WEBVTT

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<v Speaker 1>Oh, folks, it's show tied.

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<v Speaker 2>People say good money to see this movie.

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<v Speaker 1>When they go out to a theater, they want cold

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<v Speaker 1>sodas from hot popcorn and no monsters in the protection booth,

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<v Speaker 1>everyone pretend podcasting isn't boring.

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<v Speaker 3>Don at off.

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<v Speaker 1>Hospita Bob, and that they don't have a spat caniball again?

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<v Speaker 3>Whose one's yass name? Man?

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<v Speaker 2>Asp?

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<v Speaker 3>You haven't been yet?

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<v Speaker 1>Give loose yet.

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<v Speaker 2>You have any home from ot to think of us?

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<v Speaker 4>It was a little love.

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<v Speaker 3>Aspit you never.

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<v Speaker 5>Wake up so bad?

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<v Speaker 3>Miss him King?

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<v Speaker 2>What's been in cover?

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<v Speaker 3>CZI.

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<v Speaker 2>Welcome to the Projection booth. I'm your host. Mike White

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<v Speaker 2>joined me once again as Miss Heather Draine.

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<v Speaker 3>Hello, Hello.

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<v Speaker 2>Also back in the booth is mister Chris Tashu.

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<v Speaker 1>Ladies and gentlemen, I'm here.

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<v Speaker 2>We continue our request month with one from Andrew Hendrickson.

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<v Speaker 2>Kamikazi eighty nine or Kamakazi nineteen eighty nine per the

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<v Speaker 2>film itself, directed by Wolf Graham of the film is

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<v Speaker 2>the fifth adaptation of the same book by I'm sorry

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<v Speaker 2>by my pronunciation. I'm sure it's not pronounced the way

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<v Speaker 2>it's spelled per Walloo murder on the thirty first floor,

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<v Speaker 2>with two of them coming out in nineteen eighty one,

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<v Speaker 2>the year prior to this one. Graham takes a very

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<v Speaker 2>different tact, setting the film in the distant future of

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<v Speaker 2>nineteen eighty nine. We will be ruining this film as

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<v Speaker 2>we go along, so if you don't want anything spoiled,

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<v Speaker 2>please turn off the podcast and come on back after

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<v Speaker 2>you've seen the film, which used to be incredibly easy

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<v Speaker 2>to find, possibly one of the easiest German films to

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<v Speaker 2>find for a number of years. Heather, when was the

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<v Speaker 2>first time you saw Kamikazi eighty nine and what did

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<v Speaker 2>you think?

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<v Speaker 3>I'm Michael's eighty nine has been on my radar for years.

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<v Speaker 3>I anybody who's into film, especially foreign film or even

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<v Speaker 3>cult film, that image of Rayner Werner Faspender in leopard

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<v Speaker 3>print like a teddy boy from hell a Sor I

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<v Speaker 3>think it's even morely brothel creeper is icotic like that image?

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<v Speaker 3>Allowed is okay? What is this? And I didn't get

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<v Speaker 3>around to actually sitting down. I'm watching this film till

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<v Speaker 3>this year. File under thank you Mike for making me

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<v Speaker 3>get off my ass and watch a movie that's been

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<v Speaker 3>on my watch list for freaking ever. My initial impressions

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<v Speaker 3>loved it, absolutely loved it. I had a good spidy

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<v Speaker 3>sense that I would I don't know about you, guys.

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<v Speaker 3>I feel like I'm pretty good about, like ninety percent

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<v Speaker 3>of the time having a good feeling if something's gonna

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<v Speaker 3>jail with me or not, and this one one hundred percent. It.

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<v Speaker 3>I absolutely loved it. I'm looking forward to to hearing

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<v Speaker 3>what you find, Chaps think about it.

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<v Speaker 2>And Chris about yourself.

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<v Speaker 1>First off, I'm actually a little bummed you didn't tell

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<v Speaker 1>me who picked this movie, because Andy Hendrickson is a

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<v Speaker 1>Patreon supporter of mine as well. Go Andy, so we

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<v Speaker 1>got a little crossover action here. I also really enjoyed it.

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<v Speaker 1>I think that there are plenty of things in this

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<v Speaker 1>movie that we're going to talk about that what's the

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<v Speaker 1>word we use, prescient or topical or like the fucking

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<v Speaker 1>nightmare that we're living in now just in film form.

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<v Speaker 1>So there's some of that going on with this movie,

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<v Speaker 1>which makes it a little bit more prescient and topical

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<v Speaker 1>to use those words again than I was expecting it

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<v Speaker 1>to be. I didn't read anything about it going into it.

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<v Speaker 1>I knew nothing about it going into it. I just

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<v Speaker 1>wanted to go in blind and I enjoyed it immensely.

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<v Speaker 1>It's one of these movies that, to your point, Heather,

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<v Speaker 1>I feel like more people would enjoy it. More people

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<v Speaker 1>should see it, and people that have been sleeping on

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<v Speaker 1>it to watch it should do themselves a favor and

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<v Speaker 1>check it out. Because the time and this is gun

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<v Speaker 1>sound like a goddamn broken record by the end of

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<v Speaker 1>this episode, I'm sure, but the times that we're living

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<v Speaker 1>in now are not that far removed from what this

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<v Speaker 1>movie and the per Wallou book talk about. We're not

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<v Speaker 1>too far off from that. Frankly, We're inching ever closer

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<v Speaker 1>every day, and if that means more people stop listening

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<v Speaker 1>to the stuff that we work on, because we, as

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<v Speaker 1>weirding Way Media are part of the media, and we

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<v Speaker 1>want a free and fair media to continue to be

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<v Speaker 1>a thing, which is part of what this movie is

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<v Speaker 1>ultimately about. I think more people should educate themselves about

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<v Speaker 1>because it's quickly and possibly becoming a reality a lot

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<v Speaker 1>faster than I think anybody would like to hope, and

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<v Speaker 1>anybody would even at least some of us would like

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<v Speaker 1>to believe.

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<v Speaker 3>I enjoyed it.

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<v Speaker 1>There's a lot to talk about there's a lot to

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<v Speaker 1>break down, and hey, what isn't like a good movie

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<v Speaker 1>that you could double feature with Brazil?

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<v Speaker 2>Don't think me? Heather. Definitely thank Andy Hendrickson because he

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<v Speaker 2>got me off on my ass to watch us as well.

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<v Speaker 2>I've owned, oh gosh, I don't know how many copies

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<v Speaker 2>of this movie I've owned over the years. I initially

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<v Speaker 2>picked it up when there was a video store going

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<v Speaker 2>out of business. I was very familiar with the cover

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<v Speaker 2>art from working at video stores and going to video stores.

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<v Speaker 2>Like I said, this one seemed to be everywhere for

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<v Speaker 2>a while, very easy to find. You couldn't really find

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<v Speaker 2>too many Fastbender films when you were looking around, but

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<v Speaker 2>you could find this which has him on the cover

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<v Speaker 2>in this amazing What is it cheetah or leopard print

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<v Speaker 2>that he's wearing?

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<v Speaker 1>It just is a animal print. Man, I love it.

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<v Speaker 1>I want this fucking jacket so bad. I have a

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<v Speaker 1>real affliction for these kinds of outfits that are really loud,

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<v Speaker 1>and I want his jacket.

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<v Speaker 3>You got to get the matching pants now, Oh, I

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<v Speaker 3>want all of it.

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<v Speaker 1>His outfit is every single character's outfit in this movie

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<v Speaker 1>is absolutely insane, especially the gentleman that you essentially meet

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<v Speaker 1>five minutes into the movie with his green jacket is

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<v Speaker 1>long green jacket. Oh my god, it's just everybody is

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<v Speaker 1>just to the nines in this movie. The outfits are

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<v Speaker 1>off the chain.

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<v Speaker 2>I owned this for a while. I think I even

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<v Speaker 2>owned it on DVD, and now a new blu ray

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<v Speaker 2>is out from Film Movement. I picked that up. It's

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<v Speaker 2>a documentary by Wolfcram who was the director of this.

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<v Speaker 2>He also acted in Quarel, and you could see a

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<v Speaker 2>whole bunch of behind the scenes footage from both Querrel

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<v Speaker 2>as well as this. But what would have motivated me

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<v Speaker 2>to watch this sooner? I didn't realize that this was

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<v Speaker 2>based on a Pervallu book and so Wilo he and

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<v Speaker 2>his partner MJ. Showwall. However you pronounce this stuff, I'm

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<v Speaker 2>so sorry, and I even I tried watching interviews and

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<v Speaker 2>trying to listen to see how people are actually pronouncing

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<v Speaker 2>these names, but a lot of them weren't in English,

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<v Speaker 2>and the subtitles weren't necessarily that good. And then even

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<v Speaker 2>with the English ones, it was like, oh, yeah, you

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<v Speaker 2>know who this is, We're just never going to say

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<v Speaker 2>the person's name. I'm like, fuck you very much. But anyway,

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<v Speaker 2>I love that.

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<v Speaker 3>I love it when that shit happen.

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<v Speaker 2>Yeah, thanks so much.

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<v Speaker 1>So.

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<v Speaker 2>They were the two who created the character of Martin Beck,

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<v Speaker 2>and Martin Beck is the central character in a film

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<v Speaker 2>that I absolutely loved, the laughing policeman, and the Martin

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<v Speaker 2>Beck character was around for years and years. This is

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<v Speaker 2>just the state of foreign noir and detective novels, and

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<v Speaker 2>almost all of these Becks have been translated into English.

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<v Speaker 2>I wasn't that familiar with Inspector Jensen, which was Wa

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<v Speaker 2>Lou's solo character. Apparently he was supposed to write three

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<v Speaker 2>he only wrote two. But this Jensen character is very

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<v Speaker 2>interesting because he's such a curmudgeon and I really think

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<v Speaker 2>that they capture that pretty well in this, especially him

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<v Speaker 2>picking on his partner Anton played by Gunther Kaufman, and

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<v Speaker 2>he's always on him about no superfluous.

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<v Speaker 1>This no superfluous that I'm gonna start using that in

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<v Speaker 1>my daily life. Get to the fucking point.

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<v Speaker 2>And those are lines right from the book, cut to

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<v Speaker 2>the fucking chase. I don't need to hear it at

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<v Speaker 2>one point in the book, like some guy's joking around

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<v Speaker 2>or something. It's just oh, just so you know, I'm

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<v Speaker 2>going to report you for this.

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<v Speaker 1>He just he is so like, buy the book.

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<v Speaker 2>It's amazing. But I would say, and Chris, it sounds

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<v Speaker 2>like you've read the book. Correct me if I'm wrong,

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<v Speaker 2>But this is a pretty faithful adaptation.

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<v Speaker 6>Yeah.

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<v Speaker 1>Again, that's what it seemed like to me anyways. And again,

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<v Speaker 1>obviously with something like literature, our own minds are going

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<v Speaker 1>to fill in some of the gaps that the author

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<v Speaker 1>intentionally leaves open for the audience to do. Look, that's

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<v Speaker 1>what Jadie Salinger always complained about with adaptations of Catcher

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<v Speaker 1>and the Rise. I don't want any one film version

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<v Speaker 1>of this to usurp the way I wrote the book,

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<v Speaker 1>and I want the reader to have And for me,

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<v Speaker 1>I would agree with that sentiment. But at the same time,

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<v Speaker 1>this is a really close and well done adaptation of

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<v Speaker 1>the book and I appreciate that as well. To your

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<v Speaker 1>point about him being a curmudgeon, and this might be

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<v Speaker 1>jumping ahead at bit, jo Nezbo has mentioned multiple times

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<v Speaker 1>that Berwalloo's works are an inspiration for him, which Harry Hula,

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<v Speaker 1>his detective in his books, is a drunken curmudgeon, just

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<v Speaker 1>the same way that Jansen is in this kind of

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<v Speaker 1>curmudgeony dick doing his job and he's good at it,

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<v Speaker 1>but he's also dealing with a substance abuse and substance addiction,

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<v Speaker 1>and I really appreciate that influence here. But I also appreciate,

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<v Speaker 1>like to your point, that they don't really deviate too

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<v Speaker 1>far from an already well done book, and that it

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<v Speaker 1>might sound like I think people don't do all the time,

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<v Speaker 1>but there are plenty of things that are great that

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<v Speaker 1>then they just adapt it and it's awful. This is

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<v Speaker 1>a great adaptation, frankly, a really great adaptation as far

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<v Speaker 1>as I'm concerned.

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<v Speaker 2>The thing with Jensen that I like is that he's

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<v Speaker 2>not really addicted to anything, but he has all of

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<v Speaker 2>this intestinal distress, and you get a little bit of

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<v Speaker 2>that in here. They talk about a drug called Narton

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<v Speaker 2>I think it is, and he puts it in some

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<v Speaker 2>water and drinks that up, and it's very similar to

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<v Speaker 2>how Jensen is constantly taking.

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<v Speaker 1>Like a biki car rioshi as the Italians would call it,

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<v Speaker 1>some sodium biicarbs, some alca seltzer and then you so.

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<v Speaker 2>You have that whole basis and you've got a lot

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<v Speaker 2>of the same characters, You've got a lot of the

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<v Speaker 2>same plot points. I would say a fairly simple story

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<v Speaker 2>at heart, because it's basically someone sends a letter to

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<v Speaker 2>In the book, it's a magazine conglomerate, and they say

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<v Speaker 2>there's a bomb in the building. It's going to go

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<v Speaker 2>off at two o'clock and Jensen gets called in. He

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<v Speaker 2>tries to evacuate the building. The person that is running

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<v Speaker 2>the business is a complete dickhead and doesn't want anybody

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<v Speaker 2>to leave. He's just like, it's going to cost us

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<v Speaker 2>so much money. We've got forty four thousand people here.

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<v Speaker 2>It's going to take forever to do. This isn't going

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<v Speaker 2>to work. He eventually gets stocked into evacuating the building,

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<v Speaker 2>and of course the bomb doesn't go off, and then

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<v Speaker 2>it becomes the Jensen's responsibility, thanks to his jerk of

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<v Speaker 2>a boss, to go out and find who sent this

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<v Speaker 2>letter and prevent anything else from happening. And then it

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<v Speaker 2>just is a very detective novel. Him going around and

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<v Speaker 2>he tries, when was the letter mailed? Can we figure

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<v Speaker 2>out where it was mailed from? How is this letter made?

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<v Speaker 2>Because it's one of those ransom type notes where you

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<v Speaker 2>get all the letters cut out all we figured out

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<v Speaker 2>what the paper is. The paper's this very specific paper

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<v Speaker 2>and it is only given out as a diploma quote unquote,

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<v Speaker 2>which is a great word for a diploma for people

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<v Speaker 2>who have been fired from this company. So then he

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<v Speaker 2>has to go around to all of the people that

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<v Speaker 2>have been fired and try to figure out what their

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<v Speaker 2>story is and how much did they hate the company

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<v Speaker 2>and are they capable of doing this? And meanwhile he

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<v Speaker 2>has his boss, the police captain, who's just what are

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<v Speaker 2>you doing. You got to hurry up, You've got seven

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<v Speaker 2>days to solve this, very arbitrary puts a seven day

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<v Speaker 2>limit onto him. You got to hurry up and do this.

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<v Speaker 2>And after a while, it feels like everybody is trying

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<v Speaker 2>to make him stop investigating, even his boss. His boss

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<v Speaker 2>is like, oh, we have a confession, don't bother with

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<v Speaker 2>this anymore, and he's like, no, I'm going to buy

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<v Speaker 2>He breaks a confession super easily and then just keeps going.

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<v Speaker 1>On with his job.

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<v Speaker 2>That's this movie. Then you add this whole level of

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<v Speaker 2>science fiction to it and put it in this dystopian

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<v Speaker 2>utopia where it's it's like, oh, there's no pollutions, there's

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<v Speaker 2>no that there's no suicide anymore, and they really make

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<v Speaker 2>a point of that no one commits suicide, whereas I

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<v Speaker 2>don't know if it was a thing when this book

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<v Speaker 2>was written that there were a lot of suicides. I've

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<v Speaker 2>seen the seventies people, the Peter Watkins film where they're

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<v Speaker 2>talking about how rampant suicide is in some of these

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<v Speaker 2>Nordic countries. Okay, I think this is all being completely

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<v Speaker 2>glossed over. And even that opening narration that you get

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<v Speaker 2>in Kamikazi eighty nine where there's no pollution, everything's green,

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<v Speaker 2>everything's so good. I'm like, yeah, I'm really not buying this,

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<v Speaker 2>especially when you get that audio affected the voice where

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<v Speaker 2>it's just it feels so evil and feels so big brother.

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<v Speaker 1>And that's the thing for me that I appreciate is

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<v Speaker 1>that it just gets right into it immediately. It's yeah,

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<v Speaker 1>there are no suicides. They're called unusual daths.

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<v Speaker 3>Oh premature. I don't premature. And that's always the whole

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<v Speaker 3>thing of George Carlin saying soft language makes soft people,

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<v Speaker 3>and we currently have I know there are content creators

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<v Speaker 3>on YouTube who can't say suicide. You have to say

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<v Speaker 3>un alive. I can't think of anything more offensive to

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<v Speaker 3>somebody who's actually either had suicidal ideations or know somebody

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<v Speaker 3>who's committed suicide to be like, oh, we don't like

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<v Speaker 3>to use that word. This is offensive, that's offensive. It's

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<v Speaker 3>just this. No, this doesn't exist like the weather forecasts

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<v Speaker 3>or even like oh, bright blue Skies Dale song Dane

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<v Speaker 3>song enis. Meanwhile, it's like gray and shitty out every day.

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<v Speaker 1>I think Gray and Shitty Outside was Depeche Mode's third

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<v Speaker 1>or fourth album, was the one after Black Celebration. Okay,

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<v Speaker 1>we underrated EP by them. I love loved Alan Wilder

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<v Speaker 1>Synth work on that one. I love how to your

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<v Speaker 1>point though, Heather, how gray and shitty the movie does

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00:15:52.279 --> 00:15:56.519
<v Speaker 1>look because it works. Again, like to say Brazil or

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<v Speaker 1>even like a Blade Runner, this feels so I do

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<v Speaker 1>not to give Ridley Scott a lot of credit, but

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<v Speaker 1>or or I would give Terry Gilliam Moore credit frankly

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<v Speaker 1>for Brazil getting to evoke this kind of feeling and

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<v Speaker 1>time in a place we see it now that there's

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<v Speaker 1>a lot of directors who think it takes a lot

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<v Speaker 1>to do that, when in reality it's actually less is

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00:16:20.679 --> 00:16:22.879
<v Speaker 1>more and all you have to do is just shoot

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<v Speaker 1>in Eastern Europe somewhere. That's what all those and I

287
00:16:25.799 --> 00:16:27.480
<v Speaker 1>know this is going to seem like a stretch. A

288
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<v Speaker 1>lot of those VOD movies now all look like these

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00:16:30.919 --> 00:16:33.720
<v Speaker 1>movies that came in the seventies and eighties that were

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00:16:33.720 --> 00:16:35.879
<v Speaker 1>being shot in Eastern Europe. A lot of those late

291
00:16:35.960 --> 00:16:39.600
<v Speaker 1>Bruce Willis Segaal, John Claudevan Damn movies while being shot

292
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<v Speaker 1>in Romania and Eastern Europe or something like. This is

293
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<v Speaker 1>again ostensibly theoretically, we're trying to evoke that time and place.

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<v Speaker 1>I love how not that they don't do a lot,

295
00:16:50.200 --> 00:16:51.960
<v Speaker 1>but how little it seems like they have to do

296
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<v Speaker 1>to get the feeling and time and space evoked. Very

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<v Speaker 1>I think again, just about as well done as Brazil,

298
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<v Speaker 1>which I know a lot of production went into that.

299
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<v Speaker 1>I'm not saying a lot of production didn't go into this,

300
00:17:03.960 --> 00:17:06.920
<v Speaker 1>but this seems like it just it's in the world

301
00:17:07.000 --> 00:17:09.359
<v Speaker 1>already and they didn't really have to create much, if

302
00:17:09.400 --> 00:17:10.079
<v Speaker 1>that makes sense.

303
00:17:10.759 --> 00:17:15.200
<v Speaker 2>They do that Alphaville thing where it's in the future,

304
00:17:15.799 --> 00:17:19.880
<v Speaker 2>but they're not making it. There's a couple of futuristic

305
00:17:19.960 --> 00:17:23.200
<v Speaker 2>things in here, but they're not relying so much on

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00:17:23.480 --> 00:17:25.839
<v Speaker 2>science fiction and special effects. I would say it's very

307
00:17:25.880 --> 00:17:28.319
<v Speaker 2>similar to what Fastpender was doing with his own world

308
00:17:28.400 --> 00:17:31.000
<v Speaker 2>on a wire type thing, where it's okay, we're gonna

309
00:17:31.039 --> 00:17:33.000
<v Speaker 2>shoot this with a ton of mirrors or something. But

310
00:17:33.119 --> 00:17:35.799
<v Speaker 2>in this one, the production values are over the moon

311
00:17:35.880 --> 00:17:40.559
<v Speaker 2>because they're using disused factories and everything just looks like shit.

312
00:17:41.160 --> 00:17:45.000
<v Speaker 2>So many of these places they all look completely run down.

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<v Speaker 2>You think of that final image of Fastpender in that

314
00:17:49.920 --> 00:17:53.440
<v Speaker 2>office area and just all the peeling paint that's everywhere,

315
00:17:53.519 --> 00:17:56.400
<v Speaker 2>and just everything looks so run down.

316
00:17:57.440 --> 00:17:59.839
<v Speaker 3>I think the thing that impressed me with how things

317
00:18:00.200 --> 00:18:04.720
<v Speaker 3>frame too is particularly between Wolfgrem's direction, but also the

318
00:18:04.799 --> 00:18:09.440
<v Speaker 3>cinematography is the way through angles and perspective they are

319
00:18:09.519 --> 00:18:12.039
<v Speaker 3>able to make the combine, which is this huge building

320
00:18:12.160 --> 00:18:16.759
<v Speaker 3>that we're given to believe hit house, multiple TV studios,

321
00:18:17.680 --> 00:18:20.240
<v Speaker 3>an arena at one one do we see like a

322
00:18:20.960 --> 00:18:24.160
<v Speaker 3>large arena, And he does such agree job of making

323
00:18:24.200 --> 00:18:28.119
<v Speaker 3>it seem on one hand, completely like a labyrinth, like

324
00:18:28.279 --> 00:18:32.839
<v Speaker 3>it almost never ends, and yet also completely and utterly claustrophobic.

