WEBVTT 1 00:00:05.120 --> 00:00:07.960 Oh, gist, it's showtime. 2 00:00:08.640 --> 00:00:10.519 People say, good money to see this movie. 3 00:00:10.919 --> 00:00:13.519 When they go out to a theater, they want cold sodas, 4 00:00:13.880 --> 00:00:17.199 hot popcorn, and no monsters in the protection booth. 5 00:00:17.359 --> 00:00:19.160 Everyone pretend podcasting isn't boring. 6 00:00:20.239 --> 00:00:20.879 Don it off? 7 00:00:42.000 --> 00:00:53.799 Can anybody help me? Please? I didn't want this. I 8 00:00:53.920 --> 00:00:55.119 didn't want any of this. 9 00:00:58.200 --> 00:01:01.359 Please help. 10 00:01:02.840 --> 00:01:14.400 Help for what happened? 11 00:01:15.120 --> 00:01:18.879 You had an accident, an accident. 12 00:01:20.000 --> 00:01:23.159 We dug you up, then we brought you back to life. 13 00:01:24.799 --> 00:01:25.319 Get on the. 14 00:01:25.560 --> 00:01:29.359 Stage and I call her that sasname. 15 00:01:29.879 --> 00:01:31.599 What do you want with a girl? 16 00:01:32.040 --> 00:01:37.480 I'm the same, born from the dead. I am a monster. 17 00:01:39.120 --> 00:01:40.120 Yeah, so am I? 18 00:01:45.560 --> 00:01:47.519 That's what is that? 19 00:01:47.719 --> 00:01:48.040 Black? 20 00:01:48.359 --> 00:01:48.560 Oh? 21 00:01:52.480 --> 00:01:54.280 The corrupt going to see? 22 00:01:54.640 --> 00:01:57.560 Life is here and it's coming to you from the monsters. 23 00:01:57.879 --> 00:02:13.719 Yes, yes, please don't me please, I'm sorry? 24 00:02:14.159 --> 00:02:15.080 Are you sorry for? 25 00:02:15.960 --> 00:02:17.000 Did you do something wrong? 26 00:02:17.599 --> 00:02:18.800 You thought you might get away with. 27 00:02:35.800 --> 00:02:38.000 The dad? I've got something to say. 28 00:02:39.400 --> 00:02:40.560 And I'm saying it. 29 00:02:46.520 --> 00:02:59.400 The bride, the Frankenstine, No, just the bride scared. 30 00:03:04.000 --> 00:03:06.240 Welcome to the Projection Booth. I'm your host, Mike White 31 00:03:06.319 --> 00:03:08.439 joined me once again, is mister Chris Tashue. 32 00:03:09.280 --> 00:03:10.000 I'm here, Mike. 33 00:03:10.159 --> 00:03:13.159 I'm ready to talk about films with you, new films, 34 00:03:13.400 --> 00:03:15.919 films that have come out this year. Have we talked 35 00:03:15.919 --> 00:03:17.080 about anything else this year? 36 00:03:17.199 --> 00:03:21.400 New The Bride has brought us back from the grave. 37 00:03:21.560 --> 00:03:23.400 Good God in Heaven, it sure has. 38 00:03:24.400 --> 00:03:27.159 On this special episode, we are looking at Maggie Jillen 39 00:03:27.240 --> 00:03:30.479 Hall's twenty twenty six The Bride, and yes, I said 40 00:03:30.520 --> 00:03:34.680 that with an exclamation point. Inspired by Mary Shelley's eighteen 41 00:03:34.759 --> 00:03:37.719 eighteen book and James Wales's nineteen thirty five film, The 42 00:03:37.759 --> 00:03:41.680 film stars Jesse Buckley as Aida and Mary Shelley herself. 43 00:03:42.159 --> 00:03:44.719 You can also call her Penelope, or you can call 44 00:03:44.759 --> 00:03:48.080 her the Bride, or you can call her Hell. You 45 00:03:48.159 --> 00:03:51.719 can call her Staycey, Mary, Jo, Lisa, but that's not 46 00:03:51.879 --> 00:03:54.439 her name. You could call her Tourets too if you 47 00:03:54.479 --> 00:03:57.360 wanted to call her that as well. Anyway, we are 48 00:03:57.479 --> 00:04:01.479 definitely delving into identity and the ports to a woman 49 00:04:01.800 --> 00:04:04.759 to own her own name and image, especially in an 50 00:04:04.840 --> 00:04:07.639 era where there's an act in Congress, the Safeguard American 51 00:04:07.719 --> 00:04:12.840 Voter Elegibility Act, which threatens todition franchise any woman voter 52 00:04:12.919 --> 00:04:16.040 who has ever taken another name in her life. And 53 00:04:16.240 --> 00:04:18.040 there I go getting political again. 54 00:04:19.240 --> 00:04:23.360 Already, Mike, how could you? We've been at this for 55 00:04:23.720 --> 00:04:25.439 less than five minutes. 