Speaker 1: Oh he is Bote.
Speaker 2: It's showtime.
Speaker 3: People pay good money to see this movie.
Speaker 4: When they go out to a theater.
Speaker 3: They want cold sodas, hot popcorn, and no monsters in
Speaker 3: the protection booth.
Speaker 5: Everyone pretend podcasting isn't boring.
Speaker 3: Cut it off, turn it.
Speaker 6: Off, Nina m Max no right.
Speaker 3: Or let to l le Massy medi now legy Lemassi
Speaker 3: the la prima I can't be laid there. Miche gene
Speaker 3: gin No.
Speaker 7: Miami Americano, Michael stop lultimasters depas mon Moviemento mondiale almost.
Speaker 3: As well, Ky Michael Stophon philosopher. Yeah, you know, you
Speaker 3: know I can understand. Mas Jack.
Speaker 6: The Ves.
Speaker 2: Welcome to the Projection Booth. I'm your host.
Speaker 8: Mike White joined me once again as mister Spencer persons Hello,
Speaker 8: also joining us as mister David A.
Speaker 2: Heath.
Speaker 5: Glad to be here.
Speaker 8: We are continuing a month of Patreon requests with one
Speaker 8: from Andre du We recently had him on for our
Speaker 8: weekend episode with our nineteen sixty nine film from writer
Speaker 8: director Giuseppe Petroni Griffi, who also wrote the play and
Speaker 8: was joined by Daria Argento to write the screenplay for
Speaker 8: Love Circle, also known as Metti Juna sera accena or
Speaker 8: suppose one Night at Dinner. The film stars Jean Luis
Speaker 8: Trentigne as Michelle, every known writer who spins elaborate fantasies
Speaker 8: about an affair between his wife Nina played by Florinda
Speaker 8: Volcan and his best friend, a charismatic bisexual actor Max
Speaker 8: played by Tony Mussante. What he doesn't realize is that
Speaker 8: their relationship isn't just a figment of his imagination. It's
Speaker 8: been a reality for years. But the deception runs even deeper.
Speaker 8: The couple also are entangled with a fourth player, actually
Speaker 8: a fifth player too, but we'll talk about the fourth
Speaker 8: one for now, an enigmatic anarchist poet Jigglow named Rick
Speaker 8: Seeleno Capolicio, who resides in a decayed basement and shares
Speaker 8: feverish encounters with Bulkan beneath the shadow of a Nazi schwastika.
Speaker 2: We will be.
Speaker 8: Spoiling the movie as we go along, so I we
Speaker 8: do want anything ruined, please go ahead and turn off
Speaker 8: the podcast and come back after you've tracked down the film.
Speaker 2: It is out there.
Speaker 8: Spencer, When was the first time you saw Love Circle
Speaker 8: and what did you think The.
Speaker 9: First time I saw A Love Circle was last night,
Speaker 9: and I really love this movie.
Speaker 1: It's a crazy one. I guess I'm an easy win.
Speaker 9: Once you get this cinematographer to Nino della Colli going
Speaker 9: with Annio Morricone, those images and those sounds come together
Speaker 9: and pretty much anything is going to keep me pretty happy.
Speaker 9: But I really it's not one that I knew about
Speaker 9: at all, and it seems like it's actually pretty hard
Speaker 9: to get a hold of. I've seen one other film
Speaker 9: by this director, Griefy Identicit, which is also a big
Speaker 9: favorite of mine.
Speaker 1: I really that's probably my.
Speaker 9: Favorite Elizabeth Taylor movie ever when I first saw Identicate.
Speaker 1: The cinematography in that one is also.
Speaker 9: Really beautiful, and it's by Vittorio Serrao and is admittedly
Speaker 9: a step up from the cinematography in this movie, but
Speaker 9: very similar kinds of strategies where I really think that
Speaker 9: Griefi is a visual stylist who works really well with
Speaker 9: the best cinematographers in Italy. Deli Coley worked on a
Speaker 9: lot of my favorite films, a bunch of Pasolini, Rossollini,
Speaker 9: Lin old Vert, Mueller, Boloccio. The list goes on Sergia Leoni,
Speaker 9: Fellini really like a legendary kind of figure. The story,
Speaker 9: as is the case with a lot of Italian movies
Speaker 9: from this period, is sketchier. But I was really surprised
Speaker 9: and delighted by it, and I knew nothing.
Speaker 1: I really knew nothing going in, which I think is
Speaker 1: a good way to see this film.
Speaker 5: And David, how about yourself, I don't have the same feelings.
Speaker 5: I feel like this was perverted Barney episode I love her,
Speaker 5: she loves him, He loves her, he loves the other hymn.
Speaker 5: I will agree, though, that the trimmings were good on
Speaker 5: this film. As far as the Maricone music is almost
Speaker 5: as good as anything I think I've heard that wasn't
Speaker 5: in a Surgery of Leone film. I was very impressed
Speaker 5: with the soundtrack, which of course you expected to be
Speaker 5: from Marcone, but he was just on fire with this.
Speaker 5: The music fit the film perfectly. Unfortunately, I just had
Speaker 5: problems with the meat of the film, and I just
Speaker 5: felt like the premise of how exciting that this could
Speaker 5: possibly be. I felt like it was toned down a lot,
Speaker 5: and I don't know, I just wasn't totally followed by
Speaker 5: anything except the music and the cinematography is very fantastic.
Speaker 5: It's very claustrophobic. I felt like the first fifteen minutes
Speaker 5: was actually quite good and setting up for something great. Ultimately,
Speaker 5: my favorite part, I'm not gonna lie was Florinda a
Speaker 5: Bulkan when she winded herself off of the plural toy
Speaker 5: or what are those mets? What do they call those mattresses? Yeah,
Speaker 5: when she prailed off of the raft. That was actually
Speaker 5: the most exciting moment besides just listening to the Marcone soundtrack.
Speaker 5: I do find that the title love Circle definitely fits
Speaker 5: because it wasn't a love triangle at all. It was
Speaker 5: a circle. And I think that one other highlight would
Speaker 5: be the or two other right, it would be the
Speaker 5: conversations at dinner. Those were fun, but ultimately I just
Speaker 5: felt he was trying to go for something and he
Speaker 5: just didn't go near all the way, if any of
Speaker 5: that makes sense. I didn't hate it, but I definitely
Speaker 5: didn't love it. Those are my initiate takes.
Speaker 8: Yeah, I think I'm somewhere in the middle there. I
Speaker 8: definitely found it a little perplexing, but I think part
Speaker 8: of that is because I've talked about Franco Arcolli before
Speaker 8: the editor of this film, and he does a great
Speaker 8: job when it comes to circular storytelling and just the
Speaker 8: way that he will play things off of each other.
Speaker 8: We've talked about him on the Djengo Kill If You
Speaker 8: Live Shoot episode. We talked a little bit about him
Speaker 8: and his work on Death Laid an Egg, things like
Speaker 8: The Conformists. I think he really helps make The Conformist
Speaker 8: the movie that it is because of the nonlinear storytelling.
