1>rain jacket and everything it just does. Look it cuts

1602
01:24:09.680 --> 01:24:10.840
<v Speaker 1>a striking figure, doesn't it.

1603
01:24:11.079 --> 01:24:14.319
<v Speaker 2>Oh it's great. I mean in this, in this you know,

1604
01:24:14.479 --> 01:24:17.720
<v Speaker 2>grounded world, that's his superhero costume.

1605
01:24:19.239 --> 01:24:20.439
<v Speaker 1>Yep, it's perfect.

1606
01:24:21.159 --> 01:24:22.600
<v Speaker 2>This movie is so ahead of its time.

1607
01:24:22.880 --> 01:24:27.039
<v Speaker 1>So I wish everyone could have like seen it the

1608
01:24:27.119 --> 01:24:28.840
<v Speaker 1>way that they would look at it now, because I

1609
01:24:28.880 --> 01:24:32.439
<v Speaker 1>think it would have been even more beloved. But see, now,

1610
01:24:32.520 --> 01:24:34.520
<v Speaker 1>this is what's interesting is because now that he's going

1611
01:24:34.600 --> 01:24:37.600
<v Speaker 1>to become a superhero in this very very grounded movie,

1612
01:24:38.079 --> 01:24:39.840
<v Speaker 1>well what kind of things is he going to encounter?

1613
01:24:40.920 --> 01:24:44.439
<v Speaker 1>And all this stuff is really really unpleasant, Like this

1614
01:24:44.600 --> 01:24:46.079
<v Speaker 1>is real world evil.

1615
01:24:47.079 --> 01:24:50.920
<v Speaker 2>Yeah, you know this here this sexual assault.

1616
01:24:50.600 --> 01:24:53.159
<v Speaker 1>Thing, and then the and then what we get to.

1617
01:24:53.880 --> 01:24:56.039
<v Speaker 1>That's the thing that I remember. You know obviously the

1618
01:24:56.319 --> 01:24:59.520
<v Speaker 1>people who are being held captive at their house. It's

1619
01:24:59.720 --> 01:25:05.520
<v Speaker 1>really upsetting. But but that's why it works, you know.

1620
01:25:05.680 --> 01:25:09.119
<v Speaker 1>That's that's what this movie is, right. You know. It's

1621
01:25:09.159 --> 01:25:11.680
<v Speaker 1>not someone who's just gonna like try to make mess

1622
01:25:11.720 --> 01:25:13.520
<v Speaker 1>with a switch track and have two trains go and

1623
01:25:13.640 --> 01:25:15.159
<v Speaker 1>collide into one another, you know what I mean, Like,

1624
01:25:15.239 --> 01:25:18.640
<v Speaker 1>it's this is like really really disturbing crap.

1625
01:25:19.720 --> 01:25:23.439
<v Speaker 2>I remember around this time. I mean this is when

1626
01:25:23.479 --> 01:25:26.520
<v Speaker 2>I was at Columbia and one of one of my

1627
01:25:26.680 --> 01:25:30.560
<v Speaker 2>loglines or pitches was like a quote unquote realistic superhero story.

1628
01:25:31.680 --> 01:25:32.960
<v Speaker 1>And and I.

1629
01:25:33.399 --> 01:25:36.720
<v Speaker 2>Remember the weekend after this came out, a friend of

1630
01:25:36.760 --> 01:25:38.399
<v Speaker 2>mine's like, hey, Zachy, they made your movie.

1631
01:25:39.680 --> 01:25:46.760
<v Speaker 1>I was like, I know, son of a, how unnerving

1632
01:25:46.920 --> 01:25:48.760
<v Speaker 1>is that with the guy opening the door.

1633
01:25:48.640 --> 01:25:51.359
<v Speaker 2>And oh, dude, like it. I remember it creeped me

1634
01:25:51.439 --> 01:25:54.039
<v Speaker 2>out twenty five years ago and then watching it watching

1635
01:25:54.079 --> 01:25:57.239
<v Speaker 2>the movie again, I was dreading that part. Isn't that weird? Yeah?

1636
01:25:57.439 --> 01:26:00.279
<v Speaker 1>Yeah, but that's it. It's like you can that's a

1637
01:26:00.399 --> 01:26:07.840
<v Speaker 1>nightmare that you can imagine, you know, like happening. And

1638
01:26:08.000 --> 01:26:10.800
<v Speaker 1>I mean, now, I you know I always talk about

1639
01:26:11.159 --> 01:26:13.199
<v Speaker 1>I know we're both like this, but I just one

1640
01:26:13.199 --> 01:26:15.640
<v Speaker 1>of my favorite things is just fantasy in the real world,

1641
01:26:16.439 --> 01:26:17.479
<v Speaker 1>you know, And that's what this is.

1642
01:26:17.960 --> 01:26:18.000
<v Speaker 2>Like.

1643
01:26:18.119 --> 01:26:20.880
<v Speaker 1>It's just a slightly elevated fantastical sort of thing but

1644
01:26:21.039 --> 01:26:25.199
<v Speaker 1>in a very real world. It never betrays the groundedness

1645
01:26:25.239 --> 01:26:29.479
<v Speaker 1>of real life in this It just introduces these interesting

1646
01:26:29.560 --> 01:26:35.039
<v Speaker 1>fantastical elements to it. But this is great. I mean,

1647
01:26:35.239 --> 01:26:36.319
<v Speaker 1>like I was saying, great use of color.

1648
01:26:36.359 --> 01:26:39.159
<v Speaker 2>You got that woman in the red and it's a

1649
01:26:40.399 --> 01:26:43.359
<v Speaker 2>guy in the orange here, the Orange Man as he's

1650
01:26:43.439 --> 01:26:46.680
<v Speaker 2>known on the soundtrack. Oh. Really interesting.

1651
01:26:47.920 --> 01:26:49.960
<v Speaker 1>Oh something else I thought was really cool that Shyamalan

1652
01:26:50.039 --> 01:26:52.359
<v Speaker 1>talked about it's a great shot right there. Oh so great.

1653
01:26:52.399 --> 01:26:57.239
<v Speaker 1>And then the flair Yeah you were saying no, no, no,

1654
01:26:57.439 --> 01:27:01.199
<v Speaker 1>just when he had like a full fee behind how

1655
01:27:01.239 --> 01:27:05.119
<v Speaker 1>to film his visions And this is quoting him, he says,

1656
01:27:05.159 --> 01:27:07.319
<v Speaker 1>my theory was to shoot his visions from a security

1657
01:27:07.399 --> 01:27:11.560
<v Speaker 1>camera angle to evoke a feeling that you're catching wrongdoing inadvertently.

1658
01:27:12.520 --> 01:27:15.520
<v Speaker 1>There's something about that angle that we associate our terrors with.

1659
01:27:17.039 --> 01:27:19.000
<v Speaker 2>That was like interesting yeah, kind of.

1660
01:27:19.399 --> 01:27:21.960
<v Speaker 1>You know, if it was just sort of like a

1661
01:27:22.079 --> 01:27:24.560
<v Speaker 1>handheld sort of thing and seeing that guy moving around

1662
01:27:24.600 --> 01:27:26.960
<v Speaker 1>the house, you know, it could be terrifying in a

1663
01:27:27.000 --> 01:27:29.199
<v Speaker 1>certain way. But just seeing that high angle thing that

1664
01:27:29.279 --> 01:27:31.359
<v Speaker 1>looks like it could be from like a security camera.

1665
01:27:31.319 --> 01:27:33.720
<v Speaker 2>And the speed is there's like a jitter.

1666
01:27:34.159 --> 01:27:39.399
<v Speaker 1>Yeah right, Yeah, there's just something Yeah, like we're watching

1667
01:27:39.479 --> 01:27:41.800
<v Speaker 1>something that was captured that we shouldn't be looking at.

1668
01:27:42.439 --> 01:27:46.039
<v Speaker 2>Yeah, it's perfect right there. Yes, Bruce with the shadow

1669
01:27:46.079 --> 01:27:49.560
<v Speaker 2>over his eyes. I mean that's like a quintessential superhero look.

1670
01:27:49.520 --> 01:27:51.680
<v Speaker 1>Right, yep, like a Batman or something.

1671
01:27:52.319 --> 01:27:54.720
<v Speaker 2>Yeah, so what I mentioned before, I mean I remember

1672
01:27:54.760 --> 01:27:57.720
<v Speaker 2>the DVD set that came with those those painted cards.

1673
01:27:57.840 --> 01:28:00.880
<v Speaker 2>It was you know, it was Bruce willistre imagine that,

1674
01:28:01.039 --> 01:28:02.359
<v Speaker 2>but painted by Alex Ross.