56 00:04:26.279 --> 00:04:29.000 Also along for the ride or the dances Christian Bale 57 00:04:29.040 --> 00:04:33.560 as Frank aka Frankenstein's Monster aka Dietrich. Though that one 58 00:04:33.879 --> 00:04:35.639 might be a joke. I don't know. It's tough to 59 00:04:35.720 --> 00:04:38.680 tell to tell jokes from non jokes in this one. 60 00:04:38.720 --> 00:04:41.720 The film is brimming with ideas and we will be 61 00:04:41.839 --> 00:04:44.399 sharing some of those and spoiling the film as we 62 00:04:44.480 --> 00:04:45.879 go along. So if you don't want anything to ruin, 63 00:04:45.920 --> 00:04:47.839 please turn out the podcast and come back after you've 64 00:04:47.879 --> 00:04:49.959 seen the movie, and if you wait for a couple 65 00:04:50.000 --> 00:04:51.439 of days. I have a feeling it's going to be 66 00:04:51.600 --> 00:04:55.959 streaming pretty soon. Chris, what were your initial impressions of 67 00:04:56.319 --> 00:04:56.879 The Bride? 68 00:04:57.920 --> 00:04:58.199 Wow? 69 00:04:59.000 --> 00:05:02.759 That was brutal, Mike, that'll be on streaming. 70 00:05:03.160 --> 00:05:06.759 It's a much office bob Jinx. 71 00:05:06.839 --> 00:05:07.319 You owe me. 72 00:05:08.399 --> 00:05:09.480 That'll be between me and you. 73 00:05:09.639 --> 00:05:09.839 Mike. 74 00:05:11.120 --> 00:05:15.040 What did I think of a movie that feels intentionally polarizing? 75 00:05:16.040 --> 00:05:20.199 One could say this is Maggie Gillenholmes. She's an auditeur 76 00:05:20.439 --> 00:05:23.399 and she's doing her own thing, and this is written 77 00:05:23.439 --> 00:05:27.560 and directed by someone who has a clear vision for things, 78 00:05:28.040 --> 00:05:31.279 has an idea for what they want, knows how to 79 00:05:31.399 --> 00:05:33.720 achieve what they want, and has gone about it in 80 00:05:33.839 --> 00:05:39.959 a way where look, Maggie Jillenhall, this is her second 81 00:05:41.000 --> 00:05:44.199 film that she's directed. She directed a short film in 82 00:05:44.240 --> 00:05:48.000 two thousand and seven, a short film in twenty sixteen twice, 83 00:05:48.399 --> 00:05:50.560 and then twenty twenty one The Lost Daughter, and then 84 00:05:50.639 --> 00:05:54.680 this is her again second directorial film. But in a 85 00:05:54.759 --> 00:05:57.480 lot of ways, I would say most people this would 86 00:05:57.480 --> 00:06:00.399 be their first directed and written Maggie Jill whole film 87 00:06:00.439 --> 00:06:04.040 they're ever seeing. It is a movie unlike a lot 88 00:06:04.120 --> 00:06:07.759 of other movies I've ever seen, both good and bad. 89 00:06:08.399 --> 00:06:11.800 I think it has some interesting things going on. I 90 00:06:11.879 --> 00:06:16.079 think it has some interesting ideas. I'm not sure how 91 00:06:16.199 --> 00:06:20.319 well executed it is. I don't know if it's I 92 00:06:20.439 --> 00:06:21.600 don't think it's really. 93 00:06:24.079 --> 00:06:24.360 To say. 94 00:06:24.399 --> 00:06:27.040 I don't think it's Maggie Jillenhall. I think is to 95 00:06:27.199 --> 00:06:29.279 not be truthful, because I think if you're willing to 96 00:06:29.319 --> 00:06:33.040 put directed and written by on the movie, and you're 97 00:06:33.040 --> 00:06:38.160 willing to be as forthright as the promotion materials are 98 00:06:38.240 --> 00:06:42.399 for this movie, here comes the motherfucking Bride. Like, all right, guys, 99 00:06:42.480 --> 00:06:46.000 this is pride of Frankenstein movie. I'm not gonna say 100 00:06:46.040 --> 00:06:50.360 it's cringe, but it is cringe like it is. I think, 101 00:06:50.480 --> 00:06:53.120 on the face of it, the movie is a tad cringey, 102 00:06:53.680 --> 00:06:56.480 but that's it reminds me in a lot of ways 103 00:06:56.519 --> 00:06:59.519 of when we talked about Joker, Mike, Like, it's trying 104 00:06:59.600 --> 00:07:02.480 to be a thing, and it's trying really hard to 105 00:07:02.600 --> 00:07:05.040 be that thing. And I'm not saying it doesn't achieve 106 00:07:05.160 --> 00:07:07.560 that thing. I think there will be people who dress 107 00:07:07.639 --> 00:07:10.680 up like this character for years to come, and hot 108 00:07:10.759 --> 