Speaker 1: Oh, folks, it's show Die.
Speaker 2: People say good money to see this movie. When they
Speaker 2: go out to a theater, they want cold.
Speaker 3: Sodas from a pop popcorn, and no monsters in the
Speaker 3: protection booth.
Speaker 4: Everyone for tend. Podcasting isn't boring.
Speaker 5: Cut it off.
Speaker 3: Jenny Rowlands is Gloria. She's tough, but she sides.
Speaker 2: With the little guy.
Speaker 6: I don't want to die.
Speaker 7: What do I do with you?
Speaker 8: You know you're not my family or anything.
Speaker 6: You're just a neighbor's kid, right, Gloria.
Speaker 4: You know we're not interested in you.
Speaker 2: All we want is the book and the kid.
Speaker 5: What you're going to do?
Speaker 6: Shoot a six year old kid on the street?
Speaker 3: For Gloria, the danger is always getting closer, and getting
Speaker 3: closer is always the danger.
Speaker 9: Tony, Gloria, how are you?
Speaker 3: Can you help me?
Speaker 2: Glor Yeah, maybe you can do something.
Speaker 9: Trust you?
Speaker 2: Hey, Tony, I know you. Where is the boy?
Speaker 8: I don't want to go home?
Speaker 5: Hey, don't be stupid.
Speaker 3: You got no home.
Speaker 8: You got me.
Speaker 2: I understand you got a woman.
Speaker 5: He is a little boy.
Speaker 2: You'll follow in love. Every woman is a mother. You
Speaker 2: love him?
Speaker 7: I love Bill?
Speaker 2: You love me?
Speaker 7: How can I resist you?
Speaker 2: Hey?
Speaker 5: I don't like this kid.
Speaker 2: We need the boy.
Speaker 6: I'm gonna get up, walk out of here now if
Speaker 6: you wanna stop a car.
Speaker 3: Like Cagny and Bogey and all those great tough guys.
Speaker 3: Now there is Gloria the chick. I got the old block.
Speaker 2: Come on, come on, Oh I love it.
Speaker 5: Come on, don't hang bab I love it. I got
Speaker 5: a six year old kid over there.
Speaker 7: That his whole family.
Speaker 5: I'm murdered by you.
Speaker 6: Go ahead, John, Okay, hell, little woman bad.
Speaker 7: Yeah, your little tiny nothing.
Speaker 3: General is Glory. She's trying to beat the mob at
Speaker 3: their own game.
Speaker 4: Welcome to the Projection booth. I'm your host.
Speaker 2: Mike White.
Speaker 4: Joined me once again is mister Andrew Rausch.
Speaker 2: Hey, it's good to be back.
Speaker 4: Also back in the booth is miss Judith Main.
Speaker 5: Hi, Mike, it's good to see you again. And Andy,
Speaker 5: it's nice to meet you.
Speaker 4: On this episode, we are looking at the nineteen eighty
Speaker 4: film Gloria, written and directed by John Cassavettes. It's the
Speaker 4: story of a young boy whose family is killed by
Speaker 4: the mob and their tough neighbor, Gloria, who becomes his
Speaker 4: reluctant guardian. The gangsters are after a book which they
Speaker 4: called the Bible, and I honestly thought it was a
Speaker 4: Bible for a long time while I was watching this movie. Yeah,
Speaker 4: I did some Cassavettis films over the last few years,
Speaker 4: usually on other people's shows. It's about Opening Night on
Speaker 4: one show and Woman under the Influence on another. I
Speaker 4: really wanted to talk about more Cassavettes and I remember
Speaker 4: this movie from when I was a kid, So yeah,
Speaker 4: I'm excited to talk with y'all about this one. Andrew,
Speaker 4: when was the first time that you saw Gloria And
Speaker 4: what did you think.
Speaker 2: I'd say? The first time I saw it was I
Speaker 2: don't know, thirteen twenty years ago. And I've got to
Speaker 2: be honest, this is one of those things like I
Speaker 2: love gangster movies and I love the idea of casabettes,
Speaker 2: and so this is a lot like The Killing of
Speaker 2: a Chinese bil Key for me. On paper, I love it,
Speaker 2: but sometimes it just doesn't seem like it mishes together
Speaker 2: in a way that I find entertaining. It's more artistic
Speaker 2: than it is entertaining in a way for me, to
Speaker 2: be honest, this was only the second time actually watched
Speaker 2: the whole movie, and for the longest time, I thought
Speaker 2: it was because of its pace, which is slow, but
Speaker 2: it's actually for me. The little boy just he grades
Speaker 2: on me and Judith, how about yourself.
Speaker 5: Sure When the first time was I saw it, it
Speaker 5: was with my spouse, who was a huge Cassavettis and
Speaker 5: especially gener Rowlands fan. And then when she passed away,
Speaker 5: which hasn't been that long ago, in honor of her,
Speaker 5: we decided to watch Gloria again. And I have to say,
Speaker 5: I adore this film and I am in love with
Speaker 5: Gena Rowans. To me, she is just the most astonishing
Speaker 5: presence on camera. And I know that this is a
Speaker 5: collaboration and they made fabulous collaborations together, But to me,
Speaker 5: I know it's a John Cassavettis film, but it's also
Speaker 5: a gener Roalans film, and I find every aspect of
Speaker 5: it just really engaging and really wonderful. So I think
Speaker 5: this is a great film, and you know what, I
Speaker 5: think it is a great woman's film.
Speaker 2: She's amazing in this film. I think this is her
Speaker 2: best performance that I've ever seen. I think she's amazing
Speaker 2: in this blovie.
Speaker 5: She really is the woman has as a presence. And
Speaker 5: you know, we talk about people being photogenic. As soon
Speaker 5: as the camera looks at her, she is just off
Speaker 5: and running. She has like this aura that just draws
Speaker 5: you in so strongly. I think she's phenomenal.
Speaker 4: Yeah, So, like I said, I used to see previews
Speaker 4: commercials for this. I might even remember Ciskel and Ebert
Speaker 4: talking about this on That the Movies so many years ago.
Speaker 9: Jeane starts out with John Cassavidi's new picture, Gloria.
Speaker 10: One of the more interesting filmmakers working in America today
Speaker 10: is John Cassavettis, whose films look improvisational, scenes run on
Speaker 10: and on the actor's pause, and sometimes fumble. Cassavetti's movies
Speaker 10: have a gritty, real life quality. Then general, Rowlans is
Speaker 10: absolutely convincing every time she has a gun in this picture.
Speaker 10: To my mind, the film is less successful in its
Speaker 10: portrayal of the relationship between Rolands and that little boy.
Speaker 10: A lot of the scenes between them seem too cute
Speaker 10: and forced. But when Rowlands is tough, Gloria work so
Speaker 10: mixed feelings about Gloria more good ones than bad ones.
Speaker 10: It's an enjoyable, offbeat chase picture. I like the character
Speaker 10: of Gloria very much. It's that little Brad. I can't
Speaker 10: stand you know.
Speaker 9: He is a little bit much to take, isn't he,
Speaker 9: Especially when he delivers that dialogue as if Darry anyone
Speaker 9: to change one word once he's memorizing it. Have a
Speaker 9: little bit of trouble sometimes with anyone under twelve. In
Speaker 9: the movie two, something that I noticed. I suppose you
Speaker 9: noticed this too. This is the fourth time the story
Speaker 9: has been told in a movie, and the second time
Speaker 9: this year. This plot is Little Miss Marker, the jam
Speaker 9: and running story. The gangster gets custody of the kid,
Speaker 9: hates the kid, then gets to like the kid. Usually
Speaker 9: it's a guy, this time it's a girl. Maybe what
Speaker 9: Cassavides was doing was looking for a little more discipline
Speaker 9: in terms of a framework. He's famous as a director
Speaker 9: for letting actors really go with their material and a
Speaker 9: mote and let it all out and so forth, and
Speaker 9: sometimes at the end of his pictures, you've had two
Speaker 9: hours of talking and acting. You don't know what it
Speaker 9: was about. This time with that little Miss mark or framework,
Speaker 9: he gives it a plot, which is kind of a discipline.
Speaker 4: But this was a first time watch for me, and
Speaker 4: I was really excited, Like you, Andrew, I had seen
Speaker 4: Killing of a Chinese Bookie and I'm just like, it
Speaker 4: didn't really connect with me. I don't know, it's the
Speaker 4: filmmaking style of Cassavetti's and it's so odd, you know,
Speaker 4: to finally sit down and read a lot more about him.
Speaker 4: They always talked about the whole style of just improvisation,
Speaker 4: and when you look at the script of this, every
Speaker 4: word is there. I mean, there is obviously some improv
Speaker 4: going on, and probably more in the style of the
Speaker 4: performance rather than the words themselves. So I was thinking, oh, yeah,
Speaker 4: this is all improv. But then I went back and
Speaker 4: read the script. I was like, oh no, this is
Speaker 4: all here, this is wild, and it is oddly the
Speaker 4: most commercial of his films, I mean, actually coming out
Speaker 4: from Columbia Pictures. Originally this was supposed to be Ricky
Speaker 4: sch and who was a Barbara streisand was approached at
Speaker 4: one point, and so it was just supposed to be
Speaker 4: kind of like a follow up to The Champ, which
Speaker 4: was odd, like after Ricky Schroeder took the world by
Speaker 4: storm with The Champ, he was supposed to be in
Speaker 4: this one with a aging gangster mall and him as
Speaker 4: this you know, lost little boy type of thing, and
Speaker 4: like you Andrew, the little boy in this one at
Speaker 4: MS is just man oh Man, the voice everything, and
Speaker 4: I know it probably is acting like a kid, but
Speaker 4: my god, get this kid away from me. I could
Speaker 4: not stand him through this entire film.