Speaker 2: He worked a.
Speaker 8: Few times with Griffy. A few times he did this
Speaker 8: one 'tis a pity, She's a whore. I'm not sure
Speaker 8: what else he did with them, but yet it's an
Speaker 8: interesting way of cutting it because it's definitely it moves
Speaker 8: back and forth, I think in time, but definitely in location.
Speaker 8: There's a lot of times where Trenton Ye will be
Speaker 8: telling a story and we'll basically transport the audience to
Speaker 8: that story, and we're not exactly sure if they're real
Speaker 8: stories or if they're lies, if they're just things that
Speaker 8: he's making up on the spot. Because it comes out
Speaker 8: pretty early in the movie he says, talking to his
Speaker 8: best friend.
Speaker 2: So I'm writing this news story.
Speaker 8: You wouldn't like it as a comedy and as a
Speaker 8: comedy about man whose wife is cheating on him with
Speaker 8: his best friend. And then from there he starts to
Speaker 8: spin out these stories like say, the man was away
Speaker 8: and the wife got very lonely and went to see
Speaker 8: the friend at the theater and then boom cut to
Speaker 8: the friend Max at the theater and I don't know
Speaker 8: if that's Nina that's supposed to be with him, but
Speaker 8: I think they meet up later and there's some kind
Speaker 8: of horse in around and stuff, and they're just like, Okay,
Speaker 8: is this really the way that it happened or is
Speaker 8: this just a figment of Michelle Jean Louis Twintinier's imagination.
Speaker 8: And I love the way that we'll just slide into
Speaker 8: like a character will walk into a fantasy sequence almost
Speaker 8: and it's just like, okay, this is interesting. I like
Speaker 8: that kind of stuff. I just don't know if I
Speaker 8: needed two hours and two minutes of it, because it
Speaker 8: just seems to go on for quite a while, and
Speaker 8: after after about an hour or so, I was just like,
Speaker 8: wait a second, who is this person again? I just
Speaker 8: felt like it felt like like Giuseppa gets introduced at
Speaker 8: one point, who is another friend of theirs, but then
Speaker 8: they I think they were talking about her beforehand. It's just, oh,
Speaker 8: you should get you Zeppa pregnant and then leave her.
Speaker 2: And it's like, it.
Speaker 8: Strikes you about Max that he should get this woman
Speaker 8: pregnant and then abandon her, and it's I don't know
Speaker 8: exactly what's going on, but that's one of those dinner
Speaker 8: conversations that you're talking about. And the beautiful cinematography, especially
Speaker 8: the colors in front of their faces, the way the
Speaker 8: camera's kind of zipping around and flipping back and forth
Speaker 8: between these people is really elegantly shot and very well
Speaker 8: put together. I just don't know if I was as
Speaker 8: compelled by the material as I should have been.
Speaker 9: I agree that it's too long, but I am actually
Speaker 9: compelled by a lot of what's going on and the
Speaker 9: story of the sort of meta levels and the slipperiness
Speaker 9: of what might be the writer's imagination versus reality, and
Speaker 9: that the movie, especially because it's got this cinematography that's
Speaker 9: like constantly moving and circling in an editorial style that
Speaker 9: blends together locations, and even some great camera tricks and
Speaker 9: staging tricks where a scene will start out with three
Speaker 9: characters talking and in the midst of it, two of
Speaker 9: them have completely disappeared, and you realize over the course
Speaker 9: of a long take that we've gone from a fantasy
Speaker 9: into reality.
Speaker 1: But it doesn't always give cues for that.
Speaker 9: And I guess I'm an easier win for that kind
Speaker 9: of a thing than you guys are. And I think
Speaker 9: it also speaks to a lot of very indebted to Pirandello,
Speaker 9: and even put some Pirandello right in the movie at
Speaker 9: one point. And so this play of reality versus fiction,
Speaker 9: the reality of fiction. And then I will say that
Speaker 9: just as a character, I felt so bad for Rick
Speaker 9: throughout this literally poor but obviously also artistically engaged boy
Speaker 9: toy for these rich people.
Speaker 1: And he's a compelling sort of character.
Speaker 9: And at one point one of the characters I forget
Speaker 9: who says he's the only one of us who is
Speaker 9: who he is. And there's something very interesting about that,
Speaker 9: given his particular position, because there's also that sort of
Speaker 9: sense that the jiggolow the sex worker has to put
Speaker 9: on love and is acting and there's fiction going on
Speaker 9: while other facts are also happening. The sense that he
Speaker 9: could be the most authentic of all of them is interesting.
Speaker 9: I'll also say where it ends up. And the philosophical
Speaker 9: stuff that they chew on throughout for me is like
Speaker 9: anti winter Light. It's as confronted by imminent nuclear holocaust.
Speaker 9: Their notion is let's just get together and we're all
Speaker 9: gonna fuck. There is something about that time and place
Speaker 9: and that kind of response. As much as it's like
Speaker 9: a bunch of boogie people, I find to be a
Speaker 9: compelling and less expected sort of reaction to things. The
Speaker 9: libertinism under the circumstances, I think is a kind of
Speaker 9: an interesting social position to examine.
Speaker 5: I get all what you're saying, and I think that
Speaker 5: you're bringing some solid points to it. I think I'm
Speaker 5: like Mike though, or to just like feel like overall
Speaker 5: the meat wasn't wasn't enough. And I can also say
Speaker 5: that he watched another production by him called The Divine Nymph.
Speaker 5: It was almost a replica of this one with Terrence Stamp,
Speaker 5: and it is so annoying because it's Terence Stamp. What's
Speaker 5: not Arren Stampswice. That drove me crazy. But anyway, The
Speaker 5: Divine Nymph was actually probably less meaty this one, and
Speaker 5: I do think one of the interesting things about it
Speaker 5: is there's an underlying concept here of be careful when
Speaker 5: your feelings get involved. I feel like the film is
Speaker 5: a bit of a cautionary tale, Like Bob and Carrold
Speaker 5: Ted and Alice spoiler alert. At the end, they're like,
Speaker 5: is this really what we should be doing?
Speaker 1: I don't know.
Speaker 5: I don't feel right about this. There's something about when
Speaker 5: you have all this circling like that's going on, somebody's
Speaker 5: bound to have some hurt feeling. And I think there
Speaker 5: is an underlying concept there. And if you watch The
Speaker 5: Divine Nymph, which I would suggest for you, Spencer, because
Speaker 5: if you love this, you'll at least like the Divine nim. Yeah,
Speaker 5: I think that there's a somewhat of a cautionary tale
Speaker 5: in there, a little bit of morality. What looks on
Speaker 5: the service to be a completely depraved film.