325
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<v Speaker 2>And I wonder with them calling it the combine, if

326
00:18:36.720 --> 00:18:39.519
<v Speaker 2>that's they I know what a combine is. And of

327
00:18:39.599 --> 00:18:43.000
<v Speaker 2>course there's the farm equipment, the combine, and there's other combines,

328
00:18:43.039 --> 00:18:46.119
<v Speaker 2>but I kept thinking of One Flu of the Cuckoo's Nest,

329
00:18:46.200 --> 00:18:48.359
<v Speaker 2>the actual book of One Flu of the Cuckoo's Nest,

330
00:18:48.400 --> 00:18:52.359
<v Speaker 2>where Keisy is talking about this kind of epic machine

331
00:18:52.519 --> 00:18:55.400
<v Speaker 2>that is just coming and running over everybody and just

332
00:18:55.519 --> 00:18:58.279
<v Speaker 2>chopping everybody up into bits kind of thing. It's almost

333
00:18:58.960 --> 00:19:01.480
<v Speaker 2>like Kenneth Fearing's The Big Clock or something where it's

334
00:19:01.519 --> 00:19:05.359
<v Speaker 2>just like there's a machine that controls everything, that sees everything,

335
00:19:05.440 --> 00:19:08.400
<v Speaker 2>and the combine works in combination with the Big Nurse

336
00:19:08.680 --> 00:19:11.200
<v Speaker 2>from One Flew Over the Cuckoo's Nest. She's almost like

337
00:19:11.279 --> 00:19:13.559
<v Speaker 2>the agent of the combine. And I was just like, yeah,

338
00:19:13.599 --> 00:19:15.920
<v Speaker 2>that kind of feels like this where it's just one

339
00:19:16.079 --> 00:19:21.039
<v Speaker 2>media conglomerate that runs over everything and they try to

340
00:19:21.200 --> 00:19:23.559
<v Speaker 2>control the whole message and the thing that I love

341
00:19:23.720 --> 00:19:27.119
<v Speaker 2>that they really make it more apparent in the book

342
00:19:27.160 --> 00:19:29.319
<v Speaker 2>for me. But we'll talk about what they do with

343
00:19:29.440 --> 00:19:32.279
<v Speaker 2>the TV stuff here. But in the book they're talking

344
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<v Speaker 2>about all of these magazines that are being run and

345
00:19:35.880 --> 00:19:37.319
<v Speaker 2>I guess maybe that's why I was thinking of The

346
00:19:37.359 --> 00:19:40.200
<v Speaker 2>Big Clock as well, all of these magazines that are

347
00:19:40.240 --> 00:19:44.160
<v Speaker 2>being run by this company, and they're all completely vapid

348
00:19:44.400 --> 00:19:48.359
<v Speaker 2>and insipid and just all about good news, and if

349
00:19:48.400 --> 00:19:51.640
<v Speaker 2>you try to write anything that's real, it just immediately

350
00:19:51.720 --> 00:19:55.519
<v Speaker 2>gets axed. I think, speaking of suicide, somebody wrote a

351
00:19:55.720 --> 00:19:59.240
<v Speaker 2>report about suicide, try to submit it as a story.

352
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<v Speaker 2>And he's one of the guys that got fired. And

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<v Speaker 2>we'll talk more about some of the what's actually on

354
00:20:05.279 --> 00:20:07.839
<v Speaker 2>the thirty first floor as we go along, But yeah,

355
00:20:07.920 --> 00:20:11.200
<v Speaker 2>this whole idea of them running this TV station and

356
00:20:11.319 --> 00:20:15.319
<v Speaker 2>the only thing you really see is the laughing contest

357
00:20:15.440 --> 00:20:17.839
<v Speaker 2>where it's just people on TV louing.

358
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<v Speaker 1>Holy fuck, it's like a true dystopian fucking nightmare right there, folks.

359
00:20:22.880 --> 00:20:25.920
<v Speaker 1>It looks so bananas and I was I can be like,

360
00:20:26.039 --> 00:20:28.359
<v Speaker 1>this is like torture. This is literally if you were

361
00:20:28.400 --> 00:20:31.960
<v Speaker 1>forced to watch this, you would go insane. It just

362
00:20:32.160 --> 00:20:35.880
<v Speaker 1>it is maddening anytime they show clips of it. And

363
00:20:35.960 --> 00:20:37.799
<v Speaker 1>of course you get a lot of the great stylistic

364
00:20:37.920 --> 00:20:40.880
<v Speaker 1>design where we especially keep seeing like one lady in particular,

365
00:20:40.920 --> 00:20:43.079
<v Speaker 1>who's got like this great hat and she's got this

366
00:20:43.279 --> 00:20:45.759
<v Speaker 1>great just almost like a RICTI scrint.

367
00:20:46.279 --> 00:20:50.400
<v Speaker 3>Is that quite technically, but it's one inch away from

368
00:20:50.480 --> 00:20:53.640
<v Speaker 3>being like a ricta scrint and then later on the Little.

369
00:20:53.440 --> 00:20:58.000
<v Speaker 1>Girl that's where it's really upsetting. But hey, it's the future, folks,

370
00:20:58.759 --> 00:20:59.200
<v Speaker 1>and she's the.

371
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<v Speaker 2>One who's gonna break the world record. Apparently.

372
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<v Speaker 3>I love Jensen and see I'm going into this. I

373
00:21:05.359 --> 00:21:08.079
<v Speaker 3>have not read the book, but for anybody listening to this,

374
00:21:08.480 --> 00:21:10.000
<v Speaker 3>you don't need to. I don't think you need to

375
00:21:10.039 --> 00:21:10.960
<v Speaker 3>read the book necessarily.

376
00:21:11.200 --> 00:21:12.200
<v Speaker 2>No, I don't think so either.

377
00:21:12.400 --> 00:21:16.839
<v Speaker 3>This film is it stands alone on its own brilliantly.

378
00:21:17.680 --> 00:21:20.359
<v Speaker 3>And Chanson is such a cool character because he's like

379
00:21:20.480 --> 00:21:25.240
<v Speaker 3>a great mixed Fastpender just visually. To me, it's always

380
00:21:25.279 --> 00:21:27.519
<v Speaker 3>such a cool looking guy, such an interesting guy.

381
00:21:28.240 --> 00:21:31.519
<v Speaker 1>Would you say Kinski and Heather No, because.

382
00:21:31.279 --> 00:21:33.599
<v Speaker 3>I don't think Fastpender. I would trust him with the

383
00:21:33.680 --> 00:21:38.160
<v Speaker 3>house plant. I love Klauskinski as an actor, but as

384
00:21:38.240 --> 00:21:41.920
<v Speaker 3>a human. Yeah, the fish stops swimming, it becomes to

385
00:21:42.000 --> 00:21:44.799
<v Speaker 3>the house if you know what I'm saying. Best Manders

386
00:21:45.240 --> 00:21:47.960
<v Speaker 3>And he's great as an actor here too, because I've

387
00:21:48.039 --> 00:21:50.559
<v Speaker 3>seen more of this work as a director, to be honest,

388
00:21:50.559 --> 00:21:53.119
<v Speaker 3>and I am as an actor, but which I want

389
00:21:53.160 --> 00:21:57.680
<v Speaker 3>to rectify that, especially after this, because he's not supernaturally

390
00:21:57.799 --> 00:22:00.559
<v Speaker 3>cool though because I think the thing is in America.

391
00:22:01.319 --> 00:22:03.839
<v Speaker 3>And this kind of actually ties into a discussion Mike

392
00:22:04.079 --> 00:22:06.359
<v Speaker 3>that you and I had with Jessica Shiers earlier this

393
00:22:06.480 --> 00:22:09.480
<v Speaker 3>week on Franco's Dantown, because we got a detective character

394
00:22:09.559 --> 00:22:12.640
<v Speaker 3>in that who was very much an every an, average

395
00:22:12.720 --> 00:22:16.599
<v Speaker 3>man and every man in a way. Janson's not quite that.

396
00:22:16.880 --> 00:22:21.759
<v Speaker 3>He does have this Stirling track record, but there's a

397
00:22:21.880 --> 00:22:25.279
<v Speaker 3>haggardness about him. I'm not even talking physically. There's just

398
00:22:25.359 --> 00:22:29.200
<v Speaker 3>something in his gait in a way. He knows all

399
00:22:29.279 --> 00:22:31.720
<v Speaker 3>of this is bullshit, but he but he knows better

400
00:22:32.359 --> 00:22:34.279
<v Speaker 3>than to say it out loud. It's like when Anton

401
00:22:34.359 --> 00:22:36.200
<v Speaker 3>makes it I love Anton too, Oh my god, his

402
00:22:36.359 --> 00:22:40.599
<v Speaker 3>interplay with Anton, Oh my god, so great. But Anton

403
00:22:41.319 --> 00:22:46.480
<v Speaker 3>really apt leaves. You're basically saying, wow, the state bans alcohol,

404
00:22:47.440 --> 00:22:49.799
<v Speaker 3>but then creates a world that drives people to drink,

405
00:22:50.200 --> 00:22:53.359
<v Speaker 3>and then we basically beat them for it. And immediately

406
00:22:53.440 --> 00:22:56.200
<v Speaker 3>Jansen's just don't say it. Don't ever say that out

407
00:22:56.200 --> 00:22:58.079
<v Speaker 3>loud again. And you could tell he's not trying to

408
00:22:58.119 --> 00:22:59.799
<v Speaker 3>be like a dick, like he's drank.

409
00:22:59.680 --> 00:23:00.359
<v Speaker 1>The crew laid.

410
00:23:01.119 --> 00:23:04.000
<v Speaker 3>It's almost more just you got to cover your ass.

411
00:23:04.880 --> 00:23:05.720
<v Speaker 1>It is what it is.

412
00:23:06.799 --> 00:23:08.880
<v Speaker 2>If you want to make it in this world, Anton,

413
00:23:09.039 --> 00:23:11.359
<v Speaker 2>you better not say this stuff. You better keep it

414
00:23:11.400 --> 00:23:15.119
<v Speaker 2>on lock like me, because you'll never get anywhere other

415
00:23:15.200 --> 00:23:17.519
<v Speaker 2>than maybe thrown in a looney bin or something.

416
00:23:18.480 --> 00:23:22.960
<v Speaker 1>Early Unexpected Exodus. Ooh, that would be a great prog album,

417
00:23:23.160 --> 00:23:24.480
<v Speaker 1>Unexpected to exit it.

418
00:23:24.880 --> 00:23:28.519
<v Speaker 2>I did notice that Chrismo Papas is a banned out

419
00:23:28.559 --> 00:23:30.839
<v Speaker 2>of Germany now, so they must have taken the name

420
00:23:30.880 --> 00:23:31.119
<v Speaker 2>from this.

421
00:23:31.440 --> 00:23:31.640
<v Speaker 3>Yeah.

422
00:23:32.359 --> 00:23:35.519
<v Speaker 1>Hell, that's a great name. Oh now, speaking of.

423
00:23:35.799 --> 00:23:39.160
<v Speaker 2>The book, that stuff was not in here, the Blue Panther,

424
00:23:39.640 --> 00:23:43.279
<v Speaker 2>the Chrismo Pappas. No, no, I totally agree with you, Heather.

425
00:23:43.400 --> 00:23:45.200
<v Speaker 2>You do not need to read the book for this

426
00:23:45.400 --> 00:23:48.880
<v Speaker 2>because it is a self contained world in this movie. Well,

427
00:23:48.920 --> 00:23:51.640
<v Speaker 2>I just want to bring that aspect to it of

428
00:23:51.839 --> 00:23:53.519
<v Speaker 2>what the book had versus.

429
00:23:53.359 --> 00:23:57.519
<v Speaker 5>This, because oh, absolutely, yeah, this is I absolutely think

430
00:23:57.599 --> 00:24:02.799
<v Speaker 5>that this movie really sets up a world and sets

431
00:24:02.880 --> 00:24:04.480
<v Speaker 5>up the look and feel of things.

432
00:24:04.960 --> 00:24:08.000
<v Speaker 2>Even if you look at Jensen's car and he's got

433
00:24:08.119 --> 00:24:11.000
<v Speaker 2>like the leopard print across the fucking dashboard and it's

434
00:24:11.039 --> 00:24:13.519
<v Speaker 2>in the back, I'm just like he is on brand

435
00:24:13.759 --> 00:24:14.200
<v Speaker 2>with all this.

436
00:24:14.960 --> 00:24:17.559
<v Speaker 1>I love the leopard print so much. I really think

437
00:24:18.279 --> 00:24:21.839
<v Speaker 1>that for me. As much as I enjoy the movie itself,

438
00:24:21.960 --> 00:24:25.599
<v Speaker 1>the production design of the movie and the costume design

439
00:24:25.839 --> 00:24:30.559
<v Speaker 1>is just it's so unique and weird and strange, and

440
00:24:30.640 --> 00:24:35.799
<v Speaker 1>it is that weird. It's not futurism, but I would

441
00:24:35.799 --> 00:24:39.000
<v Speaker 1>say almost retro futurism in a way. We have this again,

442
00:24:39.079 --> 00:24:42.759
<v Speaker 1>the juxtaposition of advanced civilization. But yet people are still like,

443
00:24:43.680 --> 00:24:47.000
<v Speaker 1>I don't know, driving cars because again it's something like

444
00:24:47.039 --> 00:24:50.400
<v Speaker 1>Blade Runner. There's no cars, right, It's just it's the

445
00:24:50.480 --> 00:24:53.720
<v Speaker 1>floating taxi. So I guess the floating cars as it were.

446
00:24:54.279 --> 00:24:57.440
<v Speaker 1>And then in Brazil are there cars in Brazil? Do

447
00:24:57.559 --> 00:24:59.480
<v Speaker 1>we ever see people driving around in cars?

448
00:25:00.160 --> 00:25:02.480
<v Speaker 2>At least in the one cut they take that truck

449
00:25:02.559 --> 00:25:07.200
<v Speaker 2>and go out of town to the beautiful countryside. But

450
00:25:07.359 --> 00:25:11.319
<v Speaker 2>they sure the big fucking trucks those too, like the

451
00:25:11.480 --> 00:25:14.839
<v Speaker 2>big industrial type things. But yeah, you're right, I'm trying

452
00:25:14.880 --> 00:25:17.039
<v Speaker 2>to think of the car situation. It feels like he

453
00:25:17.119 --> 00:25:18.400
<v Speaker 2>gets round in a little car.

454
00:25:19.200 --> 00:25:23.039
<v Speaker 1>With that futurism, you have them using cars phones that

455
00:25:23.200 --> 00:25:28.319
<v Speaker 1>have like keypads on them, still like CRT TVs. So

456
00:25:28.480 --> 00:25:32.079
<v Speaker 1>I like that juxtaposition because it makes it feel similarly

457
00:25:32.240 --> 00:25:34.839
<v Speaker 1>to someone like George Lucas. It makes the world feel

458
00:25:35.759 --> 00:25:40.160
<v Speaker 1>genuinely lived in a way that, again it's hard to do,

459
00:25:41.200 --> 00:25:43.640
<v Speaker 1>not intentionally, but it's hard to do on a budget

460
00:25:43.680 --> 00:25:46.200
<v Speaker 1>that this movie was operating on. For all of the

461
00:25:46.400 --> 00:25:49.599
<v Speaker 1>great quality acting, I think everything else is matched by

462
00:25:49.680 --> 00:25:52.279
<v Speaker 1>the production design and the writing obviously, but the production

463
00:25:52.359 --> 00:25:55.119
<v Speaker 1>design I can't say enough good things about, because every

464
00:25:55.160 --> 00:25:57.079
<v Speaker 1>time you meet a new character or you go into

465
00:25:57.160 --> 00:26:00.200
<v Speaker 1>a new scene, there's something else to look at, there's

466
00:26:00.200 --> 00:26:04.200
<v Speaker 1>something else to notice. And I appreciate that about the

467
00:26:04.319 --> 00:26:07.400
<v Speaker 1>film and the filmmakers and even the book itself, because again,

468
00:26:07.720 --> 00:26:10.039
<v Speaker 1>while the book may not be one to one, a

469
00:26:10.119 --> 00:26:13.000
<v Speaker 1>lot of this stuff does come from the book. Yeah.

470
00:26:13.039 --> 00:26:15.200
<v Speaker 2>And where it doesn't come from the book, I think

471
00:26:15.279 --> 00:26:18.119
<v Speaker 2>they just add such a great flavor to it, things

472
00:26:18.279 --> 00:26:21.960
<v Speaker 2>like how he's wearing the camera ring the eye of

473
00:26:22.079 --> 00:26:25.359
<v Speaker 2>the Tiger, or it reminds me of Mark Singer's ring

474
00:26:25.519 --> 00:26:26.559
<v Speaker 2>from a beast Master?

475
00:26:27.200 --> 00:26:28.000
<v Speaker 4>Was it Mark Singer?

476
00:26:28.119 --> 00:26:28.319
<v Speaker 1>It was?

477
00:26:28.640 --> 00:26:30.920
<v Speaker 2>Which ring I'm talking about from beast Master where they

478
00:26:30.960 --> 00:26:33.720
<v Speaker 2>eventually put the poker in there and blind the witches

479
00:26:33.799 --> 00:26:34.880
<v Speaker 2>from seeing what's going on.

480
00:26:35.240 --> 00:26:37.519
<v Speaker 3>When you say beast Master, my brain immediately goes to

481
00:26:37.640 --> 00:26:41.960
<v Speaker 3>Ferret's rip torn in that order. But yeah, No, I

482
00:26:42.160 --> 00:26:44.359
<v Speaker 3>loved that ring and the fact that he's got like

483
00:26:44.480 --> 00:26:46.359
<v Speaker 3>a well it's not quite.

484
00:26:46.160 --> 00:26:48.880
<v Speaker 1>A bolo tie, no, but it's like it's not a

485
00:26:48.960 --> 00:26:50.920
<v Speaker 1>cravat either, No, but.

486
00:26:51.000 --> 00:26:55.000
<v Speaker 3>He's got a sort of a permutated bolo TIChE what's

487
00:26:55.039 --> 00:26:57.720
<v Speaker 3>af fixing it is like another sort of like type

488
00:26:57.759 --> 00:27:01.079
<v Speaker 3>tiger eye, which tiger is this stone is often used

489
00:27:01.119 --> 00:27:04.079
<v Speaker 3>for protection. I don't know if that was going into that,

490
00:27:04.319 --> 00:27:07.680
<v Speaker 3>but that's something cold as an aside, and it kind

491
00:27:07.680 --> 00:27:10.160
<v Speaker 3>of adds toutely and Chris, I love the fact that

492
00:27:10.240 --> 00:27:12.000
<v Speaker 3>you brought up sort of the tech because I think

493
00:27:12.039 --> 00:27:14.599
<v Speaker 3>sometimes when people do science fiction they get too lost

494
00:27:14.720 --> 00:27:17.079
<v Speaker 3>in the weeds. I mean, like everything has to be

495
00:27:17.200 --> 00:27:20.160
<v Speaker 3>high tech and it's but that's not always reality, is it.

496
00:27:20.480 --> 00:27:22.759
<v Speaker 3>And to be honest, if you're focusing so much on

497
00:27:22.920 --> 00:27:26.039
<v Speaker 3>tech and not so much on the human story, because

498
00:27:26.119 --> 00:27:29.200
<v Speaker 3>humans are the same like we That's why we keep

499
00:27:29.240 --> 00:27:35.759
<v Speaker 3>rereading history unfortunately, but humanity doesn't ever really change that much.

500
00:27:36.640 --> 00:27:39.279
<v Speaker 3>And this story in this world definitely conveys all of that.

501
00:27:40.359 --> 00:27:44.160
<v Speaker 3>And there is a great stylization though to the fashion,

502
00:27:44.240 --> 00:27:47.039
<v Speaker 3>and it is a great mix of we have Jansen

503
00:27:47.079 --> 00:27:50.319
<v Speaker 3>who is very much like a teddy boy, which actually

504
00:27:50.440 --> 00:27:54.200
<v Speaker 3>quick another aside about teddy boys, because there's that great

505
00:27:54.319 --> 00:27:58.920
<v Speaker 3>club that we see in the film, and the last

506
00:27:58.960 --> 00:28:01.119
<v Speaker 3>time we see in the club, there are people in

507
00:28:01.200 --> 00:28:03.279
<v Speaker 3>the back dancing, and I swear to god they're doing

508
00:28:03.359 --> 00:28:05.640
<v Speaker 3>that weird teddy boy dance that you see in Tommy.

509
00:28:06.480 --> 00:28:08.720
<v Speaker 3>Anybody ever seen Kid Russell's Tommy You know what I'm

510
00:28:08.759 --> 00:28:11.759
<v Speaker 3>talking about. And my husband actually writer me that if

511
00:28:11.799 --> 00:28:14.559
<v Speaker 3>you watch the Rolling Stones concert in Hyde Park that

512
00:28:14.759 --> 00:28:17.720
<v Speaker 3>was like the memorial for Brian Jones, there are Hell's

513
00:28:17.759 --> 00:28:20.079
<v Speaker 3>Angels doing that same dance and I'm like, oh my god.

514
00:28:20.200 --> 00:28:26.079
<v Speaker 3>kN Russell probably though that and so connective tissue. Janssen

515
00:28:26.799 --> 00:28:29.680
<v Speaker 3>has an old slot machine where he hides his booze.