Speaker 2: I think for me, it's the cadence of the way
Speaker 2: that he speaks. I realize he's a little kid that's
Speaker 2: not a real actor, and so that's where part of
Speaker 2: it comes from. But also I feel like Cassavetti sometimes
Speaker 2: put sentences in his mouth that don't seem like a
Speaker 2: seven year old or six year old to me, which
Speaker 2: isn't necessarily I mean terrible, it's just but to me,
Speaker 2: it's the way he talked. I can't say that I
Speaker 2: don't like this movie. I get admired this movie. It
Speaker 2: just doesn't entertain me as much as I would like
Speaker 2: it to, which sounds kind of dope and I hate
Speaker 2: to admit that, but I also try to be transparent.
Speaker 2: What are you going to do?
Speaker 5: I think the kid is fabulous, too, but he was
Speaker 5: really He got a Razzie Award. When this film came out,
Speaker 5: people just shredded him and he was never in another
Speaker 5: film ever. He like gleffed acting forever. I do love
Speaker 5: the I'm a man, I'm the man, I'm the man.
Speaker 5: The way he does that, this combination of childhood bravado,
Speaker 5: trying to stand in for his obvious insecurity, knowing that
Speaker 5: he ain't the man, but really trying to pretend that
Speaker 5: he is. He's so good at that.
Speaker 2: Well, I mean, he's a toughness that and that was
Speaker 2: the reason Cassabeti's picked it was because he does have
Speaker 2: a toughness that doesn't necessarily equate to great acting, but
Speaker 2: the toughness does shine through, sure does.
Speaker 4: I read a really interesting take that was comparing the
Speaker 4: relationship between Phil is little kid's character's name Phil and
Speaker 4: Gloria and Phil is also a strange shame for a kid,
Speaker 4: but anyway, Phil's have to come from somewhere. But it
Speaker 4: just it feels like such an adult name, you know,
Speaker 4: Phil and Gloria being maybe a comparative relationship between Jenna
Speaker 4: and John. Especially this little tough guy and the whole
Speaker 4: I'm the man thing.
Speaker 2: And I don't know.
Speaker 4: If Cassavetti's was that self aware, like I'm this little
Speaker 4: shrimp who thinks he's a lot tougher than he is.
Speaker 4: It reminds me a lot of his character from The
Speaker 4: Dirty Dozen, you know, that little dog that just keeps
Speaker 4: sparking at the big dogs. Kind of thing that actually
Speaker 4: hit home for me when I was watching this again,
Speaker 4: just going, oh yeah, I can see that. I could
Speaker 4: see him being a little John Cassavetti's And I like
Speaker 4: the way that this movie begins, that we start with
Speaker 4: the shots of New York actually before that, I mean,
Speaker 4: its are interesting too, just the way that we're using
Speaker 4: the painting. The Bill Conti score at the beginning is
Speaker 4: very different from what it is the rest of the time.
Speaker 4: There's a little bit of like Spanish guitar in parts
Speaker 4: of this, and then other parts it becomes much more
Speaker 4: of that big Bill Conti score. You know, you can
Speaker 4: really hear that through a lot of the action scenes.
Speaker 4: But starting this off with following this woman who we
Speaker 4: don't know she is not generalland she ends up being
Speaker 4: the mother of Phil and following her through her journey
Speaker 4: of coming home with the groceries, the bag falling apart,
Speaker 4: the really shitty apartment building that they're in, and I
Speaker 4: guess this was shot down in South Bronx, And we
Speaker 4: talked a lot about how South Bronx was just this
Speaker 4: war zone at the time. We talked about that on
Speaker 4: the Wolfen episode, with just how it feels like it's
Speaker 4: like an alien landscape, like it's the remains of a
Speaker 4: dystopian past that people are walking through. But yet here's
Speaker 4: this nuclear family, well bigger than nuclear family's family living
Speaker 4: amongst them. And surprisingly Buck Henry as the dad was
Speaker 4: a real shock to me because it just felt like
Speaker 4: he stuck out like a sore thumb amongst these Latino people.
Speaker 5: The way that it's set up initially is really interesting
Speaker 5: and it works really well because when Gloria is introduced,
Speaker 5: it's like, who's this. Okay, we know it's the neighbor
Speaker 5: down the hall, but what the heck? You know, why
Speaker 5: why is she here? And she seems like very much
Speaker 5: an intruder into this space, although and gradually the space
Speaker 5: organizes itself pretty much completely around her. She's been in prison,
Speaker 5: she used to be a gun mall, she used to
Speaker 5: be very tight with the mob, but it takes a
Speaker 5: while for that to be revealed in the film, and
Speaker 5: I like this slowness of that reveal. It makes her
Speaker 5: somewhat ambivalent in terms of what her play in the
Speaker 5: plot in the entire film is going to be and
Speaker 5: when that's revealed, there's still mysteries about her. There are
Speaker 5: still puzzling things about uting she lives alone? We think,
Speaker 5: does she have any children? Know? Is she married to
Speaker 5: a man? No, she was, we think. But she's such
Speaker 5: a character without a past, and it's only alluded to
Speaker 5: gradually in the course of the film. It's like, in
Speaker 5: terms of protecting phil that journey is really crucial and
Speaker 5: really important, but it's also a kind of process of
Speaker 5: finding who she is, of finding who Gloria is in
Speaker 5: this in this film, and I think it's done really beautifully.
Speaker 2: I love the photographs of the cats that are in
Speaker 2: dreams in her apartment. I do want to back up
Speaker 2: real real quick, and why not or I just wanted
Speaker 2: to say, I totally do not buy the beautiful Puerto
Speaker 2: Rican woman with Buck Henry, this Nebbish. And what's funny
Speaker 2: is I belie that the characters are Puerto Rican in
Speaker 2: the script. So if you think about this, we could
Speaker 2: have ended up with Ricky Schroeder and Bug Henry as
Speaker 2: Puerto Ricans, which is okay whatever. And you know, I
Speaker 2: interviewed Bug Henry once and he was a really kind
Speaker 2: of sour fellow, which you know, I'd grown up seeing
Speaker 2: him on Saturday Night Live. I thought, you know, on
Speaker 2: some of those episodes of the seventies, I thought he was,
Speaker 2: you know, gonna be funny, but just don't buy them together.
Speaker 2: Not that that necessarily means anything, but it's a weird choice.
Speaker 2: And also Seymour Gassell, you know, begging for this role.
Speaker 2: I couldn't really see him in that role either, But
Speaker 2: I don't know, it's just it's interesting casting.
Speaker 5: We'll say, well, it seems a little miscast, and I
Speaker 5: think that might be part of the Cassavetti's charm. Are
Speaker 5: the Cassavetti's touch to cast people who kind of rub
Speaker 5: against what you would assume the character to be, because
Speaker 5: there's not a lot in this film in some ways,
Speaker 5: because Gloria doesn't seem to be a typical dame. She
Speaker 5: is a dame, but the details are only revealed very
Speaker 5: very gradually. And did this film not come right after
Speaker 5: A Woman under the Influence? Is that right?
Speaker 4: This one sat on the shelf at Columbia for a
Speaker 4: while and they had some misgivings about releasing it.
Speaker 5: This is not how one expects to see Genna Rolland's
Speaker 5: I don't think. I know, she's played a range of roles,
Speaker 5: but I think seeing her as an aging gun mollow
Speaker 5: is really pretty unusual. I like that aspect of Cassavetties,
Speaker 5: that people are cast who don't seem to belong in
Speaker 5: this film, you know, but somehow they're part of the
Speaker 5: whole fabric of the film. Anyhow.
Speaker 2: Well, maybe that's how you know it is in real life,
Speaker 2: is that sometimes people in the real world, we accept
Speaker 2: them for the roles that they play in real life,
Speaker 2: but we saw them in the movie. We wouldn't necessarily
Speaker 2: believe that. And maybe that's part of the Casabetti's trying
Speaker 2: to catch realism thing.
Speaker 5: Yeah, I think that's right, That makes sense to me.
Speaker 4: I will say that the casting of the gangsters is
Speaker 4: on point, and some of these guys were actual gangsters,
Speaker 4: actual mob people from New York. And I'm not sure
Speaker 4: who is and who's an actor, but my god, the
Speaker 4: faces that he uses for some of these guys. There's
Speaker 4: one guy in particular, but as soon as I say that,
Speaker 4: it comes into both of your heads. He looks a
Speaker 4: little rat like and he's got the longer scraggly hair.
Speaker 4: He's there at the bar when she has them all
Speaker 4: dump their bullets out. That guy, his face is amazing.
Speaker 4: And also that bigger guy who seems to be going
Speaker 4: through the whole thing, the one who's like, I'm not
Speaker 4: mister Tangiers or whatever it is Tanzini.
Speaker 2: I think it is.
Speaker 4: Yeah, I'd love him as well. And then it was
Speaker 4: great scene speaking of wolf and Tom Noonan had a
Speaker 4: very small role in that. Tom Nonan just kind of
Speaker 4: breezes through the frame at one point in this movie.
Speaker 4: I kept waiting for him to show back up again.
Speaker 4: I was like, holy shit, Tom Nowonan.
Speaker 2: That's great.
Speaker 4: And talk about surprise. I didn't know that Laurence Tierney
Speaker 4: was in this.
Speaker 2: What's interesting. And I'm referring back to my book Here's
Speaker 2: plug on nineteen seventies in New York Films, The Taking
Speaker 2: of New York City. The most interesting bit of casting
Speaker 2: was the guy Basilio Franchina, who plays Tony Tanzini. And
Speaker 2: he was a screenwriter, not an actor, who had worked
Speaker 2: with Betrico Fellini and.