00:07:13.839 topic will be replete with bride stuff at some point 109 00:07:13.879 --> 00:07:16.079 when people reapprise this movie. Because this movie's not a 110 00:07:16.199 --> 00:07:18.720 bad movie by any stretch of the imagination. I just 111 00:07:18.759 --> 00:07:22.800 think it's totally the movie Maggie Gillenhall wanted to make 112 00:07:23.160 --> 00:07:25.920 for good and for bad, and when that's the case, 113 00:07:26.120 --> 00:07:29.360 just like Joker, just so many other writer director films, 114 00:07:30.319 --> 00:07:32.639 you take the good with the bad, and sometimes there's 115 00:07:32.720 --> 00:07:35.199 more good than bad. I think this movie treads about 116 00:07:36.040 --> 00:07:40.439 sixty forty maybe fifty five forty five, but it's I 117 00:07:40.480 --> 00:07:44.480 could definitely see, especially with Jesse Buckley's performance, how this 118 00:07:44.600 --> 00:07:48.800 movie would be immediately polarizing for literally anyone and you 119 00:07:48.959 --> 00:07:51.839 either get on board with the movie from the moment 120 00:07:51.920 --> 00:07:54.680 it opens, or you don't, and if you don't, the 121 00:07:54.800 --> 00:07:57.399 movie's really not concerned with getting you back on board 122 00:07:57.399 --> 00:07:59.759 at any point. There's nothing wrong with that. I do 123 00:08:00.040 --> 00:08:04.639 applaud that as a kind of point of matter, which 124 00:08:04.720 --> 00:08:07.000 is a director has made a film that they believe 125 00:08:07.040 --> 00:08:09.480 in and a film that they clearly wanted to make. 126 00:08:09.959 --> 00:08:12.360 But there are parts of this movie that don't resonate 127 00:08:12.439 --> 00:08:14.240 with me, and clearly there are parts of this movie 128 00:08:14.279 --> 00:08:16.959 that don't resonate with other people. I will say the 129 00:08:17.040 --> 00:08:19.839 most unfortunate think about this movie is the budget was 130 00:08:20.040 --> 00:08:23.279 ninety million dollars. Did you really think a movie like 131 00:08:23.360 --> 00:08:25.360 this was gonna make that budget back? 132 00:08:25.839 --> 00:08:26.279 For real? 133 00:08:26.959 --> 00:08:30.680 This is a over budgeted art house film in a 134 00:08:30.759 --> 00:08:35.080 lot of ways, or an over budgeted vanity project like 135 00:08:35.159 --> 00:08:37.799 this reminds me of toys. It's look at all this 136 00:08:37.960 --> 00:08:41.320 crazy stuff we can do. But that doesn't translate to 137 00:08:41.399 --> 00:08:44.840 people coming to see the movie unfortunately. I think it's 138 00:08:44.879 --> 00:08:49.039 an interesting experiment, and I think it's an interesting film, 139 00:08:49.200 --> 00:08:51.120 but I don't ultimately think it's the kind of movie 140 00:08:51.240 --> 00:08:54.000 that is going to be initially popular. But I do 141 00:08:54.120 --> 00:08:57.000 see this movie becoming popular over time, genuinely, and I'm 142 00:08:57.000 --> 00:08:58.879 sure you would agree, like I think this movie's gonna 143 00:08:58.919 --> 00:09:02.200 find its audience in the law long run, for good 144 00:09:02.240 --> 00:09:04.120 and for bad. But I do think it will find it. 145 00:09:04.960 --> 00:09:07.480 I think the movie has definitely already started to find 146 00:09:07.519 --> 00:09:10.960 its audience. And it's a real shame when it comes 147 00:09:11.080 --> 00:09:15.759 to anything directed by a woman. It's like twofold. There's 148 00:09:15.879 --> 00:09:18.120 the bros on the one side that are just like, 149 00:09:18.279 --> 00:09:21.200 see a woman can't direct a film, Look at how 150 00:09:21.279 --> 00:09:26.279 badly this is doing, YadA YadA, YadA. And then there's 151 00:09:26.960 --> 00:09:28.960 the women on the other side that are just like, 152 00:09:29.919 --> 00:09:32.080 all you people are just coming to shut down women 153 00:09:32.159 --> 00:09:35.720 directed movies, and just you come at this and you go, see, 154 00:09:35.799 --> 00:09:37.919 it never works, and that's why we don't get money, 155 00:09:37.919 --> 00:09:39.559 and that's why we can't do this, and that's why 156 00:09:39.639 --> 00:09:41.240 we can't take big swings. 