Speaker 9: Well, there's a really nice line in the last scene
Speaker 9: that works in two ways that they talk about the
Speaker 9: table and the round table, and even before this scene
Speaker 9: there's a reference to King Arthur, and of course, given
Speaker 9: the intertwined natures, you can't help but think of Arthur
Speaker 9: and Lancelot and Gwenevere. But Michelle Jean Jean Tritagnan. He
Speaker 9: man my French teacher's mad at me right now. He
Speaker 9: at one point says, it's not a table, it's a raft.
Speaker 9: And I think this plays in a couple of ways.
Speaker 9: One this idea that really develops of the course of
Speaker 9: that particular scene, that this is a life raft in
Speaker 9: a world where they are perceiving, whether they're correct or not,
Speaker 9: apocalyptic forebodings, that they're taking this as a life raft.
Speaker 9: But it also visually takes me back to that incredible
Speaker 9: scene of Florinda Bocan on the raft, which is so
Speaker 9: beautifully shot. I do think it's also worth talking about
Speaker 9: the eroticism in the film, because it isn't just a
Speaker 9: matter that these folks are hooking up.
Speaker 1: And I think there's.
Speaker 9: Some interesting careful qualities about this because there's the eroticism.
Speaker 9: There's maybe less skin in this than other Italian movies
Speaker 9: and especially like Italian exploitation movies of the period, But
Speaker 9: the way that the sex is photographed and dramatized by
Speaker 9: following hands, for instance.
Speaker 1: Is incredibly hot.
Speaker 9: It's a much hotter movie than it should be, considering
Speaker 9: even like mores of the time. And I do wonder
Speaker 9: if one of the reasons for that is because it
Speaker 9: was perceived at the time as scandalous enough. It says
Speaker 9: that these dudes do have sex at pivot point in
Speaker 9: the film, the menage atois, but it really dances around
Speaker 9: it very carefully, and I think actually remains pretty hot
Speaker 9: while doing that. I'm actually impressed how much it works
Speaker 9: at that point in the film. Also in that I
Speaker 9: really think Tony Mussante's performance I don't quite buy him
Speaker 9: as fully bisexual.
Speaker 1: His performance and the way that things have staged for him,
Speaker 1: and this I think actually works within the film.
Speaker 9: But I find this anapsis of the film really funny
Speaker 9: when it describes him as bisexual, because I think, I
Speaker 9: don't know, his sexuality seems a lot more like he's
Speaker 9: maybe there to watch or something. He does not feel
Speaker 9: fully comfortable, And I don't think that's necessarily bad. I
Speaker 9: think that's actually like interesting in the mix, but maybe
Speaker 9: not totally intentional. But I do think that the movie
Speaker 9: holds back just a little bit in order to get
Speaker 9: away with its big you know, the big guns of
Speaker 9: its provocation, which at the time were difficult and even
Speaker 9: now like in the Year of Challengers, which I found
Speaker 9: to be pretty chaste. Actually, I was very surprised at that,
Speaker 9: and it is so I think even now there's a
Speaker 9: bit of a third rail that certainly back at the
Speaker 9: time that this was made, is in play.
Speaker 8: What's funny because Griffy's previous film that he wrote from
Speaker 8: sixty two wrote and directed, because he wrote quite a bit.
Speaker 8: I mentioned before, he's a playwright as well, so he
Speaker 8: had a bunch of stuff that was changed from plays
Speaker 8: to movies. The one that he directed before this was
Speaker 8: from sixty two. It is called El Mar and there's
Speaker 8: a bisexual relationship in that one as well. And I
Speaker 8: agree with you that really I don't feel that Max
Speaker 8: is that bisexual, but yeah, he definitely seems to be
Speaker 8: down to watch what's going on. It reminded me a
Speaker 8: little bit of Radley Metzger and Radley Metzger's score with
Speaker 8: the whole bisexuality and these multiple couples and stuff, because really,
Speaker 8: at the end of the day, you've got like the
Speaker 8: five people, and you talked about there's really the one
Speaker 8: outsider with Rick who doesn't match that when it comes
Speaker 8: to their social standing or any of that stuff. I
Speaker 8: kept thinking that Rick was going to go on some
Speaker 8: sort of rampage at the end of this and chill everyone,
Speaker 8: just because he seems so unhinged. I's got Oh I'm
Speaker 8: so cold in this apartment. Oh here, take this Nazi
Speaker 8: flag and wrap yourself.
Speaker 1: In it and I'll keep you war.
Speaker 8: Could we get more provocative than a Nazi flag for
Speaker 8: you to wrap yourself in.
Speaker 2: It's very strong imagery.
Speaker 8: His whole apartment set is very interesting, especially we've got
Speaker 8: him firing that gun that I guess it's a picture of.
Speaker 1: Her in the opening scene.
Speaker 2: Yes, oh yeah, and yeah, the.
Speaker 8: Whole thing of her try and find the apartment or
Speaker 8: going to the apartment. You've got the more conic score
Speaker 8: going during the credits and everything. It was really striking,
Speaker 8: and there are many moments in this film that are
Speaker 8: equally striking to this. And yeah, it's interesting too because
Speaker 8: when you're seeing them together, you're like, is this the future?
Speaker 8: Is this the past? Because they're cutting away from that
Speaker 8: and cutting to her, and then they'll cut back to it,
Speaker 8: and we're getting more information about the relationships than they're
Speaker 8: even talking about. We obviously start to see the whole
Speaker 8: setup of the lover's triangle, but then we start seeing
Speaker 8: oh no, there's a fourth point. Oh no, there's actually
Speaker 8: a fifth point to this, and like you said, it's
Speaker 8: much more of a rounded thing. And I think the
Speaker 8: whole idea of them going to a boxing match where
Speaker 8: you've got the squared circle is pretty telling as well.
Speaker 8: And I'd like these metaphors that are going on. I'm
Speaker 8: always curious when it comes to plays that have been
Speaker 8: turned into movies, do they lose the play feel to it.
Speaker 8: There are certain movies where you're just like, oh my god,
Speaker 8: this was such a play, like Six Degrees of Separation.
Speaker 8: You're just like, all the actors are talking to the
Speaker 8: back row, and you're just like, this is a movie.
Speaker 8: You can do a little bit smaller than this. And
Speaker 8: then there are other movies, even with big performances like
Speaker 8: Jack Nicholson, like A Few Good Men, where you're like.
Speaker 2: Oh no, this was a movie.
Speaker 8: Yes, it was based on a play, obviously a courtroom drama,
Speaker 8: but I really feel like they did a good job
Speaker 8: taking it out of the theater and putting it into
Speaker 8: the movie theater.
Speaker 9: Yeah, And that's where the style of cinematography I think
Speaker 9: is really key, because the performances are off kind of
Speaker 9: screechy in the film, but they fit together with this
Speaker 9: kind of florid camera work that keeps moving around them
Speaker 9: and dancing with them, so that in particular, Bolkhan is
Speaker 9: she's beautiful, just like throwing her hair around all over
Speaker 9: this movie as the camera follows her through a room
Speaker 9: and she's got to.
Speaker 1: Yell at people.