516
00:28:30.200 --> 00:28:34.039
<v Speaker 3>He's got the astronaut imagery. He has these tathers to

517
00:28:34.200 --> 00:28:38.640
<v Speaker 3>the past, and he's surrounded by people that are dressed

518
00:28:38.960 --> 00:28:42.640
<v Speaker 3>in this very much. I love your term, Chris, like

519
00:28:42.759 --> 00:28:46.039
<v Speaker 3>retro futurist kind of style, where it's very much more

520
00:28:46.240 --> 00:28:50.839
<v Speaker 3>like Neon cutlers. Bright colors that clash together, patterns that

521
00:28:50.920 --> 00:28:54.960
<v Speaker 3>clash together at times, sort of angular clothing for some

522
00:28:55.079 --> 00:28:57.000
<v Speaker 3>of the particularly some of the people in the clubs

523
00:28:57.240 --> 00:28:59.839
<v Speaker 3>and also which we'll get to her, I'm sure in

524
00:28:59.880 --> 00:29:04.680
<v Speaker 3>a bit Barbara the ex hostess of the cop of

525
00:29:04.759 --> 00:29:07.920
<v Speaker 3>one of the Combine's top TV shows. And yeah, and

526
00:29:08.000 --> 00:29:11.480
<v Speaker 3>but we see her those great angular glasses that are

527
00:29:11.599 --> 00:29:14.519
<v Speaker 3>very eighties style, commerced a bit like what we see

528
00:29:14.599 --> 00:29:17.400
<v Speaker 3>Christopher Lee down in the club scene and haling to

529
00:29:18.119 --> 00:29:20.799
<v Speaker 3>she's got that is she also the one.

530
00:29:20.720 --> 00:29:23.000
<v Speaker 1>With the shoulder pads where she looks like a football player.

531
00:29:23.480 --> 00:29:26.200
<v Speaker 2>Yes, that outfit is amazing.

532
00:29:26.799 --> 00:29:29.079
<v Speaker 1>That is the greatest outfit in the film. And this

533
00:29:29.200 --> 00:29:30.759
<v Speaker 1>is a movie that has a guy in a leopard

534
00:29:30.920 --> 00:29:34.960
<v Speaker 1>suit the entire movie. Yeah, that outfit in particular, in

535
00:29:35.079 --> 00:29:37.920
<v Speaker 1>my notes, I was just like, what the fuck Tennessee

536
00:29:38.000 --> 00:29:40.880
<v Speaker 1>Titans outfit is this? She looks like she could be

537
00:29:40.960 --> 00:29:44.519
<v Speaker 1>a Tennessee Titans player or cheerleader or both because it's

538
00:29:44.559 --> 00:29:48.079
<v Speaker 1>blue and white. But then the pink shower cap with

539
00:29:48.240 --> 00:29:50.319
<v Speaker 1>the flowers on it, for me, is really the set

540
00:29:50.440 --> 00:29:52.440
<v Speaker 1>the production design that sets it right over the top.

541
00:29:52.839 --> 00:29:55.960
<v Speaker 1>Everything in this is just stylized. We just keep coming

542
00:29:56.000 --> 00:29:58.680
<v Speaker 1>back to the term stylized. And I love how stylized

543
00:29:58.720 --> 00:30:01.880
<v Speaker 1>this movie is because and there's other things like it,

544
00:30:02.000 --> 00:30:05.519
<v Speaker 1>But there's nothing really specifically like this, which is really fun.

545
00:30:05.640 --> 00:30:07.319
<v Speaker 1>That makes us a really fun movie.

546
00:30:07.759 --> 00:30:10.000
<v Speaker 3>Yeah, and that whole shower cap or shower cup like

547
00:30:10.039 --> 00:30:11.920
<v Speaker 3>that swimming cap thing is totally like such a to

548
00:30:12.000 --> 00:30:14.359
<v Speaker 3>me in nineteen fifties figging.

549
00:30:14.160 --> 00:30:17.960
<v Speaker 1>Like, yeah, another kind of anachronism, really, oh totally.

550
00:30:18.759 --> 00:30:22.279
<v Speaker 3>Even her home design is very like mid century like,

551
00:30:22.480 --> 00:30:26.440
<v Speaker 3>very like mid like late fifties to late sixties design,

552
00:30:26.640 --> 00:30:28.240
<v Speaker 3>which I don't even know if that was that common

553
00:30:28.319 --> 00:30:31.200
<v Speaker 3>of a design in Germany, then I always think of

554
00:30:31.240 --> 00:30:34.400
<v Speaker 3>that design more being very American. But of course maybe

555
00:30:34.400 --> 00:30:37.640
<v Speaker 3>it's because I'm American. I don't know. Don't nobody judge

556
00:30:37.720 --> 00:30:40.440
<v Speaker 3>us and judge me? Like, Okay, our schooling system in

557
00:30:40.480 --> 00:30:44.599
<v Speaker 3>this country has a lot of fatures. We're doing our best, Okay,

558
00:30:45.599 --> 00:30:46.440
<v Speaker 3>what's left of it?

559
00:30:46.599 --> 00:30:51.000
<v Speaker 2>Heather, Just wait till your friend Vince McMahon's wife gets douned.

560
00:30:51.160 --> 00:30:55.200
<v Speaker 1>It's the wife of former Disgrace CEO and founder Vince McMahon.

561
00:30:55.319 --> 00:30:57.559
<v Speaker 1>Just to make sure nobody forgets that he's a disgraced

562
00:30:57.599 --> 00:31:01.519
<v Speaker 1>piece of dog shit allegedly. But that's the thing about

563
00:31:01.559 --> 00:31:04.000
<v Speaker 1>this movie, right, not to get real for a moment.

564
00:31:04.079 --> 00:31:07.039
<v Speaker 1>On the movie podcast, Folks, but let's get real for

565
00:31:07.160 --> 00:31:10.519
<v Speaker 1>a moment. The point of this movie is what we

566
00:31:10.599 --> 00:31:14.480
<v Speaker 1>are dealing with now, which is the utter and complete

567
00:31:14.680 --> 00:31:20.160
<v Speaker 1>erasure of ideas as they exist completely. We are being

568
00:31:20.319 --> 00:31:23.359
<v Speaker 1>told that things are not existing when we know that

569
00:31:23.480 --> 00:31:26.480
<v Speaker 1>they exist. We are being told sometimes that the sky

570
00:31:26.640 --> 00:31:29.599
<v Speaker 1>is green when it's clearly fucking blue. And there are

571
00:31:29.680 --> 00:31:34.039
<v Speaker 1>people now that Again I'm not making broad generalizations about anything.

572
00:31:34.200 --> 00:31:36.319
<v Speaker 1>There are people that believe things now that are so

573
00:31:36.759 --> 00:31:40.680
<v Speaker 1>out there that to even bring it up and give

574
00:31:40.759 --> 00:31:43.759
<v Speaker 1>it credence. I'm not saying we should stop people from

575
00:31:43.799 --> 00:31:47.880
<v Speaker 1>having conversations, but sometimes even the things that we're talking about,

576
00:31:48.599 --> 00:31:51.880
<v Speaker 1>if you're believing it seriously, that's fine. But the total

577
00:31:51.960 --> 00:31:55.119
<v Speaker 1>erasure of ideas is not okay for me for the

578
00:31:55.200 --> 00:31:57.519
<v Speaker 1>most part at all. And this movie literally cuts to

579
00:31:57.599 --> 00:32:00.759
<v Speaker 1>that idea completely because they live in a society where

580
00:32:01.640 --> 00:32:04.000
<v Speaker 1>what you are told every day is what you are

581
00:32:04.039 --> 00:32:07.039
<v Speaker 1>expected to believe, which I don't know how we haven't

582
00:32:07.079 --> 00:32:10.359
<v Speaker 1>mentioned it up until this point, but nineteen eighty four, anybody,

583
00:32:10.880 --> 00:32:14.440
<v Speaker 1>that's the other big point of influence with this, right,

584
00:32:14.640 --> 00:32:16.680
<v Speaker 1>it's a huge point of influence here.

585
00:32:16.839 --> 00:32:21.640
<v Speaker 2>Clearly, Yeah, news speak would be all about unexpected exodus.

586
00:32:22.240 --> 00:32:27.119
<v Speaker 3>Unusual deaths, and you can think Arbik further before or Well.

587
00:32:27.599 --> 00:32:29.839
<v Speaker 3>This is pretty much considered a proto in nineteen eighty four.

588
00:32:30.000 --> 00:32:32.839
<v Speaker 3>But there's a Soviet author by the name of Eugene

589
00:32:32.880 --> 00:32:36.880
<v Speaker 3>Samyatin who wrote the book We, which I do highly encourage.

590
00:32:36.960 --> 00:32:38.440
<v Speaker 3>Maybe I don't read it right now if you're in

591
00:32:38.519 --> 00:32:39.240
<v Speaker 3>this country.

592
00:32:39.400 --> 00:32:41.519
<v Speaker 1>There's a lot of things I wouldn't suggest people read

593
00:32:41.680 --> 00:32:42.119
<v Speaker 1>right now.

594
00:32:42.720 --> 00:32:45.319
<v Speaker 3>It is a brilliant work of dystopian science struction and

595
00:32:45.400 --> 00:32:48.640
<v Speaker 3>definitely has a lot of I wouldn't say that Orwell

596
00:32:48.680 --> 00:32:50.640
<v Speaker 3>ripped it off like Orwell's great a lot nite day four,

597
00:32:50.799 --> 00:32:54.519
<v Speaker 3>But there's some parallels. Certainly there's some again connective tissue.

598
00:32:55.480 --> 00:32:57.599
<v Speaker 3>I think though, that's why it's so important to watch

599
00:32:57.720 --> 00:33:00.200
<v Speaker 3>movies like this and actually this is souf fake. As

600
00:33:00.240 --> 00:33:02.359
<v Speaker 3>I think about some of the science fiction films that

601
00:33:02.440 --> 00:33:05.400
<v Speaker 3>stay with me the most are the ones like this

602
00:33:05.559 --> 00:33:08.640
<v Speaker 3>that really have a humanity to the story, that it's

603
00:33:08.720 --> 00:33:12.359
<v Speaker 3>really this is us now, guys, and this has always

604
00:33:12.440 --> 00:33:15.720
<v Speaker 3>been us too. We have always historically as a species

605
00:33:16.079 --> 00:33:19.759
<v Speaker 3>had to battle. Hey, here's some breads and circuses. Don't

606
00:33:19.799 --> 00:33:24.599
<v Speaker 3>worry while we oppress you, while we economically oppress you

607
00:33:24.680 --> 00:33:28.160
<v Speaker 3>while we physically approached you, while we et cetera, et cetera,

608
00:33:28.200 --> 00:33:31.039
<v Speaker 3>et cetera. But this is the vitality of art, and

609
00:33:31.119 --> 00:33:33.839
<v Speaker 3>this is the vitality of films like Comic Cozat nine,

610
00:33:33.880 --> 00:33:37.240
<v Speaker 3>because it's able to not only remind us of that

611
00:33:38.240 --> 00:33:40.880
<v Speaker 3>because we're like that, We're like the mouse that keeps

612
00:33:40.920 --> 00:33:43.519
<v Speaker 3>getting shocked trying to get that cheese. We keep having

613
00:33:43.519 --> 00:33:46.480
<v Speaker 3>to relearn the lesson, and that that's why art is

614
00:33:46.519 --> 00:33:48.319
<v Speaker 3>so important to have, because that's a great way for

615
00:33:48.440 --> 00:33:51.039
<v Speaker 3>us to be reminded of that without having to put

616
00:33:51.079 --> 00:33:53.640
<v Speaker 3>our hand in the fire. Do we need to relearn

617
00:33:53.720 --> 00:33:54.119
<v Speaker 3>the lesson?

618
00:33:54.240 --> 00:33:56.039
<v Speaker 1>Or do the people that have never learned the lesson

619
00:33:56.079 --> 00:33:57.799
<v Speaker 1>to begin with need to learn the lesson for the

620
00:33:57.839 --> 00:34:01.720
<v Speaker 1>first time. I think that's probably the I mean the

621
00:34:01.839 --> 00:34:04.319
<v Speaker 1>collective when I say we have the species.

622
00:34:04.400 --> 00:34:07.400
<v Speaker 3>I'm not talking about individuals here, but yeah, I know

623
00:34:08.039 --> 00:34:10.559
<v Speaker 3>I'm trying not to be thrown in with everybody else though,

624
00:34:11.400 --> 00:34:14.760
<v Speaker 3>But I've heard mass graves are quite cold and frigid

625
00:34:14.800 --> 00:34:17.000
<v Speaker 3>this time of year. I can't segue from that, but

626
00:34:17.079 --> 00:34:20.880
<v Speaker 3>I can't segue from American culture and how it does

627
00:34:20.960 --> 00:34:23.440
<v Speaker 3>pop up in this belt because you have the whole

628
00:34:23.480 --> 00:34:26.480
<v Speaker 3>comic book, which I mean, obviously underground comics have been

629
00:34:27.119 --> 00:34:30.400
<v Speaker 3>a great way to attack oppressor's attack the status quo.

630
00:34:30.599 --> 00:34:33.480
<v Speaker 3>People are doing that in Europe in a seventeen hundreds

631
00:34:33.519 --> 00:34:37.599
<v Speaker 3>and having pornographic drawings of a various royalty just to

632
00:34:38.079 --> 00:34:40.840
<v Speaker 3>be a way to undercut them. But I love seeing

633
00:34:40.920 --> 00:34:44.280
<v Speaker 3>that here, and I love also there's this weird invocation

634
00:34:44.440 --> 00:34:49.440
<v Speaker 3>of comic book culture, particularly the Blue Panther character of

635
00:34:49.599 --> 00:34:56.599
<v Speaker 3>the fact that his weirdo nephew is his nephew, because

636
00:34:56.840 --> 00:34:59.559
<v Speaker 3>please guys, if I'm misremembering that's please tell me is

637
00:34:59.639 --> 00:35:02.239
<v Speaker 3>isn't it you? The one that keeps going? At one point,

638
00:35:03.079 --> 00:35:05.599
<v Speaker 3>baby like that when we person met.

639
00:35:05.519 --> 00:35:08.559
<v Speaker 1>Him, baby, oh babe, what the fuck is going on here?

640
00:35:08.760 --> 00:35:09.440
<v Speaker 4>Is he pop?

641
00:35:10.239 --> 00:35:10.280
<v Speaker 3>Like?

642
00:35:10.440 --> 00:35:15.239
<v Speaker 1>What really hit him? Hard? Oh?

643
00:35:15.440 --> 00:35:17.559
<v Speaker 3>Man? He needs to share? But he's got like the

644
00:35:17.719 --> 00:35:21.960
<v Speaker 3>Superman phone. And then later on we see another character

645
00:35:22.239 --> 00:35:25.199
<v Speaker 3>who is like a landlord who we find out actually

646
00:35:25.280 --> 00:35:29.280
<v Speaker 3>has some ties to the underground comic about chrismal popos,

647
00:35:29.320 --> 00:35:33.239
<v Speaker 3>but ended up getting bought out and sold his soul,

648
00:35:33.320 --> 00:35:35.039
<v Speaker 3>and the he learns that I sold my soul on

649
00:35:35.159 --> 00:35:38.239
<v Speaker 3>time ago, which that's a heavy statement. That's the shit

650
00:35:38.280 --> 00:35:40.719
<v Speaker 3>that I think haunts me is characters like that. It's

651
00:35:40.760 --> 00:35:45.159
<v Speaker 3>not so much okay people that basically barely had a

652
00:35:45.239 --> 00:35:48.199
<v Speaker 3>soul to sell. You definitely don't get any sense of

653
00:35:48.320 --> 00:35:53.199
<v Speaker 3>real conflicted humanity from the head of the combine or

654
00:35:53.239 --> 00:35:57.760
<v Speaker 3>his weirdo nephew or any of their sort of people adjacent,

655
00:35:58.199 --> 00:36:01.440
<v Speaker 3>But you do get that from that guy, and it's godly.

656
00:36:01.639 --> 00:36:03.880
<v Speaker 3>How do you got just think you gave that journey

657
00:36:04.119 --> 00:36:05.960
<v Speaker 3>to going from somebody who was really trying to fight

658
00:36:06.000 --> 00:36:07.599
<v Speaker 3>the good fight to being like, fuck it.

659
00:36:08.559 --> 00:36:10.840
<v Speaker 2>The person that sold his soul was that wis.

660
00:36:11.039 --> 00:36:13.360
<v Speaker 3>No the guy with the paint cowboy hat and the

661
00:36:13.480 --> 00:36:16.840
<v Speaker 3>diegg Yes, that's right, and he's in a hammock reading.

662
00:36:17.000 --> 00:36:20.280
<v Speaker 3>He's like, well, we finally Jansen gets to truly confront

663
00:36:20.360 --> 00:36:22.360
<v Speaker 3>him because when he first meets and the guy just shrugs,

664
00:36:22.440 --> 00:36:24.599
<v Speaker 3>mop and he's Ohlana because there's that whole character of

665
00:36:24.639 --> 00:36:28.880
<v Speaker 3>Elena Farr, who's this model that Chanson's trying to research

666
00:36:28.920 --> 00:36:32.199
<v Speaker 3>because obviously she's tied to this somehow, and he's just, oh,

667
00:36:32.280 --> 00:36:34.519
<v Speaker 3>she doesn't live here anymore, but nobody goes back. The

668
00:36:34.599 --> 00:36:37.079
<v Speaker 3>guy's in a hammock and he's reading a Superman comic

669
00:36:37.519 --> 00:36:37.719
<v Speaker 3>and the.

670
00:36:37.800 --> 00:36:39.960
<v Speaker 1>Car that chases after them on the highway at one

671
00:36:40.000 --> 00:36:45.199
<v Speaker 1>point is papered with comic Oh geez yeah covered in it,

672
00:36:45.280 --> 00:36:48.119
<v Speaker 1>and I think there's even I forget exactly who it is,

673
00:36:48.199 --> 00:36:52.280
<v Speaker 1>but there's a female superhero on the windshield of the car.

674
00:36:52.599 --> 00:36:55.639
<v Speaker 1>Even to your point, whether the American culture is there,

675
00:36:55.719 --> 00:36:58.159
<v Speaker 1>which kind of again comes back to this like a

676
00:36:58.280 --> 00:37:01.480
<v Speaker 1>nack weird, kind of anachronistic feel that this movie has

677
00:37:01.519 --> 00:37:03.440
<v Speaker 1>at times where it's like, if this is the future,

678
00:37:03.920 --> 00:37:06.880
<v Speaker 1>what a weird future this must be. Again, I'm sure

679
00:37:06.960 --> 00:37:09.239
<v Speaker 1>people one hundred years ago from now might look at

680
00:37:09.559 --> 00:37:11.280
<v Speaker 1>us and be like, that was a weird future. People

681
00:37:11.360 --> 00:37:15.280
<v Speaker 1>had computers and cars and tablets. Like again, like there's

682
00:37:15.320 --> 00:37:19.079
<v Speaker 1>some of that here. But yeah, the superhero stuff, I

683
00:37:19.119 --> 00:37:20.880
<v Speaker 1>think it's interesting. But again to your point, like it

684
00:37:20.920 --> 00:37:24.320
<v Speaker 1>does make it goes back to the comic book underground

685
00:37:24.400 --> 00:37:27.320
<v Speaker 1>comic book feel and kind of message of the movie,

686
00:37:27.320 --> 00:37:30.360
<v Speaker 1>because the message of the movie is pretty subversive, right,

687
00:37:31.480 --> 00:37:34.960
<v Speaker 1>I would think at least anyway at least for good, common,

688
00:37:35.079 --> 00:37:36.559
<v Speaker 1>polite society.

689
00:37:36.800 --> 00:37:40.079
<v Speaker 2>Going back to the way that stuff looks in this film.

690
00:37:40.679 --> 00:37:43.000
<v Speaker 2>I love the use of neon. I think this is

691
00:37:43.079 --> 00:37:45.440
<v Speaker 2>one of the best uses of neon I've seen, even

692
00:37:45.480 --> 00:37:48.199
<v Speaker 2>when they're doing the evacuation of the building and you've

693
00:37:48.239 --> 00:37:51.840
<v Speaker 2>got the different colored neon numbers and then the same

694
00:37:52.000 --> 00:37:55.360
<v Speaker 2>color for the piping around there and stuff. And then

695
00:37:55.400 --> 00:37:58.199
<v Speaker 2>when he goes to there's like a medical clinic that

696
00:37:58.280 --> 00:38:02.000
<v Speaker 2>has a huge needle that's made out of neon. And

697
00:38:02.079 --> 00:38:04.280
<v Speaker 2>then when he goes to the police, which is right

698
00:38:04.400 --> 00:38:07.880
<v Speaker 2>next door to the sixteenth Precinct where he works, and

699
00:38:08.079 --> 00:38:11.400
<v Speaker 2>that's got another great neon sign, and their whole thing

700
00:38:11.599 --> 00:38:16.159
<v Speaker 2>of the thumbs up for the police, and I love

701
00:38:16.239 --> 00:38:19.159
<v Speaker 2>how they've got that guy standing outside of the building

702
00:38:19.480 --> 00:38:23.239
<v Speaker 2>just with this thumbs up welcoming people there. It's almost

703
00:38:23.280 --> 00:38:26.519
<v Speaker 2>like a salute. And when they're like, oh, who are you,

704
00:38:26.599 --> 00:38:29.519
<v Speaker 2>and he's on a company opens up that great leopard

705
00:38:29.599 --> 00:38:32.880
<v Speaker 2>jacket and there's a thumbs up inside of there. This

706
00:38:33.119 --> 00:38:36.159
<v Speaker 2>is so strange, but I love it. This world is wonderful.

707
00:38:36.800 --> 00:38:39.000
<v Speaker 3>Some of the police, the people who work at the

708
00:38:39.000 --> 00:38:41.679
<v Speaker 3>station that thumbs up, theyre dressed like medicals. There almost

709
00:38:41.760 --> 00:38:44.960
<v Speaker 3>a high fashion medical staff, more so than what we

710
00:38:45.079 --> 00:38:48.119
<v Speaker 3>think because there's not even really a uniform for any

711
00:38:48.119 --> 00:38:50.360
<v Speaker 3>of the actual officers, which is cool.

712
00:38:50.599 --> 00:38:51.239
<v Speaker 1>I do like that.

713
00:38:51.480 --> 00:38:54.599
<v Speaker 3>I like the fact that the Chief is basically we

714
00:38:54.760 --> 00:38:58.000
<v Speaker 3>never really see him in person. Yeah.

715
00:38:58.119 --> 00:39:01.760
<v Speaker 2>He reminds me of the Donald Pleasants character from Mister Freedom,

716
00:39:01.840 --> 00:39:03.760
<v Speaker 2>where he just will show up on a screen and

717
00:39:03.880 --> 00:39:05.679
<v Speaker 2>be like, you know, here's what you do today.