1675
01:28:02.560 --> 01:28:04.520
<v Speaker 1>Right. See that's the thing, because now that I'm more

1676
01:28:04.560 --> 01:28:06.600
<v Speaker 1>familiar with Alex Ross, I'm eager to look those up

1677
01:28:06.640 --> 01:28:07.039
<v Speaker 1>and see them.

1678
01:28:07.159 --> 01:28:11.760
<v Speaker 2>Yeah, let's see if I can find them. This whole

1679
01:28:11.800 --> 01:28:16.119
<v Speaker 2>sequence to pretty brilliantly played out, where again we get

1680
01:28:16.159 --> 01:28:22.199
<v Speaker 2>these long takes but also no music. You know this,

1681
01:28:22.520 --> 01:28:25.319
<v Speaker 2>and then you know the fight that that happens in

1682
01:28:25.359 --> 01:28:27.560
<v Speaker 2>a little bit. I really you appreciate it even more

1683
01:28:27.640 --> 01:28:33.920
<v Speaker 2>now just how completely you know, it avoids the tropiness

1684
01:28:34.039 --> 01:28:37.239
<v Speaker 2>of like some choreographed thing or whatever. There's there's just

1685
01:28:37.359 --> 01:28:41.520
<v Speaker 2>a raw brutality to it, which is more reflective of.

1686
01:28:41.600 --> 01:28:45.479
<v Speaker 1>Like what it would likely be, right Oh yeah, yeah,

1687
01:28:45.479 --> 01:28:53.000
<v Speaker 1>the fight, Yeah absolutely, and even just the deliberateness, the patience.

1688
01:28:53.479 --> 01:28:55.560
<v Speaker 1>You did not have to speed things up or make

1689
01:28:55.720 --> 01:29:00.560
<v Speaker 1>interesting angles to captivate us here, we're already captain because

1690
01:29:00.640 --> 01:29:02.279
<v Speaker 1>I mean, this is such a great long shot here

1691
01:29:02.279 --> 01:29:04.760
<v Speaker 1>of him walking through this house, because it's like we

1692
01:29:04.880 --> 01:29:07.000
<v Speaker 1>do feel like we're standing in a place we don't

1693
01:29:07.199 --> 01:29:09.840
<v Speaker 1>understand that they're watching him walk through a house he

1694
01:29:09.920 --> 01:29:12.680
<v Speaker 1>doesn't know, like we were getting that. It's evoked here.

1695
01:29:16.760 --> 01:29:20.800
<v Speaker 1>Oh this stuff too, like this, the shadows, and I

1696
01:29:20.880 --> 01:29:23.079
<v Speaker 1>mean this, this is why I'll show I don't care

1697
01:29:23.159 --> 01:29:25.840
<v Speaker 1>what he makes. I'll just always show up. Because at

1698
01:29:25.880 --> 01:29:28.920
<v Speaker 1>the very least I'm hoping for another one of these. No, no, no,

1699
01:29:29.079 --> 01:29:30.680
<v Speaker 1>At most i'm hoping for another of these. But at

1700
01:29:30.760 --> 01:29:34.359
<v Speaker 1>least I'm hoping that there's at least one moment that

1701
01:29:34.560 --> 01:29:38.840
<v Speaker 1>touches this, and if it does, I am happy. Have

1702
01:29:39.199 --> 01:29:43.119
<v Speaker 1>you gotten that with his recent you know, yeah, I

1703
01:29:43.119 --> 01:29:46.119
<v Speaker 1>would say, at least there's been moments. I think it's

1704
01:29:46.199 --> 01:29:49.680
<v Speaker 1>interesting how his tone has kind of changed over the years.

1705
01:29:49.720 --> 01:29:52.199
<v Speaker 1>I mean, they do feel a little more intentionally campy.

1706
01:29:52.840 --> 01:29:54.520
<v Speaker 2>Sure, Trap, certainly trap.

1707
01:29:54.600 --> 01:29:58.159
<v Speaker 1>Yeah, you know, but he like cabin in the I

1708
01:29:58.159 --> 01:30:00.199
<v Speaker 1>always say it wrong, not at the cab and in

1709
01:30:00.319 --> 01:30:00.760
<v Speaker 1>the woods.

1710
01:30:00.800 --> 01:30:04.439
<v Speaker 2>That's not knock at the cabin, right, yeah, I confuse

1711
01:30:04.479 --> 01:30:07.079
<v Speaker 2>it with the other one. Isn't it a knock at

1712
01:30:07.119 --> 01:30:07.560
<v Speaker 2>the cabin?

1713
01:30:08.399 --> 01:30:11.520
<v Speaker 1>I think so, But I actually thought that was one

1714
01:30:11.560 --> 01:30:13.800
<v Speaker 1>of his best in recent years. It's just I mean,

1715
01:30:13.840 --> 01:30:18.520
<v Speaker 1>it's an unpleasant movie, unfortunately, but it's really the cabin,

1716
01:30:18.600 --> 01:30:21.439
<v Speaker 1>by the way, not at the cabin, but it's it's him.

1717
01:30:21.920 --> 01:30:25.399
<v Speaker 1>His gifts are on display in that movie telling that story.

1718
01:30:26.079 --> 01:30:26.479
<v Speaker 2>Mm hmm.

1719
01:30:27.600 --> 01:30:29.800
<v Speaker 1>So this, yeah, this imagery like kids tied up to

1720
01:30:31.960 --> 01:30:37.880
<v Speaker 1>it's really upsetting, but it feels like it belongs in

1721
01:30:38.000 --> 01:30:44.000
<v Speaker 1>this movie, and and it's very satisfying seeing him conquer

1722
01:30:44.119 --> 01:30:46.960
<v Speaker 1>what feels like a real life monster.

1723
01:30:47.359 --> 01:30:51.199
<v Speaker 2>Right right, yeah, Well that's exactly it. I think the

1724
01:30:52.039 --> 01:30:53.960
<v Speaker 2>that's the ironic thing. I mean, the mission statement of

1725
01:30:54.000 --> 01:30:55.880
<v Speaker 2>this movie cannot be more clear. And yet that was

1726
01:30:55.960 --> 01:31:01.439
<v Speaker 2>something that that Disney was basically like, sh sure don't

1727
01:31:01.479 --> 01:31:03.920
<v Speaker 2>talk about what the movie's actually about.

1728
01:31:04.479 --> 01:31:07.800
<v Speaker 1>Right, See. I even love this with the drapes.

1729
01:31:08.479 --> 01:31:09.079
<v Speaker 2>Oh, it's great.

1730
01:31:09.319 --> 01:31:13.520
<v Speaker 1>I mean I could imagine someone getting tripping over this

1731
01:31:13.640 --> 01:31:17.560
<v Speaker 1>and being like this feels a little too I don't know,

1732
01:31:17.760 --> 01:31:20.520
<v Speaker 1>forced or something, or someone in love with what they're doing.

1733
01:31:20.600 --> 01:31:22.000
<v Speaker 1>But like I'm like, yeah, but it works.

1734
01:31:22.159 --> 01:31:23.840
<v Speaker 2>No, No, for this, it absolutely works. Yeah.

1735
01:31:23.840 --> 01:31:27.199
<v Speaker 1>I mean we've got these billowing drapes in the wind

1736
01:31:27.520 --> 01:31:32.560
<v Speaker 1>and they part to reveal what's in the room behind

1737
01:31:32.640 --> 01:31:34.920
<v Speaker 1>them to tell us what we need to know. We

1738
01:31:35.039 --> 01:31:37.880
<v Speaker 1>see David entering, then the drapes cover him. Then the

1739
01:31:37.960 --> 01:31:39.439
<v Speaker 1>drapes open on the other side, and we see this

1740
01:31:39.560 --> 01:31:41.880
<v Speaker 1>woman tied to a radiator and say, oh gosh, this

1741
01:31:41.960 --> 01:31:50.600
<v Speaker 1>is horrifying. That smash cut to the guy ugh and again,

1742
01:31:50.640 --> 01:31:54.159
<v Speaker 1>I mean, we're watching a superhero moment. We're watching super

1743
01:31:54.279 --> 01:31:58.000
<v Speaker 1>or Kryptonite get shoved in Superman's face, but it's filmed differently.

1744
01:31:58.840 --> 01:32:03.479
<v Speaker 1>What I love is that the weakness totally makes sense too, right,

1745
01:32:03.640 --> 01:32:09.920
<v Speaker 1>Like he's got such dense bones that of course he

1746
01:32:09.920 --> 01:32:10.479
<v Speaker 1>would drown.

1747
01:32:10.720 --> 01:32:13.439
<v Speaker 2>Hmm. Like it's it's a logical weakness, you know what

1748
01:32:13.479 --> 01:32:13.680
<v Speaker 2>I mean.

1749
01:32:13.840 --> 01:32:17.119
<v Speaker 1>I didn't even think about that oh, I see the

1750
01:32:17.159 --> 01:32:17.880
<v Speaker 1>pictures you sent me.