157 00:09:40.919 --> 00:09:41.200 And all this. 158 00:09:41.360 --> 00:09:44.279 And it's all right, I'm somewhere in the middle, like 159 00:09:44.399 --> 00:09:47.639 I already. Like on YouTube, you look at the YouTube 160 00:09:47.679 --> 00:09:53.080 reviews and ninety percent of them are thumbnails of confused 161 00:09:53.240 --> 00:09:56.480 men with their hands up going it sucks or it 162 00:09:56.600 --> 00:09:59.559 didn't work, or what a failure, box office bomb, all 163 00:09:59.639 --> 00:10:03.480 these kind of things. We're angry about things, and then 164 00:10:04.360 --> 00:10:07.720 you've also got reviewers who are shutting down discourse about 165 00:10:07.759 --> 00:10:12.639 the film. There's an article that I'm going to quote 166 00:10:12.679 --> 00:10:16.879 from by bj Colangelo. The Bride was never going to 167 00:10:16.919 --> 00:10:18.879 be a box office smash. It was always going to 168 00:10:18.919 --> 00:10:22.080 be your new favorite movie on slash film. And she 169 00:10:22.200 --> 00:10:25.360 said the Bride flop because and this is a quote 170 00:10:25.399 --> 00:10:28.519 from the article, The Bride flop because misogyny is alive 171 00:10:28.600 --> 00:10:31.759 and well. And we've seen time and again with films 172 00:10:31.840 --> 00:10:35.720 like Heather's Jawbreaker, Josie and the Pussycats, Jennifer's Body, and 173 00:10:35.840 --> 00:10:39.039 Lisa Frankenstein. And I'm surprised she didn't put the Charlie's 174 00:10:39.039 --> 00:10:44.159 Angels movie in there too. Movies about ungovernable women that 175 00:10:44.360 --> 00:10:48.240 embrace being the most are never rewarded at the box office, 176 00:10:48.360 --> 00:10:51.559 yet have the power to completely change the brain chemistry 177 00:10:51.639 --> 00:10:55.559 of those who resonate with them. Jennifer's Body, I know 178 00:10:55.679 --> 00:10:57.919 people always go back and they're just like, Jennifer's Body 179 00:10:58.039 --> 00:11:00.759 is so fucking great. And if Sam and Dean Winchester 180 00:11:01.000 --> 00:11:03.440 or moulderin Scully had shown up in that movie, then 181 00:11:03.639 --> 00:11:06.840 maybe it would have been somewhat entertaining it had no 182 00:11:07.039 --> 00:11:09.080 engine to that movie, and it was just like such 183 00:11:09.120 --> 00:11:11.960 a I don't know, just that disappointed. 184 00:11:12.039 --> 00:11:14.879 Twenty sixteen Ghostbusters didn't get mentioned like. 185 00:11:15.480 --> 00:11:18.120 That was directed by a man though we're just talking 186 00:11:18.120 --> 00:11:22.600 about female directed movies, I think. So she posts this, 187 00:11:22.879 --> 00:11:26.799 Bja posts this on the Blue Sky with the Texas 188 00:11:26.799 --> 00:11:30.200 said The Bride was always going to become a barometer 189 00:11:30.480 --> 00:11:33.480 film that people used to make judgment calls about someone, 190 00:11:33.679 --> 00:11:36.279 rather than actually engaging to learn why they feel the 191 00:11:36.320 --> 00:11:38.840 way they do. As such, I know that I should 192 00:11:38.840 --> 00:11:42.600 explain myself further, but I would prefer not to. So 193 00:11:42.759 --> 00:11:45.120 then I shared it and I was just like, Okay, 194 00:11:45.200 --> 00:11:48.000 you were talking about this film becoming a barometer that 195 00:11:48.120 --> 00:11:50.919 people used to make judgment calls about someone. So I 196 00:11:51.440 --> 00:11:53.039 played along with that, and I was just like, I 197 00:11:53.080 --> 00:11:55.200 guess I'm an asshole because I didn't like this movie. 