Speaker 4: Just pikat Buck Henry also screenwriter. This guy screenwriter, It
Speaker 4: feels like this is kind of Cassavetti's giving back to
Speaker 4: his friends or people that he wants to work with
Speaker 4: or people that he admired their work, rather than maybe
Speaker 4: this is the perfect person. I agree with you that
Speaker 4: Tanzini is cast really well. Buck Henry maybe not so
Speaker 4: much though Buck Henry does look like he would be
Speaker 4: an accountant for the mob. Maybe not married to this
Speaker 4: gorgeous Puerto Rican woman, but yeah, and you know, maybe
Speaker 4: maybe all the money hopefully he was making. But again,
Speaker 4: they're kind of living in this shithole apartment and everything.
Speaker 4: I mean, it's big, it's spacious. This is New York
Speaker 4: in the nineteen eighties or seventy nine when this was shot. Again,
Speaker 4: kind of cutting this kit some slack too. I'm thinking back,
Speaker 4: I think he's just about the same age as I am,
Speaker 4: so at that point he would have been nine years old, no,
Speaker 4: seven years old, So a seven year old. I mean,
Speaker 4: they probably could only work with him for how many
Speaker 4: hours a day. I don't know what the child labor
Speaker 4: laws were. Yeah, I can't imagine like having to put
Speaker 4: up with all the stuff to have a child as
Speaker 4: an actor, you know, as one of the two main
Speaker 4: characters of the film.
Speaker 2: The guy that's standing in the elevator at the beginning
Speaker 2: of the movie, and it just keeps bouncing on. I mean,
Speaker 2: is he high or what? What the heck was your
Speaker 2: cake on that? Because it's really weird, but it adds
Speaker 2: to the kind of the greediness and the just dilapidation
Speaker 2: and questionable appearance of this apartment building. And she just
Speaker 2: is like, okay, you know, by the way, and I
Speaker 2: got to go through here.
Speaker 5: It's New York. I mean, these are the kind of
Speaker 5: things that happened in New York all the time. I
Speaker 5: like that a lot. But I also liked she doesn't
Speaker 5: get all I mean, she's scared obviously that she just
Speaker 5: kind of come on, I gotta get out of the elevator,
Speaker 5: move please. And I like that.
Speaker 4: And apparently the only other thing that actor was in
Speaker 4: was The Warriors, who was one of the Gramercy riffs.
Speaker 4: I don't know if he was one of the leaders,
Speaker 4: if he had a role, you know, talking role or anything,
Speaker 4: but yeah, when I looked him up, I was like, oh, okay,
Speaker 4: another great New York as shithole type of movie.
Speaker 2: The guy with the hair and the kind of rat
Speaker 2: face you were talking about her whatever we'd call it.
Speaker 2: It's a picture of him. In my mind, I was
Speaker 2: thinking he's kind of like a poor man's shun Kazel
Speaker 2: his name.
Speaker 5: Oh, I can see that. But he has this exaggerated
Speaker 5: sense of his stone sexual war, which is hilarious. Like
Speaker 5: when they strip, he's all, I'm here, maybe I'm ready
Speaker 5: for you. He's pathetic, but in a very entertaining way.
Speaker 4: Well, and she has no problem humiliating these men, which
Speaker 4: I really like.
Speaker 2: And that's believable. Like we buy her because you know,
Speaker 2: we talk about how she's not the typical gangster's mall
Speaker 2: or whatever, but she's tough. Every time she's keep doing
Speaker 2: these things, I'd buy.
Speaker 5: Oh, she's very tough. I mean, as I said, I
Speaker 5: really do see this as I don't want to call
Speaker 5: it a woman's picture because it's not really a melodrama.
Speaker 5: It's a little film with the unusual aspect that we've
Speaker 5: seen plenty of examples of this, but it's still unusual
Speaker 5: when it happens that the woman is the center of
Speaker 5: it rather than the crime bosses or the gangsters or
Speaker 5: anybody else. And our place in this coourty environment is
Speaker 5: totally of a piece with who she is as a
Speaker 5: character in the film. She's tough, but she also takes
Speaker 5: nothing from anybody. She is so determined to just push
Speaker 5: make her way through the world. You know, if you
Speaker 5: don't agree with what she's doing, that's too bad, goodbye.
Speaker 2: She's the best part of this movie by far. I
Speaker 2: love her and both the actress and the character. General
Speaker 2: Rowlands is so good in this movie. And you know,
Speaker 2: we talked about her performance in this movie. One of
Speaker 2: the things that I found interesting was I had read
Speaker 2: that they'd argued a lot on the set because God
Speaker 2: Savetti's had pushed her so much. You know, their husband
Speaker 2: and wife, and everybody's listening doesn't realize that their husband
Speaker 2: and wife in real life. But he had pushed her
Speaker 2: because he knew what she could do, and they fought
Speaker 2: a lot on the set. And one of the things,
Speaker 2: you know, he thought with one of them was that
Speaker 2: the producer he fought with somebody trying to remember somebody
Speaker 2: from the studio while they were filming, because he believed
Speaker 2: that they were you know, he just didn't get along
Speaker 2: with them because he also fired his editor on the
Speaker 2: first week of shooting because he thought they were spy
Speaker 2: from the studio. So there's so much interesting stuff there.
Speaker 2: And also she goes down from heat exhaustion because she's
Speaker 2: giving her all, she's doing these things in the movie,
Speaker 2: she goes down from heat exhaustion, and he just keeps
Speaker 2: shooting like it just goes around her and cute for
Speaker 2: the rest of the day, which shows you how insanely
Speaker 2: dedicated to the filming both.
Speaker 5: We talk a lot about collaborations in the making of
Speaker 5: motion pictures and between actors and directors, and usually it's
Speaker 5: a male director, not always a male actor. I mean
Speaker 5: Scorsese and Robert de Niro, but I do think that
Speaker 5: Cassavetti's and Rollins this is one of the greatest collaborations
Speaker 5: in the history of American cinema.
Speaker 4: I don't want to.
Speaker 5: Be absolute about it, but I can't think of a
Speaker 5: single collaboration that works as well for the actress as
Speaker 5: for the director. So much of the time the actress,
Speaker 5: you know, the old cliche of the actress is just
Speaker 5: a honk of clay that's molded by the director, et cetera.
Speaker 5: She's no honk of clay. One of rowlins is. So
Speaker 5: they're so dominant at our take on this role. How
Speaker 5: many great collaborations between male directors and female actors do
Speaker 5: we have in the history of Americans? And I mean,
Speaker 5: this is really I can't think of any better than this.
Speaker 5: Chris i Ador, Jenna Rawlins, and I like Cassavetti's pretty
Speaker 5: much too.
Speaker 2: They talk about George Kuker going back, but I think
Speaker 2: that's so different. And one of the things that really
Speaker 2: works here is my guess is that because they're married,
Speaker 2: because they're in this relationship, because they know each other's everything,
Speaker 2: their deepest dart, the secrets, the brightest moments, whatever, And
Speaker 2: I think that they know exactly how to push each
Speaker 2: other's buttons, both in the arguing in real life way,
Speaker 2: but also in getting the best performance. We're getting the
Speaker 2: best shot for each other.
Speaker 5: I think that's true. Also, evidently there's quite a bit
Speaker 5: of tension in their relationship. I don't know if too
Speaker 5: many long term relationships, whether it isn't so there or
Speaker 5: maybe a lot of tension here and there, but I
Speaker 5: do I think the nature of the collaboration is really
Speaker 5: quite extraordinary.
Speaker 3: You know.
Speaker 5: The only one that I can think of that comes
Speaker 5: even close is about this is French. I'm sorry, but
Speaker 5: it's isabeut Im and now she's very different. She's her
Speaker 5: way of acting is sort of like, Hi, I'm a mask.
Speaker 5: Trying to penetrate this mask. He won't have any luck.
Speaker 5: You know, she's very out of cold and remote. But
Speaker 5: it works. It works in all the films they made together.
Speaker 5: But I cannot think of another as successful collaboration in
Speaker 5: the history of American cinema. I mean, this is just
Speaker 5: it's remarkable what they were able to do with each other.
Speaker 4: The only thing that came to my mind when we
Speaker 4: were talking about female actress male director is Marlene Dietrich
Speaker 4: and Josephin Sternberg. But a lot of that was how
Speaker 4: are you shooting me? Are you able to bring out
Speaker 4: the look? They made so many good films together as well,
Speaker 4: and again, and you're going back a century for that.
Speaker 5: That's someone it's actually thought a lot about Marlna Dietrier
Speaker 5: that I should have been the first example that gave
Speaker 5: to my mind. Yeah, that's true.
Speaker 4: But as far as Americans, I mean, maybe now with
Speaker 4: some of the stuff like Ryan Johnson and Natasha Leone
Speaker 4: or I'm trying to think of some other actor director
Speaker 4: relationships that we have where you're like, oh, here's the
Speaker 4: new thing, but no, we don't tend to see that
Speaker 4: too often. And yeah, I totally agree with you Andrew
Speaker 4: as far as they probably knew how to push each
Speaker 4: other the right way. And I was like, I got
Speaker 4: to tell the story, I got to get this out,
Speaker 4: I got to make this happen. And just that driven
Speaker 4: passion that both of them have comes through in a
Speaker 4: movie like this. Even if you know Andrew and I
Speaker 4: don't care for it that much, I think both of
Speaker 4: us can agree that we still see the passion.
Speaker 5: I wish I could make you two boys love this
Speaker 5: film as much as I do.