Speaker 9: But yeah, so there is there's like a there's a
Speaker 9: certain theatricality that stays, but the cinematic form and all
Speaker 9: the beautiful locations and the intense arc direction and everything
Speaker 9: also really contribute to a feeling of it's the heightened
Speaker 9: quality is more cinematic than theatrical.
Speaker 8: I definitely was seen that during that boxing match scene
Speaker 8: where they do a really good job of making the
Speaker 8: crowd around them seem much bigger than it needed to be,
Speaker 8: because generally when you do, oh, here's the people at
Speaker 8: the boxing match, and obviously they weren't at the boxing match.
Speaker 8: But with that, it's like you see her stand up
Speaker 8: and leave and you're like, oh, that actually looks like
Speaker 8: the actress is leaving. You can see that they were
Speaker 8: actually in the location at some point, and then when
Speaker 8: they come back to them, they're having their conversation. During
Speaker 8: this fight, they have a lot of people behind them.
Speaker 8: It's not just like two three people or just the knees.
Speaker 8: You get the stands and everything, so you can barely
Speaker 8: see the people that are behind them.
Speaker 2: But it's oh no, this.
Speaker 8: Is actually like a pretty good crowd around them, and
Speaker 8: the crowd is doing some really good acting as far
Speaker 8: as reacting to that fight, and I'm like, oh, okay,
Speaker 8: this actually seems very legit.
Speaker 9: I forget whether it was Max or Mikkel. I feel
Speaker 9: like I'm gonna be wrong whichever one I commit to.
Speaker 9: Walks out of the scene, and the camera follows them
Speaker 9: through a lot of space out of the arena and
Speaker 9: then also down the hall and everything.
Speaker 1: The way that.
Speaker 9: It's conceiving of the space constantly keeps giving us a
Speaker 9: lot of atmosphere and psychological quality. As I'm seeing this
Speaker 9: guy walk out and around and when I can't remember
Speaker 9: which of the characters it was, it's partly because of
Speaker 9: the I think, a semi deliberate confusion. Maybe it's not
Speaker 9: all deliberate confusion, but as semi deliberate confusion that's being
Speaker 9: created that sort of conflates these people into each other.
Speaker 9: But the yeah, the act of following opens up a
Speaker 9: kind of psychological space for the character and the relationships,
Speaker 9: and that comes at a cost when you're doing a
Speaker 9: big crowd scene. That's, I got to say, pretty expensive
Speaker 9: shot for a movie that's based on a play that
Speaker 9: basically has five main characters who end up all around
Speaker 9: a dinner table at the end.
Speaker 1: But yeah, I gotta say hooray for cinema.
Speaker 5: This is one of those movies that reminds you not
Speaker 5: everything has to be Hollywood. Will you watch it? Then?
Speaker 5: I my own podcast, I talk about movies of all kinds,
Speaker 5: and sometimes when I go out and left field that
Speaker 5: people don't listen to the show what to leave you
Speaker 5: when they hear a movie all I've seen that movie
Speaker 5: a hundred times, all of some of that. But this
Speaker 5: is one of those films though that like I said,
Speaker 5: I think everything that Spencer is saying I agree with.
Speaker 5: I almost want to watch it again now after banning it.
Speaker 5: But all of that is true what you say, Spencer.
Speaker 5: The shots in this film are really good. I think
Speaker 5: if the script was buttoned up a little bit, and
Speaker 5: I think it had less fat on the bone, I would.
Speaker 1: Have enjoyed it a lot more.
Speaker 5: I truly did.
Speaker 3: Well.
Speaker 9: You mentioned this script, and this leads to Dario Argento's
Speaker 9: participation in the movie. He worked on adapting the script
Speaker 9: from a play into a screenplay, and I don't want
Speaker 9: to overdo it in terms of maybe this was just
Speaker 9: a I was not able to determine how much of
Speaker 9: an exciting project this was for Argento, but some there
Speaker 9: are some real connections to argento work that I found
Speaker 9: in this, So it seems like at the least, if
Speaker 9: it was just a job of work, he was right
Speaker 9: guy for the job, because there are a lot of
Speaker 9: interesting jallo and horror kind of elements that don't pay
Speaker 9: off in that particular way. And the premise is actually
Speaker 9: similar to some Argento premises, particularly Tenebre, where you've got
Speaker 9: the author of a book full of these murders that
Speaker 9: then the murders start to occur in real life. That
Speaker 9: kind of reality and fiction and art and life a
Speaker 9: kind of mixture coming in. So I think Argento is
Speaker 9: definitely vibing on that kind of material. And then also
Speaker 9: I think the director, as far as briefly, as far
Speaker 9: as I could find out, I think he's either gay
Speaker 9: or bisexual and definitely wrote a lot of important kind
Speaker 9: of queer stuff but there's also a lot of queerness
Speaker 9: in argento films under the surface, and again back to Tenebre,
Speaker 9: that's one where there's some real sexual fantasies that are
Speaker 9: I don't even know if homo erotic is quite right,
Speaker 9: but definitely queer and touching on the home erotic. And
Speaker 9: Argento often has gay characters in the background in a
Speaker 9: lot of interesting ways.
Speaker 1: So I guess there's two prongs.
Speaker 9: There's the Argento connection and then did you guys get
Speaker 9: anything out of the sense of connection with the queer
Speaker 9: side of Argento's work at all.
Speaker 8: I don't know Argento's work as well as I would like.
Speaker 8: I am fascinated by these movies that he was writing
Speaker 8: before he became a director, and obviously I'm a huge
Speaker 8: fan of Once upon a Time in the West, But
Speaker 8: then things even like Cemetery without Crosses or five man Army,
Speaker 8: and so this is very interesting because he was more
Speaker 8: of a He's very similar to your Gradar, your Truffaus.
Speaker 8: As far as I know, he was a film critic
Speaker 8: first and I moved into screenwriting and then eventually becomes
Speaker 8: a director's writer director. But yeah, I'm just I've only
Speaker 8: seen a handful of Argento, probably the ones that we've
Speaker 8: covered on the show, which is maybe three or four,
Speaker 8: so not a ton.
Speaker 5: I have a lot of experience with those either. But
Speaker 5: I will say that I felt like this film spent
Speaker 5: the entire time except at the dinner table, maybe on
Speaker 5: the perimeter of subjects, and didn't actually open the door
Speaker 5: and walk in. That's something that I did feel. The
Speaker 5: dinner table scenes were pretty great. Ultimately, I just think
Speaker 5: if this film were hour and twenty seven minutes, I
Speaker 5: probably would have loved it. But it was just an
Speaker 5: awful lot to get to those really good, needy scenes,
Speaker 5: And to be fair, that's the way almost every film
Speaker 5: today is made with the thirty minutes too long.