718
00:39:05.800 --> 00:39:08.119
<v Speaker 3>Yes, that would be a great double bill.

719
00:39:08.880 --> 00:39:09.360
<v Speaker 1>There you go.

720
00:39:09.719 --> 00:39:12.400
<v Speaker 2>Yeah, I really think so, especially with all that jingoism

721
00:39:12.480 --> 00:39:13.400
<v Speaker 2>of Mister Freedom.

722
00:39:13.719 --> 00:39:17.840
<v Speaker 3>Yeah. Yeah, o oh, God blessed William Klein. And the

723
00:39:17.920 --> 00:39:20.039
<v Speaker 3>Chief being so frail because even when we do see

724
00:39:20.079 --> 00:39:22.679
<v Speaker 3>him on the screen, he's always got that nurse with him.

725
00:39:23.760 --> 00:39:26.119
<v Speaker 3>Is he gonna be okay? And the answer is no.

726
00:39:26.719 --> 00:39:29.280
<v Speaker 3>But spoiler, spoiler for a film that came out in

727
00:39:29.639 --> 00:39:32.760
<v Speaker 3>the eighty two, Like anybody I know, we have to

728
00:39:32.800 --> 00:39:37.480
<v Speaker 3>say spoilers I had, but really, people, my gosh, come on,

729
00:39:38.920 --> 00:39:41.280
<v Speaker 3>But if a film's old enough to vote, don't worry

730
00:39:41.320 --> 00:39:45.079
<v Speaker 3>about it. And the fact that it doesn't feel like

731
00:39:45.119 --> 00:39:46.679
<v Speaker 3>a trope in this film, because there is that whole

732
00:39:46.719 --> 00:39:49.599
<v Speaker 3>trope that we have in this country of you're a

733
00:39:49.719 --> 00:39:52.159
<v Speaker 3>wild card, but you're the guy we need for the job,

734
00:39:52.199 --> 00:39:54.280
<v Speaker 3>and the Chief's always mad at him and always cussing,

735
00:39:54.360 --> 00:39:56.960
<v Speaker 3>and we have it. But this film doesn't play it

736
00:39:57.199 --> 00:39:59.880
<v Speaker 3>quite like that. There's nothing in this film that's played

737
00:40:00.159 --> 00:40:03.440
<v Speaker 3>as how you would expect it, and I always love that,

738
00:40:03.519 --> 00:40:06.280
<v Speaker 3>and that's something I always really treasure in any film

739
00:40:06.360 --> 00:40:08.519
<v Speaker 3>I see. Please, don't give me what you think I want,

740
00:40:08.880 --> 00:40:11.000
<v Speaker 3>give me what you want, give me the story that

741
00:40:11.079 --> 00:40:14.679
<v Speaker 3>you want to tell. And plusly, Chance's a character the

742
00:40:14.760 --> 00:40:17.960
<v Speaker 3>Gray Fassbender portrays him. He's the definition of still waters

743
00:40:18.000 --> 00:40:18.480
<v Speaker 3>run deep.

744
00:40:19.400 --> 00:40:22.159
<v Speaker 2>And I was really glad to watch that little documentary,

745
00:40:22.320 --> 00:40:25.840
<v Speaker 2>the Wolfgram documentary about the making of this in Quarel,

746
00:40:26.559 --> 00:40:29.719
<v Speaker 2>and he's talking right at the beginnings. People told me

747
00:40:29.840 --> 00:40:31.920
<v Speaker 2>not to work with him. People told me not to

748
00:40:32.119 --> 00:40:36.599
<v Speaker 2>have Rainer in my film because he's a fellow director

749
00:40:36.719 --> 00:40:38.920
<v Speaker 2>and he's just going to question everything and he's going

750
00:40:39.000 --> 00:40:41.360
<v Speaker 2>to be a total pain in the ass. But he

751
00:40:41.480 --> 00:40:46.519
<v Speaker 2>was completely the opposite. He was curious, he was polite,

752
00:40:46.639 --> 00:40:49.880
<v Speaker 2>he asked questions, he was on time. That's the thing.

753
00:40:50.239 --> 00:40:53.119
<v Speaker 2>I don't know that much about Fastbender, but I know

754
00:40:53.320 --> 00:40:56.199
<v Speaker 2>that he's temperamental. That's one of the few things that

755
00:40:56.239 --> 00:40:58.920
<v Speaker 2>I've heard about him as a person. And what a

756
00:40:59.039 --> 00:41:01.960
<v Speaker 2>weird thing too, Sar, This is a complete tangent. What

757
00:41:02.159 --> 00:41:05.760
<v Speaker 2>a weird fucking thing too, To have the American ad

758
00:41:05.960 --> 00:41:09.960
<v Speaker 2>campaign for this. Be another director to have Fucking John

759
00:41:10.199 --> 00:41:14.599
<v Speaker 2>Cassavetti's be the guy who's recording all these radio spots

760
00:41:14.679 --> 00:41:21.360
<v Speaker 2>and acting like a complete nut job. Fossin Fastpinda. Who

761
00:41:21.559 --> 00:41:26.320
<v Speaker 2>is this guy with the leopard suits and the leopard.

762
00:41:28.159 --> 00:41:33.360
<v Speaker 1>He's a detective in his self's madness. Kamikazi eighty nine

763
00:41:33.840 --> 00:41:35.159
<v Speaker 1>starring Fospinda.

764
00:41:35.639 --> 00:41:38.440
<v Speaker 2>He's got the leopard suit, Rabo. He just keeps saying

765
00:41:38.559 --> 00:41:41.239
<v Speaker 2>that in these spots. I'm so glad that those radio

766
00:41:41.320 --> 00:41:43.440
<v Speaker 2>ads are on the Blu ray of this because they

767
00:41:43.519 --> 00:41:47.039
<v Speaker 2>are something. And there's a YouTube video out there of

768
00:41:47.239 --> 00:41:50.159
<v Speaker 2>like all six of them I think he recorded, or

769
00:41:50.159 --> 00:41:52.679
<v Speaker 2>it's just one after the other, and it's just cassavettis

770
00:41:53.239 --> 00:41:56.039
<v Speaker 2>going absolutely batshit in these things.

771
00:41:56.719 --> 00:41:59.559
<v Speaker 1>John Cassavetti's is clearly the hype man that you want

772
00:41:59.599 --> 00:42:04.000
<v Speaker 1>in your corner for great near fosspenders outrageous final role.

773
00:42:05.079 --> 00:42:08.800
<v Speaker 1>What does that mean to Americans in nineteen eighty two? Hey,

774
00:42:08.920 --> 00:42:11.840
<v Speaker 1>you know what, you have the guy credit for being enthusiastic.

775
00:42:12.079 --> 00:42:14.840
<v Speaker 1>At least he's he's that guys, go sell ice to

776
00:42:14.840 --> 00:42:16.880
<v Speaker 1>the Eskimos. All right, I'll do it, all right, Hey,

777
00:42:17.079 --> 00:42:18.559
<v Speaker 1>at least you got the right guy for it. But

778
00:42:19.079 --> 00:42:22.480
<v Speaker 1>Cassavetti's just, hey, he must be. He's a fan of

779
00:42:23.000 --> 00:42:27.320
<v Speaker 1>Foss Spender. Clearly, Cassavetti's pretty in tune, in touch director

780
00:42:27.400 --> 00:42:29.360
<v Speaker 1>at his own right, so I would think he's probably

781
00:42:29.480 --> 00:42:30.559
<v Speaker 1>familiar with his work.

782
00:42:31.360 --> 00:42:33.800
<v Speaker 3>That's the thing. John Cassavetti's like I needed any more

783
00:42:33.840 --> 00:42:35.840
<v Speaker 3>reasons to love him, because I already love him because

784
00:42:35.840 --> 00:42:38.719
<v Speaker 3>he's a fucking brilliant ow tour and I really think

785
00:42:38.760 --> 00:42:40.960
<v Speaker 3>he was the real deal. But he was the guy

786
00:42:41.039 --> 00:42:43.119
<v Speaker 3>to put his money where his mouth because of course,

787
00:42:43.199 --> 00:42:46.519
<v Speaker 3>as you guys now, I mean massive Timothy Carrey fan,

788
00:42:47.519 --> 00:42:50.079
<v Speaker 3>and just even saying his name, I'm like, oh, but

789
00:42:50.400 --> 00:42:53.840
<v Speaker 3>that's the thing. John gave him money for his film projects,

790
00:42:53.960 --> 00:42:58.239
<v Speaker 3>and every film like the most conventional thing Timothy carry

791
00:42:58.280 --> 00:43:00.639
<v Speaker 3>ever made was the world's greatest and if you know

792
00:43:00.719 --> 00:43:04.639
<v Speaker 3>anything about that film is not conventional. But that's the thing,

793
00:43:04.760 --> 00:43:06.519
<v Speaker 3>Like he really I think as Vive's a guy that

794
00:43:06.639 --> 00:43:10.719
<v Speaker 3>truly loved He was an underdog. He loved the underdog.

795
00:43:10.800 --> 00:43:11.719
<v Speaker 1>He loved real.

796
00:43:12.320 --> 00:43:13.920
<v Speaker 3>Centim and I when I say uls to mountain, I'm

797
00:43:13.920 --> 00:43:15.719
<v Speaker 3>not saying that in a potentially one has to be

798
00:43:15.880 --> 00:43:17.199
<v Speaker 3>or house no bullshit.

799
00:43:17.239 --> 00:43:17.719
<v Speaker 1>Sent them up.

800
00:43:17.760 --> 00:43:20.280
<v Speaker 3>Filmmakers making the stories they want to make, making the

801
00:43:20.360 --> 00:43:23.119
<v Speaker 3>films they want to make, not just hey, how is

802
00:43:23.159 --> 00:43:25.760
<v Speaker 3>this going to do a test audiences? None of that bullshit.

803
00:43:26.360 --> 00:43:28.480
<v Speaker 3>We were talking the real deal.

804
00:43:28.639 --> 00:43:32.000
<v Speaker 1>A woman under the Influence. One might say that movie

805
00:43:32.239 --> 00:43:35.239
<v Speaker 1>was a fucking rough watch, but it's a rough watch

806
00:43:35.360 --> 00:43:39.280
<v Speaker 1>because Peter Falk and John Cassavetti's and Gina Rowland's, like

807
00:43:39.519 --> 00:43:42.960
<v Speaker 1>all of them just doing exactly what you just said,

808
00:43:43.639 --> 00:43:47.239
<v Speaker 1>being artists. And that's we talk about Peter Falk on

809
00:43:47.239 --> 00:43:50.360
<v Speaker 1>the Columbo podcast all the time, just being a fucking

810
00:43:50.480 --> 00:43:54.559
<v Speaker 1>stick in the mud. And look, I have not gotten

811
00:43:54.639 --> 00:43:56.639
<v Speaker 1>to the level of success that I can do that,

812
00:43:56.960 --> 00:43:58.519
<v Speaker 1>and I am glad that there are people out there

813
00:43:58.559 --> 00:44:01.000
<v Speaker 1>in the world that do when they came, because there's

814
00:44:01.119 --> 00:44:03.599
<v Speaker 1>good behind that with people being like a legit, like

815
00:44:03.679 --> 00:44:06.960
<v Speaker 1>you said, Heather, the genuine, real deal and Fastpender is

816
00:44:07.119 --> 00:44:09.679
<v Speaker 1>in that same camp of this. He's just a guy

817
00:44:09.880 --> 00:44:12.719
<v Speaker 1>doing his own thing and fuck it, it doesn't matter

818
00:44:12.800 --> 00:44:16.199
<v Speaker 1>what anybody else thinks. And I appreciate and respect that.

819
00:44:16.360 --> 00:44:21.360
<v Speaker 1>And clearly Cassavetti's game recognizes game, as they would say, Hell.

820
00:44:21.360 --> 00:44:25.280
<v Speaker 3>Yeah, real recognized is real if only Cassavettis was still

821
00:44:25.320 --> 00:44:30.519
<v Speaker 3>alive to criticize that horrible Blu Ray art for Corral

822
00:44:31.440 --> 00:44:34.559
<v Speaker 3>from Criterion Collection. I'm sorry. I know this is maybe

823
00:44:34.639 --> 00:44:37.000
<v Speaker 3>not the time of place, but I hate that art

824
00:44:37.079 --> 00:44:38.920
<v Speaker 3>so much. I want that Blue Ray because I love

825
00:44:38.960 --> 00:44:42.760
<v Speaker 3>that movie and my copy of it is old and

826
00:44:42.880 --> 00:44:46.960
<v Speaker 3>needs upgraded. Wait, oh my god, I can't with that art.

827
00:44:47.840 --> 00:44:51.679
<v Speaker 3>I'll buy it eventually, But what's worse is that it's

828
00:44:52.119 --> 00:44:54.400
<v Speaker 3>actually not AI art.

829
00:44:54.519 --> 00:44:56.840
<v Speaker 2>I've read an interview with the guy who did that.

830
00:44:57.239 --> 00:45:00.159
<v Speaker 2>That's his style of doing art, but it looks just

831
00:45:00.320 --> 00:45:01.280
<v Speaker 2>like AI.

832
00:45:01.320 --> 00:45:04.239
<v Speaker 3>Art one thousand percent. And now I feel bad that

833
00:45:04.840 --> 00:45:07.880
<v Speaker 3>I hate criticizing other art like I love Chris Is saying,

834
00:45:08.079 --> 00:45:12.360
<v Speaker 3>don't not the yung. Yes, I don't want to do that,

835
00:45:12.960 --> 00:45:15.119
<v Speaker 3>but I'm let's just say, out of fear of that art.

836
00:45:15.639 --> 00:45:17.440
<v Speaker 3>And I know that they were trying to go for

837
00:45:17.480 --> 00:45:19.239
<v Speaker 3>a Toma Finland thing, which I get.

838
00:45:19.760 --> 00:45:20.440
<v Speaker 1>I totally get.

839
00:45:20.519 --> 00:45:23.519
<v Speaker 3>I love tom of Finland. I love Toma Finland when

840
00:45:23.559 --> 00:45:24.960
<v Speaker 3>it doesn't look like AI.

841
00:45:25.760 --> 00:45:28.960
<v Speaker 2>Right, Yeah, the skin looks so plastic and.

842
00:45:29.039 --> 00:45:30.239
<v Speaker 3>He's got these huge titties.

843
00:45:30.719 --> 00:45:33.760
<v Speaker 1>Yeah, I need to get that on a soundboard. He's

844
00:45:33.800 --> 00:45:37.000
<v Speaker 1>got huge titties, Heather just saying I've.

845
00:45:36.840 --> 00:45:39.679
<v Speaker 3>Said so many things on the shower over the years

846
00:45:39.880 --> 00:45:41.679
<v Speaker 3>that I'm like, I'll never This is one of the

847
00:45:41.920 --> 00:45:44.840
<v Speaker 3>many reasons why everybody's hate Criterion. You should get that

848
00:45:44.960 --> 00:45:47.519
<v Speaker 3>Heather drained. They're like, oh the titties you.

849
00:45:47.599 --> 00:45:52.000
<v Speaker 2>Mean Yosemite Sam with titties aka from.

850
00:45:52.239 --> 00:45:56.760
<v Speaker 3>Yeah Girls work. Hey, I got the show quoted on

851
00:45:57.159 --> 00:46:01.800
<v Speaker 3>the onion av love with that one. That will be

852
00:46:01.840 --> 00:46:04.599
<v Speaker 3>on my fucking grave at Yo City's here with titties.

853
00:46:05.199 --> 00:46:08.400
<v Speaker 2>What got me on the Cassavetti thing was just the fellow,

854
00:46:08.760 --> 00:46:12.440
<v Speaker 2>not only fellow director, fellow actor director. I tend to

855
00:46:12.480 --> 00:46:16.840
<v Speaker 2>think of Cassavetties more of an actor. Now, Fastbender did

856
00:46:17.000 --> 00:46:20.840
<v Speaker 2>act in some of his movies. Acting in other people's movies,

857
00:46:20.920 --> 00:46:23.360
<v Speaker 2>I don't think was his regular bag. So it was

858
00:46:23.559 --> 00:46:26.599
<v Speaker 2>pretty nice that he did this for Gream and then

859
00:46:26.679 --> 00:46:28.079
<v Speaker 2>he's so fucking good.

860
00:46:28.440 --> 00:46:29.360
<v Speaker 3>He is so good.

861
00:46:29.719 --> 00:46:32.800
<v Speaker 2>Of course all the refrain from unnecessary comment lines that

862
00:46:32.880 --> 00:46:35.840
<v Speaker 2>he just tosses off. But like the when he goes

863
00:46:35.960 --> 00:46:39.639
<v Speaker 2>back to the building, to the Combine building and there's

864
00:46:39.760 --> 00:46:42.639
<v Speaker 2>the dead body of the woman and there's a person

865
00:46:42.679 --> 00:46:46.400
<v Speaker 2>out there who's just like, oh, yeah, suicide and he's suicide.

866
00:46:46.440 --> 00:46:48.599
<v Speaker 2>That'd be the first suicide we've had in four years.

867
00:46:48.679 --> 00:46:52.760
<v Speaker 2>She's I meant premature death and he's yeah, it's a

868
00:46:52.760 --> 00:46:57.199
<v Speaker 2>good thing you remembered that. I'm like, whoa. And he's

869
00:46:57.280 --> 00:47:00.480
<v Speaker 2>got that menace in his look. He does a really

870
00:47:00.599 --> 00:47:01.480
<v Speaker 2>good job with that.

871
00:47:02.400 --> 00:47:05.559
<v Speaker 3>He's so good about paying attention to all the details

872
00:47:05.760 --> 00:47:08.360
<v Speaker 3>in a really nice, sort of subtle way. Because with

873
00:47:08.519 --> 00:47:12.559
<v Speaker 3>that scene, I love how he takes her hand and

874
00:47:13.320 --> 00:47:16.880
<v Speaker 3>that she's clutching a button and there's not a big

875
00:47:17.199 --> 00:47:20.639
<v Speaker 3>to do. Ahai revealed that pays off, but it's a touch.

876
00:47:21.039 --> 00:47:25.840
<v Speaker 3>It's a nice clue that it's, yeah, this suicide, my ass,

877
00:47:26.239 --> 00:47:30.679
<v Speaker 3>this was yeah, premature deaf my ass as well. All

878
00:47:30.719 --> 00:47:33.679
<v Speaker 3>the moves he makes are so smart as an actor

879
00:47:33.800 --> 00:47:36.639
<v Speaker 3>here and on top of just being somebody who has

880
00:47:36.719 --> 00:47:40.320
<v Speaker 3>a physical presence that's compelling. On top of that, because

881
00:47:40.400 --> 00:47:43.079
<v Speaker 3>he's just got that aura, you can definitely see why,

882
00:47:44.239 --> 00:47:47.960
<v Speaker 3>even for having a temperamental reputation, he had people that

883
00:47:48.079 --> 00:47:51.519
<v Speaker 3>acted with him so many films, and if you're just

884
00:47:51.599 --> 00:47:54.039
<v Speaker 3>a stone cold butthole with no charisma, you're not going

885
00:47:54.119 --> 00:47:56.400
<v Speaker 3>to get great actors to continually work quickly.

886
00:47:56.519 --> 00:48:00.159
<v Speaker 2>You do on the same people behind the camera in

887
00:48:00.239 --> 00:48:03.320
<v Speaker 2>front of the camera. How many times did Michael Ballhause

888
00:48:03.599 --> 00:48:04.199
<v Speaker 2>work with him?

889
00:48:04.559 --> 00:48:05.079
<v Speaker 1>So many?

890
00:48:05.480 --> 00:48:09.760
<v Speaker 3>Yeah, yeah, exactly had a shula And they say this film.

891
00:48:09.639 --> 00:48:12.119
<v Speaker 2>Are beloved a ton un for Kaufman.

892
00:48:12.960 --> 00:48:16.760
<v Speaker 3>I love him, yes, and he's so great in US.

893
00:48:16.920 --> 00:48:21.760
<v Speaker 3>Oh my god, Anton is Anton the chaotic good in

894
00:48:21.880 --> 00:48:25.039
<v Speaker 3>this film. I love him so much and I love

895
00:48:25.079 --> 00:48:26.559
<v Speaker 3>that he looks like an ice cream man.

896
00:48:27.119 --> 00:48:30.280
<v Speaker 1>The vertical red and white pin striped suit. But it's

897
00:48:30.320 --> 00:48:35.559
<v Speaker 1>not pin stripes like fat thick stripes. Oh my god,

898
00:48:35.639 --> 00:48:38.320
<v Speaker 1>I want that suit so badly, especially the hat.

899
00:48:38.400 --> 00:48:39.320
<v Speaker 3>He's even got the hat.

900
00:48:39.519 --> 00:48:42.519
<v Speaker 1>Hat is everything. That's the Hat's say, it's about the hat.

901
00:48:42.639 --> 00:48:44.360
<v Speaker 1>We all know the power comes from the hat on

902
00:48:44.440 --> 00:48:47.199
<v Speaker 1>top of his head. He's such just the whipping boy

903
00:48:47.400 --> 00:48:50.519
<v Speaker 1>for Fastbender though. That's the only problem, right Fastpender is

904
00:48:50.760 --> 00:48:53.840
<v Speaker 1>just a dick. But that's okay because he's our dick

905
00:48:54.000 --> 00:48:54.679
<v Speaker 1>and that's fine.

906
00:48:55.519 --> 00:48:59.400
<v Speaker 2>That's the way he is. He plays that role so well.

907
00:49:00.079 --> 00:49:03.360
<v Speaker 2>You can play detectives in so many different ways, especially

908
00:49:03.400 --> 00:49:07.000
<v Speaker 2>somebody like this who is burnt out. He does have

909
00:49:07.119 --> 00:49:09.760
<v Speaker 2>the stomach problems. You know, he is drinking the Bromo

910
00:49:09.960 --> 00:49:13.679
<v Speaker 2>all that kind of stuff, but it's yeah, he's very consistent.