Speaker 4: I'll tell you, Judith, it's good when we had these
Speaker 4: kind of conversations because I will usually start to come
Speaker 4: around towards the end because it's like, okay, yep, to
Speaker 4: see it through another person's eyes, to hear what you're
Speaker 4: seeing versus what I'm seeing is very enlightening. So I
Speaker 4: really appreciate that well.
Speaker 2: And again, I love her and I think she is
Speaker 2: the film. I mean, let's be real, both the actress
Speaker 2: and the character. I think that material wise, in some ways,
Speaker 2: his shooting style doesn't necessarily to me fit with what
Speaker 2: the film is supposed to be. And I wonder if
Speaker 2: some of that is you know, there are five drafts
Speaker 2: of this, and some of this is studio stuff. And
Speaker 2: I wonder, even though he didn't apply to give in
Speaker 2: at all, how much did he give in between script
Speaker 2: one and script five. I don't know. I mean, probably
Speaker 2: not a while. But to him who blew things up
Speaker 2: in his mind, we know, who was very anti any
Speaker 2: kind of changes, well, you know, it might have been
Speaker 2: a lot. And he talked about you know, this being
Speaker 2: a commercial movie and blah blah blah, and which he
Speaker 2: didn't necessarily like the idea of from the get go.
Speaker 2: And also he saw it as this violent picture, which
Speaker 2: he is, but he wasn't wild about that in the beginning.
Speaker 2: And I'm just not completely sure that I think his directing,
Speaker 2: like he was the one to direct, even though he
Speaker 2: wrote it. He wanted to get rid of it from
Speaker 2: the beginning. He didn't want to direct it. And to me,
Speaker 2: maybe they just don't align in that way for me.
Speaker 2: But she amazing.
Speaker 5: I do think that this is one of those examples,
Speaker 5: and I think this occurred with von Sternberg and Dietrich
Speaker 5: as well, where the woman pushes back. Okay, I don't
Speaker 5: like her fainting of heat exhaustion. But I see a
Speaker 5: lot of general olans in this, like no, you don't
Speaker 5: go there, don't make her a Patsy, don't let her
Speaker 5: be any kind of stereotypical quote feminine character. I guess
Speaker 5: the conflict between them. I don't like to romanticize conflict,
Speaker 5: but I do think the conflict between them is productive conflict.
Speaker 5: And the same was true with von Sternberg and Dietrich
Speaker 5: that I do Jenna Rollins is just so I don't
Speaker 5: know how one can be not enchanted with this presence
Speaker 5: in the film. She's a dynamo, but she's also like
Speaker 5: still water's constantly running deep, you know, constantly having something
Speaker 5: else there that she's holding on to a little bit,
Speaker 5: and it's going to come out sooner or later. I wanted,
Speaker 5: can I say something more about fill Noir. I've been
Speaker 5: thinking a lot about phil Noir and women lately. How
Speaker 5: sad it is that fill Noir in so many instances
Speaker 5: went the direction of basically, if you don't know how
Speaker 5: to deal with a woman, just let's just erase her
Speaker 5: from the film, you know, let's just make her so
Speaker 5: tangential that she doesn't have much to do except someone
Speaker 5: to have sex with or someone to be hagged. So
Speaker 5: I'm really drawn to fill noir where the woman is
Speaker 5: really central in American film noir. I think Anne shared
Speaker 5: it and has that kind of presence, like a Nora Apprentice,
Speaker 5: and I'm not going to be able to remember others.
Speaker 5: Oh the one where her husband is being tracked by
Speaker 5: the police. It's like nineteen fifty and at the end,
Speaker 5: the end of at the Beach and there's a statue
Speaker 5: of her. Okay, never mind, I'm blithering. I think that
Speaker 5: it's so rare in fill noir to really have women
Speaker 5: be front and center, and I love seeing that. And
Speaker 5: this is probably more of a crime film and a
Speaker 5: gangster film than it is a film noir. But let's
Speaker 5: split hairs, you know why not. There's plenty of film
Speaker 5: noir elements in this, although I still have a hard
Speaker 5: time seeing a color film as filmmore. But that's neither
Speaker 5: here nor there. But I do think the way that
Speaker 5: she tilts everything to be read through the woman's perspective,
Speaker 5: through the woman's point of view.
Speaker 4: I think that movie with the statue is the unfaithful.
Speaker 4: Speaking of black and white, I was reading last night
Speaker 4: now This is very interesting because I am totally in
Speaker 4: line with your thought process to Andrew as far as
Speaker 4: Cassavetti's just hated the studios, hated the overhead, hated anybody
Speaker 4: telling him what to do, just was such a maverick
Speaker 4: and such a little bedstrong guy. And they were talking
Speaker 4: about I was reading Race in Cassavettis on Cassavetti's book,
Speaker 4: I think it was, and they were talking about how
Speaker 4: the end of this movie is actually different or was
Speaker 4: different in Europe when they released it over there. The
Speaker 4: end scene in the cemetery, that final cemetery scene when
Speaker 4: they're reunited, that was all printed in black and white,
Speaker 4: and Cassavetti's is like, oh, I really like the look
Speaker 4: of that. We're going to do this, And then the
Speaker 4: studio here in the US was like, no, we're not
Speaker 4: doing that over here. You're going to put in color.
Speaker 4: And he's like, okay, and he's just he seemed to
Speaker 4: be alright with it. I don't know if it was
Speaker 4: the benefit of hindsight. He was like, I wasn't married
Speaker 4: to it. It was all right. It was kind of
Speaker 4: neat experiment. Obviously, with the version we see today is
Speaker 4: the one that's all in color. But I was like, oh,
Speaker 4: that sounds like it might have been an interesting thing.
Speaker 4: I don't know exactly why, but okay.
Speaker 5: The ending of the film is a bit of a
Speaker 5: pusslerk is when you shoot in an elevator, do the
Speaker 5: bullets necessarily hit the people inside? I have no clue.
Speaker 4: I don't know, especially with that shotgun that they've got. Oh,
Speaker 4: that's just like they keep using those different guns, like
Speaker 4: give me the magnum.
Speaker 2: You know.
Speaker 4: It's like holy shit, over.
Speaker 5: And over again. David Grevin wrote a really nice essay
Speaker 5: on Gloria that I mentioned I think I've mentioned to you, Mike,
Speaker 5: and he just reads The ending of the film is
Speaker 5: very ambivalent. We have no idea if Gloria and the
Speaker 5: kid what's his name, Phil, if they survive, and putting
Speaker 5: it in black and white makes the distinction even more remarkable.
Speaker 5: It's like they're in some fantasy space at the end
Speaker 5: of the film. This is how we'd like to see it,
Speaker 5: and very much so. It's almost like there is some
Speaker 5: kind of Bardo space, you know, a space beyond death,
Speaker 5: and it can let you hold on to the idea
Speaker 5: that they didn't die. I can't stand the idea that
Speaker 5: two of them dying at the end, but I have
Speaker 5: no idea what bullets do to elevators.
Speaker 2: When taking that a step further, and I never would
Speaker 2: have thought of this until we were talking. But the
Speaker 2: black and white could, you know, also give the indication
Speaker 2: whether it's meant to or not. You know, he thinks
Speaker 2: she's dead. We don't know if she's lived till the end,
Speaker 2: and what if he's just dreaming that one thing I
Speaker 2: really would have liked to have seen at the in
Speaker 2: the mix is really a small, small thing. But when
Speaker 2: she shows up and she gets out of the car
Speaker 2: and she's talking, I mean, we know who it's going
Speaker 2: to be. But close up would be nice because she's
Speaker 2: any bitty in the background for a long time, which
Speaker 2: also again could indicate I could I mean, I'm reading way,
Speaker 2: way way into that, but it could indicate that she's
Speaker 2: not really there, can't sighs in the background.
Speaker 5: I think that's totally on Targe. That part of me
Speaker 5: wants to say, of course they die at the end.
Speaker 5: Of course they die in the elevator and another party.
Speaker 5: He wants to say, oh.
Speaker 2: Like Lauria untill the live please, and then's better. The
Speaker 2: idea like that makes us happy.
Speaker 5: Why was this film hated so much? It was trashed.
Speaker 2: I really think it's the little Boy. I absolutely think
Speaker 2: it's the little Boy. It's just his rhythm and I
Speaker 2: feel like if he could talk less, it would have
Speaker 2: been better. And I know that's an awful thought.
Speaker 5: Yeah, I like the King. I thought the Kid was
Speaker 5: really good. He didn't deserve a razzie.
Speaker 2: I think because I feel like during different movies, like
Speaker 2: when she speaks, I'm like, oh my god, she is great.
Speaker 2: She deserves an Oscar nomination, which she but then he
Speaker 2: speaks I want to turn into television of Yeah.
Speaker 5: I mean, I agree, he's a grading presence, but that's
Speaker 5: a part.
Speaker 2: Of the film that some people are great in presence
Speaker 2: as it happened. So again there's that realism, see realism
Speaker 2: there is.
Speaker 5: But he also refuses to sentimentalize childhood. He refuses to
Speaker 5: make the kid the sweet little darling that Gloria is gonna.
Speaker 5: Of course I want to be your mom. No, I
Speaker 5: don't want to even to do with you go away,
Speaker 5: And of course that changes in the course of the film.
Speaker 5: That's still it's.
Speaker 4: So weird that this came out the same year as
Speaker 4: like little Miss Marker, which is somewhat similar that the
Speaker 4: Davon Remyan story about the bookie with the little girl.
Speaker 4: It's Julie Andrews. But this is such a tradition of
Speaker 4: hearing the gruff person, whether it's a man or a
Speaker 4: woman with the child and using the child to basically
Speaker 4: break down the defenses of the adult. But in here
Speaker 4: it doesn't really know there's a little bit of that.