198 00:11:56.120 --> 00:11:59.759 So then she wrote back and said, piggybacking off in 199 00:11:59.840 --> 00:12:02.799 our article about women's anger and the way our industry 200 00:12:02.879 --> 00:12:06.360 doesn't finance women filmmakers to make big swings or allow 201 00:12:06.600 --> 00:12:09.679 a runway to try and then judge our views on 202 00:12:09.799 --> 00:12:12.399 films as a barometer of our character instead of engaging 203 00:12:12.480 --> 00:12:16.159 with us is to say, guess, I'm an asshole is 204 00:12:16.240 --> 00:12:20.159 certainly in choice, and I'm like, what, yeah, you talking 205 00:12:20.159 --> 00:12:23.080 about it being a baroma like. It was the strangest 206 00:12:23.120 --> 00:12:26.080 interaction I got. Maybe she didn't know where it's coming from, 207 00:12:26.120 --> 00:12:28.440 but I was already like, okay, you're just shutting down 208 00:12:28.519 --> 00:12:30.519 any sort of discussion about this stuff. 209 00:12:30.559 --> 00:12:32.720 So I'm like, it's okay. There was a point where 210 00:12:32.840 --> 00:12:37.080 bj Colangelo was disenfranchising bisexual people on Twitter and saying 211 00:12:37.120 --> 00:12:40.320 we didn't exist, which was super great. So I think 212 00:12:40.399 --> 00:12:43.519 both you and I probably have lost any opportunity to 213 00:12:43.639 --> 00:12:47.519 do any sort of work with some DVD extra work. 214 00:12:47.559 --> 00:12:49.960 But that's okay, you know what they say. I tend 215 00:12:50.159 --> 00:12:53.279 to rather have an open discourse about things, and not 216 00:12:53.559 --> 00:12:58.600 liking a piece of media does not discount an argument 217 00:12:58.720 --> 00:13:01.600 or a conversation to be had. There are much bigger 218 00:13:01.720 --> 00:13:05.200 issues right now. Then I didn't like a movie. That's 219 00:13:05.399 --> 00:13:07.879 a reason for me to just roast you on the internet. 220 00:13:08.080 --> 00:13:10.720 Wait a second here, do you hear yourself? 221 00:13:11.320 --> 00:13:12.279 I guess? Is my point. 222 00:13:12.600 --> 00:13:15.039 It does remind me of Ghostbusters twenty sixteen, because we 223 00:13:15.120 --> 00:13:17.720 come back to this idea of if you didn't like 224 00:13:17.799 --> 00:13:19.679 this thing, then you're a certain way, and it's like 225 00:13:20.000 --> 00:13:20.480 and look. 226 00:13:20.360 --> 00:13:21.240 We're all guilty of it. 227 00:13:21.440 --> 00:13:23.600 I you know, like Mike, like you and I. Even 228 00:13:24.240 --> 00:13:26.399 just because someone is X does not make them why. 229 00:13:26.919 --> 00:13:29.399 And it is very hard in this day and age 230 00:13:29.440 --> 00:13:32.279 to get around that, because there are certain things that 231 00:13:32.519 --> 00:13:35.919 if you are X, then you know why is the case? 232 00:13:36.360 --> 00:13:38.679 There are certain things that are almost hard to get 233 00:13:38.720 --> 00:13:41.279 around that not being the case. If X is the 234 00:13:41.360 --> 00:13:44.759 way that it is for someone. A movie that comes 235 00:13:44.840 --> 00:13:48.559 out that cost hundreds of millions of dollars to make 236 00:13:48.639 --> 00:13:52.360 and produce, that doesn't make any money because they didn't 237 00:13:52.399 --> 00:13:54.879 know how to promote it or any number of reasons, 238 00:13:55.519 --> 00:13:58.200 is not a thing that is a barometer for anything 239 00:13:58.320 --> 00:14:01.039 other than, frankly, the si cess or failure of the 240 00:14:01.120 --> 00:14:04.519 studio who released the fucking movie. Thank you very much 241 00:14:04.759 --> 00:14:07.879 for coming to my ted talk good night. I don't 242 00:14:07.919 --> 00:14:11.200 know why it's anything else. It doesn't even matter, because 243 00:14:11.200 --> 00:14:14.399 there is no other reason to call this anything other 244 00:14:14.480 --> 00:14:17.399 than a movie that got made that they did not 245 00:14:17.840 --> 00:14:20.559 understand what they were making, and they did not read 246 00:14:20.600 --> 00:14:23.679 the room about the kinds of people that go see 247 00:14:23.759 --> 00:14:26.480 movies like this. People that watch this kind of movie 248 00:14:26.519 --> 00:14:29.200 are gonna watch it after it comes out on VOD 249 00:14:29.399 --> 00:14:32.639 and other places, not in the fucking theaters. And that 250 00:14:32.799 --> 00:14:35.600 has willed out once again here. And I'm sorry that 251 00:14:35.679 --> 00:14:38.919 it's all it's women director. It's saying women directors. This 252 00:14:39.080 --> 00:14:42.759 is look fucking Greta Gerwig mit Barbie, and she made 253 00:14:42.919 --> 00:14:45.919 hundreds of millions of dollars. So still it's not And 254 00:14:46.039 --> 00:14:48.480 this is a property, for God's sakes, This is not 255 00:14:48.679 --> 00:14:52.240 just Metropolis, for fuck's sake. This is a movie that 256 00:14:52.360 --> 00:14:56.039 is based on a pre existing property from eighteen eighteen 257 00:14:56.120 --> 00:14:58.679 at the earliest and nineteen thirty five at what some 258 00:14:58.840 --> 00:14:59.960 people would consider the latest. 