911
00:49:13.960 --> 00:49:16.320
<v Speaker 2>And that's one thing I like about this role as well,

912
00:49:16.480 --> 00:49:19.880
<v Speaker 2>is that you know what you're getting from this character,

913
00:49:20.199 --> 00:49:25.559
<v Speaker 2>and it's just surprising how he is able to be

914
00:49:25.880 --> 00:49:30.440
<v Speaker 2>that consistent and be that cold and you care about

915
00:49:30.480 --> 00:49:32.880
<v Speaker 2>this character even though he is a dick to so

916
00:49:32.960 --> 00:49:35.119
<v Speaker 2>many people, including our beloved Gunther.

917
00:49:35.639 --> 00:49:38.360
<v Speaker 1>And I mentioned at the opening of this podcast Jo

918
00:49:38.480 --> 00:49:42.960
<v Speaker 1>Nezbo's work, and if anyone enjoyed this movie, I wouldn't

919
00:49:43.000 --> 00:49:46.119
<v Speaker 1>code check out the Snowman movie. That movie is a

920
00:49:46.199 --> 00:49:50.599
<v Speaker 1>fucking nightmare. They're sweet Jesus, that movie is bad. As

921
00:49:50.639 --> 00:49:53.360
<v Speaker 1>an actor in it whose name sounds oddly similar to

922
00:49:53.599 --> 00:49:57.840
<v Speaker 1>Michael Fassbender who's playing the Harry Foulay character, which is

923
00:49:57.960 --> 00:50:03.320
<v Speaker 1>essentially the yez Bo detective equivalent of Jansen, and they're

924
00:50:03.599 --> 00:50:06.719
<v Speaker 1>very similar. It's not a sci fi thing. There's not

925
00:50:06.880 --> 00:50:09.599
<v Speaker 1>the sci fi trappings of the dystopian world around it,

926
00:50:09.679 --> 00:50:13.559
<v Speaker 1>which sets this apart from most things. Harry Hula is

927
00:50:13.599 --> 00:50:16.960
<v Speaker 1>more of just a Nordic detective. It reminds me more

928
00:50:17.079 --> 00:50:21.039
<v Speaker 1>of steg Larsen, who was doing like the Millennium series

929
00:50:21.159 --> 00:50:25.719
<v Speaker 1>with Lizabeth Salander. It's more kind of in that direction

930
00:50:25.880 --> 00:50:28.800
<v Speaker 1>in terms of the themes that it's dealing with. But

931
00:50:29.239 --> 00:50:34.360
<v Speaker 1>the character of Jansen and Harry Hula are very similar.

932
00:50:34.840 --> 00:50:37.320
<v Speaker 1>And it even says it on Wikipedia like this is

933
00:50:37.480 --> 00:50:41.800
<v Speaker 1>Nordic Noir, which would inspire jo Nezvo. I was putting

934
00:50:41.840 --> 00:50:44.760
<v Speaker 1>that together before I read that on Wikipedia, because again,

935
00:50:44.960 --> 00:50:49.519
<v Speaker 1>just the way he's painted as this really curmudgeeny detective

936
00:50:49.920 --> 00:50:52.199
<v Speaker 1>for anyone who has not checked him out, that Harry

937
00:50:52.280 --> 00:50:54.960
<v Speaker 1>Hula character is books. He's either an alcoholic or a

938
00:50:55.119 --> 00:50:58.960
<v Speaker 1>recovering alcoholic, but he's always a curmudgeon and he's always

939
00:50:59.119 --> 00:51:03.760
<v Speaker 1>perturbed constantly, which plays into the character which is completely

940
00:51:03.840 --> 00:51:06.400
<v Speaker 1>lost in the movie version of it, which is a

941
00:51:06.440 --> 00:51:08.880
<v Speaker 1>shame because I hope they adapt it again at some

942
00:51:08.960 --> 00:51:12.280
<v Speaker 1>point because it could be a really well done detective

943
00:51:12.360 --> 00:51:15.159
<v Speaker 1>story that a lot of people would resonate with because

944
00:51:15.199 --> 00:51:18.280
<v Speaker 1>of just the way the main character is painted almost

945
00:51:18.519 --> 00:51:21.400
<v Speaker 1>Bosh in a way, because Bosh is a little curmudgeony

946
00:51:21.760 --> 00:51:24.960
<v Speaker 1>sticks to his guns, and Titus Welover does a really

947
00:51:25.000 --> 00:51:27.519
<v Speaker 1>good job of that. I'm a huge fan of detective stories,

948
00:51:27.559 --> 00:51:29.519
<v Speaker 1>so I could continue talking as I know I'm sure

949
00:51:29.639 --> 00:51:32.079
<v Speaker 1>three of us are fans of detective story, so I

950
00:51:32.239 --> 00:51:36.599
<v Speaker 1>really resonated with the detective story part of this movie

951
00:51:36.719 --> 00:51:40.519
<v Speaker 1>as well, especially the Nordic noir of it all as

952
00:51:40.559 --> 00:51:42.199
<v Speaker 1>it's being called or coined.

953
00:51:42.960 --> 00:51:47.079
<v Speaker 2>I definitely was getting a lot of Millennium Series while

954
00:51:47.119 --> 00:51:49.800
<v Speaker 2>I was reading the book more than watching the movie.

955
00:51:50.679 --> 00:51:53.119
<v Speaker 2>I think it might have been because of the magazine

956
00:51:53.320 --> 00:51:56.159
<v Speaker 2>aspect of this. And we should probably talk about the

957
00:51:56.239 --> 00:51:59.440
<v Speaker 2>thirty first floor and the differences between the book and

958
00:51:59.519 --> 00:52:02.920
<v Speaker 2>the movie of this. As far as what is on

959
00:52:03.119 --> 00:52:06.719
<v Speaker 2>the thirty first floor. I don't think you ever get

960
00:52:06.800 --> 00:52:09.320
<v Speaker 2>to see the thirty first floor. You just know that

961
00:52:09.480 --> 00:52:13.440
<v Speaker 2>it's there. And in the book you eventually find out

962
00:52:13.599 --> 00:52:16.880
<v Speaker 2>from the guy who sent the note threatening the bomb

963
00:52:17.639 --> 00:52:19.920
<v Speaker 2>that there was. He's the one who set us up

964
00:52:19.960 --> 00:52:25.079
<v Speaker 2>the bomb. He tells about all of those insipid rags

965
00:52:25.119 --> 00:52:27.519
<v Speaker 2>that I was talking about where you couldn't say what

966
00:52:27.679 --> 00:52:31.960
<v Speaker 2>the truth is, where it's just placating people. He and

967
00:52:32.199 --> 00:52:37.000
<v Speaker 2>a whole bunch of other incredibly smart and just on

968
00:52:37.199 --> 00:52:39.920
<v Speaker 2>the cutting edge and coming up with all of these

969
00:52:40.000 --> 00:52:43.559
<v Speaker 2>great social theories and on point when it comes to

970
00:52:44.280 --> 00:52:45.840
<v Speaker 2>diagnosing the ills.

971
00:52:45.559 --> 00:52:46.239
<v Speaker 1>Of our world.

972
00:52:47.400 --> 00:52:50.920
<v Speaker 2>They were being placated by the people that run the

973
00:52:51.239 --> 00:52:54.960
<v Speaker 2>magazine conglomerate. Hey, we really think that you're doing a

974
00:52:55.039 --> 00:52:57.760
<v Speaker 2>great job. We really want to hear your voices, So

975
00:52:57.840 --> 00:53:01.559
<v Speaker 2>we're going to dedicate a whole magazine to you so

976
00:53:01.679 --> 00:53:03.679
<v Speaker 2>that you can come up with all of these great

977
00:53:03.719 --> 00:53:06.239
<v Speaker 2>things and put these things out. And they come up

978
00:53:06.280 --> 00:53:10.440
<v Speaker 2>with this weird pay structure so that basically they keep

979
00:53:11.159 --> 00:53:14.400
<v Speaker 2>not putting out the magazine, or they'll do a very

980
00:53:14.559 --> 00:53:17.920
<v Speaker 2>limited print run and everybody gets a copy, but they're

981
00:53:18.000 --> 00:53:21.079
<v Speaker 2>not allowed to take it out of the building, and

982
00:53:21.360 --> 00:53:25.360
<v Speaker 2>by doing that, they owe the company money every single

983
00:53:25.519 --> 00:53:28.559
<v Speaker 2>time a magazine comes out, so they keep getting more

984
00:53:28.639 --> 00:53:33.039
<v Speaker 2>and more in debt, right, and no one ever reads

985
00:53:33.119 --> 00:53:35.639
<v Speaker 2>what they write, and they're writing all these wonderful things

986
00:53:35.719 --> 00:53:39.000
<v Speaker 2>and trying to help society. But the magazine itself is

987
00:53:39.079 --> 00:53:41.039
<v Speaker 2>just like, you know, we're keeping you under our thumb.

988
00:53:41.320 --> 00:53:44.440
<v Speaker 2>You're up here on the thirty first floor, basically locked

989
00:53:44.480 --> 00:53:47.440
<v Speaker 2>in a supply closet. Almost it feels very much like

990
00:53:47.880 --> 00:53:50.079
<v Speaker 2>you have to go up a special staircase to get

991
00:53:50.159 --> 00:53:53.119
<v Speaker 2>up there, and you guys stay up.

992
00:53:53.039 --> 00:53:54.039
<v Speaker 4>There, you do your thing.

993
00:53:54.199 --> 00:53:57.559
<v Speaker 2>And we're going to even say this building has thirty floors.

994
00:53:57.599 --> 00:53:59.880
<v Speaker 2>We're not even going to talk about the thirty first floor.

995
00:54:00.920 --> 00:54:05.119
<v Speaker 1>I love that idea of having this ominous presence that

996
00:54:05.159 --> 00:54:07.719
<v Speaker 1>they keep mentioning. Have you heard of the thirty first floor?

997
00:54:08.519 --> 00:54:11.039
<v Speaker 1>It's that kind of thing where it's there's this one

998
00:54:11.199 --> 00:54:14.679
<v Speaker 1>big big brother in nineteen eighty four, right big brother,

999
00:54:15.000 --> 00:54:18.719
<v Speaker 1>or or in something that has a really poor finale

1000
00:54:18.880 --> 00:54:24.199
<v Speaker 1>but feels similar to this anachronistically the prisoner again, who

1001
00:54:24.320 --> 00:54:27.360
<v Speaker 1>is number one? That's the question that's asked throughout that

1002
00:54:27.679 --> 00:54:31.000
<v Speaker 1>entire show, and in this it's similar, what is the

1003
00:54:31.079 --> 00:54:36.519
<v Speaker 1>thirty first floor? What is that? Where can we assume

1004
00:54:36.679 --> 00:54:38.760
<v Speaker 1>the thirty first floor is? Okay, it's the thirty first

1005
00:54:38.800 --> 00:54:41.280
<v Speaker 1>floor of this building. Outside of that, nobody can get

1006
00:54:41.320 --> 00:54:44.079
<v Speaker 1>a straight answer as to what exactly is going on.

1007
00:54:44.519 --> 00:54:46.239
<v Speaker 1>And to your point, when we figure out what it is,

1008
00:54:46.679 --> 00:54:50.280
<v Speaker 1>it's so dastardly that if it weren't so awful, you'd

1009
00:54:50.639 --> 00:54:54.800
<v Speaker 1>applaud them for being so clever. But it's so unbelievably

1010
00:54:54.880 --> 00:54:59.119
<v Speaker 1>repugnant and dastardly what they're doing, because effectively, it's stifling

1011
00:54:59.239 --> 00:55:02.679
<v Speaker 1>free speech by allowing it to exist in a pseudo vacuum,

1012
00:55:03.159 --> 00:55:07.000
<v Speaker 1>which is pretty clever. Who's going to listen to your

1013
00:55:07.039 --> 00:55:10.159
<v Speaker 1>magazine that only has ten issues, and each issue is

1014
00:55:10.199 --> 00:55:13.239
<v Speaker 1>only printed ten times one hundred people. And guess what,

1015
00:55:13.519 --> 00:55:17.480
<v Speaker 1>who fucking cares. That's how free speech dies when the

1016
00:55:17.599 --> 00:55:20.440
<v Speaker 1>hose is not necessarily turned off so much as just

1017
00:55:21.800 --> 00:55:24.599
<v Speaker 1>tripped into attrition. And that's I don't know, I found

1018
00:55:24.639 --> 00:55:28.119
<v Speaker 1>it clever. Again, it's frustrating the reality of the situation.

1019
00:55:28.280 --> 00:55:31.360
<v Speaker 1>But yeah, I think the execution of what the thirty

1020
00:55:31.400 --> 00:55:34.119
<v Speaker 1>first floor is pretty dark, but I think it works

1021
00:55:34.159 --> 00:55:36.679
<v Speaker 1>pretty well for where the movie's kind of going and

1022
00:55:36.760 --> 00:55:38.679
<v Speaker 1>the book by the same token.

1023
00:55:39.199 --> 00:55:41.280
<v Speaker 2>Either what's the thirty first floor in the movie?

1024
00:55:42.159 --> 00:55:44.559
<v Speaker 3>The thirty first floor in the movie when we're first

1025
00:55:45.440 --> 00:55:48.800
<v Speaker 3>hear about it is the lady who's one of the

1026
00:55:48.800 --> 00:55:51.920
<v Speaker 3>associates of the combine who winds up very soon after

1027
00:55:52.800 --> 00:55:58.000
<v Speaker 3>unaliving herself, but she just, oh, the third floor. It's

1028
00:55:58.000 --> 00:56:00.480
<v Speaker 3>a little in Basically, she laughs at all. Oh, it's

1029
00:56:00.480 --> 00:56:04.039
<v Speaker 3>like an end joke we have and wait, there's a

1030
00:56:04.119 --> 00:56:07.000
<v Speaker 3>thirty first floor, and so Jansen starts looking into it,

1031
00:56:07.199 --> 00:56:10.840
<v Speaker 3>and basically, by the time the film gets close to

1032
00:56:10.840 --> 00:56:12.440
<v Speaker 3>the end, we find out the thirty first floor is

1033
00:56:12.480 --> 00:56:17.039
<v Speaker 3>where they've been keeping basically a handful of I think

1034
00:56:17.119 --> 00:56:19.880
<v Speaker 3>there's a term at one point used like politicos, but

1035
00:56:20.000 --> 00:56:25.199
<v Speaker 3>basically journalists who before the whole combine took over, who

1036
00:56:25.239 --> 00:56:28.480
<v Speaker 3>were vital journalists, were people asking great questions, doing great work,

1037
00:56:28.920 --> 00:56:31.239
<v Speaker 3>asking the real questions. And they were brought in as

1038
00:56:31.280 --> 00:56:34.039
<v Speaker 3>a ruse, being like, hey, we want your ideas, we

1039
00:56:34.079 --> 00:56:35.719
<v Speaker 3>want to put out something, and we want to give

1040
00:56:35.800 --> 00:56:41.000
<v Speaker 3>people good quality information and stop. They deserve to know

1041
00:56:41.159 --> 00:56:44.440
<v Speaker 3>the truth about things, and they're sold basically a billip goods.

1042
00:56:44.480 --> 00:56:46.800
<v Speaker 3>And instead of outright saying we're going to censor you,

1043
00:56:48.039 --> 00:56:50.920
<v Speaker 3>it's a slow death. And in fact, I believe the

1044
00:56:51.159 --> 00:56:54.360
<v Speaker 3>character Franco Niro's character refers to it as intellectual.

1045
00:56:53.920 --> 00:56:58.679
<v Speaker 2>Murder, because that's the thing in the note is for

1046
00:56:58.880 --> 00:57:01.519
<v Speaker 2>the murder on the thirty first floor, And you're thinking

1047
00:57:01.679 --> 00:57:05.199
<v Speaker 2>like a literal murder throughout the entire book and movie,

1048
00:57:05.880 --> 00:57:07.599
<v Speaker 2>and then you find no, it's the murder.

1049
00:57:07.880 --> 00:57:11.599
<v Speaker 3>It's the death of ideas, and it's also the death

1050
00:57:11.639 --> 00:57:15.000
<v Speaker 3>of a dream. And that's because instead of being outright

1051
00:57:15.079 --> 00:57:17.280
<v Speaker 3>told no, which is an easy thing to fight against,

1052
00:57:17.320 --> 00:57:20.039
<v Speaker 3>I feel like somebody tells you fuck you get out

1053
00:57:20.039 --> 00:57:23.519
<v Speaker 3>in the streets and fight and protest. But it's a

1054
00:57:23.559 --> 00:57:26.960
<v Speaker 3>little trick here. Once somebody gives you the illusion, and

1055
00:57:27.079 --> 00:57:29.840
<v Speaker 3>that's what the thirty first floor is, and that's the

1056
00:57:29.920 --> 00:57:31.960
<v Speaker 3>whole reveal of That's fascinating because by the time we

1057
00:57:32.039 --> 00:57:35.679
<v Speaker 3>get to the reveal, it almost has a mythical status.

1058
00:57:35.760 --> 00:57:38.119
<v Speaker 3>It feels like when you're watching the movie, it's you're

1059
00:57:38.119 --> 00:57:39.639
<v Speaker 3>almost like, is it going to be like the movie

1060
00:57:39.719 --> 00:57:43.159
<v Speaker 3>Death Machine or there's a giant robo dinosaur? What is

1061
00:57:43.239 --> 00:57:45.639
<v Speaker 3>going to be in the thirty first floor? It get

1062
00:57:45.920 --> 00:57:49.960
<v Speaker 3>the possibilities fills on this end list and instead it's

1063
00:57:50.000 --> 00:57:57.760
<v Speaker 3>something both seemingly smaller, but the reverb of it is

1064
00:57:57.840 --> 00:58:01.840
<v Speaker 3>so atrociously huge and it makes your heart break. For

1065
00:58:02.360 --> 00:58:04.480
<v Speaker 3>I think to me, one of the saddest kind of

1066
00:58:04.599 --> 00:58:08.880
<v Speaker 3>depth is people when somebody's either sold out when their

1067
00:58:08.920 --> 00:58:12.360
<v Speaker 3>heart was in a good place initially, or somebody who

1068
00:58:12.480 --> 00:58:16.760
<v Speaker 3>basically had the wind taken out of their sales slowly

1069
00:58:16.960 --> 00:58:21.239
<v Speaker 3>like that some heavy stuff, and the film, to its credit,

1070
00:58:21.559 --> 00:58:25.000
<v Speaker 3>it toes this great line of giving you everything we've

1071
00:58:25.039 --> 00:58:27.840
<v Speaker 3>been talking about, but it doesn't do it in a

1072
00:58:27.920 --> 00:58:31.360
<v Speaker 3>heavy handed way. It doesn't spoon to feed you anything either.

1073
00:58:31.920 --> 00:58:36.280
<v Speaker 3>It's not oppressively obtuse either. For the most part, there

1074
00:58:36.320 --> 00:58:39.480
<v Speaker 3>are some few things that do make you pause particularly

1075
00:58:39.519 --> 00:58:41.639
<v Speaker 3>the ending, which we'll get to. But I like that,

1076
00:58:41.920 --> 00:58:44.840
<v Speaker 3>like it doesn't it's not treating you, because that's the

1077
00:58:44.880 --> 00:58:46.599
<v Speaker 3>problem sometimes with any time of art form, if it

1078
00:58:46.599 --> 00:58:50.719
<v Speaker 3>gets overly political, it's easy to get tripe. That's why

1079
00:58:50.960 --> 00:58:53.760
<v Speaker 3>political music, it's either going to be the most inspirational

1080
00:58:53.840 --> 00:58:57.039
<v Speaker 3>thing in the world or you're going to be like, okay, dude,

1081
00:58:57.079 --> 00:59:00.519
<v Speaker 3>we get it. It's got to just feel the worst

1082
00:59:00.559 --> 00:59:02.840
<v Speaker 3>poetry you wrote when you were like seventeen.

1083
00:59:03.280 --> 00:59:05.440
<v Speaker 2>Settle down their rage against machine.

1084
00:59:05.360 --> 00:59:07.519
<v Speaker 1>I was waiting for. Do you know that those who

1085
00:59:07.559 --> 00:59:10.599
<v Speaker 1>burn crosses are also those who I forget what the

1086
00:59:10.639 --> 00:59:13.280
<v Speaker 1>fucking line is because everybody said it at this point,

1087
00:59:13.320 --> 00:59:15.639
<v Speaker 1>who cares, right, Like it's hollow.

1088
00:59:15.840 --> 00:59:18.880
<v Speaker 3>No, it's weird to be anti capitalists when you're on

1089
00:59:19.039 --> 00:59:22.679
<v Speaker 3>a major record label and making a lot of money.

1090
00:59:23.639 --> 00:59:28.119
<v Speaker 3>We mentioned Franco Niro. Okay, if his name wasn't in

1091
00:59:28.280 --> 00:59:30.239
<v Speaker 3>the cast, would any of us have known that was

1092
00:59:30.320 --> 00:59:31.159
<v Speaker 3>Franco Nero?

1093
00:59:32.159 --> 00:59:32.199
<v Speaker 1>No?

1094
00:59:33.679 --> 00:59:34.440
<v Speaker 3>I did neither.

1095
00:59:35.599 --> 00:59:37.679
<v Speaker 2>I didn't know it was him at the beginning when

1096
00:59:37.719 --> 00:59:40.639
<v Speaker 2>they actually showed his face, But then I went back

1097
00:59:40.679 --> 00:59:42.280
<v Speaker 2>and I watched it. I was like, of course that's

1098
00:59:42.320 --> 00:59:45.119
<v Speaker 2>Franco Niro. But yeah, I had no idea where he's weird,

1099
00:59:45.239 --> 00:59:48.599
<v Speaker 2>the one good glass, the one bad one, and he

1100
00:59:48.840 --> 00:59:51.800
<v Speaker 2>has that amazing goatee and everything. I'm just like, what

1101
00:59:52.039 --> 00:59:54.719
<v Speaker 2>the what is this guy's problem. He's the only one

1102
00:59:54.760 --> 00:59:59.360
<v Speaker 2>that's looking at Jensen. Everybody else is looking around and stuff.