Speaker 4: Of course she changes throughout this, but there's not a
Speaker 4: lot of loving that goes on with this. I mean
Speaker 4: she calls him a little shit, pretty oddest in this,
Speaker 4: and yeah, when he runs away and everything, she's like,
Speaker 4: what the fuck are you doing? You know, it's like
Speaker 4: this is real life here. Yeah, Like you don't feel
Speaker 4: like these are cartoon gangsters that are after her. This
Speaker 4: is like the real deal. This is taking like a
Speaker 4: little Miss Marker and putting it right in downtown, you know,
Speaker 4: the Bronx.
Speaker 5: Yeah, that's good. I also like taking the stereotype of
Speaker 5: the grumpy old man and making it a female. I
Speaker 5: love seeing that kind of exception to the rules of
Speaker 5: how again, it's always so sentimentalizing when an older woman
Speaker 5: you have to find something sweet and kind and darling
Speaker 5: about her. I mean, I think she's darling, but not
Speaker 5: in the way that stereotypically older women are supposed to
Speaker 5: be presented. And yet even though she's tough, I don't
Speaker 5: think she ever becomes a stereotype of the grumpy old
Speaker 5: woman either the grumby old lady. She's someone who really
Speaker 5: has agency. I think there's so much of this film
Speaker 5: that is seen through the experiences of Gloria, and that's
Speaker 5: part of what I love about him and part of
Speaker 5: why I think it's such a woman's film.
Speaker 2: And Tanzini, of course, tries to put her in that box.
Speaker 2: He tries to come with that stereotype. He's like, you're
Speaker 2: a woman. Of course she didn't fall in up with
Speaker 2: the kid.
Speaker 5: You know.
Speaker 2: He's immediately like, okay, it's kill him, you know, but
Speaker 2: he says, of course you're willing to. And I, of
Speaker 2: course it's the male blah blah blah. Maybe probably especially
Speaker 2: that kind of male. You know, working's mat show and
Speaker 2: we're out here shooting people and doing these things and
Speaker 2: I've had sex with you before.
Speaker 4: Oh well, she does it well well, and she emasculates
Speaker 4: the men so often. I mean the taking off of
Speaker 4: the clothes and everything, you know, even just the taking
Speaker 4: away of their guns. It's basically just that complete emasculation.
Speaker 4: It's a castration type of thing right there. And then
Speaker 4: even when she gets away from them in the subway,
Speaker 4: she could just turn around and walk away, but it
Speaker 4: says she's like, ah ya, sissy, look at what I did. Yeah,
Speaker 4: this woman bested you. And I'm just like, hey, tone
Speaker 4: it down, like you don't want to make these guys
Speaker 4: more mad. But at the same time, I'm like, you
Speaker 4: know what, go for it. And I love things like
Speaker 4: how there's the car wreck that happens and the I
Speaker 4: think the text driver's like, oh hey, what happened here?
Speaker 4: Blah blah blah. She's like, I don't want to talk
Speaker 4: about that and just gets in the car.
Speaker 2: I'm like wow.
Speaker 5: Also, when she makes them take off their clothes, it's
Speaker 5: certainly a masculation, but is desexualized. The one then, goofy
Speaker 5: guy that we talked about with us longer hair, he
Speaker 5: tries to sexualize by you know, I'm here, I'm ready
Speaker 5: and acting as if he's jerking off. But it's so
Speaker 5: I just love putting the woman at the center of
Speaker 5: that scene and refusing to let her be sexualized as
Speaker 5: the instigator of it. I thought that was just great.
Speaker 2: Talking no cab drivers.
Speaker 4: I love how friendly the cab drivers are through this
Speaker 4: whole thing, and just how helpful they are. I like
Speaker 4: the scene with Val Avery. Now I'm a huge Columbo fan,
Speaker 4: and Val Avery was in that group that Cassavetti's Peter
Speaker 4: full K, Ben Gazarre, Gina Rolands type group and him
Speaker 4: showing up in just one scene and then he says
Speaker 4: something to the cab driver that's completely offensive. I think
Speaker 4: he calls him a gorilla or something. And the cab
Speaker 4: driver's just like, okay, out of my cab, and I'm
Speaker 4: just like, oh yeah. And when that guy gets out
Speaker 4: of the cab, he's like he looks like he's seven
Speaker 4: foot tall. I'm just like, holy shit. Like Val Avery,
Speaker 4: I hope you're smart and you don't try to mess
Speaker 4: with this guy because he will put you down. And
Speaker 4: I was really happy with that scene.
Speaker 2: Well, his machnis immediately falls to the sign too, because
Speaker 2: he's shocked, like all these people are talking to me
Speaker 2: this way. I was supposed to be a tough guy,
Speaker 2: you know, were in their world. I'm this tough white guy.
Speaker 2: I can't believe this, And it's hilarious. It's amazing.
Speaker 5: So many things they're turned inside out in this film.
Speaker 5: So many of the cliches and the stereotypes are turned
Speaker 5: inside I.
Speaker 4: Love the whole thing when she gets the money out
Speaker 4: of the bank and just goes, fucker's at the bank.
Speaker 4: Just talk about like institutionalism, you know, just they're so
Speaker 4: suspicious of everything and just so corporate and all that.
Speaker 4: But I love she gets that money out, like the
Speaker 4: whole like, hey, do you mind if I'm alone with
Speaker 4: my money please? You know, just really she takes no
Speaker 4: shit from anybody. And when she's got those hundreds later,
Speaker 4: she's just like, hey, you got change for one hundred.
Speaker 4: Just keeps trying to do this. And then all the
Speaker 4: things with the cab drivers where she's like, if you
Speaker 4: stick around, I'll give you the rest of this hundred
Speaker 4: kind of thing, and just it's so great and again
Speaker 4: almost always helpful with these cab drivers even and that's
Speaker 4: one thing that you know, the thing that Phil learns
Speaker 4: through this is how to be really a tough guy.
Speaker 4: Like he pretends that he's a tough guy. You know,
Speaker 4: I'm the man I'm the man. But when he listens
Speaker 4: to Gloria, that's when he starts to pick up on
Speaker 4: this stuff. There's the repeated lines like, you know, him
Speaker 4: with the cab driver later on, or him with the
Speaker 4: waitress when the waitress is kind of hanging out and
Speaker 4: Gina Rolmans is like, hey, take a walk, and then
Speaker 4: they have a whole conversation, her and Phil and then
Speaker 4: later on the waitress comes back and he ends up
Speaker 4: the whole scene with take a walk to the waitress.
Speaker 4: It's like it's precocious, really fucking precocious. But at the
Speaker 4: same time, it's like, yes, you're learning some lessons. You're
Speaker 4: learning from this woman who can really teach you a
Speaker 4: thing or two.
Speaker 2: You know, I would watch five more movies about her character.
Speaker 2: But I would totally love to watch her play this
Speaker 2: role in other movies. I'm not gonna get that now, obviously,
Speaker 2: but you know what I.
Speaker 5: Mean, it's so indelible, that roll of Gloria. I mean,
Speaker 5: it's just the presence is so strong and it emanates
Speaker 5: so much like in so many different directions. I'm being
Speaker 5: a little over I'm probably being over the top a
Speaker 5: little bit in my enthusiasm for Gena Rowlands and Gloria bit.
Speaker 5: I think this is just remarkable in terms of her
Speaker 5: presence in the film.
Speaker 4: Like you said at the beginning, Judith, she's a glamorous woman,
Speaker 4: and you get to see her deglamorize as the movie
Speaker 4: goes through, and she doesn't give a shit either. And
Speaker 4: then as the movie goes along, you get some of
Speaker 4: these close ups and it's just like, okay, and I'm
Speaker 4: start to see the bags in her eyes. I'm starting
Speaker 4: to see the eye makeup run a little bit here.
Speaker 5: You know.
Speaker 4: It's just like she's being beat down by this whole thing,
Speaker 4: but you know that she's gonna persevere because she is.
Speaker 5: Yeah, when she's determined to do that.
Speaker 4: Yeah, Apparently Cassavetti's was like, what am I gonna do?
Speaker 4: I'm gonna leave the kid there at the cemetery alone.
Speaker 2: No, of course she's.
Speaker 4: Got to come back that. I can't end a movie
Speaker 4: like that. I'm like, Wow, how fucking sentimental of you,
Speaker 4: John Cassavetti's that's great and great stunts too. By the way,
Speaker 4: the thing with the car, it's such a quick thing,
Speaker 4: but I love that it's actual people in the car.
Speaker 4: At first, I was like, oh, it's gonna be dummies
Speaker 4: or whatever. But when you see all four of those
Speaker 4: gangsters in the car and the one guy's arm hangs out,
Speaker 4: and it's like, oh, okay, like that they pulled that
Speaker 4: off pretty well. I think that was one of the
Speaker 4: complaints about this film is people are saying, well, when
Speaker 4: it's supposed to go fast for the action scenes, it
Speaker 4: goes slow, and when it's supposed to be slow, it
Speaker 4: goes faster whatever. And I'm just like, ah, I don't
Speaker 4: see the pacing that much of a problem as far
Speaker 4: as the action versus the dialogue, but I know there
Speaker 4: is a lot of stuff in between those action scenes.
Speaker 4: Those action scenes when they happen are great, but yeah,
Speaker 4: they might be a little too quick.
Speaker 5: I've never had that reaction to the film.
Speaker 2: She keeps saying over and over the still can't speak English,
Speaker 2: but this is all these things in the whole hobe.
Speaker 2: I thought that was weird.
Speaker 4: Yeah, he has no accent whatsoever.