Speaker 9: This is one where I really wish I could see
Speaker 9: it on a big screen. I have suspicions that obviously,
Speaker 9: and I'll fess up. The audio visual quality of just
Speaker 9: pictures and sounds going together is like my primary a
Speaker 9: source of pleasure in the movie. I really wonder if
Speaker 9: maybe it would still be too long, but it might
Speaker 9: not be quite as much too long were I seeing
Speaker 9: this in a theater and was really able to be
Speaker 9: a watch in it. We also watched on a pretty
Speaker 9: I will say low grade transfer. And this is really
Speaker 9: making me if any boutique labels out there are listening
Speaker 9: right now, I think this would really be an excellent
Speaker 9: title to restore and give a proper transfer if there
Speaker 9: are in fact decent elements still out there. When I
Speaker 9: looked around, I found and have already bought a DVD,
Speaker 9: but this one really seems to me like a worthy
Speaker 9: project for a proper restoration and transfer. So I don't know,
Speaker 9: Vinegar Syndrome or somebody, if you're listening to check this out.
Speaker 8: Was that the Raal video version, and I think that
Speaker 8: might be the source of what we watched.
Speaker 1: I don't know, it seemed to be well.
Speaker 8: I found a few different versions of this one with
Speaker 8: hard coded Spanish subs, which I thank you yea, which
Speaker 8: really challenged my Spanish. Am I Italian because I took
Speaker 8: both of those. I took Spanish in high school and
Speaker 8: Italian in college, so that was interesting and also to
Speaker 8: see because I found English subtitles, so the English subtitles
Speaker 8: would run over the Spanish ones, but then I'm like, oh,
Speaker 8: they just said bourgeois, but then they're saying middle class
Speaker 8: and the English subtitle anyway, there was a different version
Speaker 8: that I also watched, which every couple reels it would
Speaker 8: go to color bars and that horrible noise that was
Speaker 8: going and I'm like, oh, this is rough, and then
Speaker 8: it would go back to it. But thank goodness, whoever
Speaker 8: put the subtitles on that had it timed correctly so
Speaker 8: that after that break it would come back into sync.
Speaker 8: I did find one that's fairly decent with burned in
Speaker 8: English subtitles, which is the one that I've got going
Speaker 8: right now while we're talking about this, But still the
Speaker 8: quality isn't as good as I would like.
Speaker 2: And I agree with you.
Speaker 8: If there was a beautiful print of this, I could
Speaker 8: really see myself starting to like this a lot more.
Speaker 8: And yeah, had I seen this at the theater, because
Speaker 8: that's the one thing I've always said on the show too,
Speaker 8: where it's I can handle longer movies when I'm at
Speaker 8: a movie theater than I can at home, just because
Speaker 8: there's so many temptations of getting distracted at home, versus
Speaker 8: when you're in a movie theater, you're locked in. I'm
Speaker 8: here for this. I'm here for this only, and other
Speaker 8: than the occasional Terrence Malick.
Speaker 2: Film, I don't get bored with longer films.
Speaker 9: I think with a movie like this, the social part
Speaker 9: of it could be pretty interesting as well. How are
Speaker 9: people reacting as this goes on, even if it's dated.
Speaker 9: It's sort of libertine, a kind of quality of the
Speaker 9: characters and the storytelling. The way the characters think of
Speaker 9: each other, think of marriage, think of sex is still abrasive,
Speaker 9: and I hope we'll always be abrasive because these are
Speaker 9: not necessarily very likable people, and what they're on about
Speaker 9: is somebody is going to get hurt, and they seem
Speaker 9: not to care enough about how someone will get hurt.
Speaker 9: And in particular Rick, the lower class Jigglow, he's the
Speaker 9: one who consistently gets the most hurt, even if he
Speaker 9: also wraps himself up in the cold with this whole
Speaker 9: Nazi flag. That's also something about the film that I
Speaker 9: find interesting. I wonder about reactions in a crowd. I
Speaker 9: don't know that I can ever clock what that Nazi
Speaker 9: flag is really supposed to quote unquote mean.
Speaker 1: But I'd be interested to be.
Speaker 9: In an audience where we all have to feel our
Speaker 9: way through that, because I don't know that it necessarily
Speaker 9: has a meaning.
Speaker 5: If he saw it at the movie theater. Your parents
Speaker 5: were probably alive during World War Two. That's just jarring
Speaker 5: to me in the opening scene. Yeah, I just it's
Speaker 5: just jarring. Where did that come from and why is
Speaker 5: it here? I don't understand.
Speaker 8: Yeah, I don't know if it's supposed to be that
Speaker 8: he's some sort of edge lord or something, or what
Speaker 8: his deal is, because I think describe me as an anarchist.
Speaker 8: At one point, I'm like, let's you wouldn't add and
Speaker 8: adhere to Nazi belis if you're an anarchist. But maybe
Speaker 8: it was just some sort of big misunderstanding. Maybe it
Speaker 8: was supposed to be some sort of symbol of love
Speaker 8: that got horribly mistranslated by the miss mainstream media.
Speaker 9: I take his possession of the object as ironic and
Speaker 9: in that way, maybe a little bit edge lordy. But
Speaker 9: I'm not so I can follow what it's supposed to
Speaker 9: mean with the character. But in the world of the film,
Speaker 9: this is a group of such nihilistic people. No, I
Speaker 9: don't think it's saying that they're Nazis. That does not
Speaker 9: seem to be what the movie is about. But at
Speaker 9: the same time, it's an obvious, big loaded symbol that
Speaker 9: comes up repeatedly.
Speaker 1: It gets used dramatically in the scene I love.
Speaker 9: This is my favorite scene in the movie, probably the
Speaker 9: scene where he hangs himself on the set of the
Speaker 9: play that they're part of, and bo Khan she has
Speaker 9: to go in and get him down before he dies.
Speaker 1: And the way that it revealed who it is and.
Speaker 9: What's going on is we see his feet hanging and
Speaker 9: then the flag, the red of the flag drops into
Speaker 9: the frame.
Speaker 1: So it's being used in these really interesting ways.
Speaker 9: And then that scene, I have to say, as much
Speaker 9: as I really don't, I like Rick, but I don't
Speaker 9: like these other characters very much, and I like Rick.
Speaker 9: The Nazi flag notwithstanding, this is a gross thing for
Speaker 9: him around to have around, but he's a more likable character.
Speaker 9: But as he takes a breath and kind of comes
Speaker 9: back to life, it's this nice little bit of traditional melodrama,
Speaker 9: really wanting for him not to die and to see
Speaker 9: what's going to happen between him and Nina over the
Speaker 9: rest of the film.
Speaker 8: Yeah, you talk about how they're unpleasant people, and they
Speaker 8: are this whole It's like they talk about each other
Speaker 8: like they're pieces of meat or game pieces, and it's
Speaker 8: just like, oh, you should be with Guzeppa, No it
Speaker 8: should be you, or no you should do this, and
Speaker 8: like throwing people at each other and just yeah, it
Speaker 8: feels very much like they're I like that the boor
Speaker 8: upper class kind of thing, where it's just how can
Speaker 8: we spice this up? I'm gonna start this affair. I'm
Speaker 8: going to have this happen, or you should start an affair.