1103
00:59:59.360 --> 01:00:02.199
<v Speaker 2>And I love how everybody's got like makeup on their

1104
01:00:02.280 --> 01:00:04.760
<v Speaker 2>face or like different things are dyed and stuff, and

1105
01:00:04.800 --> 01:00:06.719
<v Speaker 2>I'm just like, Oh, this is the future. We're doing this,

1106
01:00:06.960 --> 01:00:11.039
<v Speaker 2>So I'm surprised nobody had tattoos because that's really the future.

1107
01:00:12.119 --> 01:00:13.719
<v Speaker 1>Yeah, I was floored.

1108
01:00:14.000 --> 01:00:17.639
<v Speaker 3>It wasn't until I watched a trailer for this after

1109
01:00:17.800 --> 01:00:20.800
<v Speaker 3>whalk midway through watching the movie, I took a break

1110
01:00:20.880 --> 01:00:22.000
<v Speaker 3>and I was like, you know what, I don't think

1111
01:00:22.000 --> 01:00:24.039
<v Speaker 3>I've seen the trailer for this or forever. And then

1112
01:00:24.079 --> 01:00:27.440
<v Speaker 3>I was like reminded. I'm like, fuck, that's Franko near

1113
01:00:28.519 --> 01:00:32.320
<v Speaker 3>That was the floored. I love Franco Nero too. It

1114
01:00:32.400 --> 01:00:34.880
<v Speaker 3>isn't the biggest part, but it's such a pivotal part,

1115
01:00:35.199 --> 01:00:37.079
<v Speaker 3>and the fact that we get to live in a

1116
01:00:37.159 --> 01:00:43.320
<v Speaker 3>world where franco'neiro acted right next to Rannerferner Fastpender. I

1117
01:00:43.360 --> 01:00:45.679
<v Speaker 3>feel like I just messed up this autorious name. I'm

1118
01:00:45.719 --> 01:00:48.639
<v Speaker 3>so fast Spender. I'm just gonna say Fastpender, but I'm

1119
01:00:48.679 --> 01:00:52.719
<v Speaker 3>sure somebody. Don't anybody come for me. And the soundtrack,

1120
01:00:52.880 --> 01:00:54.679
<v Speaker 3>Oh my god, I can't believe it. Take me this lot,

1121
01:00:55.559 --> 01:00:59.840
<v Speaker 3>Edgar Rose, and I knew I would because I love Tangerin.

1122
01:01:00.679 --> 01:01:03.880
<v Speaker 3>They're just especially eighty seven, You're getting into this era

1123
01:01:04.000 --> 01:01:07.760
<v Speaker 3>where every soundtrack they're doing, or anybody from that band

1124
01:01:07.880 --> 01:01:12.119
<v Speaker 3>is doing, is just fire. Is just pure fire in

1125
01:01:12.239 --> 01:01:15.719
<v Speaker 3>my opinion, and I loved those, and especially because there

1126
01:01:15.719 --> 01:01:19.920
<v Speaker 3>are times where it felt like a ham. It almost

1127
01:01:20.000 --> 01:01:22.800
<v Speaker 3>felt like a ham that was like slowly throttling you,

1128
01:01:23.880 --> 01:01:26.960
<v Speaker 3>and then other times it's like very poppy. It's really

1129
01:01:27.000 --> 01:01:30.360
<v Speaker 3>beautifully tailored to which scenes and stuff that you're in.

1130
01:01:31.000 --> 01:01:33.800
<v Speaker 3>But it's so perfect, and it's just the right amount

1131
01:01:33.960 --> 01:01:41.480
<v Speaker 3>of scent futurist sounding without it being to like cliched

1132
01:01:41.880 --> 01:01:43.280
<v Speaker 3>or to woo.

1133
01:01:43.480 --> 01:01:44.119
<v Speaker 1>But there's not of that.

1134
01:01:44.840 --> 01:01:46.719
<v Speaker 3>I'm on band camp by Yeah.

1135
01:01:46.800 --> 01:01:50.480
<v Speaker 2>No, it's great. It's got that future. It sounds futuristic

1136
01:01:50.559 --> 01:01:52.840
<v Speaker 2>without relying on the people bluff.

1137
01:01:53.480 --> 01:01:55.679
<v Speaker 1>There's one scene I'm surprised we haven't mentioned it where

1138
01:01:55.719 --> 01:01:58.320
<v Speaker 1>the music and the movie sync up perfectly. It's when

1139
01:01:58.360 --> 01:02:03.159
<v Speaker 1>foss Bender is playing croquet, I was thinking badminton, I

1140
01:02:03.320 --> 01:02:06.840
<v Speaker 1>was thinking squash. I think we're all thinking about something.

1141
01:02:06.920 --> 01:02:08.519
<v Speaker 1>I think only one of us is thinking about the

1142
01:02:08.519 --> 01:02:10.840
<v Speaker 1>thing that has the term shuttlecock in there, which is

1143
01:02:10.880 --> 01:02:13.840
<v Speaker 1>the funniest of the three. That's bad men. I think

1144
01:02:14.159 --> 01:02:14.800
<v Speaker 1>I love a good.

1145
01:02:14.719 --> 01:02:15.559
<v Speaker 3>Shuttle cock.

1146
01:02:17.000 --> 01:02:19.840
<v Speaker 1>To me too. But in that scene is where the

1147
01:02:19.960 --> 01:02:22.480
<v Speaker 1>music and the movie finally sync up for a moment

1148
01:02:22.519 --> 01:02:27.880
<v Speaker 1>of here's where it's a little futuristically weird, maybe a

1149
01:02:27.920 --> 01:02:29.639
<v Speaker 1>little too much. I'm not saying I didn't like it,

1150
01:02:29.800 --> 01:02:32.400
<v Speaker 1>but the Tangerine dream of it all works in the

1151
01:02:32.519 --> 01:02:35.119
<v Speaker 1>movie throughout, aside from a couple of times where I'm like,

1152
01:02:35.239 --> 01:02:39.920
<v Speaker 1>maybe there is a little beat boop too many, And

1153
01:02:40.039 --> 01:02:42.360
<v Speaker 1>that's one of the again, sometimes the movies is like,

1154
01:02:42.400 --> 01:02:44.719
<v Speaker 1>let's just be weird. That's the one scene where I'm like,

1155
01:02:44.840 --> 01:02:47.719
<v Speaker 1>I like that, it's weird, but what the fuck is

1156
01:02:47.880 --> 01:02:50.679
<v Speaker 1>going on? And no explanation needed, clearly we get it.

1157
01:02:50.800 --> 01:02:54.239
<v Speaker 1>But the Tangerine Dream score for the most part works

1158
01:02:54.280 --> 01:02:56.599
<v Speaker 1>for me. And yeah, Tangerine dream, I mean, my god,

1159
01:02:57.159 --> 01:03:01.920
<v Speaker 1>the Tangerine Dream score for what Sorcerer another or is

1160
01:03:01.960 --> 01:03:04.840
<v Speaker 1>it Sorcerer Safe Cracker. It's safe Cracker right to James

1161
01:03:04.920 --> 01:03:05.400
<v Speaker 1>Kahn movie.

1162
01:03:05.679 --> 01:03:06.480
<v Speaker 3>But they also did.

1163
01:03:08.239 --> 01:03:10.920
<v Speaker 1>They okay, god brilliant.

1164
01:03:11.079 --> 01:03:13.519
<v Speaker 2>Yeah, yeah, they worked with Friedkin a few times, and

1165
01:03:13.599 --> 01:03:15.400
<v Speaker 2>they also work with Michael Mann on the keep.

1166
01:03:16.039 --> 01:03:17.639
<v Speaker 1>That's right there, we go.

1167
01:03:18.679 --> 01:03:22.559
<v Speaker 2>I wanted to call out two montages that they have.

1168
01:03:22.840 --> 01:03:27.320
<v Speaker 2>We We've got Jensen at the headquarters of the Combine,

1169
01:03:27.400 --> 01:03:30.119
<v Speaker 2>which is more TV magazine, And that was the one

1170
01:03:30.159 --> 01:03:32.239
<v Speaker 2>thing I definitely noticed while I was watching some of

1171
01:03:32.280 --> 01:03:37.440
<v Speaker 2>these other adaptations of this. So there's two Russian adaptations,

1172
01:03:37.599 --> 01:03:40.400
<v Speaker 2>a Hungarian and a check and I find it very

1173
01:03:40.480 --> 01:03:47.400
<v Speaker 2>interesting that it's all Eastern Europe former Communist block countries

1174
01:03:47.480 --> 01:03:51.000
<v Speaker 2>that are are adapting this. German one is the only

1175
01:03:51.079 --> 01:03:53.239
<v Speaker 2>one that puts it in this future realm, and the

1176
01:03:53.280 --> 01:03:56.559
<v Speaker 2>rest of them are fairly faithful with the time and setting.

1177
01:03:57.199 --> 01:03:59.519
<v Speaker 2>And it's weird too, because there's one that's an hour

1178
01:03:59.679 --> 01:04:03.800
<v Speaker 2>law the two Russian ones are well over two hours.

1179
01:04:04.280 --> 01:04:06.760
<v Speaker 2>I can't remember how long either the Hungarian or the

1180
01:04:06.840 --> 01:04:08.239
<v Speaker 2>check one was. I think it was just like an

1181
01:04:08.280 --> 01:04:11.679
<v Speaker 2>hour and a half. But I love when he's in

1182
01:04:11.960 --> 01:04:14.920
<v Speaker 2>the headquarters and he's on the And this was actually

1183
01:04:14.960 --> 01:04:18.760
<v Speaker 2>in the book The Pattern Noster and I did not

1184
01:04:18.960 --> 01:04:22.960
<v Speaker 2>know what a pattern noster was until just a few

1185
01:04:23.039 --> 01:04:24.679
<v Speaker 2>years ago, and I think I found out about it

1186
01:04:24.800 --> 01:04:27.880
<v Speaker 2>because of the podcast. And there was a movie the

1187
01:04:28.039 --> 01:04:32.679
<v Speaker 2>same woman that directed Me and Him, the classic Griffin

1188
01:04:32.760 --> 01:04:36.239
<v Speaker 2>dun comedy, whereas Penis is talking to him, she also

1189
01:04:36.360 --> 01:04:39.159
<v Speaker 2>directed a movie about a pattern noster. I think it

1190
01:04:39.239 --> 01:04:42.079
<v Speaker 2>was just called The Lift or the Elevator, and so

1191
01:04:42.199 --> 01:04:44.199
<v Speaker 2>I've had to look up what the hell this thing is.

1192
01:04:44.400 --> 01:04:46.800
<v Speaker 2>I've never seen one of these things in real life.

1193
01:04:47.400 --> 01:04:50.960
<v Speaker 2>I would love to see it. It feels so fucking dangerous,

1194
01:04:51.000 --> 01:04:52.960
<v Speaker 2>especially when he gets on and he has to jump

1195
01:04:53.119 --> 01:04:55.320
<v Speaker 2>onto it and stuff. I'm like, oh my god. But

1196
01:04:55.440 --> 01:04:58.400
<v Speaker 2>I love how he's going through each of the floors

1197
01:04:58.480 --> 01:05:01.840
<v Speaker 2>and he keeps getting different sequences of that, and then

1198
01:05:01.880 --> 01:05:05.000
<v Speaker 2>you get that echo of it just a few scenes

1199
01:05:05.119 --> 01:05:08.000
<v Speaker 2>later when he's in the apartment building and he's going

1200
01:05:08.039 --> 01:05:11.320
<v Speaker 2>from door to door and like looking inside of everybody's

1201
01:05:11.400 --> 01:05:14.719
<v Speaker 2>doors open. Get that naked couple that's just sitting there,

1202
01:05:14.800 --> 01:05:19.800
<v Speaker 2>the old people, You get the woman who's singing. But

1203
01:05:20.000 --> 01:05:23.519
<v Speaker 2>the greatest one, though, is that little girl who's got

1204
01:05:23.639 --> 01:05:27.760
<v Speaker 2>the blindfold on because she's counting, she's about to play.

1205
01:05:28.800 --> 01:05:31.800
<v Speaker 4>She's about to play Hide and go seek with her dead,

1206
01:05:32.280 --> 01:05:35.159
<v Speaker 4>and you see her dead in the corner of the frame,

1207
01:05:35.920 --> 01:05:38.800
<v Speaker 4>eyeing a sheet in a knot, and you know he's

1208
01:05:38.840 --> 01:05:40.280
<v Speaker 4>about to commit suicide.

1209
01:05:40.480 --> 01:05:43.719
<v Speaker 2>I'm like, oh my god, that's fucking dark. And then

1210
01:05:43.760 --> 01:05:46.239
<v Speaker 2>you get the little girl running out a few minutes later,

1211
01:05:46.400 --> 01:05:49.960
<v Speaker 2>going oh there's the everything's hanging in there riggling, and

1212
01:05:50.079 --> 01:05:54.599
<v Speaker 2>I'm like, oh my gosh, not another unexpected exodus.

1213
01:05:55.119 --> 01:05:57.239
<v Speaker 3>Both of those, I'm so glad you brought this up

1214
01:05:57.480 --> 01:06:01.239
<v Speaker 3>because they're both so beautifully executed. And on top of that,

1215
01:06:01.320 --> 01:06:04.119
<v Speaker 3>I did not know that was called a potternoscer. Also,

1216
01:06:04.800 --> 01:06:06.719
<v Speaker 3>thank you for reminding me of me and him.

1217
01:06:07.519 --> 01:06:09.719
<v Speaker 1>I've still never seen it, and I love Gryffin Done.

1218
01:06:10.000 --> 01:06:11.760
<v Speaker 3>I love Gryffin Done too. That's why I was on

1219
01:06:11.840 --> 01:06:14.239
<v Speaker 3>that episode, which you can listen to on Weirding my

1220
01:06:14.360 --> 01:06:17.760
<v Speaker 3>Media on the Projection Pope. To add to that, I

1221
01:06:17.880 --> 01:06:21.559
<v Speaker 3>love how Jansen shoots him down because he thinks this

1222
01:06:21.719 --> 01:06:27.519
<v Speaker 3>guy could be that either tied to Cosmopos or yeah,

1223
01:06:27.599 --> 01:06:29.400
<v Speaker 3>the very least. The whole thing was the I love

1224
01:06:29.440 --> 01:06:33.360
<v Speaker 3>how they kept calling this this shitty folder. That's basically

1225
01:06:33.440 --> 01:06:35.400
<v Speaker 3>letting me know, hey, you've been canned an.

1226
01:06:35.159 --> 01:06:38.440
<v Speaker 2>Award, you know, calling it the diploma.

1227
01:06:40.159 --> 01:06:42.639
<v Speaker 3>Yeah, the diploma, because now it looks like it just

1228
01:06:42.679 --> 01:06:46.920
<v Speaker 3>looks like a bad diploma. That's like spray pain and gold,

1229
01:06:48.000 --> 01:06:49.599
<v Speaker 3>or almost like a folder that you'd put you to

1230
01:06:49.679 --> 01:06:52.039
<v Speaker 3>trapper keeper or something that's been torn in half. And

1231
01:06:52.119 --> 01:06:56.039
<v Speaker 3>that was what the bomb threat was written on that

1232
01:06:56.199 --> 01:06:59.719
<v Speaker 3>it's oh wait, here's his folder. And he realized, oh, okay,

1233
01:06:59.760 --> 01:07:02.639
<v Speaker 3>this guy is not who I'm looking for because it's intact.

1234
01:07:02.719 --> 01:07:06.840
<v Speaker 3>And then he's canceled the ambulance. Yes, I think over

1235
01:07:06.960 --> 01:07:10.679
<v Speaker 3>the ambulance just to helpfully revive him until he realized, oh,

1236
01:07:10.719 --> 01:07:12.920
<v Speaker 3>this isn't the guy I'm looking for. His canceled it

1237
01:07:14.000 --> 01:07:14.679
<v Speaker 3>in an ample.

1238
01:07:16.480 --> 01:07:18.559
<v Speaker 2>Man, he's all so cold.

1239
01:07:19.199 --> 01:07:21.039
<v Speaker 1>He's a curmudgeon. You gotta love him though.

1240
01:07:21.239 --> 01:07:23.719
<v Speaker 3>Man, that little girl had some chilled though. I don't

1241
01:07:23.719 --> 01:07:25.760
<v Speaker 3>think I would have been as calm as she was

1242
01:07:25.800 --> 01:07:29.400
<v Speaker 3>about like, oh he's in the airbic. She was so

1243
01:07:29.559 --> 01:07:30.320
<v Speaker 3>peppy about it.

1244
01:07:31.360 --> 01:07:33.760
<v Speaker 2>Just forward to set the record straight. The name of

1245
01:07:34.000 --> 01:07:38.880
<v Speaker 2>the movie that was directed by Doris Dory is Men

1246
01:07:39.480 --> 01:07:42.480
<v Speaker 2>Are M A and E R with the over the

1247
01:07:42.599 --> 01:07:46.519
<v Speaker 2>A the diacritic that is the one with the pattern

1248
01:07:46.559 --> 01:07:49.119
<v Speaker 2>noster so it wasn't called the lift or the elevator.

1249
01:07:48.639 --> 01:07:51.199
<v Speaker 1>But just so you know, wasn't the lifts made by

1250
01:07:51.280 --> 01:07:56.000
<v Speaker 1>Dick Moss. Oh fucking come on, Dick Moss just well

1251
01:07:56.079 --> 01:08:00.400
<v Speaker 1>known stuntman, so really the cool director. Dick war was

1252
01:08:00.440 --> 01:08:01.199
<v Speaker 1>a sun Man.

1253
01:08:03.119 --> 01:08:07.360
<v Speaker 3>Son Billy Warlock start in society. Not named Dick Warlock,

1254
01:08:07.519 --> 01:08:09.039
<v Speaker 3>but Billy Warlocks still a cool name.

1255
01:08:09.800 --> 01:08:11.159
<v Speaker 1>Dick Moss is a good name too.

1256
01:08:11.559 --> 01:08:14.320
<v Speaker 3>It Dick Mass who also made some iconic music videos

1257
01:08:14.360 --> 01:08:18.199
<v Speaker 3>for Golden Earring. Okay, I've alluded to this, guys, I

1258
01:08:18.359 --> 01:08:23.439
<v Speaker 3>need to bingu your brains. There's something about Barbara, this character,

1259
01:08:23.640 --> 01:08:28.760
<v Speaker 3>this former TV hostess, with her amazing fashion sense, her

1260
01:08:29.359 --> 01:08:32.479
<v Speaker 3>high kicks that she does. She's in the pool and

1261
01:08:32.560 --> 01:08:34.439
<v Speaker 3>heels by the way she gets out of the pool

1262
01:08:34.479 --> 01:08:37.399
<v Speaker 3>and full heels is doing this high kick thing. She

1263
01:08:37.520 --> 01:08:38.840
<v Speaker 3>keeps sticking her tongue out.

1264
01:08:39.640 --> 01:08:40.560
<v Speaker 1>Oh the tongue.

1265
01:08:42.039 --> 01:08:46.159
<v Speaker 3>Oh my god, it's she's almost that one. Oh god.

1266
01:08:46.199 --> 01:08:49.760
<v Speaker 3>What was that guitarist who replaced Chris Holmes and Wasp?

1267
01:08:50.319 --> 01:08:53.399
<v Speaker 3>I remember that guy, Johnny Rod. This is a heavy

1268
01:08:53.439 --> 01:08:55.960
<v Speaker 3>metal deep cut here, but she makes me think it

1269
01:08:56.079 --> 01:08:58.520
<v Speaker 3>was an eighties hair rock guy that keeps whipping out

1270
01:08:58.560 --> 01:08:59.359
<v Speaker 3>his tongue, being like.

1271
01:08:59.439 --> 01:09:02.079
<v Speaker 1>Hey, late like that like a lizard.

1272
01:09:02.680 --> 01:09:06.159
<v Speaker 3>She does that, and her whole mannerisms are fascinating. And

1273
01:09:06.239 --> 01:09:10.800
<v Speaker 3>then it doesn't she say she's erotic tension.

1274
01:09:10.960 --> 01:09:15.720
<v Speaker 1>She just I brought up erotic amorous noises. Yeah, amorous thoughts,

1275
01:09:15.760 --> 01:09:19.520
<v Speaker 1>I believe is her words. And if this woman's a

1276
01:09:19.640 --> 01:09:22.319
<v Speaker 1>stone cold super freak. And then we get to see

1277
01:09:22.359 --> 01:09:25.039
<v Speaker 1>that a lot of fars hanging out with her, and

1278
01:09:25.319 --> 01:09:28.279
<v Speaker 1>we realize that she is the quote unquote.

1279
01:09:28.000 --> 01:09:32.159
<v Speaker 3>Assistant aid to the head of the combine, but she's

1280
01:09:32.199 --> 01:09:36.119
<v Speaker 3>this mistress but it sounds a little ripey. Did you

1281
01:09:36.199 --> 01:09:37.279
<v Speaker 3>guys get that impression?

1282
01:09:37.399 --> 01:09:40.439
<v Speaker 2>But she yeah, is she the one that we run

1283
01:09:40.640 --> 01:09:44.640
<v Speaker 2>into in the hallway and her dress is basically off.

1284
01:09:44.720 --> 01:09:46.920
<v Speaker 2>She helped me button my dress back up, and I'm

1285
01:09:47.000 --> 01:09:50.119
<v Speaker 2>just like, oh, okay, Yeah, she just got attacked in

1286
01:09:50.199 --> 01:09:51.159
<v Speaker 2>her in his office.

1287
01:09:51.920 --> 01:09:54.800
<v Speaker 3>That guy's so creepy, and I love that. A lot

1288
01:09:54.920 --> 01:09:58.319
<v Speaker 3>of her big crime is she's growing vegetables.

1289
01:09:59.000 --> 01:10:01.960
<v Speaker 1>Yeah, you can't do that. You gotta only eat government

1290
01:10:02.079 --> 01:10:02.880
<v Speaker 1>issue cheese.

1291
01:10:04.000 --> 01:10:05.119
<v Speaker 2>It's illegal, don't you know.