Speaker 5: Really, it's I think she also was referring to how
Speaker 5: a kids saying stuff like I'm a man. That's not
Speaker 5: what we consider proper English. I mean, it's not certainly
Speaker 5: not polite English. And part of what she's referring to.
Speaker 5: Is these so uncouth? Now he's so rowdy and loud
Speaker 5: and obnoxious.
Speaker 4: I'm much more believer in the children should be seen
Speaker 4: that herd kind of school like, they're.
Speaker 2: All pretty uncouth. But what I do find great. We
Speaker 2: talked earlier about how the looks of the gangsters they
Speaker 2: shown us in seventy nine. So they're, you know what,
Speaker 2: seven years out from the God bother right, and everybody's
Speaker 2: kind of you know, you've got Michael burleone and all
Speaker 2: these guys that are you know, sloth, kind of just
Speaker 2: well dressed, well presented, and then these guys look like goofballs.
Speaker 2: Some of them are ugly kind of looks and things
Speaker 2: that match their personalities. And so I do think that
Speaker 2: is great. It kind of touches them what you said earlier,
Speaker 2: But it's just small dog I had.
Speaker 4: They remind me more of like the guys from the
Speaker 4: Friends of Eddie Coyle, just that style of gangs, Like
Speaker 4: we are struggling every day to get through this kind
Speaker 4: of thing. It doesn't feel like until you get to
Speaker 4: Tanzini's house. There's where the luxury comes in. The rest
Speaker 4: of these guys all seem like more you know, blue
Speaker 4: collar stiffs where this is the only thing that they
Speaker 4: have going on. Possibly can as well like grunts and
Speaker 4: can ask them. And this is that great time of
Speaker 4: New York City where it's just still such a hell
Speaker 4: hole in places. This is like a few years north
Speaker 4: of Taxi Driver. This is like the New York of
Speaker 4: Abel Ferrara to me, you know, where you just feel
Speaker 4: the dirt on the street.
Speaker 5: That's right. And what year was Raging Bull was? Nineteen
Speaker 5: eighty eighty? Yeah, it seems strange to me, is a
Speaker 5: point of it's not comparison at all. But to me,
Speaker 5: that's what part of what makes this film so much.
Speaker 5: It's so unique, is that in a midst what was
Speaker 5: a kind of massive exploration of masculinity, and most of
Speaker 5: it brilliant. I think Raging Bull is fabulous, you know.
Speaker 5: And the way that it explores what it means when
Speaker 5: somebody is trying to be a man and trying desperately
Speaker 5: to be a man, I think of this a brilliant
Speaker 5: idea to ask the question, Okay, well, in amidst all
Speaker 5: of this, what's meant to be a woman? What does
Speaker 5: it mean to be an old woman trying to find
Speaker 5: her way in this particular world, and I like the
Speaker 5: journey that she undergoes. Yeah, of course it's taking care
Speaker 5: of a kid that's taking care of herself too.
Speaker 2: I didn't think, you know, we talked about to do
Speaker 2: about the grittiness of the city, and I did think
Speaker 2: it was interesting that I had read that cassavettis like
Speaker 2: one of the buildings they had gotten was a hotel
Speaker 2: where it was an actual mob hang out many many
Speaker 2: many years before, and it was dilapidated and it wasn't
Speaker 2: being used, so they decided they were going to use that.
Speaker 2: And I'm assuming I don't know if that's for the
Speaker 2: tangany stuff. I don't know which, because I know that
Speaker 2: there was one building they used for three different sets,
Speaker 2: but this was a different one. But I thought it
Speaker 2: was interesting was that he comes in and the set
Speaker 2: of people are in there cleaning the walls, and he
Speaker 2: comes out of the loud no. No, note, this is
Speaker 2: why we got it. It's supposed to look like shit,
Speaker 2: you know, And I just wanted to preserve that and catch
Speaker 2: that again, you know.
Speaker 4: But it's like add the scum to the walls, you know,
Speaker 4: make that paint, you know. I love some of those shots,
Speaker 4: like when we're down a hallway and you see the
Speaker 4: peeling paint on one side and you're just like, when
Speaker 4: was the last time this building was maintained? It feels
Speaker 4: like half a century ago. It feels like those glory
Speaker 4: days of film more, this is what we ended up
Speaker 4: with forty years later.
Speaker 2: Well, Judith, you have made me like this a little
Speaker 2: bit more. I feel like I'm gonna have to go
Speaker 2: back and watch it again. Damn it.
Speaker 5: Oh, I'm so glad.
Speaker 4: Yay and Mike mission accomplished. Yes, I definitely can appreciate
Speaker 4: this a lot more. It's still tough to hear Phil's
Speaker 4: little voice, but yeah, a little bit easier than the
Speaker 4: kid in the remake. But I we'll definitely talk about
Speaker 4: that in a few minutes. So in the meantime, let's
Speaker 4: go ahead and take a break and we'll be back
Speaker 4: right after these brief messages.
Speaker 1: Hello everyone, this is Malcolm McDowell. I just want to
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Speaker 2: That's pretty simple. I think you can do that.
Speaker 1: It's a great show, and Mike, he provides hours of
Speaker 1: great entertainment. So now it's time to give back my
Speaker 1: little drovies. Settle down and take a listen and have
Speaker 1: a sip of the old molocco, and then you'll be
Speaker 1: ready for a little of the.
Speaker 2: Old in out, in out, real hard show. Bye bye.
Speaker 8: You know, women got the greatest deal in the world.
Speaker 5: All they gotta do is fall in love and some
Speaker 5: guy just takes care of him.
Speaker 2: Had chances.
Speaker 7: The hell is this? There's someone new in glorious life.
Speaker 5: My girl's supposed to be young lady.
Speaker 7: If she tried to ignore him, go on, go home home.
Speaker 7: She tried not to care.
Speaker 5: Kittie's got nobody.
Speaker 2: Oh families, Did the hell am I doing with you?
Speaker 7: Huh?
Speaker 2: I never even like kids.
Speaker 7: But one look at him.
Speaker 5: It's just a teeny little baby bug thing over there.
Speaker 7: And she knew that the answer her uncle's life. She
Speaker 7: had no other choice. What's your name, Nikki, I'm Gloria.
Speaker 8: What about the kid?
Speaker 5: He's under five?
Speaker 8: Will not I'm seven?
Speaker 5: You're learning to keep your mouth shut.
Speaker 6: I don't like the way you talk.
Speaker 5: So I got this kid, you know, my kid? I
Speaker 5: just kind of got involved with him.
Speaker 7: I mean, his whole family said he's got nobody, you know,
Speaker 7: so I get stuck with him.
Speaker 5: Who listens to me.
Speaker 7: A little punk?
Speaker 8: Come on, baby, I'm a man.
Speaker 7: This kid is try for me nuts. He got pretty
Speaker 7: big feat for a girl.
Speaker 5: What are you trying to win me over?
Speaker 7: Columbia Pictures and Mandalay Entertainment Present.
Speaker 5: Freaks your heart?
Speaker 7: What the hell are you thinking? You're Sharon Stone.
Speaker 5: I could see him doing something with his life.
Speaker 7: In the Story of a Boy Orria.
Speaker 5: Do you like me, kid?
Speaker 7: I like you all alone in the world. Oh my mommy,
Speaker 7: want my puspy and the woman who meant the world
Speaker 7: to him. I want to do the great.
Speaker 8: Thing to him, the feeling fun and.
Speaker 5: Spettle thing.
Speaker 11: He does as much, but then he does the stars
Speaker 11: and I can't train a lot. The followers charge, I'm
Speaker 11: a love for him.
Speaker 7: If you wanted me to, I could be your Gloria.
Speaker 2: I like sleeping with you.
Speaker 5: You know you're the first guy to tell me that.
Speaker 12: All right, we're back, and we were talking about Gloria,
Speaker 12: And as I say, any good movie deserves a really
Speaker 12: bad remake. So here we are in nineteen ninety nine,
Speaker 12: one of the if not the last film from Sydney
Speaker 12: Lumette and Sharon Stone coming back as Gloria, and I
Speaker 12: have to say, I really like Sharon Stone.
Speaker 4: I really appreciate her. I feel like she's really gotten
Speaker 4: the shit end of the stick quite a bit when
Speaker 4: it comes to her experience in Hollywood. Now, some of
Speaker 4: that might be the fault of the people around her,
Speaker 4: some of it might be her. She's the one that
Speaker 4: signed the contract for Sliver, and Sliver is one of
Speaker 4: my least favorite movies of all time, but Gloria might
Speaker 4: be in the running. Holy shit, was this movie back?
Speaker 5: It's awful. I couldn't watch the whole thing.
Speaker 4: I couldn't watch the whole thing either. So I don't
Speaker 4: know Andrew if you made it through the whole thing
Speaker 4: or not, but I couldn't do it.
Speaker 2: I watched the whole thing, but it's crap.
Speaker 5: I really love Sharon Stalin. I think she's pretty great,
Speaker 5: And yes, it disturbs me how she was treated in Hollywood.
Speaker 5: But in this I have a standard for not that
Speaker 5: I'm a great judge of whether someone is a bad
Speaker 5: actor or not, but my judgment bar for bad acting.
Speaker 5: And I thought of this as soon as I started watching,
Speaker 5: well soon as she appeared in the remake. Never show Girls.
Speaker 5: I know a lot of people think it's the end
Speaker 5: all and be all. How I don't know, but I
Speaker 5: really disliked Showgirls, and I even went to see it
Speaker 5: because I thought it sounded so intriguing. I even went
Speaker 5: to see it on opening day, so it was meaning
Speaker 5: all the raincoats in the movie theater. But when Elizabeth
Speaker 5: Berkeley is asked where she's from, she gets frustrated and
Speaker 5: she says, Tim frink Places. To me is the ultimate
Speaker 5: statement of bad acting, Frank Prick says, And that's what
Speaker 5: I wanted to scream at Sharon Stone in this remake
Speaker 5: of Gloria.