259 00:15:01.000 --> 00:15:03.679 I just thought that all the quef jokes could have 260 00:15:03.720 --> 00:15:06.559 been paired back to half as many. Maybe I don't know. 261 00:15:07.120 --> 00:15:09.759 I really enjoyed all the wanton soup jokes that they 262 00:15:09.960 --> 00:15:12.440 just kept throwing at us, over and over and over again. 263 00:15:13.000 --> 00:15:15.519 I guess I'm sorry that that's not something that I 264 00:15:15.879 --> 00:15:18.559 came to see Ghostbusters for. And it wasn't to see 265 00:15:18.679 --> 00:15:21.879 men fighting ghosts. I came to see something funny and engaging, 266 00:15:22.000 --> 00:15:25.279 and it wasn't. I'm not saying because you liked it, 267 00:15:25.679 --> 00:15:28.600 you're a certain way, but because I didn't like it. 268 00:15:28.799 --> 00:15:31.399 I must be a certain way. How is that remotely 269 00:15:31.440 --> 00:15:34.159 an okay thing for anyone to get to at this 270 00:15:34.360 --> 00:15:37.360 point in criticism? And like you said, all this does 271 00:15:37.480 --> 00:15:41.240 is just shut down criticism more or less completely. I 272 00:15:41.279 --> 00:15:44.120 don't know how else to describe it. But my god, 273 00:15:44.200 --> 00:15:46.360 if you're gonna do this, people can't have a discourse 274 00:15:46.360 --> 00:15:48.320 about anything. I guess we should just close up shop 275 00:15:48.399 --> 00:15:49.399 on the podcast and leave. 276 00:15:51.600 --> 00:15:54.879 It reminds me of when Jeffrey Jones as the Emperor 277 00:15:55.159 --> 00:15:58.759 listened to that song by Tom Holse A's Aamdais and 278 00:15:58.799 --> 00:16:00.399 he just really liked it. 279 00:16:00.480 --> 00:16:02.639 Sire, Well, of course I did. 280 00:16:02.720 --> 00:16:06.720 It's very good, of course now and then just just 281 00:16:07.039 --> 00:16:07.559 now and then it. 282 00:16:09.080 --> 00:16:10.200 Seemed a touch. 283 00:16:12.639 --> 00:16:16.080 Oh, how should want to say too many notes? You'll 284 00:16:16.159 --> 00:16:20.360 magest exactly very well. Put too many notes, my dear 285 00:16:20.399 --> 00:16:20.799 young man. 286 00:16:20.879 --> 00:16:21.799 Don't take it too hard. 287 00:16:22.120 --> 00:16:26.879 Your work is ingenious, it's quality work, and there are 288 00:16:26.960 --> 00:16:28.039 simply too many notes. 289 00:16:28.159 --> 00:16:30.399 That's all. Just quit a few and it'll be perfect. 290 00:16:31.240 --> 00:16:33.879 I would honestly be okay with them getting rid of 291 00:16:34.000 --> 00:16:35.799 some of the notes in here in some of it. 292 00:16:36.919 --> 00:16:39.799 Some of this movie just hits me very hard in 293 00:16:39.879 --> 00:16:42.600 the face with just how pretentious. It is as far 294 00:16:42.679 --> 00:16:45.879 as we're going to name all these characters after these 295 00:16:45.960 --> 00:16:48.919 things try and figure out. And there's certain things where 296 00:16:48.919 --> 00:16:51.480 I'm just like, is this supposed to be a reference. 297 00:16:51.639 --> 00:16:54.480 Like the mob boss who we meet right up front, 298 00:16:54.559 --> 00:16:57.159 who apparently has no friends, who's just kind of sitting 299 00:16:57.200 --> 00:16:58.879 there at the bar rather than being with all of 300 00:16:58.960 --> 00:17:03.200 his boys and the women and everything. His last name's Lupino, 301 00:17:03.600 --> 00:17:05.880 and I'm like, Okay, is this side a Lupino? Are 302 00:17:05.920 --> 00:17:09.240 we doing that? And then of course his whole thing, 303 00:17:09.400 --> 00:17:12.759 Lupino's whole thing is he loves to cut out I 304 00:17:12.799 --> 00:17:16.119 would say people's tongues, but I think it's exclusively women. 