1751
01:32:18.399 --> 01:32:24.600
<v Speaker 2>Yeah, so cool, isn't it neat? Yeah? I got it.

1752
01:32:24.880 --> 01:32:27.159
<v Speaker 1>This did make me oh, no, go ahead, go ahead, no, no,

1753
01:32:27.239 --> 01:32:29.520
<v Speaker 1>go ahead, no this no, please, we should talk about

1754
01:32:29.520 --> 01:32:29.960
<v Speaker 1>this at a hand.

1755
01:32:30.479 --> 01:32:33.199
<v Speaker 2>It's it's it's freaking terrifying that that overhead shot of

1756
01:32:33.319 --> 01:32:35.600
<v Speaker 2>him with on the water with the tarp. I mean,

1757
01:32:35.680 --> 01:32:37.600
<v Speaker 2>that's like that's nightmare sauce right there.

1758
01:32:38.039 --> 01:32:41.199
<v Speaker 1>Yeah, that's nightmare sauce for us. Yeah, exactly on that

1759
01:32:41.279 --> 01:32:43.079
<v Speaker 1>tarp on top of the pool. And then yeah, the

1760
01:32:43.119 --> 01:32:46.439
<v Speaker 1>way that it shows each like it's slowly slipping over

1761
01:32:46.520 --> 01:32:49.000
<v Speaker 1>the edge of the pool, so it's going into the

1762
01:32:49.079 --> 01:32:51.600
<v Speaker 1>water and enveloping him and bringing him to the bottom,

1763
01:32:51.640 --> 01:32:53.680
<v Speaker 1>and that'd be scary for us. But then knowing that

1764
01:32:53.800 --> 01:32:55.960
<v Speaker 1>he has an extra hard time in water, I mean,

1765
01:32:56.000 --> 01:32:58.000
<v Speaker 1>this should be the end. But then of course we

1766
01:32:58.039 --> 01:33:00.840
<v Speaker 1>get the pole going through the wall because he untied

1767
01:33:00.840 --> 01:33:02.199
<v Speaker 1>those kids and the kids get him out.

1768
01:33:04.279 --> 01:33:06.720
<v Speaker 2>There's there's the line earlier in the movie where Elia

1769
01:33:06.840 --> 01:33:09.760
<v Speaker 2>just says like, oh, it's it's your kryptonite, and that

1770
01:33:10.279 --> 01:33:12.319
<v Speaker 2>just it made me think of the in Superman The

1771
01:33:12.399 --> 01:33:15.239
<v Speaker 2>New Superman where they got that one there. It's like

1772
01:33:15.359 --> 01:33:18.960
<v Speaker 2>the Lex Luthor's talking to the talking the round table,

1773
01:33:19.039 --> 01:33:21.560
<v Speaker 2>and one guy's like, what's that? What's his kryptonite? It's

1774
01:33:21.600 --> 01:33:25.960
<v Speaker 2>called kryptonite. That made me laugh.

1775
01:33:29.079 --> 01:33:31.880
<v Speaker 1>It's so funny because as horrifying as his whole sequence is,

1776
01:33:32.119 --> 01:33:34.640
<v Speaker 1>there is like a feeling of levity in this moment

1777
01:33:34.720 --> 01:33:37.199
<v Speaker 1>seeing the two kids just sort of standing side by side.

1778
01:33:37.039 --> 01:33:39.760
<v Speaker 2>Here, I was wonder about that. I'm like, why aren't they?

1779
01:33:39.960 --> 01:33:40.000
<v Speaker 1>Like?

1780
01:33:40.640 --> 01:33:42.880
<v Speaker 2>Why are they? What was the direction there? You know what?

1781
01:33:43.000 --> 01:33:46.079
<v Speaker 1>For me, this ties into the comic book framing. Watch this,

1782
01:33:46.199 --> 01:33:49.039
<v Speaker 1>like how he stands, then we get his boots planted

1783
01:33:49.119 --> 01:33:50.760
<v Speaker 1>in the ground in the cape, and then the two

1784
01:33:50.880 --> 01:33:53.239
<v Speaker 1>kids looking at him like he's a damn hero.

1785
01:33:53.560 --> 01:33:55.199
<v Speaker 2>So you think that's Bruce Willis or is that a

1786
01:33:55.319 --> 01:33:55.920
<v Speaker 2>body double?

1787
01:33:56.079 --> 01:33:58.319
<v Speaker 1>That is a fantastic question. If he got out of

1788
01:33:58.399 --> 01:33:59.920
<v Speaker 1>the pool in that same shot, which I think he

1789
01:34:00.560 --> 01:34:06.520
<v Speaker 1>probably about a double, just a guess with this, good lord,

1790
01:34:06.640 --> 01:34:07.520
<v Speaker 1>it's like, see so.

1791
01:34:07.600 --> 01:34:12.600
<v Speaker 2>This here now think about the the the prevised, choreographed

1792
01:34:12.760 --> 01:34:18.560
<v Speaker 2>version of this fight, yes versus just raw brutality one shot? Yes,

1793
01:34:20.640 --> 01:34:22.640
<v Speaker 2>you know, and I love that he's got him in

1794
01:34:22.720 --> 01:34:25.359
<v Speaker 2>a hold that is in fact unbreakable.

1795
01:34:26.199 --> 01:34:31.560
<v Speaker 1>Oh very good. But just the way that he's even

1796
01:34:31.840 --> 01:34:34.039
<v Speaker 1>like lifting him off the ground, but he just he

1797
01:34:34.119 --> 01:34:36.319
<v Speaker 1>won't be moving like Yeah, it's I wonder how many

1798
01:34:36.359 --> 01:34:37.520
<v Speaker 1>times they had to do this. And the way that

1799
01:34:37.600 --> 01:34:40.880
<v Speaker 1>whenever he bumps into the wall, he's wall denting the

1800
01:34:41.920 --> 01:34:42.399
<v Speaker 1>dry wall.

1801
01:34:43.920 --> 01:34:46.800
<v Speaker 2>I think that's Bruce Willis being flung around like I.

1802
01:34:46.880 --> 01:34:50.680
<v Speaker 1>Do not I was even thinking because it feels like

1803
01:34:50.720 --> 01:34:52.279
<v Speaker 1>it must be a little bit of a lighter person

1804
01:34:52.399 --> 01:34:52.760
<v Speaker 1>for that guy.

1805
01:34:52.920 --> 01:34:54.079
<v Speaker 2>Yeah, yeah, that's true.

1806
01:34:55.279 --> 01:34:57.199
<v Speaker 1>But yeah, but the music. I can hear the music

1807
01:34:57.239 --> 01:34:58.800
<v Speaker 1>right now because I've heard this score so much and

1808
01:34:58.840 --> 01:35:01.680
<v Speaker 1>it's so just after what we've been through for the

1809
01:35:01.720 --> 01:35:02.520
<v Speaker 1>past ten minutes.

1810
01:35:02.760 --> 01:35:05.439
<v Speaker 2>Yeah, it's so cathartic. Well, and I just I mean,

1811
01:35:09.199 --> 01:35:11.560
<v Speaker 2>I gotta be honest, probably one of my favorite superhero

1812
01:35:11.720 --> 01:35:15.880
<v Speaker 2>themes of all time. Yeah, you know, it's such a

1813
01:35:15.960 --> 01:35:21.279
<v Speaker 2>simple motif, but there's so many different orchestrations of it. Yeah,

1814
01:35:21.359 --> 01:35:23.520
<v Speaker 2>this track the Orange Man. I must have listened to this,

1815
01:35:23.560 --> 01:35:24.600
<v Speaker 2>I don't even know how many times.

1816
01:35:24.760 --> 01:35:30.680
<v Speaker 1>Yep, yeah, same, that's how we found each other.

1817
01:35:31.039 --> 01:35:35.920
<v Speaker 2>I know, right this this soundtrack was like my writing music.

1818
01:35:35.960 --> 01:35:39.000
<v Speaker 2>I remember that I used to put it on because

1819
01:35:39.039 --> 01:35:40.520
<v Speaker 2>this again, this is when I was at Columbia, and

1820
01:35:40.560 --> 01:35:42.880
<v Speaker 2>I was like writing, you know, i'd have a script

1821
01:35:42.960 --> 01:35:44.159
<v Speaker 2>or something end to turn in or whatever.

1822
01:35:44.560 --> 01:35:46.800
<v Speaker 1>Yep, I would. I'd put it in things that I made.

1823
01:35:47.000 --> 01:35:51.000
<v Speaker 1>And oh yeah, yeah, I mean I have to call

1824
01:35:51.079 --> 01:35:57.800
<v Speaker 1>out the mom just I can feel myself getting emotional

1825
01:35:57.920 --> 01:36:02.640
<v Speaker 1>seeing the mom fall over. Yeah, and I hate it,

1826
01:36:02.920 --> 01:36:04.880
<v Speaker 1>but I also feel like it fits.