1292
01:10:05.359 --> 01:10:07.760
<v Speaker 1>Yeah, how dare you grow your own vegetables? How dare

1293
01:10:07.800 --> 01:10:10.159
<v Speaker 1>you plant something in the ground that can grow naturally,

1294
01:10:10.479 --> 01:10:12.640
<v Speaker 1>and how dare you do something with it that could

1295
01:10:12.680 --> 01:10:16.399
<v Speaker 1>be illegal? Just in this movie. Yeah, but that's one

1296
01:10:16.399 --> 01:10:19.640
<v Speaker 1>of those weird things that again reinforces the thought process

1297
01:10:19.720 --> 01:10:21.880
<v Speaker 1>that went into making this movie and the book. Right,

1298
01:10:22.880 --> 01:10:25.760
<v Speaker 1>what's a way to make the government seem stifling? Take

1299
01:10:25.800 --> 01:10:28.159
<v Speaker 1>away the ability to grow your own food. That's a

1300
01:10:28.199 --> 01:10:31.279
<v Speaker 1>pretty good way to make it seem stifling and overwhelming.

1301
01:10:31.960 --> 01:10:34.680
<v Speaker 1>It's actually a pretty novel. I can't think of another

1302
01:10:34.760 --> 01:10:37.199
<v Speaker 1>thing where it's illegal to grow your own food as

1303
01:10:37.239 --> 01:10:40.039
<v Speaker 1>a plot point in something other than this. But it's

1304
01:10:40.079 --> 01:10:45.359
<v Speaker 1>such a weirdly dystopian idea. It's like, what's the thing

1305
01:10:45.399 --> 01:10:47.479
<v Speaker 1>about how to cook a baby that they make everybody

1306
01:10:47.560 --> 01:10:48.359
<v Speaker 1>read in high school?

1307
01:10:48.600 --> 01:10:49.439
<v Speaker 2>The Swift thing?

1308
01:10:50.359 --> 01:10:59.680
<v Speaker 1>Yeah, the Jonesie Swift thing. Yeah, Like, I know it's

1309
01:11:00.199 --> 01:11:02.640
<v Speaker 1>call how to Cook a Baby, but we're talking about

1310
01:11:02.720 --> 01:11:03.279
<v Speaker 1>the same thing.

1311
01:11:03.600 --> 01:11:06.880
<v Speaker 3>You got me there, you got me there, I got

1312
01:11:06.920 --> 01:11:09.239
<v Speaker 3>you there. See it's pictionaries.

1313
01:11:09.560 --> 01:11:12.840
<v Speaker 1>See we're here now, I got you there to cook

1314
01:11:12.920 --> 01:11:13.600
<v Speaker 1>the baby thing.

1315
01:11:14.199 --> 01:11:16.359
<v Speaker 3>I'm glad Mike said something because I was like, I missed,

1316
01:11:16.399 --> 01:11:17.479
<v Speaker 3>have missed that class.

1317
01:11:18.680 --> 01:11:20.439
<v Speaker 1>Well, then here in the Deep South, we have a

1318
01:11:20.560 --> 01:11:22.960
<v Speaker 1>different tradition on what kind of food we eat out

1319
01:11:23.000 --> 01:11:27.920
<v Speaker 1>at night? How to cook a baby? You're more central Southern,

1320
01:11:28.039 --> 01:11:31.920
<v Speaker 1>No that I'm talking the deep South. Yeah, I'm modest proposal,

1321
01:11:32.000 --> 01:11:34.800
<v Speaker 1>But that's again, that's goes back to that idea of

1322
01:11:34.960 --> 01:11:37.960
<v Speaker 1>like and when all else fails, what do we do? Okay,

1323
01:11:38.039 --> 01:11:40.600
<v Speaker 1>let's eat the young here. It's no, what do you do?

1324
01:11:41.039 --> 01:11:42.680
<v Speaker 1>Grow food? You can't even do that?

1325
01:11:42.960 --> 01:11:47.199
<v Speaker 3>So I'm sorry. I love your patois. He sounded like

1326
01:11:47.520 --> 01:11:49.079
<v Speaker 3>a character from in The Heathen Night.

1327
01:11:49.239 --> 01:11:51.760
<v Speaker 1>I ain't go even further, just be, I say, I

1328
01:11:51.840 --> 01:11:54.279
<v Speaker 1>just go for a full flog horn leghorn, just go

1329
01:11:54.560 --> 01:11:56.520
<v Speaker 1>all southern. Good Lord, Oh.

1330
01:11:56.439 --> 01:11:59.479
<v Speaker 3>My god, this Grits are giving me the papers.

1331
01:12:00.880 --> 01:12:01.800
<v Speaker 1>I do declare.

1332
01:12:03.039 --> 01:12:06.000
<v Speaker 3>Oh yeah, so can we discuss the ending?

1333
01:12:06.880 --> 01:12:08.920
<v Speaker 2>You're talking about the very actual ending?

1334
01:12:09.399 --> 01:12:12.680
<v Speaker 3>Yeah, I got questions. I really requested it.

1335
01:12:12.880 --> 01:12:16.000
<v Speaker 2>Yeah yeah, let let me take us there a little bit.

1336
01:12:16.079 --> 01:12:21.159
<v Speaker 2>Here have a second bomb threat that happens, And there's

1337
01:12:21.239 --> 01:12:23.920
<v Speaker 2>no reason to believe this bomb threat any more than

1338
01:12:23.960 --> 01:12:29.199
<v Speaker 2>the first one. The guy confessed. He basically in the book, he's, oh,

1339
01:12:29.239 --> 01:12:31.279
<v Speaker 2>you'll get another one of these in a few days.

1340
01:12:31.439 --> 01:12:35.159
<v Speaker 2>Just ignore it. And so he's okay, and he does,

1341
01:12:35.279 --> 01:12:39.840
<v Speaker 2>and he's just no, Chief, I have no reason to

1342
01:12:39.920 --> 01:12:42.399
<v Speaker 2>believe that there is an actual bomb in the building.

1343
01:12:42.479 --> 01:12:46.640
<v Speaker 2>That doesn't make any sense. Okay, great, they don't evacuate

1344
01:12:46.840 --> 01:12:50.039
<v Speaker 2>or do they evacuate the building. I'm trying to remember

1345
01:12:50.039 --> 01:12:52.840
<v Speaker 2>because it's really fucking oh. They do evacuate the building

1346
01:12:52.920 --> 01:12:57.560
<v Speaker 2>as a matter of precaution, but they don't evacuate the

1347
01:12:57.640 --> 01:12:58.520
<v Speaker 2>thirty first floor.

1348
01:12:59.319 --> 01:13:02.479
<v Speaker 3>That's right, yeah, because that's the thing. Franco Niro's character

1349
01:13:02.720 --> 01:13:04.680
<v Speaker 3>contacts him. They do, you need to get up their

1350
01:13:04.720 --> 01:13:06.840
<v Speaker 3>people up there, their politicos up there.

1351
01:13:07.399 --> 01:13:09.640
<v Speaker 1>That's my faing, And so that's the thing.

1352
01:13:09.800 --> 01:13:13.199
<v Speaker 3>Jansen and Anton both go up there, and they realize

1353
01:13:13.199 --> 01:13:15.399
<v Speaker 3>they're gonna have to go up all the way upstairs

1354
01:13:15.640 --> 01:13:18.039
<v Speaker 3>because of course the power is shut off, and then

1355
01:13:18.399 --> 01:13:21.640
<v Speaker 3>Jansen ends up taking a helicopter to get automatically to

1356
01:13:21.720 --> 01:13:25.239
<v Speaker 3>the top. Anton takes the stairs, and I'm going to

1357
01:13:25.319 --> 01:13:28.960
<v Speaker 3>believe Anton died same And that'sy. And you notice that's

1358
01:13:28.960 --> 01:13:31.880
<v Speaker 3>the only time, I really, if I'm remembering correctly, at least,

1359
01:13:32.840 --> 01:13:36.760
<v Speaker 3>that we really ever hear Jansen get super loud, because

1360
01:13:36.760 --> 01:13:40.399
<v Speaker 3>you notice he's always really good about having an even tongue.

1361
01:13:41.239 --> 01:13:43.600
<v Speaker 3>Even when he's there, you still tell when he's irritated,

1362
01:13:43.880 --> 01:13:47.520
<v Speaker 3>but he doesn't get loud. He's not a loud everbody

1363
01:13:47.600 --> 01:13:47.960
<v Speaker 3>yell at you.

1364
01:13:49.039 --> 01:13:49.760
<v Speaker 1>Not like that guy.

1365
01:13:50.239 --> 01:13:52.119
<v Speaker 3>But then like when he calls up for Anton, and

1366
01:13:52.159 --> 01:13:54.960
<v Speaker 3>it's almost like his voice breaks a little bit. It

1367
01:13:55.039 --> 01:13:58.880
<v Speaker 3>is so goddamn Fastpender's going in this role. And but

1368
01:13:59.000 --> 01:14:02.119
<v Speaker 3>you realize they hear he got three or four people

1369
01:14:02.239 --> 01:14:04.720
<v Speaker 3>out of there. We hear on the news and they

1370
01:14:04.760 --> 01:14:09.920
<v Speaker 3>all died from burns. And if you're not already feeling

1371
01:14:10.000 --> 01:14:13.159
<v Speaker 3>like a veteran of the psychic War, already from living

1372
01:14:13.199 --> 01:14:16.800
<v Speaker 3>in as society, you do now. And you notice the

1373
01:14:16.920 --> 01:14:19.439
<v Speaker 3>framing of him at that lash slot because you mentioned

1374
01:14:19.479 --> 01:14:23.520
<v Speaker 3>the peel paint, but there's almost like bars. It almost

1375
01:14:23.520 --> 01:14:25.600
<v Speaker 3>looks like he's in a like in a jail sale

1376
01:14:26.199 --> 01:14:29.840
<v Speaker 3>for a second, and then the camera moves and you realize, okay, no,

1377
01:14:29.920 --> 01:14:32.039
<v Speaker 3>he's in his office and they're clearing it out and

1378
01:14:32.319 --> 01:14:34.439
<v Speaker 3>everybody's in hazmat suits except him.

1379
01:14:35.239 --> 01:14:37.520
<v Speaker 2>Yeah, that whole thing with the hazmat suits, and they're

1380
01:14:37.560 --> 01:14:39.359
<v Speaker 2>just like, hey, you need to get out, we're cleaning

1381
01:14:39.439 --> 01:14:43.439
<v Speaker 2>this place. I'm like, okay, yeah, that's very strange. And

1382
01:14:43.960 --> 01:14:47.800
<v Speaker 2>Chris remind me, dude, he evacuates everybody with the thirty

1383
01:14:47.880 --> 01:14:50.600
<v Speaker 2>first floor in the book, right, yeah, and it ends

1384
01:14:51.000 --> 01:14:56.159
<v Speaker 2>really coldly. I just remember the last line in the

1385
01:14:56.239 --> 01:14:59.399
<v Speaker 2>book is when you realize that there were people still

1386
01:14:59.520 --> 01:15:02.720
<v Speaker 2>up there and the bomb does go off and you're

1387
01:15:02.800 --> 01:15:05.479
<v Speaker 2>just like, oh, fucking that's how it ends. Is just

1388
01:15:05.640 --> 01:15:07.960
<v Speaker 2>really a smack right in the face.

1389
01:15:08.920 --> 01:15:10.640
<v Speaker 1>And again, like, this is another movie that kind of

1390
01:15:10.720 --> 01:15:13.439
<v Speaker 1>goes back to the dystopian idea of it, but it

1391
01:15:13.520 --> 01:15:15.520
<v Speaker 1>does remind me a little bit of Fight Club in

1392
01:15:15.640 --> 01:15:18.600
<v Speaker 1>that way, right where it's just and here's the end,

1393
01:15:18.880 --> 01:15:21.399
<v Speaker 1>and that's the fucking end, and there you go, and

1394
01:15:21.600 --> 01:15:25.600
<v Speaker 1>the thing that you expected but hoped wouldn't happen happens

1395
01:15:26.079 --> 01:15:29.119
<v Speaker 1>in this movie, though, the stakes are so much worse

1396
01:15:29.680 --> 01:15:34.920
<v Speaker 1>because it's them finally doing away with like you mentioned already,

1397
01:15:35.079 --> 01:15:37.640
<v Speaker 1>the death of free thought. Here it is. Here is

1398
01:15:37.760 --> 01:15:41.159
<v Speaker 1>the death of free thought and knowledge in this society.

1399
01:15:41.439 --> 01:15:46.239
<v Speaker 1>They're being blown up, murdered intentionally because you know what,

1400
01:15:46.920 --> 01:15:49.000
<v Speaker 1>we can't keep oppressing them, so what do we have

1401
01:15:49.119 --> 01:15:51.960
<v Speaker 1>to do? We just kill them? Yeah, but just kill them.

1402
01:15:52.039 --> 01:15:54.319
<v Speaker 1>And if they don't exist on the books to begin with,

1403
01:15:54.600 --> 01:15:58.800
<v Speaker 1>then there's nobody that actually died and it's wow, what

1404
01:15:58.960 --> 01:16:01.720
<v Speaker 1>a like you said, like, what a horribly cold ending.

1405
01:16:01.880 --> 01:16:05.359
<v Speaker 1>But the reality of the way that the system thumbs

1406
01:16:05.439 --> 01:16:08.359
<v Speaker 1>up everybody, there's nothing wrong, and again in a society

1407
01:16:08.399 --> 01:16:11.520
<v Speaker 1>where the people that are being killed don't really exist

1408
01:16:11.560 --> 01:16:15.079
<v Speaker 1>and aren't being acknowledged to begin with thumbs up everybody.

1409
01:16:15.920 --> 01:16:19.079
<v Speaker 2>And that line from Franco Niro is I didn't plant

1410
01:16:19.159 --> 01:16:22.640
<v Speaker 2>the bomb. The CEO did it. Is the Blue panther

1411
01:16:22.840 --> 01:16:28.800
<v Speaker 2>himself winning and taking out all of these people intellectuals.

1412
01:16:28.920 --> 01:16:32.600
<v Speaker 1>Yes, again, to round people up and shoot them is

1413
01:16:32.680 --> 01:16:34.680
<v Speaker 1>one thing. To round people up and have them do

1414
01:16:34.800 --> 01:16:37.039
<v Speaker 1>their job and then just shoot them anyway, same thing.

1415
01:16:37.520 --> 01:16:40.439
<v Speaker 1>I don't know which is worse. They're both pretty awful.

1416
01:16:40.960 --> 01:16:43.840
<v Speaker 1>This movie, I think makes its point rather well. But

1417
01:16:44.000 --> 01:16:46.319
<v Speaker 1>to your point, Mike, I actually think that the ending

1418
01:16:46.359 --> 01:16:49.439
<v Speaker 1>in the book is a little bit more impactful because

1419
01:16:49.680 --> 01:16:52.680
<v Speaker 1>the book doesn't fucking hang anything on it. The book

1420
01:16:52.760 --> 01:16:54.760
<v Speaker 1>just says and that's it, the end, and you're just like,

1421
01:16:54.880 --> 01:16:59.560
<v Speaker 1>oh god, wow. I will say, though, the juxtaposition against

1422
01:16:59.640 --> 01:17:02.439
<v Speaker 1>a Mayora can exceptionalism with that photo at the end

1423
01:17:03.000 --> 01:17:07.520
<v Speaker 1>of Fast Understanding next to the astronaut, because again, he's doing.

1424
01:17:07.399 --> 01:17:12.840
<v Speaker 2>More than standing next to that astronaut, astronaut?

1425
01:17:13.560 --> 01:17:15.159
<v Speaker 1>What was it all about? Folks?

1426
01:17:16.039 --> 01:17:19.239
<v Speaker 3>I was okay, because we keep seeing him throughout the film,

1427
01:17:19.439 --> 01:17:21.000
<v Speaker 3>look at the astronauts.

1428
01:17:21.159 --> 01:17:24.039
<v Speaker 1>What's with the mask? At some point where the image

1429
01:17:24.079 --> 01:17:26.159
<v Speaker 1>of the mask yeah, and I'm.

1430
01:17:26.079 --> 01:17:29.800
<v Speaker 3>Like, Okay, that's fascinating, that's cool. What does the astronaut mean?

1431
01:17:30.319 --> 01:17:33.560
<v Speaker 3>Is this a reference to an image of the past

1432
01:17:34.279 --> 01:17:37.079
<v Speaker 3>that can project a sense of hope, a sense of discovery,

1433
01:17:37.199 --> 01:17:41.640
<v Speaker 3>a sense of exploration. I said sex because he then

1434
01:17:41.760 --> 01:17:44.840
<v Speaker 3>humps it, but it's like a grief hump, like because

1435
01:17:44.840 --> 01:17:47.720
<v Speaker 3>he's not happy. It's not Oh, I'm feeling sexy now

1436
01:17:47.920 --> 01:17:51.239
<v Speaker 3>I'm gonna get all up in them nassa parts. It's

1437
01:17:51.239 --> 01:17:55.840
<v Speaker 3>not like that. It's almost defeated, a sense of defeating.

1438
01:17:56.079 --> 01:17:59.000
<v Speaker 3>But he's humping and he rubs himself and then it's

1439
01:18:00.039 --> 01:18:02.279
<v Speaker 3>I don't even know how to describe the look on

1440
01:18:02.359 --> 01:18:05.680
<v Speaker 3>his face as this role. It's not happy, it's not

1441
01:18:05.960 --> 01:18:08.760
<v Speaker 3>overtly I hate this. I usually like going into these

1442
01:18:08.800 --> 01:18:13.319
<v Speaker 3>discussions having at least an idea of what is my

1443
01:18:13.359 --> 01:18:16.840
<v Speaker 3>interpretation of something. Honestly, I'm still mulling it over. I'm

1444
01:18:16.880 --> 01:18:18.319
<v Speaker 3>not quite sure what it means.

1445
01:18:18.760 --> 01:18:20.760
<v Speaker 1>I think the only thing I can compare it to

1446
01:18:21.000 --> 01:18:26.359
<v Speaker 1>directly is why Liza why. It reminded me of that.

1447
01:18:27.039 --> 01:18:28.920
<v Speaker 1>I'm not saying it in a bad way, but in

1448
01:18:29.079 --> 01:18:31.119
<v Speaker 1>that scene at the end of the room, it's never

1449
01:18:31.279 --> 01:18:34.039
<v Speaker 1>explained why he's doing what he's doing with the dress.

1450
01:18:34.279 --> 01:18:37.760
<v Speaker 1>I can put my own theory upon it as to

1451
01:18:37.800 --> 01:18:40.479
<v Speaker 1>why he's doing what he's doing. The people who made

1452
01:18:40.520 --> 01:18:42.279
<v Speaker 1>the movie would seem to think they had no idea

1453
01:18:42.279 --> 01:18:44.239
<v Speaker 1>what the hell he was doing. And I'm not sure

1454
01:18:44.279 --> 01:18:49.279
<v Speaker 1>what foss Binder is doing here either. It's that same weird, sorrowful,

1455
01:18:49.600 --> 01:18:55.840
<v Speaker 1>mournful sexual energy that just it's not something that you

1456
01:18:55.960 --> 01:18:59.039
<v Speaker 1>see often, and seeing it here at that's just what

1457
01:18:59.199 --> 01:19:03.720
<v Speaker 1>the movie ends on is a hard hard not hard

1458
01:19:03.760 --> 01:19:05.960
<v Speaker 1>to deal with, it just it's one of the few

1459
01:19:06.000 --> 01:19:08.680
<v Speaker 1>parts of the movie where I'm like, what did I

1460
01:19:08.800 --> 01:19:11.039
<v Speaker 1>miss something like you said, had there? I normally like

1461
01:19:11.079 --> 01:19:15.399
<v Speaker 1>coming into these discussions with a sense of like where

1462
01:19:15.439 --> 01:19:17.239
<v Speaker 1>I thought the thing went, and right at the end,

1463
01:19:17.279 --> 01:19:20.279
<v Speaker 1>I'm like, I'm not really sure what the movie was

1464
01:19:20.359 --> 01:19:22.560
<v Speaker 1>saying right here at the end. I got the message

1465
01:19:23.079 --> 01:19:25.039
<v Speaker 1>ninety eight percent of the way through, but right here

1466
01:19:25.039 --> 01:19:27.399
<v Speaker 1>at the end, what are we trying to say? Or

1467
01:19:27.479 --> 01:19:28.920
<v Speaker 1>Mike are you any clearer than us?

1468
01:19:29.520 --> 01:19:32.159
<v Speaker 2>No, because he does go through such a range of

1469
01:19:32.239 --> 01:19:35.960
<v Speaker 2>emotions after he does that humping and even before. But yeah,

1470
01:19:36.000 --> 01:19:40.079
<v Speaker 2>he's very sad listening to the news. And then you

1471
01:19:40.319 --> 01:19:44.680
<v Speaker 2>get the whole conversation between Nixon and Armstrong, which was

1472
01:19:45.279 --> 01:19:48.760
<v Speaker 2>an interesting part for me because suddenly the subtitles switched

1473
01:19:48.800 --> 01:19:52.359
<v Speaker 2>from English to German, and I'm like, oh wait, they're

1474
01:19:52.359 --> 01:19:57.039
<v Speaker 2>speaking English. Okay, I can actually understand this, but yes, okay,

1475
01:19:57.079 --> 01:19:59.720
<v Speaker 2>we get that conversation. Then you get the humping, and

1476
01:19:59.800 --> 01:20:02.119
<v Speaker 2>then you get him just standing there with that cigarette,

1477
01:20:02.720 --> 01:20:05.319
<v Speaker 2>and there's moments where he like throws his head back

1478
01:20:05.439 --> 01:20:08.199
<v Speaker 2>and he laughs and he's just like shaking his head.