305 00:17:16.279 --> 00:17:19.240 I think he loves to cut off women's tongues. And 306 00:17:19.400 --> 00:17:21.759 that is just so heavy handed when it comes to 307 00:17:21.920 --> 00:17:27.119 the oh see, he's silencing women. He is literally silencing 308 00:17:27.240 --> 00:17:30.000 women by cutting out their tongues. And it's just so 309 00:17:30.240 --> 00:17:32.680 many of these things are so heavy handed. I'm like, 310 00:17:33.720 --> 00:17:36.519 the movie is very much a fairy tale, so I 311 00:17:36.599 --> 00:17:39.440 can't jump to any sort of logic. As far as oh, 312 00:17:39.799 --> 00:17:45.960 Frank talks doctor Euphronius into helping him out pretty easily, 313 00:17:46.119 --> 00:17:48.279 there's not a whole lot of discussion here not a 314 00:17:48.359 --> 00:17:51.599 lot of moral quandary when it comes to this, don't 315 00:17:51.640 --> 00:17:55.960 you mean doctor Euphonium, who obviously is based off of 316 00:17:56.039 --> 00:18:00.400 doctor Pretorius, who is in Brida Frankenstein, the incre credibly 317 00:18:00.599 --> 00:18:02.880 gay actor that played him. And I kept thinking that 318 00:18:03.000 --> 00:18:06.359 there was like a relationship between an At Bennings character 319 00:18:06.720 --> 00:18:10.839 Euphronius and her maid, but then later on she was. 320 00:18:11.799 --> 00:18:16.200 I had the romance of the century. It was the 321 00:18:16.279 --> 00:18:27.240 last century. George, my George. He was astonishing. No one 322 00:18:27.279 --> 00:18:30.599 would touch the work we were doing. So we experimented 323 00:18:30.680 --> 00:18:36.559 on each other relativity and simultaneity, time dilation, gripples, inture 324 00:18:36.640 --> 00:18:37.440 of space time. 325 00:18:37.559 --> 00:18:42.400 But it didn't work. Maybe we went too far the 326 00:18:42.480 --> 00:18:45.920 hair's breadth and he was gone. So I brought him back. 327 00:18:46.720 --> 00:18:48.200 I knew how to and I did it. 328 00:18:48.880 --> 00:18:50.400 It was extraordinary. 329 00:18:50.680 --> 00:18:53.319 No, he didn't remember me. 330 00:18:53.960 --> 00:18:54.680 He was off. 331 00:18:55.839 --> 00:18:56.799 He was a little off. 332 00:18:57.559 --> 00:19:02.640 He couldn't find his mind, Brocus heart, so. 333 00:19:04.880 --> 00:19:08.519 I had to put him down. 334 00:19:09.880 --> 00:19:12.319 That sounds really fascinating. I almost would like to watch 335 00:19:12.400 --> 00:19:13.240 that movie instead. 336 00:19:14.200 --> 00:19:17.680 I will give Maggagillincole a lot of credit for creating 337 00:19:17.720 --> 00:19:21.599 a very interesting world that I think is very distinct 338 00:19:21.720 --> 00:19:25.599 and unique. The successes that this movie has, I think 339 00:19:25.599 --> 00:19:28.440 are balanced directly with the failures that it has, because 340 00:19:28.440 --> 00:19:30.519 in a lot of ways, the successes that the film 341 00:19:30.599 --> 00:19:33.519 has are the set design and I think just the 342 00:19:33.720 --> 00:19:37.200 framework and the idea of Okay, we have Mary Shelley 343 00:19:37.400 --> 00:19:41.559 essentially as a demon or a demonic entity or a 344 00:19:41.680 --> 00:19:47.160 possessive entity who is possessing this woman's body and again 345 00:19:47.759 --> 00:19:50.880 externalizing as tarets in the most I think if you 346 00:19:50.960 --> 00:19:53.279 were to talk about it in modern day terms. 347 00:19:53.880 --> 00:19:57.960 And happening two weeks after the BAFTO Awards, the disastrous 348 00:19:58.079 --> 00:20:01.839 BAFTO Awards. I know I've seen this type of character before. 