1827
01:36:05.479 --> 01:36:06.199
<v Speaker 2>It's truthful.

1828
01:36:06.319 --> 01:36:06.960
<v Speaker 1>It's truthful.

1829
01:36:07.319 --> 01:36:07.560
<v Speaker 2>Yeah.

1830
01:36:10.600 --> 01:36:12.000
<v Speaker 1>And then of course this is so sweet. I was

1831
01:36:12.079 --> 01:36:15.159
<v Speaker 1>reading about this. I was curious about this. So he

1832
01:36:15.399 --> 01:36:19.079
<v Speaker 1>he has this moment with his wife and she was like,

1833
01:36:19.199 --> 01:36:22.399
<v Speaker 1>when did you know that we might not work out?

1834
01:36:22.840 --> 01:36:25.119
<v Speaker 1>And he tells a story about well, I had a

1835
01:36:25.199 --> 01:36:27.159
<v Speaker 1>nightmare and I didn't wake you to tell you. And

1836
01:36:28.479 --> 01:36:32.359
<v Speaker 1>so then after this horrifying thing, you know, he takes

1837
01:36:32.359 --> 01:36:34.359
<v Speaker 1>her out of the room the separate room, brings her

1838
01:36:34.439 --> 01:36:36.880
<v Speaker 1>up to his room, says he, honey, I had a nightmare.

1839
01:36:37.840 --> 01:36:43.600
<v Speaker 1>Ah lovely. And I was wondering because him carrying her,

1840
01:36:43.760 --> 01:36:45.600
<v Speaker 1>there's a little bit of a floating quality to it.

1841
01:36:45.720 --> 01:36:47.399
<v Speaker 1>And I do wonder if you know, she was on

1842
01:36:47.479 --> 01:36:48.439
<v Speaker 1>some sort of cable or something.

1843
01:36:48.680 --> 01:36:51.199
<v Speaker 2>I was thinking, but it's like like a rig of

1844
01:36:51.279 --> 01:36:51.560
<v Speaker 2>some kind.

1845
01:36:51.640 --> 01:36:53.840
<v Speaker 1>It wasn't It was just no no, no, I'm guessing

1846
01:36:53.880 --> 01:36:54.359
<v Speaker 1>the same thing.

1847
01:36:54.760 --> 01:36:55.880
<v Speaker 2>Yeah, but I love it.

1848
01:36:55.880 --> 01:36:59.960
<v Speaker 1>It's really lovely and it's a it's a very stylized shot,

1849
01:37:00.159 --> 01:37:01.640
<v Speaker 1>but it's a very effective one.

1850
01:37:05.199 --> 01:37:06.880
<v Speaker 2>See. I think what she should have said is like,

1851
01:37:07.000 --> 01:37:10.720
<v Speaker 2>well now I'm awake now, so thanks for ruining my

1852
01:37:10.920 --> 01:37:15.159
<v Speaker 2>sleep as well. That would have been more truthful.

1853
01:37:19.920 --> 01:37:24.600
<v Speaker 1>That's really funny. Yeah, I had some note here. I

1854
01:37:24.640 --> 01:37:26.159
<v Speaker 1>can't find it, but I was reading that. Yeah, it

1855
01:37:26.199 --> 01:37:28.520
<v Speaker 1>took like eleven hours to shoot that. It was so complicated.

1856
01:37:28.760 --> 01:37:30.439
<v Speaker 2>Good lord, just ticking her up the stairs.

1857
01:37:30.560 --> 01:37:34.159
<v Speaker 1>Yeah, goodness, Yeah, it is not crazy. Oh yeah, this

1858
01:37:34.319 --> 01:37:36.760
<v Speaker 1>is him from that Oral History says that was incredibly

1859
01:37:36.800 --> 01:37:39.960
<v Speaker 1>difficult shot, which I remember it took us forever to accomplish.

1860
01:37:40.119 --> 01:37:43.760
<v Speaker 2>I think it was eleven hours. Is Shyamalan saying that, Yeah,

1861
01:37:44.359 --> 01:37:48.079
<v Speaker 2>good lord crazy. I wonder if Willis was regretting agreeing

1862
01:37:48.159 --> 01:37:48.840
<v Speaker 2>to be in this movie.

1863
01:37:55.199 --> 01:37:58.159
<v Speaker 1>Of course, this is a sweet moment, you know, Well,

1864
01:37:58.199 --> 01:37:59.800
<v Speaker 1>it's nice that he gets to see Oh I didn't

1865
01:37:59.800 --> 01:38:02.199
<v Speaker 1>even notice that they're touching. That's been a wife there,

1866
01:38:02.239 --> 01:38:05.199
<v Speaker 1>which they wouldn't at the beginning. But then this is

1867
01:38:05.199 --> 01:38:07.079
<v Speaker 1>a nice moment between him and his son. The son

1868
01:38:07.199 --> 01:38:11.279
<v Speaker 1>finally gets the payoff, you know, of believing his dad

1869
01:38:12.039 --> 01:38:13.079
<v Speaker 1>is superhuman?

1870
01:38:16.239 --> 01:38:18.439
<v Speaker 2>See would be what would be funny is like as

1871
01:38:18.520 --> 01:38:20.560
<v Speaker 2>they make eye contact and Bruce Willis is kind of

1872
01:38:20.600 --> 01:38:22.960
<v Speaker 2>like like gives him the smile and then and then

1873
01:38:23.119 --> 01:38:27.000
<v Speaker 2>Joseph like holds up the gun like eh, and He's

1874
01:38:27.079 --> 01:38:28.399
<v Speaker 2>just like no, and he has to put the gun

1875
01:38:28.479 --> 01:38:28.880
<v Speaker 2>down again.

1876
01:38:31.880 --> 01:38:33.479
<v Speaker 1>And by the way, why why are you carrying that?

1877
01:38:35.279 --> 01:38:36.520
<v Speaker 1>Do you have that in your pajama pants?

1878
01:38:41.199 --> 01:38:41.399
<v Speaker 2>Man?

1879
01:38:41.880 --> 01:38:44.079
<v Speaker 1>By the way, something of I remember this from originally

1880
01:38:44.079 --> 01:38:47.760
<v Speaker 1>seeing this him the boy untwisting the orange juice and

1881
01:38:47.840 --> 01:38:50.039
<v Speaker 1>see this, I was like, I think this is the

1882
01:38:50.119 --> 01:38:53.520
<v Speaker 1>fastest anyone moves in this entire movie. I remember it

1883
01:38:53.560 --> 01:38:55.199
<v Speaker 1>alway kind of stood out to because everything is so

1884
01:38:55.439 --> 01:38:59.239
<v Speaker 1>deliberately paced, and that felt like the first natural more

1885
01:38:59.319 --> 01:38:59.960
<v Speaker 1>quickly paid.

1886
01:39:00.119 --> 01:39:02.239
<v Speaker 2>That's because you had a Tropicana rep who was on

1887
01:39:02.359 --> 01:39:04.760
<v Speaker 2>set who was like, you do not make people think,

1888
01:39:04.920 --> 01:39:07.600
<v Speaker 2>are you know? Bottle cap is hard to take off?

1889
01:39:07.920 --> 01:39:14.920
<v Speaker 1>That's right, that's right, but this is great. Yeah, him

1890
01:39:14.960 --> 01:39:16.079
<v Speaker 1>sliding the paper over.

1891
01:39:19.079 --> 01:39:20.680
<v Speaker 2>So yeah, check out that ship right there.

1892
01:39:21.920 --> 01:39:26.159
<v Speaker 1>Yeah, yeah, I gets to see that. But it's so cute,

1893
01:39:26.199 --> 01:39:29.680
<v Speaker 1>you know, the Sunles said, like you He's like but

1894
01:39:29.840 --> 01:39:31.960
<v Speaker 1>then he's like, don't I thought this was kind of

1895
01:39:32.039 --> 01:39:33.760
<v Speaker 1>funny where he's just like, don't tell your mother. I

1896
01:39:33.840 --> 01:39:35.239
<v Speaker 1>was like, you know, it's like you guys are just

1897
01:39:35.359 --> 01:39:36.720
<v Speaker 1>kind of repairing a sort of thing.

1898
01:39:36.680 --> 01:39:39.880
<v Speaker 2>I never already. This is a massive secret from her.

1899
01:39:40.000 --> 01:39:41.880
<v Speaker 2>Now like their their their whole.

1900
01:39:41.720 --> 01:39:44.840
<v Speaker 1>Relationship began with like something he was keeping from her

1901
01:39:44.920 --> 01:39:47.600
<v Speaker 1>with the car accident and the football career, and now

1902
01:39:47.760 --> 01:39:50.239
<v Speaker 1>like they've repaired things and he's got a new secrets.