Speaker 8: You should, like I said before, you should get this
Speaker 8: woman pregnant and then abandon ear. It's what the hell
Speaker 8: are you guys on about? And they just seem to
Speaker 8: just be so up their own asses so much, and yeah,
Speaker 8: Rick seems to be the only genuine character. And then
Speaker 8: I was talking before about how confusing sometimes this is
Speaker 8: because we are going back and forth and we're jumping locations,
Speaker 8: and it's just we're at this dinner table and now boom,
Speaker 8: we're in a car, and now we're over here, and
Speaker 8: now we're over there. Then you come to the play
Speaker 8: section of the movie, like you're talking about with the
Speaker 8: last part, and then it suddenly becomes wait are we
Speaker 8: watching the play? Are we watching the real thing? What's
Speaker 8: happening here? Reminded me a little bit of some of
Speaker 8: the Cassavetti's works that I guess Opening Night where it's
Speaker 8: just is this the movie that they're shooting? Is this
Speaker 8: the play that they're in? What part of this world
Speaker 8: am I looking at? Opening Night has that kind of
Speaker 8: horror overtone to it, And there were times where I
Speaker 8: was just like, I wonder, what's going to happen here?
Speaker 8: Because I just, like I said, I kept feeling like
Speaker 8: something bad was going to happen, or like we're committing
Speaker 8: suicide is a bad thing, but here I thought he
Speaker 8: was just going to go nuts and kill all these people.
Speaker 8: But as far as I know, he does not do that,
Speaker 8: and it just makes it mix. It very tense through
Speaker 8: the whole thing, which I feel that the maintains throughout
Speaker 8: this whole movie.
Speaker 1: I would definitely agree that tension is pretty high. And
Speaker 1: then Rick is again.
Speaker 9: It's interesting, there's that sense that he could kill off everybody.
Speaker 9: This is actually interesting because in recent years we've had
Speaker 9: our own run of let's make fun of the bourgeoisie
Speaker 9: movies like Triangle of Sadness and The Menu and these
Speaker 9: that kind of have this eat the rich ethos. That
Speaker 9: is fun to begin with, But I've got to say that,
Speaker 9: especially as I see more and more of these movies,
Speaker 9: like one of them, I can go, oh, yeah, a hah, funny,
Speaker 9: But after I see a whole bunch of them, do
Speaker 9: you not want.
Speaker 1: A better world? Do you just want to bring other
Speaker 1: people down?
Speaker 9: Are we settling for tormenting and murdering our tormentors and murderers?
Speaker 1: Is that really the best that we can expect?
Speaker 9: And there's something about this movie that does similar kind
Speaker 9: of stuff and playing around with ideas of the bourgeois,
Speaker 9: and that's not uncommon for art movies of this period,
Speaker 9: but I feel like there's something a lot more interesting
Speaker 9: going on to make us fit with them, and to
Speaker 9: whatever degree can we empathize or sympathize, and then to
Speaker 9: what degree can we observe and draw a larger philosophical
Speaker 9: sense of how the world works from their behavior.
Speaker 8: And it's interesting too that this was nineteen sixty nine
Speaker 8: that this movie came out, and I did a whole
Speaker 8: series a couple of years ago of just movies from
Speaker 8: nineteen sixty nine and how the world was in such turmoil,
Speaker 8: and this movie also seems to plug into it. It's
Speaker 8: looking at something that's a little different than student riots
Speaker 8: and things. But I could see Rick joining those riots.
Speaker 8: I could see Rick eventually maybe I should join the
Speaker 8: Red Brigade. I'm not exactly sure here what should I do.
Speaker 8: But this is endemic of those things that were going
Speaker 8: on in the rest of the world and just oh yeah, no,
Speaker 8: this is how this upper strata of Italian society is
Speaker 8: working and operating. And these people are assholes, and yeah,
Speaker 8: it's okay to make fun of them. But to your point,
Speaker 8: I agree about those kind of more recent wave of
Speaker 8: let's talk about influencers and let's talk about how vapid
Speaker 8: they are and it's okay, yeah, that's like a couple jokes,
Speaker 8: but we're gonna have it out for ninety five minutes.
Speaker 8: I enjoyed the menu. I think I enjoyed that more
Speaker 8: than Triangle of Sadness. I think, but I guess I
Speaker 8: take that back because I didn't realize that there was
Speaker 8: the second half of Triangle of Sadness when I was
Speaker 8: watching it. I thought it was all going to be
Speaker 8: on the boat. Once they get off the boat, that's
Speaker 8: when I found it interesting.
Speaker 9: And thinking about those current movies that are about bringing
Speaker 9: the rich down to the level of the people who
Speaker 9: they're tormenting. This has a kind of provocative question of
Speaker 9: what is it for Rick to get to sit at
Speaker 9: the table with them.
Speaker 5: That's a very good point. Yeah, and Rick is basically
Speaker 5: yeah he did. Yeah, he just feels left out in
Speaker 5: the cold. And I think one of the things, going
Speaker 5: to one of Spencer's points is that often in these
Speaker 5: type of films it's a female that is in that
Speaker 5: position and not a man. Often it happens that way.
Speaker 5: But I wanted to bring up one of the things
Speaker 5: I didn't want to forget. As impressive as this score is,
Speaker 5: I think equally as impressive are the silent moments. There
Speaker 5: are moments where the film just dead silence for where
Speaker 5: you can just cut an eye through it, and I
Speaker 5: wanted to make sure to bring that up. I know
Speaker 5: that kind of gear shifts us away from what we
Speaker 5: were talking about, but I wanted to bring that up
Speaker 5: because I just felt like that is an aspect of
Speaker 5: this film that utilize that that start and stop music
Speaker 5: so effectively.
Speaker 8: It's not just a men's story. It's not just Griffy
Speaker 8: saying oh yeah, I'm the Trintonnier character and look at
Speaker 8: how important I am, or something like that it feels
Speaker 8: very much like the Giuseppe seems a little like I said,
Speaker 8: she doesn't even come in until almost a half an
Speaker 8: hour into the movie, so they talk about her beforehand,
Speaker 8: and then she eventually shows up. It always feels like
Speaker 8: she's on the outs as well, even though she seems
Speaker 8: to travel in the same circles. But I would have
Speaker 8: to say that the wife is just as important as
Speaker 8: the two men. She really has agency. It's not just
Speaker 8: these two men are struggling and eventually there's a third
Speaker 8: man that comes in kind of thing. No, it's very
Speaker 8: much the three main people, and then like Giuseppa and Rick,
Speaker 8: especially Rick on the outside.
Speaker 9: For me, David, your point about the sound in the
Speaker 9: way that the music comes in and out is not
Speaker 9: off from the topic really, because the music is really
Speaker 9: used in a formal fashion to help sell these moments
Speaker 9: of connection and disconnection between the people and the moments
Speaker 9: of silence between them can be pregnant and thrilling and exciting.
Speaker 9: But then also any almricone will come in. The music
Speaker 9: is very edited here, it's not there's a certain amount
Speaker 9: that feels scored to the movie.