349 00:20:02.160 --> 00:20:07.200 I know, obviously Ed Norton in Motherless Brooklyn had Tourette's, 350 00:20:07.240 --> 00:20:10.119 but there are other characters where when they're losing their mind, 351 00:20:10.200 --> 00:20:13.680 they just start spouting off these things. And I think 352 00:20:13.720 --> 00:20:18.319 Father Malone on Midnight Viewing compared her to a really 353 00:20:18.559 --> 00:20:21.720 coked up Robin Williams, which I can totally see. 354 00:20:22.119 --> 00:20:24.160 Yeah, I heard him say that, and I would agree, 355 00:20:24.559 --> 00:20:26.880 Oh yes, beautiful thing. Oh yes, franka'zis mom's are oh yes, 356 00:20:26.880 --> 00:20:30.839 beautiful thing. Like it's just weird when she gets into 357 00:20:30.880 --> 00:20:33.359 these fits because they have to I want to hear 358 00:20:33.440 --> 00:20:35.960 what your thoughts are on Jesse Buckley's performance, because I 359 00:20:36.000 --> 00:20:39.680 feel like the film lives and dies by how you 360 00:20:40.000 --> 00:20:44.039 respond to this. This is not like a oh. From 361 00:20:44.119 --> 00:20:47.119 the moment she's on screen, she's like this. Now you 362 00:20:47.279 --> 00:20:50.920 get about five minutes of her not and you get 363 00:20:50.960 --> 00:20:56.079 this I think very tried, true and frankly lazy character. 364 00:20:56.480 --> 00:20:59.200 She's a sex worker and she's going to get one 365 00:20:59.279 --> 00:21:01.279 over on the big mob boss. But you can't do 366 00:21:01.319 --> 00:21:04.079 it without the demonic, possessive entity that is Mary Shelley. 367 00:21:04.160 --> 00:21:08.559 Like Maggie chillin'hol I think is it as an eye 368 00:21:08.680 --> 00:21:11.079 for things, has an interesting voice and a place that 369 00:21:11.160 --> 00:21:14.400 she's coming from. But Maggie Chillenhole needs to learn some 370 00:21:14.759 --> 00:21:19.960 subtlety because my god, like it's like a like like 371 00:21:20.200 --> 00:21:24.400 someone's first draft of something like han Solo because you're 372 00:21:24.440 --> 00:21:25.440 by yourself. 373 00:21:25.079 --> 00:21:25.680 Like we don't. 374 00:21:26.000 --> 00:21:28.000 You don't have to hang a lantern on every single 375 00:21:28.119 --> 00:21:32.640 thing because it doesn't do a whole lot. And this movie, 376 00:21:32.759 --> 00:21:36.960 just because it lacks subtlety, every single kind of Hurrah 377 00:21:37.200 --> 00:21:40.599 Women thing it does just comes off very forced and icky. 378 00:21:41.039 --> 00:21:44.359 It reminds me a lot of that moment when Hillary 379 00:21:44.400 --> 00:21:47.039 Clinton pulled the hot sauce out of her bag. Come on, 380 00:21:47.440 --> 00:21:49.759 I get what you're doing, but nobody's gonna see this 381 00:21:49.839 --> 00:21:52.640 and not think you're trying really hard. This movie doesn't 382 00:21:52.640 --> 00:21:55.519 need to try that hard because Maggie Jillenholl clearly knows 383 00:21:55.599 --> 00:21:56.200 what she's doing. 384 00:21:57.079 --> 00:22:00.720 I love Jesse Buckley. Every time I year and stuff, 385 00:22:00.920 --> 00:22:05.319 I'm just captivated. And she was so good in that 386 00:22:05.480 --> 00:22:08.160 season of Fargo. She was probably the best thing in 387 00:22:08.319 --> 00:22:11.359 that season of Fargo for me every time I would 388 00:22:11.359 --> 00:22:14.200 see her otherwise. And she's one of these actresses. Even 389 00:22:14.240 --> 00:22:17.440 though she's got a very distinct look. When she's not acting, 390 00:22:17.960 --> 00:22:21.480 she can transform pretty well and turn herself into other people. 391 00:22:21.519 --> 00:22:23.880 Even when she leaves a wit style. I would see 392 00:22:24.640 --> 00:22:28.000 even when she's Mary Shelley, she doesn't look like Jesse 393 00:22:28.119 --> 00:22:32.319 Buckley very at all. Different though when she speaks as 394 00:22:32.440 --> 00:22:35.559 Mary Shelley, she reminds me of Patsy from ab Fab 395 00:22:36.000 --> 00:22:38.119 Patsy with Tourette's she just had. 396 00:22:38.000 --> 00:22:41.000 A little bit of it's not botox, it's parallox. 397 00:22:42.640 --> 00:22:43.759 You look like a zombie. 398 00:22:43.920 --> 00:22:47.160 She still has emotions, you know, she just doesn't have 399 00:22:47.240 --> 00:22:48.319 to pay for them and wrinkles. 400 00:22:48.880 --> 00:22:49.720 I'm happy about that. 401 00:22:49.880 --> 00:22:51.759