1903
01:39:57.079 --> 01:39:59.840
<v Speaker 1>But I mean, yeah, we talk about Bruce Willis's performance,

1904
01:39:59.880 --> 01:40:04.079
<v Speaker 1>and I mean the kid here, the kid, yeah, but

1905
01:40:04.279 --> 01:40:06.960
<v Speaker 1>just that that look, the little pleading look, but also

1906
01:40:07.079 --> 01:40:09.920
<v Speaker 1>sort of I don't know, a sweetness they're sharing right here.

1907
01:40:10.279 --> 01:40:12.680
<v Speaker 2>See. I liked him in this. I like Spencer treat Cary.

1908
01:40:12.680 --> 01:40:17.000
<v Speaker 2>I think I said before in Gladiator I found him

1909
01:40:17.159 --> 01:40:21.800
<v Speaker 2>slightly annoying because I got a little bit of Mike

1910
01:40:21.920 --> 01:40:26.720
<v Speaker 2>Myers as Simon vibe from him. Are you the Spaniard?

1911
01:40:27.000 --> 01:40:28.000
<v Speaker 2>Are you? Are you?

1912
01:40:28.800 --> 01:40:30.560
<v Speaker 1>And he's like when he's like playing with that sword

1913
01:40:30.600 --> 01:40:34.319
<v Speaker 1>as he's talking, Yeah, you know, that's so funny.

1914
01:40:38.800 --> 01:40:41.920
<v Speaker 2>I think it was right about here where I was like, oh, so,

1915
01:40:42.000 --> 01:40:45.960
<v Speaker 2>Elijah's like definitely the villain then, because his mom like

1916
01:40:46.279 --> 01:40:48.199
<v Speaker 2>not just what she says, but the way she says it.

1917
01:40:48.680 --> 01:40:50.800
<v Speaker 2>There's really two villains.

1918
01:40:51.439 --> 01:40:57.159
<v Speaker 1>Yeah, yeah, yeah, yeah. I wish I could remember how

1919
01:40:57.199 --> 01:40:59.359
<v Speaker 1>I felt, but last night I do remember thinking when

1920
01:40:59.399 --> 01:41:01.079
<v Speaker 1>she said that, it feels pretty obvious.

1921
01:41:01.319 --> 01:41:05.720
<v Speaker 2>It's really on the nose. The other villain is in

1922
01:41:05.800 --> 01:41:06.520
<v Speaker 2>a wheelchair.

1923
01:41:06.680 --> 01:41:12.840
<v Speaker 1>Perhaps I imagine his office is filled with the blueprints.

1924
01:41:13.840 --> 01:41:18.000
<v Speaker 2>He may have a purple trench code. Possibly, I'm just

1925
01:41:18.039 --> 01:41:19.079
<v Speaker 2>giving her British accent.

1926
01:41:20.279 --> 01:41:23.439
<v Speaker 1>A cane made out of unusual material for a cane.

1927
01:41:24.760 --> 01:41:27.199
<v Speaker 2>By the way, so we've talked to the whole movie,

1928
01:41:27.359 --> 01:41:31.279
<v Speaker 2>So David Dunn, is itself such a great reference to

1929
01:41:31.399 --> 01:41:36.199
<v Speaker 2>comic book lore where you have a superhero alter egos

1930
01:41:36.520 --> 01:41:41.399
<v Speaker 2>with alliterative names Peter such as Clark Kent, Peter Parker,

1931
01:41:41.600 --> 01:41:46.880
<v Speaker 2>Read Richards, Matt Murdoch, Bruce Banner. We can keep going,

1932
01:41:47.159 --> 01:41:51.520
<v Speaker 2>but kind of the subtle thing, you know. I like that.

1933
01:41:53.119 --> 01:41:55.199
<v Speaker 1>I think that's where I first learned that was watching

1934
01:41:55.239 --> 01:41:58.279
<v Speaker 1>the behind the scenes stuff on the DVD. Hash I'm

1935
01:41:58.319 --> 01:42:00.399
<v Speaker 1>funny talking about it. Yeah, that's really fun like first

1936
01:42:00.479 --> 01:42:02.000
<v Speaker 1>clocked it, like I'll be darned.

1937
01:42:02.960 --> 01:42:04.760
<v Speaker 2>Yeah, that was something that like when they made the

1938
01:42:04.800 --> 01:42:07.399
<v Speaker 2>Incredible Hawk television show in the seventies. Kenneth Johnson, who

1939
01:42:07.439 --> 01:42:09.880
<v Speaker 2>created that, was the reason that he renamed instead of

1940
01:42:09.920 --> 01:42:13.640
<v Speaker 2>Bruce Banner, it was David Banner mm because he didn't

1941
01:42:13.760 --> 01:42:16.079
<v Speaker 2>like how comic book names were alliterative and he didn't

1942
01:42:16.119 --> 01:42:17.479
<v Speaker 2>want the show to be very comic book.

1943
01:42:17.560 --> 01:42:20.800
<v Speaker 1>Ye oh, funny, although I.

1944
01:42:20.880 --> 01:42:25.079
<v Speaker 2>Think people would have clocked the comic book aspect by

1945
01:42:25.119 --> 01:42:27.039
<v Speaker 2>the fact that he turns into a big green anker.

1946
01:42:30.520 --> 01:42:34.079
<v Speaker 1>That's kind of funny. But you know what, Kenneth Johnson

1947
01:42:34.119 --> 01:42:36.039
<v Speaker 1>went on to direct Short Circuit too, So I trust

1948
01:42:37.079 --> 01:42:37.399
<v Speaker 1>well that.

1949
01:42:37.520 --> 01:42:41.560
<v Speaker 2>Is Hey, you know what, he's a good man. I've

1950
01:42:41.600 --> 01:42:42.159
<v Speaker 2>interviewed him.

1951
01:42:42.239 --> 01:42:44.199
<v Speaker 1>I remember, I remember you sent me the clip of

1952
01:42:44.239 --> 01:42:45.319
<v Speaker 1>him talking about short circuit.

1953
01:42:45.399 --> 01:42:48.680
<v Speaker 2>Yeh yeh, I said, my friend Brian loves short circuit too.

1954
01:42:48.720 --> 01:42:50.239
<v Speaker 2>Can you tell a short circuit two story? And he

1955
01:42:50.319 --> 01:42:54.159
<v Speaker 2>more than happily obliged dreams. Do you love this? Here?

1956
01:42:54.840 --> 01:42:56.960
<v Speaker 2>He's like, I think this is where we shake hands,

1957
01:42:57.000 --> 01:43:00.560
<v Speaker 2>like this is like now he knows like you're to

1958
01:43:00.680 --> 01:43:03.319
<v Speaker 2>touch that. Now I have to tell you my role

1959
01:43:03.399 --> 01:43:03.600
<v Speaker 2>in this.

1960
01:43:03.800 --> 01:43:12.079
<v Speaker 1>You know, yep, it's great, you know, and so this

1961
01:43:12.520 --> 01:43:17.199
<v Speaker 1>and this is horrifying the security cam pov here. Yeah,

1962
01:43:18.840 --> 01:43:22.159
<v Speaker 1>and see I can see people still going along with this.

1963
01:43:22.439 --> 01:43:25.760
<v Speaker 1>I'm talking about general audiences and going.

1964
01:43:25.600 --> 01:43:28.880
<v Speaker 2>Well, yeah, the the jitteriness as he walks out of

1965
01:43:28.920 --> 01:43:29.399
<v Speaker 2>the frame.

1966
01:43:29.319 --> 01:43:33.199
<v Speaker 1>And yeah, yeah, the speed ramping or whatever you were saying. No,

1967
01:43:33.319 --> 01:43:35.840
<v Speaker 1>but then it just suddenly does this freeze frame and

1968
01:43:35.960 --> 01:43:39.039
<v Speaker 1>puts text on the screen like yeah, and then David

1969
01:43:39.119 --> 01:43:42.159
<v Speaker 1>called the Cops and Lies Now and Insane Asylum directed

1970
01:43:42.159 --> 01:43:44.119
<v Speaker 1>by him night Shyam Lane and I really do feel

1971
01:43:44.199 --> 01:43:47.600
<v Speaker 1>like you were walking such a delicate walk, and that

1972
01:43:48.119 --> 01:43:51.079
<v Speaker 1>might have been the thing that that threw off so

1973
01:43:51.159 --> 01:43:54.520
<v Speaker 1>many people, because otherwise I could still see people tracking

1974
01:43:54.560 --> 01:43:56.960
<v Speaker 1>with this, and you know, if they had been on

1975
01:43:57.079 --> 01:43:57.960
<v Speaker 1>the ride so far.