Speaker 2: The accent does not help.
Speaker 5: Oh it does not.
Speaker 2: It comes and goes, it gets thicker in places. She
Speaker 2: doesn't pull it off particularly well. And I feel like
Speaker 2: that does her disservice because you go back and she's
Speaker 2: so good in Casino, like so good. I think Lumette
Speaker 2: was just not firing on all cylindersy even we know
Speaker 2: that by the end of his career, and well, you
Speaker 2: don't know how an accent. I think that was a
Speaker 2: terrible idea.
Speaker 5: Who's the idea. Was it to remake Gloria? It makes
Speaker 5: no sense to me. Was this something she wanted to do?
Speaker 4: Sharon Stone, I wish I knew it came from.
Speaker 5: I don't know either, but it's really and I do
Speaker 5: not understand. A different person got screen credit for this
Speaker 5: screenplit and I can't remember the name, but it's not
Speaker 5: John Piocevei's.
Speaker 4: Yeah, it was Oh geez, Steve and Tin who I
Speaker 4: think it done one of those movies that came out.
Speaker 4: He was I believe he's an actor and then a writer.
Speaker 4: Oh yeah, that's what it was. Inside Monkeys Zetterlund, So
Speaker 4: the nineteen eighty two filmed He wrote that one. He
Speaker 4: did not direct that one, but yeah, and then he
Speaker 4: wrote this one as well. Yeah, his filmography is pretty spotty.
Speaker 4: I haven't seen Inside Monkeys Etterline, and I remember hearing
Speaker 4: a lot about it because it was during that inn
Speaker 4: B boom. But I have to say, Andrew, I hope
Speaker 4: you don't chafe when I say this, but this feels
Speaker 4: like Gloria in a very post Tarantino world. So you
Speaker 4: get those things like the gangsters in the car and
Speaker 4: the guys talking all about the fucking pigeon, and I'm like,
Speaker 4: oh boy, we are so post Guarantina right now. We're
Speaker 4: going to have these guys have a funny conversation. And
Speaker 4: it's not even that informative.
Speaker 2: It's got this real, superficial new job city look to
Speaker 2: it too.
Speaker 5: It's just stupid. And the role of Gloria is like
Speaker 5: this insipid jerk in this film. I mean, there's nothing
Speaker 5: about her that comes even close to generals in the original.
Speaker 5: Gloria just don't get this film.
Speaker 2: And of course the sexual lasher immediately like this is
Speaker 2: because you know, if Sharon Stones in it, they're gonna
Speaker 2: think we gotta make her money. We've got to insert
Speaker 2: these sean So, I don't know. It's just a weird
Speaker 2: and bad idea.
Speaker 5: It is, yeah, a weird, awful idea.
Speaker 4: To have her leave prison in a cocktail dress. I mean,
Speaker 4: this movie starts very different. We have a lot of setup.
Speaker 4: She doesn't even meet the film character until about half
Speaker 4: an hour in, so it's like the end of the
Speaker 4: first act. And yeah, to have her in that cocktail dress.
Speaker 4: When she leaves prison, she goes over and visits her
Speaker 4: former mob boyfriend. Her mob boyfriend asks her, do you
Speaker 4: want to make love. And I just said, who the
Speaker 4: hell wrote this thing? That sounds like a real gangster
Speaker 4: line exactly.
Speaker 6: I know.
Speaker 5: It's terrible. It's like it wants to imitate Gloria, but
Speaker 5: its idea of imitating it is to be as thick
Speaker 5: headed as possible. Like, Okay, Gloria alludes to having been
Speaker 5: in prison. Oh well, let's show that. Let's show that
Speaker 5: at the beginning of the film. That'll give her backstory. No,
Speaker 5: it doesn't. It just makes the film more stupid than
Speaker 5: it already. Well, it's the beginning of the film, but
Speaker 5: it predicts the stupidity of the entire film.
Speaker 2: You know what drove me crazy here is when we
Speaker 2: start up in the apartment, or when we get to
Speaker 2: the apartment and he's got the disk, YadA, YadA, YadA. Okay,
Speaker 2: I swear it was it Mike Star that was coming
Speaker 2: down the you know, the hallway. He was, okay, and
Speaker 2: of course a generic white little guy anything in the nineties,
Speaker 2: you have microsphone. Okay, So Mike Stars walking down the hallway,
Speaker 2: we see him, he's looking at him to the people.
Speaker 2: I swear to god, it takes him twenty minutes to
Speaker 2: get down that hallway. The guy runs in and owen,
Speaker 2: it's what's his name? I forget the Italian guy with
Speaker 2: the eyebrows, what's his name? That that is the.
Speaker 4: Dad and Bobby Cannaballe.
Speaker 2: I love that guy, even though he doesn't have a
Speaker 2: lot of dimension as an actor. I really do like him,
Speaker 2: but in other things, not this. But anyway, So he
Speaker 2: goes in the room and he's telling the kid, I
Speaker 2: swear to God. Instead of just saying go out the window,
Speaker 2: he's talking to him for Edinburgh. He doesn't call in
Speaker 2: the daughter. He doesn't just let the daughter die, because
Speaker 2: it's not like the other one with the daughter whoes No,
Speaker 2: I don't want to talk to you. It builds in
Speaker 2: the other room. No, in this one, he doesn't even
Speaker 2: think to try to save the daughter. Like he's just like,
Speaker 2: you're the man. We forget you're says oh of course. Yeah.
Speaker 4: I really like him a lot too. I was surprised
Speaker 4: to see him show up in this and.
Speaker 2: Just be so you.
Speaker 4: But it's odd how often I see him. Like I
Speaker 4: just watched Motherless Brooklyn and I had no idea he
Speaker 4: was in it, And here he is such a guy
Speaker 4: and of course it gets killed. I think his casting. Now,
Speaker 4: they definitely have raised the income for Phil's family in
Speaker 4: this one, they're living in a much nicer place, and
Speaker 4: Connor Valley fits with that and his outfit and everything
Speaker 4: he's got. I think it might even have suspenders on.
Speaker 4: He looks almost like a young corporate type guy. That
Speaker 4: makes more sense as far as him being this accountant
Speaker 4: or something. And then yeah, we have to move it
Speaker 4: from a book to a disc.
Speaker 2: His speech goes forever to the like we're still imagining it.
Speaker 2: Mike starts walking up the hallway and forever, I mean,
Speaker 2: then he starts banging on But even when he's banging
Speaker 2: on the door and it's now emergencies time, he's still
Speaker 2: talking to the kid, like pushing the hell out the
Speaker 2: window and go back. I don't know. It's just a
Speaker 2: dumb scene.
Speaker 5: Now, Yeah, it's just poorly done on every score.
Speaker 4: It's like she goes and meets with her former boyfriend,
Speaker 4: gets an outfit change, and it's even a skimpier outfit,
Speaker 4: like now her cleavage is covered, but her legs are
Speaker 4: completely on display. And I'm just like Gena Rowlins was glamorous,
Speaker 4: Sharon Stone can be glamorous, but in this it's like
Speaker 4: she's this weird glamour queen walking around in this world
Speaker 4: of mobsters, and it's like, this doesn't fit at all.
Speaker 4: That's not You're just not a real person. Yeah, it's
Speaker 4: like every outfit they put her in is more and
Speaker 4: more revealing.
Speaker 5: No, she looks tag game.
Speaker 2: She knows it always gets being these movies is how
Speaker 2: they had people running around in heels, like for Retal.
Speaker 2: My wife always points us out. I don't know her heels,
Speaker 2: but she'll always pointed out to me, how the hell
Speaker 2: did they run this star and heels doing all this.
Speaker 5: It's ridiculous, but it's always.
Speaker 2: In these movies, and I always think that's kind of
Speaker 2: interesting too.
Speaker 4: I really can't say anything redemptive about the remake other
Speaker 4: than it's nice looking at Sharon Stone, but I'd much
Speaker 4: rather see Gena Rowlins and who can actually give a
Speaker 4: really good performance. I feel like if there was a
Speaker 4: performance there, they just gutted it. And yeah, that freaking accent,
Speaker 4: Holy cow.
Speaker 5: I find it cringey to watch anything. I mean, it's
Speaker 5: just awful. I insisted we've fast forwarded to be able
Speaker 5: to see the ending because I knew there wasn't gonna
Speaker 5: be anything ambivalent to the end in the ending of this,
Speaker 5: and of course there isn't. But it's just one ridiculous
Speaker 5: scene after another.
Speaker 2: Okay, I rewatched this Friday, and I've never seen the
Speaker 2: only to but we watched it Briday for this and
Speaker 2: I already don't remember much about it on what we
Speaker 2: talked about.
Speaker 5: Well, that is that kind of movie.
Speaker 2: It's just I didn't notice that they changed the boy's
Speaker 2: age by a year, and I thought, why didn't you
Speaker 2: even have to do that? It didn't take his name?
Speaker 2: Is it Jack or something? I can't remember. It's no
Speaker 2: longer filled. It actually sounds like a name could have
Speaker 2: been a little boy. But and I think he talks
Speaker 2: a little less.
Speaker 4: I think he does too, which is yeah, I appreciate it, definitely.
Speaker 5: I find something sacrilegious about about this remake. Leave Genner
Speaker 5: rowls alone. To me, I know you don't agree that.
Speaker 5: That's okay. To me, this is a perfect film, Gloria.