Speaker 1: But I will say from my own experience in the
Speaker 1: editing room. I love this kind of use of music.
Speaker 9: There's a lot of scoring that gets used in a
Speaker 9: very editorial way where it's will suddenly be bringing it
Speaker 9: in and then we'll cut you off just as we
Speaker 9: feel like we're getting going with the score again. That
Speaker 9: is I think really beautifully done. And there's also like
Speaker 9: a kind of circular pattern to the way that it's
Speaker 9: composed that really brings us back. It's funny that the
Speaker 9: original title is not love circle at all, but that
Speaker 9: round table is suggesting things for as well in creating
Speaker 9: this kind of circular pattern that's a little bit like
Speaker 9: a Ballero sort of thing. The characters in their attractions,
Speaker 9: have you.
Speaker 5: Guys seined the Maricone documentary that was released years ago,
Speaker 5: A few years ago, No, I need to Well, it's
Speaker 5: so worth it. He was eighty years old before he
Speaker 5: realized how loved he was. When he received an honorary
Speaker 5: Academy award, his dad beating down pretty bad verbally with well,
Speaker 5: you're not making earal music. This is just commercial stuff.
Speaker 5: And he really he didn't go to his grave thankfully
Speaker 5: believing that. But he was a very old man by
Speaker 5: the time he realized that he was beloved, and I
Speaker 5: don't think anyone can discount what he did for the
Speaker 5: film industry because he was unique. And it's a terrible
Speaker 5: word to use most of the time, because unique means
Speaker 5: there's only one or only one of a kind, and
Speaker 5: he is unique. John Williams is not unique. There are
Speaker 5: other people that can do John Williams type stuff. But
Speaker 5: then you know, Maracone is one of a kind and
Speaker 5: we never had anyone that was like him. And I
Speaker 5: think that my initial takeaway from the first few moments.
Speaker 5: I was really into this film for the first few
Speaker 5: months because of the cluster phobic feeling that I was giving,
Speaker 5: and then that wonderful music, and I think I actually
Speaker 5: turned it on before I really before I looked at
Speaker 5: the Wikipedia or whatever to see who did the music.
Speaker 5: I said, that's really good. That sounds Maracone, and sure,
Speaker 5: uh as Maracone. And usually I'm five minutes deep in
Speaker 5: a movie before I start doing any research in it.
Speaker 5: But I love the music. I can appreciate the fact
Speaker 5: that it was probably was heavily edited, but I also
Speaker 5: like those the stoppages of the music, and all of
Speaker 5: a sudden, one thing from these people in the film.
Speaker 5: You see a lot of acting with eyes, and when
Speaker 5: people act with their eyes, that's really that's powerful stuff,
Speaker 5: and not everybody can do that. And do you watch
Speaker 5: your average oh, I don't know, Family Disney Live action production.
Speaker 5: You're gonna see people mailing in performances well that kind
Speaker 5: of thing, but you don't see people really into what
Speaker 5: they're doing. And these people acting in this film were
Speaker 5: really into what they were doing, and that's something that
Speaker 5: I can deeply appreciate.
Speaker 8: Speaking of the score, I like when Morcone employees whistling.
Speaker 8: I think that was always something that I liked when
Speaker 8: he would do, especially during the spaghetti westerns, but there's
Speaker 8: some good whistling in this one as well. And I
Speaker 8: think he worked with the same whistler very often because
Speaker 8: they got along and then whistler could keep up with them.
Speaker 8: Going back to the whole circular thing too, I think
Speaker 8: the camera work really emphasizes that whenever they are around
Speaker 8: that table, because the camera, like I said before, was
Speaker 8: whipping between the people. But there's a lot of movement
Speaker 8: going around those tables. There's some really good camera moves.
Speaker 8: I remember there was one shot of you Sepa where
Speaker 8: the camera just backs away from her and it's just
Speaker 8: the camera. Sometimes it's towards the end, I think it's
Speaker 8: very here's a close up, here's a close up.
Speaker 2: Here's a close up.
Speaker 8: But until maybe ninety minutes into the film, whenever they're
Speaker 8: at a table, you really get that sense of motion
Speaker 8: and going around. Like the opening scene of Roseanne, that's
Speaker 8: what I heard inspired Tarantino with the camera work around
Speaker 8: the table at reservoir Dogs. Yes, yes, oh that's crazy.
Speaker 8: I could a godar but he said Roseannes.
Speaker 5: Tarantino thing to say, wherever you get it from.
Speaker 9: Yeah, but I could wax rhapsodic about this camera work
Speaker 9: all night. I do really think that the sense uneasy,
Speaker 9: constant movement. It's funny because plot wise, one of the
Speaker 9: things is this guy is laying out his plot as
Speaker 9: a comedy, and of course this movie that's outside of
Speaker 9: the play within the play, doesn't have to be a comedy.
Speaker 9: But it's really far from being a comedy in that
Speaker 9: it's far more built for unease and worry and whatnot.
Speaker 9: The camera prowls and it zooms. They're actually a couple
Speaker 9: of really masterful zoom outs in the movie to reveal
Speaker 9: something that's going on that are in the zip code
Speaker 9: of those beautiful Barry Linden zoom outs that reveal more
Speaker 9: and more.
Speaker 1: This is very different from Barry Linden.
Speaker 9: It's revealing more plot and character, skullduggery and whatnot, whereas
Speaker 9: Barry Linden is constantly revealing more the larger, corrupt world.
Speaker 9: But yeah, just really beautiful control. In relationship to the
Speaker 9: Maricone music, a lot of Italian film score music has
Speaker 9: become available and pops up online now repeated experience, because
Speaker 9: I love the Italian film scores of the sixties and seventies.
Speaker 9: It's really become some of my favorite music, not just
Speaker 9: film score music, and I've become familiar with a lot
Speaker 9: of these films before I can ever track them down.
Speaker 9: I've actually heard this particular Maricone score before because it's
Speaker 9: been out there.
Speaker 1: But Moricone and the kind of scene.
Speaker 9: Around him is also he was quite a mentor to
Speaker 9: a lot of other great composers. So if you're hearing
Speaker 9: this and you can't track down the movie, do track
Speaker 9: down the music. It's out there and it's great, just
Speaker 9: fantastic to listen to.
Speaker 8: Going back to what you were talking about with our gento,
Speaker 8: I'm guessing maybe Argento was on the set at some
Speaker 8: point because Tony Messante would end up showing up in
Speaker 8: Berwick Crystal Plumage, which came out the next year.
Speaker 5: That's right.
Speaker 8: He's absolutely fantastic in that I wanted to. I was
Speaker 8: talking about my Italian teacher, possibly before we began, but
Speaker 8: I didn't realize that I had seen Lino Cappolicio before,
Speaker 8: because my teacher showed us the Garden of Fitzencotinas all
Speaker 8: those years ago. He's one of the main characters. And
Speaker 8: I didn't realize that we had talked about the lady
Speaker 8: that played Giuseppa Annie Giredo. She is the incredible mother
Speaker 8: from The Piano Teacher. Holy shit, is she amazing.