1976
01:43:58.800 --> 01:44:03.760
<v Speaker 2>So I watched this with my daughter last night and

1977
01:44:04.840 --> 01:44:07.840
<v Speaker 2>it gets to that part at the end and it

1978
01:44:07.920 --> 01:44:10.079
<v Speaker 2>has that text, and she goes, so, so this is

1979
01:44:10.119 --> 01:44:15.279
<v Speaker 2>all real and and I, oh, right, Like she thought

1980
01:44:15.279 --> 01:44:16.239
<v Speaker 2>it was like a documentary.

1981
01:44:16.359 --> 01:44:19.039
<v Speaker 1>You know, that's funny because usually that, yeah, that happens

1982
01:44:19.079 --> 01:44:20.800
<v Speaker 1>at the end of like biopics exactly.

1983
01:44:20.920 --> 01:44:22.680
<v Speaker 2>So I said, no, it's just made up, and she goes,

1984
01:44:23.079 --> 01:44:25.600
<v Speaker 2>that's weird. I was like, Yeah, a lot of people

1985
01:44:25.680 --> 01:44:27.039
<v Speaker 2>felt that I do.

1986
01:44:27.199 --> 01:44:30.079
<v Speaker 1>Always actually kind of find it weird when they do

1987
01:44:30.279 --> 01:44:31.760
<v Speaker 1>that in fictional fictional.

1988
01:44:31.840 --> 01:44:33.359
<v Speaker 2>Yeah, they did there with three Kings if you remember,

1989
01:44:33.600 --> 01:44:35.279
<v Speaker 2>actually they'll but that worked for me. So I don't know,

1990
01:44:36.640 --> 01:44:39.079
<v Speaker 2>but that because the whole tone is in that vein.

1991
01:44:39.279 --> 01:44:43.520
<v Speaker 1>That's true. That's true. But apparently early previews of the

1992
01:44:43.600 --> 01:44:48.199
<v Speaker 1>movie and some in France and certain other places, they

1993
01:44:48.319 --> 01:44:49.399
<v Speaker 1>didn't have the text.

1994
01:44:50.640 --> 01:44:52.680
<v Speaker 2>It would have been better without it, I think, so,

1995
01:44:53.119 --> 01:44:54.439
<v Speaker 2>for sure it would have been better without it.

1996
01:44:54.920 --> 01:44:56.560
<v Speaker 1>But I can understand.

1997
01:44:58.479 --> 01:44:58.920
<v Speaker 2>I don't know.

1998
01:44:59.079 --> 01:45:01.479
<v Speaker 1>I would kind of like to see the original ending.

1999
01:45:02.359 --> 01:45:04.960
<v Speaker 1>What I read was basically what happens, and you can

2000
01:45:05.000 --> 01:45:07.439
<v Speaker 1>look this up online. Actually I have it right here.

2001
01:45:07.520 --> 01:45:09.840
<v Speaker 2>This is real quick. Yeah, you know, there's something about

2002
01:45:10.159 --> 01:45:13.760
<v Speaker 2>the way Bruce willis, the way he goes Jesus Christ,

2003
01:45:13.880 --> 01:45:17.039
<v Speaker 2>the way he says that. It's like the subtle thing,

2004
01:45:17.159 --> 01:45:20.600
<v Speaker 2>but it's it's there's something so honest about his delivery

2005
01:45:20.640 --> 01:45:24.800
<v Speaker 2>of that. Yeah, that is right here, just the way

2006
01:45:24.840 --> 01:45:27.279
<v Speaker 2>it's like it's like he's struggling to get the words

2007
01:45:27.319 --> 01:45:31.720
<v Speaker 2>out right, and it's so perfectly encompasses the scope of

2008
01:45:31.800 --> 01:45:36.039
<v Speaker 2>the betrayal. He must be feeling, right, you know, it's

2009
01:45:36.039 --> 01:45:37.960
<v Speaker 2>a little thing. But I've always that's always just the

2010
01:45:38.039 --> 01:45:42.920
<v Speaker 2>way he the way he plays this moment is fantastic.

2011
01:45:42.640 --> 01:45:47.880
<v Speaker 1>Because it's not big exactly. Yeah, I'm not a mistake

2012
01:45:49.079 --> 01:45:50.680
<v Speaker 1>you say that. I remember you saying this, like I

2013
01:45:50.760 --> 01:45:52.720
<v Speaker 1>associate this line with you for some reason.

2014
01:45:52.760 --> 01:45:57.720
<v Speaker 2>I don't know why. It was the kids. Well, I've

2015
01:45:57.760 --> 01:46:01.000
<v Speaker 2>said before with reference to don Old Trump at the

2016
01:46:01.920 --> 01:46:06.520
<v Speaker 2>twenty eleven White House Correspondence dinner where Obama was like

2017
01:46:06.640 --> 01:46:09.399
<v Speaker 2>dunking on him. You remember that, right, And I was like,

2018
01:46:09.479 --> 01:46:12.760
<v Speaker 2>that was his mister Glass moment, right right, right right,

2019
01:46:12.840 --> 01:46:16.760
<v Speaker 2>He's like they called me mister Glass. But like and

2020
01:46:17.119 --> 01:46:20.760
<v Speaker 2>and here we are, fourteen years later, still dealing with

2021
01:46:20.840 --> 01:46:21.199
<v Speaker 2>that shit.

2022
01:46:22.520 --> 01:46:23.720
<v Speaker 1>But this, this is what I'm talking about, Like, you

2023
01:46:23.840 --> 01:46:26.399
<v Speaker 1>have that moment, like you're saying, like he's Bruce Willison

2024
01:46:26.439 --> 01:46:29.520
<v Speaker 1>is doing like a real, understated, realistic reaction to this,

2025
01:46:30.079 --> 01:46:32.840
<v Speaker 1>and him walking away and then suddenly freeze frame. David

2026
01:46:32.920 --> 01:46:35.439
<v Speaker 1>Done called the cops later, and you're like, whoa, whoa.

2027
01:46:35.520 --> 01:46:36.760
<v Speaker 1>It's like it's a jarring.

2028
01:46:37.239 --> 01:46:40.640
<v Speaker 2>Scene to me. Well, here, okay, I first of all

2029
01:46:40.880 --> 01:46:43.680
<v Speaker 2>worth mentioning that last shot of Elijah smiling. That's like

2030
01:46:43.720 --> 01:46:45.840
<v Speaker 2>the first time in the whole movie. He smiles, Yeah,

2031
01:46:45.880 --> 01:46:48.720
<v Speaker 2>because now he understands Now he knows his purpose, right, Yeah,

2032
01:46:49.039 --> 01:46:52.680
<v Speaker 2>I think the movie would have worked better without the

2033
01:46:52.800 --> 01:46:55.800
<v Speaker 2>text Elijah Price is now in a insane asylum or

2034
01:46:55.800 --> 01:46:59.760
<v Speaker 2>whatever it says. But I think the polarizing reaction would

2035
01:46:59.760 --> 01:47:01.960
<v Speaker 2>have been no matter what I think.

2036
01:47:02.000 --> 01:47:06.279
<v Speaker 1>So no one I think, because there's no button at

2037
01:47:06.319 --> 01:47:09.199
<v Speaker 1>the end or anything. And I just want to read

2038
01:47:09.199 --> 01:47:10.600
<v Speaker 1>this real quickly, just because I have it. I thought

2039
01:47:10.600 --> 01:47:12.920
<v Speaker 1>this was interesting. So this is from a draft. I'm

2040
01:47:12.960 --> 01:47:14.520
<v Speaker 1>not saying this is the shooting draft. I don't know

2041
01:47:14.640 --> 01:47:19.159
<v Speaker 1>for sure, but basically, after Elijah said his thing, it says,

2042
01:47:19.239 --> 01:47:21.199
<v Speaker 1>David looks like he stopped breathing. As he backs up

2043
01:47:21.239 --> 01:47:24.840
<v Speaker 1>in the store, Customers step between him and Elijah. Elijah

2044
01:47:24.880 --> 01:47:28.560
<v Speaker 1>becomes obscured and then blocked from view an exterior street.

2045
01:47:29.439 --> 01:47:32.640
<v Speaker 1>David emerges from the store slowly. He braces himself against

2046
01:47:32.680 --> 01:47:34.800
<v Speaker 1>a parked car, and then keeps on walking in a

2047
01:47:34.920 --> 01:47:38.399
<v Speaker 1>nightmarish days. We pull back as David done blends in

2048
01:47:38.520 --> 01:47:42.079
<v Speaker 1>with dozens and dozens of ordinary people walking on ordinary

2049
01:47:42.119 --> 01:47:46.560
<v Speaker 1>street in an ordinary city. Fade to black, like there's

2050
01:47:46.720 --> 01:47:49.840
<v Speaker 1>just a little bit more time to let the thing

2051
01:47:50.560 --> 01:47:52.600
<v Speaker 1>I'm not saying that that would have made everybody like

2052
01:47:52.680 --> 01:47:56.439
<v Speaker 1>love it, but it just happens really abruptly.