Speaker 5: I think this is such a masterpiece. It just dissolves
Speaker 5: everything about the film. To make a remake. I mean,
Speaker 5: I guess a remake could be good, but I'm not
Speaker 5: imagining it, and this ain't it for sure.
Speaker 7: No.
Speaker 4: I mean, have they ever done a remake of a
Speaker 4: Cassavetti's film that is actually successful. They haven't done that
Speaker 4: many remakes, thank god. I know they've done little tributes
Speaker 4: and stuff. There was a short film of a woman
Speaker 4: under the Influence in twenty seventeen. There was a movie
Speaker 4: called Before Opening Night that was done in twenty ten.
Speaker 4: I'm curious about that one a little bit because I
Speaker 4: was a Spanish film. It might be the Chilean No Argentinian.
Speaker 2: That's what it is.
Speaker 4: He was such a specific flavor and the way he
Speaker 4: made movies was so revolutionary at the time. I mean,
Speaker 4: he is so the symbol to me of new American cinema,
Speaker 4: and yet he usually gets footnoted, like they will concentrate
Speaker 4: on your Lucases and your Spielberg's and your Dipalmas, but
Speaker 4: they will take Cassavettis and just like, oh yeah, and
Speaker 4: this other guy was doing this thing too. He knew
Speaker 4: why because it's challenging. It's very challenging to watch his films,
Speaker 4: and I appreciate that about him.
Speaker 5: Yeah, I think he's one of the people whose films
Speaker 5: should never ever be remade. Some films are unremakable and
Speaker 5: they ought to be leave them alone.
Speaker 2: Now, I did find this little write up, little review
Speaker 2: that you guys said. Something made me think about it,
Speaker 2: and this is of the original, but this was from
Speaker 2: one of Ray Carney's books. It was a different one.
Speaker 2: It was from American Dreaming, the Films of Joe and
Speaker 2: Cassavetties and the American Experience, and this is obviously for
Speaker 2: the Cassavettes. When but I thought this kind of summed
Speaker 2: it up. He said, but halfway between a Warner Brothers
Speaker 2: thriller and a Disney fairy tale, Gloria will probably satisfy
Speaker 2: neither children nor adults. But he could never be confused
Speaker 2: with the work of any other director. And I thought
Speaker 2: that was kind.
Speaker 5: Of a that's us. Yeah, that's a good point, so true.
Speaker 4: Yeah, thank you for giving me the right name. I
Speaker 4: think I called him ray Stanton before.
Speaker 2: I don't know, it was a What's interesting is on
Speaker 2: that book he's credited is Raymond to Corey Eric Carney,
Speaker 2: even though one of the Cassavettes. On Casavettes, he's not that.
Speaker 2: I'm Andy rush On half of my book, so held one.
Speaker 4: Yeah. I tried to get a hold of him for
Speaker 4: this because he seemed like such the expert on cassavettes,
Speaker 4: but unfortunately never got a response. I had a pretty
Speaker 4: old website out there, not a Goo Cities, but it
Speaker 4: was around that era of websites, so I was like,
Speaker 4: all right, this hasn't been updated for a while.
Speaker 2: Has it one little thing I wanted to through in elin?
Speaker 2: I never did, but it's right before that ending, and
Speaker 2: I wanted to say, I don't buy the six year
Speaker 2: old going up and buying a ticket at the train
Speaker 2: and no one says anything about it. You think that
Speaker 2: they would sell a ticket to the six year old
Speaker 2: to go to another gown, another city. Yeah, I think
Speaker 2: my first question would be where's your mom and dad?
Speaker 2: Because he feels like a runaway. He is a runaway
Speaker 2: at that point.
Speaker 4: All right, let's go ahead and take another break and
Speaker 4: play preview for next week's show. Right after these brief messages.
Speaker 7: England needs an air let the dynasty die with Henry
Speaker 7: the eighths, and we'll have gymnastic wars again.
Speaker 2: It's like what you watch.
Speaker 9: King has declared war on the pope because the Pope
Speaker 9: will not declare that Queen is not his wife.
Speaker 2: No queen.
Speaker 4: Son after sons she's born me all dead at birth?
Speaker 4: Ever saw that?
Speaker 7: And a gods clean in anything.
Speaker 1: This English Church will first divorced him from the Queen,
Speaker 1: then marry him to Lady Anne.
Speaker 2: The king wants Sir Thomas to bless his marriage.
Speaker 7: I will not take the earth.
Speaker 2: I will not tell you why I will not. I
Speaker 2: might get it out of you in other way. Yes,
Speaker 2: And when you safe out, that is among us a
Speaker 2: brood of discreet creative.
Speaker 5: It's my own judy to put away in the queen,
Speaker 5: and all of them shall not come between.
Speaker 2: Me and my jut.
Speaker 7: A light light in your own ants. Thomas is always ants.
Speaker 2: Happens for us all even for kings.
Speaker 7: He comes.
Speaker 2: That's right.
Speaker 4: We'll be back next week with something very different. We're
Speaker 4: going to be looking at a Man for all Seasons,
Speaker 4: an appropriate episode for winter, spring, summer, or fall. Until then,
Speaker 4: I wanted to thank my co host Andrew and Judith. So, Judith,
Speaker 4: what's been keeping it busy?
Speaker 2: Well?
Speaker 5: I've been working on this book for a long time,
Speaker 5: and I do have a great title. I think French
Speaker 5: Film Noir in the Occupied Zone. It's about French film
Speaker 5: noir during World War Two and as you both know,
Speaker 5: most people do not understand that the French invented fill
Speaker 5: noir as much as any American director ever did, probably
Speaker 5: more so. And I've seen lots of films, and I
Speaker 5: have been in touch with this great guy named Don
Speaker 5: Malcolm and he ran for ten years a series in
Speaker 5: San Francisco every year, and he has excavated all of
Speaker 5: these film noir as from the thirties up until president
Speaker 5: and almost present day. And he's a great curator. And
Speaker 5: so I've really learned a lot from his work and
Speaker 5: excited about talking about.
Speaker 4: French fille noir and Andy, how about yourself?
Speaker 2: So I have an unbelievable four projects coming out or
Speaker 2: right out, and I apologize for the quick little grow
Speaker 2: in here, but okay, I just had a book out.
Speaker 2: We talked about the taking of New York City Crime
Speaker 2: on the screen in the Streets of the Big Apple
Speaker 2: in the nineteen seventies. That is from Applause, and it
Speaker 2: covers fifty movies. I had a book that just came
Speaker 2: out that I edited with Kieran Fisher that's from McFarlane
Speaker 2: called The Cinema of Quentin Tarantino. It's a collection of essays.
Speaker 2: It took five years to get that book from start
Speaker 2: to finish, so I am glad to be done. That
Speaker 2: comes out in a month. I have a book in
Speaker 2: July about the generation of nineties filmmakers you'll love. The
Speaker 2: title of it is the Generation Tarantino, The last wave
Speaker 2: of young Turks in Hollywood, covers all of the people
Speaker 2: you would think it would cover. And the last one,
Speaker 2: The Life and Art of Gary Graver, which I co
Speaker 2: wrote with Dave Wayne and Maddie Boudrowitz. We meet these
Speaker 2: people online, we don't meet them, so I'm probably butchering
Speaker 2: his name, but that comes out from bear manor. Gary Graver,
Speaker 2: of course, was the director of many movies, including adult films,
Speaker 2: and he was a cameraman for everyone from Orson Welles
Speaker 2: Too drum Roll, John Castle, Peppies. Sounds good. I'm so
Speaker 2: burned out now that I may have nothing else coming.
Speaker 5: I was gonna say take a break.
Speaker 4: But Judith, when your book comes out, I definitely wanted
Speaker 4: to talk to you about that, And if you've got
Speaker 4: any titles that you would recommend in the meantime, please
Speaker 4: shoot them on over.
Speaker 2: I'd love to check them out.
Speaker 5: The problem with some of these films is that they
Speaker 5: are hard to find because a number of them are
Speaker 5: available on DVD that it used to be in trance,
Speaker 5: but they're hard to get in the United States. But
Speaker 5: I'm thrilled every time I see the Criterion channel do
Speaker 5: one of these occupation films because they're not easy to find,
Speaker 5: and I always recommend Lookobo because we did an episode
Speaker 5: of Projection Booth on that and to me, it's still
Speaker 5: buying number one favorite chilm.
Speaker 4: Thank you so much folks for being on the show.
Speaker 4: Thanks to everybody for listening. If you want to hear
Speaker 4: more of me shooting off my mouth, check out some
Speaker 4: of the other shows that I work on. They are
Speaker 4: all available at Weirdingwaymedia dot com. Thanks especially to our
Speaker 4: Patreon community. If you want to join the community, visit
Speaker 4: patreon dot com slash Projection Booth. Every donation we get
Speaker 4: helps the Projection Booth take over the world.
Speaker 11: Go Yeah, you're always on the throne now lading after somebody.
Speaker 8: You gotta get it somehow.
Speaker 11: I think you got storm down, boys stopped boming. I
Speaker 11: think you're heading for a breaking down, So careful off
Speaker 11: the show head. You really don't remember wanting something.
Speaker 8: That he said?
Speaker 11: All the miss in your Pence.
Speaker 8: By Bryn stop thing than hands and up. I think
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Speaker 7: Will you get your mom rebound?
Speaker 8: Will you marry for the man?
Speaker 11: Take the lover in the afternoon we made a sense
Speaker 11: stepping away. Don't believe it's coming back soon, and you
Speaker 11: don't said in your head, glory.
Speaker 8: Now and think God in on anything. Nobody post. I
Speaker 8: think they get I think they get.
Speaker 3: My son.
Speaker 8: In your story.
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