Speaker 1: In that I did not Oh, man, I did not
Speaker 1: know that.
Speaker 9: Rate.
Speaker 8: Yeah, she was also in Hidden or Cachet, the other
Speaker 8: Hannicke film, but yeah, the long, long career, and yeah,
Speaker 8: I did not recognize her. And she just, oh, she's
Speaker 8: so good, just such a wonderful villain in The Piano Teacher.
Speaker 1: Man, this movie is really stacked.
Speaker 9: That also, I don't know you can have movies that
Speaker 9: are stacked that get lost. I do find the way
Speaker 9: that this one is really not very available to be
Speaker 9: so strange given all the different figures involved. God, I
Speaker 9: hope that the negative still exists, or that there's a
Speaker 9: decent innernegative or interpositive or something out there to restore
Speaker 9: from any kind of decent print or prints, because it
Speaker 9: could be really beautiful on a blu ray or four K.
Speaker 1: I would put it on in a theater in a
Speaker 1: second if I could.
Speaker 8: This is one of those movies where I feel like,
Speaker 8: now after having had this discussion, I feel a lot
Speaker 8: more connected with it, and I'm just really glad we
Speaker 8: had this conversation because as of the first time I
Speaker 8: watch it, I was just like, oh my god, what
Speaker 8: a slog this thing was.
Speaker 2: But even though I still feel it's.
Speaker 8: A little long in the tooth, I really do appreciate
Speaker 8: what this was going for. And I'm really glad that
Speaker 8: Andrea picked this one because I was a little hesitant.
Speaker 8: I mentioned that he had picked out Weekend. I was
Speaker 8: really dreading talking about Weekend, but had a great conversation
Speaker 8: and then same thing here with you guys talking about
Speaker 8: this movie. I'm just like, Okay, yeah, now I feel
Speaker 8: much more at ease with this film, And to your point,
Speaker 8: I think I would definitely check this out again. I
Speaker 8: feel now that I really want to see more of
Speaker 8: the films that were directed by this gentleman, and then
Speaker 8: maybe even some of the films that he wrote but
Speaker 8: didn't direct.
Speaker 2: I know he did.
Speaker 8: Was it Anama Nira? The Russellini film was also based
Speaker 8: on one of his plays. I'm just like, okay, yeah,
Speaker 8: let's check that out as well.
Speaker 5: Yes, Spener, I'm really glad that you enjoyed it a lot,
Speaker 5: because I enjoy it a little bit more having heard
Speaker 5: you gush about it.
Speaker 9: I'm glad then that's good to hear your opinions also
Speaker 9: totally valid. You don't have to tell me I'm right,
Speaker 9: but yeah, I guess. I just also find this era
Speaker 9: of filmmaking always rewarding. There was just incredible weird shit
Speaker 9: going on in every country in nineteen sixty eight to
Speaker 9: seventy two through in particular, where it's let's throw down
Speaker 9: all this philosophy and stuff. But in the context of
Speaker 9: some Schnitzler had done this, I did read that this
Speaker 9: was partly inspired by Schnitzler's Laurande again to the Circle
Speaker 9: and whatnot. I'm interested to see if that really would
Speaker 9: bear out. It seemed different, but I buy it the
Speaker 9: way in which this was a time where creating a
Speaker 9: kind of sensory overload with picture and sound and also
Speaker 9: really putting the characters into all these sort of fascinating
Speaker 9: and corrupt sexual situations in order to tease out philosophical
Speaker 9: ideas about how are we to live.
Speaker 1: In this particular time?
Speaker 9: And I have to say, for our own times, it
Speaker 9: seems quite inspiring.
Speaker 8: All right, We're going to take a break and play
Speaker 8: a preview for next week's show right after these brief messages.
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Speaker 2: That's right.
Speaker 8: We'll be back next week with another Patreon pick Blood
Speaker 8: and Diamonds. Until then, one thing, my co host Spencer
Speaker 8: and David.
Speaker 2: So, Spencer, what's the latest.
Speaker 3: With you, Sir?
Speaker 9: I'm hunger down in post production and teaching like crazy,
Speaker 9: and yeah, hopefully I'll have something to show for it soon.
Speaker 9: And I'm writing a new project that might be unfilmable,
Speaker 9: so that's super exciting.
Speaker 2: And David, what's going on in your world?
Speaker 4: Sir?
Speaker 5: I host the podcast as well, called Cinema Chat, and
Speaker 5: you have to type in Cinema Chat with David Heath then,
Speaker 5: because if you just type in cinema Chat, there's a
Speaker 5: few podcasts on there that show up. I named my podcast,
Speaker 5: and then six months later I realized why did I
Speaker 5: name it that? So I added my name to it.
Speaker 5: That way, no one can take it away from me.
Speaker 1: We talk about movies from every era.
Speaker 5: We go all the way back to the Silent Era.
Speaker 5: We've covered movies in the eighteen nineties, and we'll cover
Speaker 5: movies from today and everything in between, just about every genre.
Speaker 5: We drop a new episode every Sunday. Lots of fun guests,
Speaker 5: on there. But I am with somebody that was actually
Speaker 5: influenced by Mike White, because I think you are the reason,
Speaker 5: Mike why I.
Speaker 8: Said, if this schmuck can do it, anybody can do it.
Speaker 1: I didn't say that, but I I will say that
Speaker 1: you go back to what.
Speaker 8: Twenty fourteen, twenty eleven, actually Tony eleven.
Speaker 5: Okay, Yeah, I remember saying to somebody, I said, I'm
Speaker 5: never going to be bored again because this is good stuff,
Speaker 5: and they're two and three hours long sometimes. And remember
Speaker 5: what you had almost a five hour Conan the Barbarian episode.
Speaker 1: That was a monster.
Speaker 5: I think it took me three days to actually get
Speaker 5: through it because I just had to posit so many times.
Speaker 9: I'm gonna have to look for that. I have not
Speaker 9: heard the Grek Conan episode yet. Well, it's fantastic, and
Speaker 9: that's probably five six years ago. You also go to
Speaker 9: my Facebook page. It's just send them a chat on Facebook.
Speaker 5: I appreciate anything. Anybody that listens there goes to the page.
Speaker 5: And I'm really glad that I've been able to come
Speaker 5: on the show with you.
Speaker 3: Mike.
Speaker 8: Thank you again, guys for being on the show. Thanks
Speaker 8: everybody for listening. If you want to hear more of
Speaker 8: me shooting off my mouth, check out some of the
Speaker 8: other shows that I work on. They're all available at
Speaker 8: weirdingwaymedia dot com. Thanks especially to our Patreon community. If
Speaker 8: you want to join the community, visit patreon dot.
Speaker 2: Com Projection Booth.
Speaker 8: Every donation we get helps the Projection Booth take over
Speaker 8: the world.
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