2053
01:47:56.560 --> 01:48:00.000
<v Speaker 2>I feel, Okay, well, a couple points. I think fundamentally,

2054
01:48:00.920 --> 01:48:03.680
<v Speaker 2>the problem with the ending, no matter whether the one

2055
01:48:03.720 --> 01:48:05.880
<v Speaker 2>you just read or the one in the movie, is

2056
01:48:07.600 --> 01:48:09.880
<v Speaker 2>it doesn't really give us a moment of catharsis.

2057
01:48:10.640 --> 01:48:13.319
<v Speaker 1>That's what I'm saying, Yes, exactly, no matter what.

2058
01:48:13.920 --> 01:48:16.039
<v Speaker 2>And the other problem and and really the problem is

2059
01:48:16.079 --> 01:48:19.239
<v Speaker 2>a bit because because the Catharis is Elijah's, right, He's

2060
01:48:19.279 --> 01:48:22.359
<v Speaker 2>the one who has this release of emotion, and fundamentally

2061
01:48:22.399 --> 01:48:26.039
<v Speaker 2>we're not gonna right. The other problem, and this is

2062
01:48:26.159 --> 01:48:29.199
<v Speaker 2>not an unbreakable problem, it's a sixth sense problem, is

2063
01:48:29.279 --> 01:48:31.520
<v Speaker 2>that the sixth sense just happened to have the greatest

2064
01:48:31.520 --> 01:48:36.119
<v Speaker 2>twist of all time. And so people went into this

2065
01:48:36.239 --> 01:48:39.199
<v Speaker 2>one being like, oh, give me more of that. Yeah,

2066
01:48:39.840 --> 01:48:43.359
<v Speaker 2>And and that's that's the essential, you know what I mean,

2067
01:48:43.479 --> 01:48:47.640
<v Speaker 2>Like like he he he hit a home run and

2068
01:48:47.880 --> 01:48:55.680
<v Speaker 2>so the next time, you know, he only got on base. Yeah,

2069
01:48:55.800 --> 01:48:57.520
<v Speaker 2>That's that's how people perceived it, you know.

2070
01:48:59.039 --> 01:49:01.039
<v Speaker 1>Yeah, And it's too bad because again I can live

2071
01:49:01.119 --> 01:49:04.920
<v Speaker 1>with it because I love this movie as a whole, Right,

2072
01:49:05.279 --> 01:49:08.039
<v Speaker 1>but I can totally see where that that is, this

2073
01:49:08.159 --> 01:49:11.800
<v Speaker 1>little hiccup at the end unfortunately after such like a

2074
01:49:11.920 --> 01:49:13.159
<v Speaker 1>really really strong.

2075
01:49:12.960 --> 01:49:15.720
<v Speaker 2>And I don't know what he could have done to

2076
01:49:15.840 --> 01:49:18.880
<v Speaker 2>address that. I just think I think that the nature

2077
01:49:18.920 --> 01:49:24.439
<v Speaker 2>of the story was such that, like, you know, unless

2078
01:49:24.520 --> 01:49:26.119
<v Speaker 2>you yeah, I don't know, you know, I think the

2079
01:49:26.159 --> 01:49:28.840
<v Speaker 2>way it's structured, there's nothing. I was like, maybe if

2080
01:49:28.880 --> 01:49:30.960
<v Speaker 2>you find a way to end it on the emotional

2081
01:49:31.079 --> 01:49:33.840
<v Speaker 2>high point of David reconciling with his wife or whatever,

2082
01:49:34.039 --> 01:49:36.960
<v Speaker 2>but you still got to do the Elijah reveal, and

2083
01:49:37.039 --> 01:49:39.920
<v Speaker 2>you can't do that before totally well.

2084
01:49:39.960 --> 01:49:42.520
<v Speaker 1>You know what's interesting too is Nina Jacobson, who's the

2085
01:49:42.600 --> 01:49:45.399
<v Speaker 1>president of production at Disney at the time. She was saying,

2086
01:49:45.600 --> 01:49:47.560
<v Speaker 1>this is again from the Oral History, which I highly

2087
01:49:47.560 --> 01:49:50.079
<v Speaker 1>recommend if you're a fan of this movie. It's Entertainment Weekly.

2088
01:49:50.680 --> 01:49:52.920
<v Speaker 1>She said, this is a quote I remember conversations about

2089
01:49:52.920 --> 01:49:55.840
<v Speaker 1>the ending. The hero walking away from the villain always

2090
01:49:55.920 --> 01:49:59.119
<v Speaker 1>troubled me, and so I wonder if that's another thing

2091
01:49:59.199 --> 01:50:02.159
<v Speaker 1>with the text where it's like, well, David did something

2092
01:50:02.239 --> 01:50:04.560
<v Speaker 1>about it, because if he did, just you know, he's

2093
01:50:04.600 --> 01:50:07.520
<v Speaker 1>basically talking to this terrorist and then just kind of

2094
01:50:07.600 --> 01:50:09.960
<v Speaker 1>whoa man, I can't believe it and it just walks away.

2095
01:50:10.319 --> 01:50:10.479
<v Speaker 2>You know.

2096
01:50:10.840 --> 01:50:12.279
<v Speaker 1>That wouldn't feel quite right either.

2097
01:50:12.399 --> 01:50:14.760
<v Speaker 2>Well, so this, this is the thing going back to

2098
01:50:14.840 --> 01:50:16.439
<v Speaker 2>what I was saying before, Like, in real life it

2099
01:50:16.439 --> 01:50:18.520
<v Speaker 2>would be you that's what happened. What would happen. You'd

2100
01:50:18.520 --> 01:50:20.439
<v Speaker 2>go to the cops be like, hey, that guy's a

2101
01:50:20.720 --> 01:50:22.520
<v Speaker 2>terrorist and then they would arrest him. That's like what

2102
01:50:22.560 --> 01:50:25.680
<v Speaker 2>would happen in real life. M Right. So based on

2103
01:50:25.760 --> 01:50:28.439
<v Speaker 2>the grounded ethos of the film, it's consistent with that.

2104
01:50:29.399 --> 01:50:32.960
<v Speaker 2>The problem is we reflexively audiences are conditioned to want

2105
01:50:33.079 --> 01:50:37.920
<v Speaker 2>that moment where the hero defeats the villain. Right, So

2106
01:50:38.239 --> 01:50:39.800
<v Speaker 2>this is what this gets to what I've said to

2107
01:50:39.800 --> 01:50:42.600
<v Speaker 2>you before. You always have that scene in movies where

2108
01:50:42.960 --> 01:50:45.000
<v Speaker 2>the hero is about to beat the bad guy and

2109
01:50:45.079 --> 01:50:48.159
<v Speaker 2>then it's like, no, you're not worth it, and then

2110
01:50:48.239 --> 01:50:51.119
<v Speaker 2>the bad guy does something that forces the hero to

2111
01:50:51.239 --> 01:50:53.560
<v Speaker 2>kill them. Yeah, so that you get to have your

2112
01:50:53.640 --> 01:50:55.720
<v Speaker 2>cake and eat it too, man.

2113
01:50:55.680 --> 01:50:57.800
<v Speaker 1>So what how what is I don't know, a little

2114
01:50:58.239 --> 01:51:00.680
<v Speaker 1>button or catharsis we get because I again I like,

2115
01:51:00.840 --> 01:51:02.439
<v Speaker 1>I don't mind the down ending.

2116
01:51:03.279 --> 01:51:04.199
<v Speaker 2>No, I kind of like it.

2117
01:51:04.319 --> 01:51:08.239
<v Speaker 1>Actually, yeah, it's just the yeah, that little.

2118
01:51:09.560 --> 01:51:12.000
<v Speaker 2>I mean, it is amusing to me that your friend

2119
01:51:12.680 --> 01:51:14.680
<v Speaker 2>Opening Night had such a visceral reaction.

2120
01:51:15.520 --> 01:51:17.960
<v Speaker 1>Oh yeah, it was a big react. Well it said, yeah,

2121
01:51:18.000 --> 01:51:21.479
<v Speaker 1>she was literally telling people not to go. I'll never

2122
01:51:21.560 --> 01:51:22.880
<v Speaker 1>forget that. That was so funny.

2123
01:51:24.199 --> 01:51:27.560
<v Speaker 2>But like, what was the size of your group?

2124
01:51:29.479 --> 01:51:30.640
<v Speaker 1>Something like four people maybe?

2125
01:51:30.880 --> 01:51:34.479
<v Speaker 2>Okay? So was it like fifty to fifty? Man?