1479
01:20:08.279 --> 01:20:11.560
<v Speaker 2>It's just I don't know if he's like figuring more

1480
01:20:11.680 --> 01:20:14.760
<v Speaker 2>things out at that point, because he's a very smart

1481
01:20:14.840 --> 01:20:18.520
<v Speaker 2>detective and he's not one of these incompetent detectives where

1482
01:20:18.560 --> 01:20:21.119
<v Speaker 2>you're just like hey, Even though when I was reading

1483
01:20:21.199 --> 01:20:23.319
<v Speaker 2>the book, I was just like, hey, Jensen, they said

1484
01:20:23.359 --> 01:20:26.800
<v Speaker 2>the thirties first floor two times, and one of them

1485
01:20:26.920 --> 01:20:30.039
<v Speaker 2>they brushed off as a joke. But then as I'm

1486
01:20:30.079 --> 01:20:32.520
<v Speaker 2>reading the book more, I'm like, oh no, he realized

1487
01:20:32.600 --> 01:20:35.000
<v Speaker 2>that he heard that it's just a matter of how

1488
01:20:35.039 --> 01:20:37.960
<v Speaker 2>he's going to play this type of thing. I'm like,

1489
01:20:37.960 --> 01:20:40.600
<v Speaker 2>all right, he's not a dumb guy, and this Jensen

1490
01:20:40.720 --> 01:20:43.720
<v Speaker 2>isn't a dumb guy either, So yeah, I wish I

1491
01:20:43.840 --> 01:20:46.960
<v Speaker 2>knew what was going through his head. But I like

1492
01:20:47.199 --> 01:20:50.399
<v Speaker 2>endings like this where you're just like I was with

1493
01:20:50.600 --> 01:20:53.079
<v Speaker 2>you all the way through, and then when you got

1494
01:20:53.159 --> 01:20:54.920
<v Speaker 2>to that last bit, you threw me a bit of

1495
01:20:54.960 --> 01:20:59.000
<v Speaker 2>a curveball. I don't know if that's just fucking Fastbender

1496
01:20:59.119 --> 01:21:01.479
<v Speaker 2>himself is throwing as a curve ball or if that's

1497
01:21:01.640 --> 01:21:03.800
<v Speaker 2>him as Jensen throwing us a current ball.

1498
01:21:03.760 --> 01:21:06.920
<v Speaker 1>But I I like it. It's just I felt under

1499
01:21:07.079 --> 01:21:09.199
<v Speaker 1>prepared right there at the end for whatever the movie

1500
01:21:09.319 --> 01:21:12.079
<v Speaker 1>is going for. Wait a second, it almost of you.

1501
01:21:12.119 --> 01:21:15.119
<v Speaker 1>I was like Fastbenders just looking at the audience really

1502
01:21:15.359 --> 01:21:17.119
<v Speaker 1>and just do you like what you saw? Was that

1503
01:21:17.239 --> 01:21:19.439
<v Speaker 1>good for you? It was good for me. Literally smoking

1504
01:21:19.479 --> 01:21:23.720
<v Speaker 1>a cigarette, he doesn't light it post humping. He actually

1505
01:21:23.800 --> 01:21:26.239
<v Speaker 1>has it on him while doing the humping of the picture.

1506
01:21:26.479 --> 01:21:31.800
<v Speaker 1>But again he does just like stare through the cinema

1507
01:21:32.119 --> 01:21:34.279
<v Speaker 1>out into the audience in a way that I know

1508
01:21:34.600 --> 01:21:36.399
<v Speaker 1>that not a freeze frame, because I can see that

1509
01:21:36.520 --> 01:21:38.880
<v Speaker 1>moving a little bit, but it seems like a freeze frame.

1510
01:21:39.680 --> 01:21:42.840
<v Speaker 1>It does right towards the end. But yeah, no, it's

1511
01:21:43.000 --> 01:21:45.760
<v Speaker 1>what an interesting movie, what an interesting pick, and what

1512
01:21:45.920 --> 01:21:48.520
<v Speaker 1>a I don't know, what an interesting guy to lead

1513
01:21:48.600 --> 01:21:50.880
<v Speaker 1>the movie, because again to all the points that we've

1514
01:21:50.880 --> 01:21:54.760
<v Speaker 1>already made, this guy is also a director and look

1515
01:21:54.800 --> 01:21:56.800
<v Speaker 1>at look at what he's able to do here as

1516
01:21:56.880 --> 01:21:59.720
<v Speaker 1>an actor. What a talent, and what a genuine shame

1517
01:21:59.800 --> 01:22:02.439
<v Speaker 1>to that he passed away the year that this film

1518
01:22:02.520 --> 01:22:05.560
<v Speaker 1>came out, from an overdose of barbituates and cocaine, which

1519
01:22:05.640 --> 01:22:08.880
<v Speaker 1>is fuck good.

1520
01:22:08.800 --> 01:22:12.399
<v Speaker 3>God thirty seven. Yeah, I know why that's such a

1521
01:22:12.479 --> 01:22:15.920
<v Speaker 3>both fucking young. I'm so young. Everything that flows me

1522
01:22:16.119 --> 01:22:18.720
<v Speaker 3>is like God, all of the great art he made

1523
01:22:18.800 --> 01:22:22.159
<v Speaker 3>and he didn't even make it to forty. And now

1524
01:22:22.439 --> 01:22:25.920
<v Speaker 3>I'm like, oh God, what am I doing with my life?

1525
01:22:26.800 --> 01:22:28.159
<v Speaker 1>What am I doing with my life?

1526
01:22:28.279 --> 01:22:31.760
<v Speaker 3>I'll never make Coral, but no, this guy. I do

1527
01:22:31.960 --> 01:22:34.439
<v Speaker 3>love the ending too, and I actually I especially love

1528
01:22:34.479 --> 01:22:36.520
<v Speaker 3>it because it is making me think because and especially

1529
01:22:36.520 --> 01:22:38.760
<v Speaker 3>because I know there's I really there's something behind it.

1530
01:22:39.039 --> 01:22:42.319
<v Speaker 3>I hate it and it's the perfect kind of ending

1531
01:22:42.399 --> 01:22:45.199
<v Speaker 3>to throw up people off because have you guys ever

1532
01:22:45.279 --> 01:22:49.600
<v Speaker 3>had to hear people discuss anything that they immediately understand,

1533
01:22:49.640 --> 01:22:53.199
<v Speaker 3>they like bitch about it instead of being like, think

1534
01:22:53.279 --> 01:22:58.399
<v Speaker 3>about it. Maybe somebody's wanting you. They respect you. That's

1535
01:22:58.439 --> 01:23:01.399
<v Speaker 3>why I never liked Tolster, because he is a writer,

1536
01:23:01.560 --> 01:23:04.439
<v Speaker 3>will tell you every fight, everything, every detail. And to me,

1537
01:23:04.560 --> 01:23:07.119
<v Speaker 3>it's that's not an act of love, an act of

1538
01:23:07.239 --> 01:23:10.640
<v Speaker 3>love as an artist being like, I respect you as

1539
01:23:10.720 --> 01:23:13.159
<v Speaker 3>a being. I'm not going to spell anything out for

1540
01:23:13.159 --> 01:23:15.119
<v Speaker 3>you because you're not stupid. I might even throw you

1541
01:23:15.239 --> 01:23:20.000
<v Speaker 3>some shadows, some shapes, some mystery. It just to me

1542
01:23:20.159 --> 01:23:23.439
<v Speaker 3>is it's an act of respect and trust and love.

1543
01:23:24.560 --> 01:23:27.600
<v Speaker 3>And how oftener are you going to see a great

1544
01:23:27.960 --> 01:23:32.000
<v Speaker 3>true auteur hamp a giant astronaut mural?

1545
01:23:32.840 --> 01:23:35.760
<v Speaker 2>Yeah for people. I hope everybody that's listening to this

1546
01:23:35.960 --> 01:23:39.359
<v Speaker 2>podcast is familiar with him. I haven't seen that many

1547
01:23:39.520 --> 01:23:42.399
<v Speaker 2>of his movies, which is a real shame. I was

1548
01:23:42.439 --> 01:23:44.479
<v Speaker 2>talking to Sam Degan, I was like, why don't we

1549
01:23:44.640 --> 01:23:48.600
<v Speaker 2>do the Fastbender cast because so much about this I

1550
01:23:48.800 --> 01:23:54.479
<v Speaker 2>know absolutely nothing, but that's forty four films that he directed.

1551
01:23:55.079 --> 01:23:58.079
<v Speaker 2>And he was one of these guys like we've talked

1552
01:23:58.079 --> 01:24:01.039
<v Speaker 2>about with the Takashi Mike and some other people where

1553
01:24:01.119 --> 01:24:05.600
<v Speaker 2>they're just directing, directing, directing, and it's I'm amazed he

1554
01:24:05.720 --> 01:24:08.520
<v Speaker 2>made it to thirty seven with the pace that he

1555
01:24:08.760 --> 01:24:12.159
<v Speaker 2>was doing. You look at his filmography and you're just like,

1556
01:24:12.600 --> 01:24:15.960
<v Speaker 2>nineteen sixty nine, ninety sixty nine, ninety sixty, nineteen seventy,

1557
01:24:16.039 --> 01:24:19.399
<v Speaker 2>nineteen seventy nineteen. I'm like, you're making three and four

1558
01:24:19.560 --> 01:24:22.680
<v Speaker 2>and five films a year, sir, How are you able

1559
01:24:22.800 --> 01:24:26.479
<v Speaker 2>to do this other than through arbituates and cocaine?

1560
01:24:26.720 --> 01:24:28.479
<v Speaker 1>The answer is there, and you're right in the nose

1561
01:24:28.520 --> 01:24:29.199
<v Speaker 1>as they would.

1562
01:24:29.039 --> 01:24:33.600
<v Speaker 3>Say, I'm making interesting films. Oh yeah, films that are great,

1563
01:24:33.880 --> 01:24:37.640
<v Speaker 3>were impactful films, because that's it. It's we always say

1564
01:24:37.680 --> 01:24:40.479
<v Speaker 3>it's quality, not necessarily quantity. But he was able to

1565
01:24:40.560 --> 01:24:44.239
<v Speaker 3>do both. That's that's that's like seeing a unicorrent, like,

1566
01:24:44.399 --> 01:24:47.760
<v Speaker 3>how was this man real? Because plenty of people do

1567
01:24:48.319 --> 01:24:51.640
<v Speaker 3>or Brichan's cocaine doesn't mean they're making good art most time,

1568
01:24:51.640 --> 01:24:53.840
<v Speaker 3>it means they're making shit art, to be honest.

1569
01:24:54.319 --> 01:24:58.479
<v Speaker 2>Yeah, and this was very deep stuff. I mentioned World

1570
01:24:58.520 --> 01:25:01.479
<v Speaker 2>on a Wire before and I'm really glad that's now available.

1571
01:25:01.479 --> 01:25:04.399
<v Speaker 2>I want to say again it might be criterion.

1572
01:25:03.920 --> 01:25:08.479
<v Speaker 3>Really experian. Yeah, and with a better cover at least, oh.

1573
01:25:08.399 --> 01:25:12.640
<v Speaker 2>Yeah, much better cover, thank god. And that is based

1574
01:25:12.720 --> 01:25:15.760
<v Speaker 2>on the same book by oh, what's the name of

1575
01:25:15.800 --> 01:25:20.279
<v Speaker 2>the author, Daniel Galuis. I think it is same author,

1576
01:25:20.479 --> 01:25:24.960
<v Speaker 2>same book, and Galui's work is fantastic. He did one

1577
01:25:25.239 --> 01:25:29.600
<v Speaker 2>where every speaking of we just were talking about blindness

1578
01:25:29.720 --> 01:25:33.760
<v Speaker 2>in the Woman on the Beach episode, and that whole

1579
01:25:34.520 --> 01:25:37.960
<v Speaker 2>book takes place in darkness, so none of the characters

1580
01:25:38.039 --> 01:25:40.319
<v Speaker 2>can see. So just the way that he's able to

1581
01:25:40.439 --> 01:25:44.520
<v Speaker 2>describe things as if you were blind is just amazing.

1582
01:25:45.079 --> 01:25:47.520
<v Speaker 2>But the same book, that WorldWind Wire was based on,

1583
01:25:47.640 --> 01:25:51.880
<v Speaker 2>same thing as The Thirteenth Floor, the one with Vincent

1584
01:25:53.079 --> 01:25:57.239
<v Speaker 2>DiCaprio and Craig Birco, And when that came out, everybody's

1585
01:25:57.279 --> 01:25:58.960
<v Speaker 2>just like, oh, it's a rip off of the Matrix

1586
01:25:59.039 --> 01:26:00.800
<v Speaker 2>And no, that book's.

1587
01:26:00.479 --> 01:26:01.159
<v Speaker 4>Been around since.

1588
01:26:03.720 --> 01:26:05.640
<v Speaker 2>Know your shit before you start spouting off.

1589
01:26:05.720 --> 01:26:08.520
<v Speaker 1>I've never seen The Thirteenth Floor, though, I need to

1590
01:26:08.560 --> 01:26:10.039
<v Speaker 1>say him, I enjoyed it.

1591
01:26:10.239 --> 01:26:12.239
<v Speaker 2>I think it's a really good movie. Yeah, we were

1592
01:26:12.359 --> 01:26:17.439
<v Speaker 2>in Mexico, actually it was a Florida trip and we

1593
01:26:17.800 --> 01:26:19.359
<v Speaker 2>had no entertainment.

1594
01:26:19.600 --> 01:26:19.840
<v Speaker 1>Really.

1595
01:26:20.039 --> 01:26:22.319
<v Speaker 2>We had a TV that had a DVD player, so

1596
01:26:22.399 --> 01:26:24.840
<v Speaker 2>we ran over to a Walmart or something and just

1597
01:26:24.920 --> 01:26:27.720
<v Speaker 2>went through the five dollars bin I picked up the

1598
01:26:27.800 --> 01:26:30.159
<v Speaker 2>thirteenth floor, and I was so glad I did, because

1599
01:26:30.199 --> 01:26:31.279
<v Speaker 2>I really enjoyed it.

1600
01:26:32.159 --> 01:26:35.760
<v Speaker 1>It's a favorite of one of my favorite people, Philosopher Slavojik,

1601
01:26:35.840 --> 01:26:38.600
<v Speaker 1>loves the films. I also Craig Bierco, who I know

1602
01:26:39.039 --> 01:26:42.119
<v Speaker 1>has been on this show indeed at least in the

1603
01:26:42.199 --> 01:26:44.199
<v Speaker 1>past several times, or at least once, right.

1604
01:26:45.000 --> 01:26:49.279
<v Speaker 2>As a guest, as a interviewee at least once, and

1605
01:26:49.439 --> 01:26:50.920
<v Speaker 2>as a co host at least twice.

1606
01:26:51.319 --> 01:26:53.000
<v Speaker 1>It's better than the Matrix Quorina.

1607
01:26:54.159 --> 01:26:56.000
<v Speaker 2>I like the Matrix as well as that. I don't

1608
01:26:56.039 --> 01:26:58.880
<v Speaker 2>think you have to discount one because of the other,

1609
01:26:58.920 --> 01:27:02.479
<v Speaker 2>because they're definitely coming out things from different places. All Right,

1610
01:27:02.600 --> 01:27:04.399
<v Speaker 2>We're going to take a break and play preview for

1611
01:27:04.479 --> 01:27:06.920
<v Speaker 2>next week's show right after these brief messages.

1612
01:27:08.520 --> 01:27:11.520
<v Speaker 6>Crimes and Misdemeanors gets two thumbs up from Cisco and Ebert.

1613
01:27:11.880 --> 01:27:14.880
<v Speaker 6>Gene Shaman of The Today Show calls it an astonishing accomplishment.

1614
01:27:15.399 --> 01:27:18.439
<v Speaker 6>Vincent Camby The New York Times says Crimes and Misdemeanors

1615
01:27:18.479 --> 01:27:21.439
<v Speaker 6>hits the bulls eye a memorable villain. Jack Crowell of

1616
01:27:21.479 --> 01:27:24.359
<v Speaker 6>Newsweek writes, what ay Ellen whipsaws you between this may

1617
01:27:24.399 --> 01:27:27.840
<v Speaker 6>and laughter? Richard Chickle of Time Magazine finds it hilarious,

1618
01:27:28.239 --> 01:27:31.560
<v Speaker 6>and Peter Travis of Rolling Stone ads Crimes and Misdemeanors

1619
01:27:31.640 --> 01:27:33.399
<v Speaker 6>is so funny it hurts rated.

1620
01:27:33.439 --> 01:27:33.640
<v Speaker 1>PG.

1621
01:27:33.800 --> 01:27:36.319
<v Speaker 6>Thirteen now playing a selected theaters.

1622
01:27:36.960 --> 01:27:38.800
<v Speaker 2>That's right, We'll be back next week what they look

1623
01:27:38.920 --> 01:27:41.760
<v Speaker 2>at Crimes and Misdemeanors. Until then, I want to thank

1624
01:27:41.840 --> 01:27:44.600
<v Speaker 2>my co host Chris and Heather. So, Heather, what is

1625
01:27:44.640 --> 01:27:45.319
<v Speaker 2>the latest with you?

1626
01:27:45.880 --> 01:27:49.800
<v Speaker 3>I have recently finally on my to do list checked off.

1627
01:27:49.840 --> 01:27:54.039
<v Speaker 3>I've started doing video essays on my YouTube channel, with

1628
01:27:54.279 --> 01:27:57.640
<v Speaker 3>my inaugural one being an intro to the whim in

1629
01:27:57.880 --> 01:28:00.520
<v Speaker 3>Wonders of I Don't Know Why the German.

1630
01:28:00.680 --> 01:28:02.840
<v Speaker 2>It's like my really the vim and Vendor.

1631
01:28:05.800 --> 01:28:08.319
<v Speaker 1>God, Damn, I do love.

1632
01:28:09.720 --> 01:28:13.520
<v Speaker 3>It is about the beauty of Outrey Cinema and particularly

1633
01:28:13.520 --> 01:28:17.640
<v Speaker 3>the Grindhouse. I'm also working on some upcoming projects, including

1634
01:28:17.840 --> 01:28:21.840
<v Speaker 3>a commentary for a film that I love deeply and

1635
01:28:21.920 --> 01:28:24.119
<v Speaker 3>that's all I can say about it, but I'm very excited,

1636
01:28:24.600 --> 01:28:27.479
<v Speaker 3>and the Cruise. There's all sorts of other sundry goodies.

1637
01:28:27.520 --> 01:28:30.640
<v Speaker 3>You can find it my link tree linktree dot com

1638
01:28:30.760 --> 01:28:33.920
<v Speaker 3>for slash Mondoheather, find my Patreon, find my website, find

1639
01:28:33.960 --> 01:28:36.439
<v Speaker 3>my social media contexts. I need to add I am

1640
01:28:36.479 --> 01:28:38.760
<v Speaker 3>blue on Blue Sky now I need to add that

1641
01:28:38.840 --> 01:28:41.560
<v Speaker 3>to there. I will take that after this recording. But anyways, yes,

1642
01:28:41.720 --> 01:28:44.560
<v Speaker 3>find me there linktree dot com, sport slash Modoheather.

1643
01:28:45.399 --> 01:28:48.079
<v Speaker 2>Yes, I am so fucking woke. I'm no longer on

1644
01:28:48.520 --> 01:28:51.800
<v Speaker 2>X and on Blue Sky, but I've been there for

1645
01:28:51.840 --> 01:28:54.399
<v Speaker 2>a few months. It's just they haven't integrated with my

1646
01:28:55.159 --> 01:28:58.000
<v Speaker 2>social media posters, so I always forget to go there

1647
01:28:58.840 --> 01:29:00.439
<v Speaker 2>and Chris, what is happening with you, sir?

1648
01:29:01.600 --> 01:29:04.239
<v Speaker 1>I'm not on X either. No, I guess I am

1649
01:29:04.319 --> 01:29:07.640
<v Speaker 1>on X still, but I'm also on Blue Sky as well.

1650
01:29:07.720 --> 01:29:11.439
<v Speaker 1>But a social media for me just now less important

1651
01:29:11.439 --> 01:29:14.760
<v Speaker 1>than Weirdingwaymedia dot com, where this show and all the

1652
01:29:14.840 --> 01:29:17.000
<v Speaker 1>other shows that Mike and I work on that are

1653
01:29:17.079 --> 01:29:23.600
<v Speaker 1>other content creators. Slash Friends, slash Cohort, slash Merry Men, Women,

1654
01:29:24.159 --> 01:29:27.079
<v Speaker 1>theyvem's and everybody else can be found at Weirdingwaymedia dot com.

1655
01:29:27.159 --> 01:29:30.399
<v Speaker 1>And it's a great place to listen to inclusive storytellers

1656
01:29:30.439 --> 01:29:34.199
<v Speaker 1>telling great stories. And that's that's what we're doing here.

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01:29:34.279 --> 01:29:36.159
<v Speaker 1>That's what I do over at my show, the Culture Cast,

1658
01:29:36.279 --> 01:29:39.000
<v Speaker 1>and over at the only thing you can't find a

1659
01:29:39.039 --> 01:29:41.199
<v Speaker 1>weirdingway media because I know Michael plug it if I

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01:29:41.279 --> 01:29:43.600
<v Speaker 1>don't is Ranking on Bond, which can be found at

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01:29:43.640 --> 01:29:46.680
<v Speaker 1>patreon dot com slash Projection Booth or patreon dot com

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01:29:46.800 --> 01:29:49.560
<v Speaker 1>slash Culture Cast at the ten dollars level or higher,

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01:29:49.640 --> 01:29:51.560
<v Speaker 1>and once a month, we, along with the host of

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01:29:52.039 --> 01:29:56.239
<v Speaker 1>Richard Adam's paranormal Bookshelf Richard Adam, talk all about James

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01:29:56.319 --> 01:29:58.800
<v Speaker 1>Bond once a month. Wouldn't you think of a podcast

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01:29:58.840 --> 01:30:01.199
<v Speaker 1>called Ranking on Bond is about James Bond's where you

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01:30:01.239 --> 01:30:02.399
<v Speaker 1>can find me? So there you go.

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<v Speaker 2>Well, thank you, Chris, you pretty much took my entire outro.

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01:30:07.159 --> 01:30:09.640
<v Speaker 2>So let me just say that every donation that the

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01:30:09.720 --> 01:30:13.239
<v Speaker 2>Projection Booth gets helps us produce some more Ranking on

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01:30:13.399 --> 01:30:15.520
<v Speaker 2>Bond and also helps us take over the world.

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01:31:27.880 --> 01:31:32.159
<v Speaker 3>But you don't think the doctor a dad. I think

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01:31:32.239 --> 01:31:38.640
<v Speaker 3>they may have whoever, Yeah, I think they maybe the

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01:31:41.359 --> 01:31:46.680
<v Speaker 3>I kinda might be eventually. Map your eyes, think your

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01:31:48.960 --> 01:31:49.399
<v Speaker 6>Long way