2126
01:51:34.520 --> 01:51:36.319
<v Speaker 1>I wish I could remember, because she's the thing I

2127
01:51:36.399 --> 01:51:41.520
<v Speaker 1>remember most, but I would be willing to about. We

2128
01:51:41.600 --> 01:51:44.800
<v Speaker 1>were mostly like in favor. I loved it.

2129
01:51:45.399 --> 01:51:49.520
<v Speaker 2>Yeah, see, I remember seeing it Opening Night and I

2130
01:51:49.960 --> 01:51:53.760
<v Speaker 2>liked it. I definitely liked it, but I didn't love it.

2131
01:51:54.720 --> 01:51:58.520
<v Speaker 2>And then the more I got to revisit it, the

2132
01:51:58.600 --> 01:52:01.079
<v Speaker 2>more I grew to appreciate all the things that happened

2133
01:52:01.119 --> 01:52:03.479
<v Speaker 2>in it. You know, I remember because this was Fall

2134
01:52:03.520 --> 01:52:09.600
<v Speaker 2>of two thousand, right, so fall of O one? Was

2135
01:52:09.680 --> 01:52:13.840
<v Speaker 2>it all one? Yeah? It must have been. I had

2136
01:52:13.880 --> 01:52:17.800
<v Speaker 2>a suspense thriller class at Colombia and the professor showed it,

2137
01:52:19.319 --> 01:52:21.640
<v Speaker 2>and so I got to re experience it. I was like, oh, man,

2138
01:52:21.760 --> 01:52:23.479
<v Speaker 2>you know this really works. And then I remember shortly

2139
01:52:23.479 --> 01:52:25.119
<v Speaker 2>after that, I went and bought the DVD and I

2140
01:52:25.199 --> 01:52:27.760
<v Speaker 2>watched it a bunch of times, and so it was

2141
01:52:27.800 --> 01:52:31.039
<v Speaker 2>definitely it was like again, I I came out of

2142
01:52:31.159 --> 01:52:33.319
<v Speaker 2>theater having liked it a lot, but I definitely remember

2143
01:52:33.399 --> 01:52:35.119
<v Speaker 2>being like, well, it's not as good as the sixth sense,

2144
01:52:35.159 --> 01:52:37.000
<v Speaker 2>you know, sure, And it took me a little bit

2145
01:52:37.000 --> 01:52:41.359
<v Speaker 2>to be like, oh, it's doing something totally different, you know. Yeah, yeah, man,

2146
01:52:41.439 --> 01:52:43.159
<v Speaker 2>I mean what can imagine trying to follow up the

2147
01:52:43.199 --> 01:52:46.159
<v Speaker 2>sixth cents? That's that's what I'm saying, right, I mean,

2148
01:52:46.239 --> 01:52:49.880
<v Speaker 2>it's it's that's a tough that's a tough situation to

2149
01:52:49.960 --> 01:52:50.479
<v Speaker 2>be in, you know.

2150
01:52:50.720 --> 01:52:53.079
<v Speaker 1>Yeah, I mean but you you said it perfectly already.

2151
01:52:53.119 --> 01:52:55.880
<v Speaker 1>But that movie has the perfect when the reveal happens,

2152
01:52:55.920 --> 01:53:00.520
<v Speaker 1>it has the most perfect swell of all time, you know,

2153
01:53:00.720 --> 01:53:03.239
<v Speaker 1>and and helping us understand what happened, and then he

2154
01:53:03.319 --> 01:53:07.119
<v Speaker 1>also gets a goodbye, you know. Yeah, it's like.

2155
01:53:07.239 --> 01:53:11.319
<v Speaker 2>It's it's it contains the Catharsis within it along with

2156
01:53:11.399 --> 01:53:15.560
<v Speaker 2>the shock of I mean, everything works, you know, and

2157
01:53:16.279 --> 01:53:18.840
<v Speaker 2>you know, I I I think that's the mistake he made.

2158
01:53:18.880 --> 01:53:24.439
<v Speaker 2>It was trying to become twist ending guy, right, you know,

2159
01:53:24.600 --> 01:53:27.119
<v Speaker 2>but I again, I don't know how you do Unbreakable

2160
01:53:27.159 --> 01:53:28.640
<v Speaker 2>without the twist you have to have the twist. It

2161
01:53:28.760 --> 01:53:30.239
<v Speaker 2>is kind of essential. I like it.

2162
01:53:30.880 --> 01:53:32.720
<v Speaker 1>I like the twist. I like the so that that's

2163
01:53:33.000 --> 01:53:35.399
<v Speaker 1>the villain was was here's the villain all along and

2164
01:53:35.439 --> 01:53:39.119
<v Speaker 1>he was rooting this person out and that sucks. That's

2165
01:53:39.239 --> 01:53:39.880
<v Speaker 1>kind yeah.

2166
01:53:39.760 --> 01:53:44.279
<v Speaker 2>Yeah, but hey, let us know your thoughts on Unbreakable

2167
01:53:44.359 --> 01:53:46.680
<v Speaker 2>or let us know your thoughts on our thoughts on Unbreakable.

2168
01:53:46.720 --> 01:53:48.640
<v Speaker 2>You can email us at Movie Film Podcast dot gmail

2169
01:53:48.640 --> 01:53:50.239
<v Speaker 2>dot com. You can also hit like on our Facebook

2170
01:53:50.239 --> 01:53:53.399
<v Speaker 2>page Facebook dot com slash movie Film Podcast and message

2171
01:53:53.479 --> 01:53:55.479
<v Speaker 2>us there. As always, please go to Apple Podcasts and

2172
01:53:55.520 --> 01:53:57.680
<v Speaker 2>leave a review. Also on Spotify, and hey, if you're

2173
01:53:57.680 --> 01:54:01.840
<v Speaker 2>listening to this on YouTube, hit subscribe, hit like, and

2174
01:54:02.119 --> 01:54:04.640
<v Speaker 2>by all means leave some comments there. We also have

2175
01:54:04.680 --> 01:54:06.199
<v Speaker 2>a Patreon Brian, that's right.

2176
01:54:06.279 --> 01:54:08.960
<v Speaker 1>If you head over to patreon dot com slash moviefilm

2177
01:54:09.039 --> 01:54:12.279
<v Speaker 1>podcast and hit subscribe for only five dollars a month,

2178
01:54:12.560 --> 01:54:15.359
<v Speaker 1>you'll find every commentary we've ever done in every episode

2179
01:54:15.439 --> 01:54:19.079
<v Speaker 1>moving forward, absolutely ad free. Our free feed will always

2180
01:54:19.079 --> 01:54:21.239
<v Speaker 1>be available, but this is our way of providing what

2181
01:54:21.319 --> 01:54:24.000
<v Speaker 1>we believe is the most satisfying way to enjoy the show.

2182
01:54:24.359 --> 01:54:27.760
<v Speaker 1>No random interruptions or ads cutting into the conversation. Plus,

2183
01:54:27.880 --> 01:54:30.000
<v Speaker 1>your subscription goes a long way and helping to support

2184
01:54:30.159 --> 01:54:33.319
<v Speaker 1>us and helping to sustain producing the show. So if

2185
01:54:33.319 --> 01:54:35.880
<v Speaker 1>you're interested in able, please head over to patreon dot

2186
01:54:35.960 --> 01:54:40.119
<v Speaker 1>com slash moviefilm podcast and subscribe. We'd be very grateful.

2187
01:54:41.319 --> 01:54:43.399
<v Speaker 2>There we go, and if you're looking for me online,

2188
01:54:43.439 --> 01:54:45.479
<v Speaker 2>you can find me on social media at Zachi's corner.

2189
01:54:45.680 --> 01:54:48.439
<v Speaker 2>That's the Akis Corner. You can also find my reviews

2190
01:54:48.479 --> 01:54:50.960
<v Speaker 2>and writing at the San Francisco Chronicle and also at

2191
01:54:51.039 --> 01:54:54.239
<v Speaker 2>IGN and The Rap What About You, Brian, You can.

2192
01:54:54.159 --> 01:54:56.359
<v Speaker 1>Find episodes I've written of Puppy Dog Pals and Young

2193
01:54:56.439 --> 01:54:58.439
<v Speaker 1>Jedi Adventures streaming on Disney.

2194
01:54:58.159 --> 01:55:02.600
<v Speaker 2>Plus and with that on behalf of my partner Brian Holm.

2195
01:55:02.600 --> 01:55:04.319
<v Speaker 2>My name is Zachi asand this has been our movie

2196
01:55:04.359 --> 01:55:08.319
<v Speaker 2>film commentary track four Unbreakable. We'll catch you next time.

2197
01:55:08.359 --> 01:55:08.880
<v Speaker 2>Thanks folks,