Speaker 1: Will you wait, miss.
Speaker 2: Welcome back, midnight viewers to Anthologies Attack, where we look
Speaker 2: at anthologies in every media, every genre. And joining me
Speaker 2: here in the Anthologies Attack Control Room is back from
Speaker 2: his hiatus in the appilation Wilderness, mister Antonio Lapour.
Speaker 3: Here you hit that dred on. Happy New Year, too.
Speaker 2: Happy new to you? Oh my god? We're recording this
Speaker 2: on New Year's Day. Is our first recording of twenty
Speaker 2: twenty five.
Speaker 3: Yes, well, what a way to kick off the new year,
Speaker 3: which is certainly promising to be a weird one. I
Speaker 3: think our filmmakers chosen for this week, I think are
Speaker 3: appropriate to the tone of twenty twenty five, which is
Speaker 3: it's gonna be filled with wacky characters doing some despicable things,
Speaker 3: and some of it'll be funny and some of it'll be.
Speaker 2: Drunk, and all will be surreal. Because the filmmakers you're
Speaker 2: talking about is the Cohen brothers, Joel and Ethan Cohen. Now,
Speaker 2: this is a new Year, new episode of Anthologies Attack.
Speaker 2: We haven't done one in a little while, and this
Speaker 2: is technically not an anthology at all, but it is
Speaker 2: a wind up toward a fantastic anthology by the Coen
Speaker 2: brothers that'll be coming up soon. That is the the
Speaker 2: ballad of Buster Scrugs. We're gonna be We'll be covering
Speaker 2: that in a future episode. But as a primer, a primer,
Speaker 2: what do you say, I say primer. I keep hearing primer.
Speaker 2: I think Primmer would have a double m.
Speaker 3: Wouldn't wouldn't, Bob ros say, now adds a primer here
Speaker 3: of titanium white and continue long.
Speaker 2: I'm primer as a primer for ballad Buster Skirks. But
Speaker 2: we're taking a look back at a film from ten
Speaker 2: years ago. This is their look at the folk world,
Speaker 2: and you know, totally appropriate time wise, given that there
Speaker 2: is currently a film out by James Mangold called A
Speaker 2: Complete Unknown, a biography of Bob Dylan. It takes place
Speaker 2: from nineteen sixty two to nineteen sixty five. Three characters
Speaker 2: from that movie appear in this movie. Those characters are
Speaker 2: Bob Dylan himself, Albert Grossman here Bud Grossman in the
Speaker 2: film we're talking about, and Dave Van Ronk, who is
Speaker 2: a giant in the folk music scene from that era.
Speaker 2: They've based there. They've based a film on Van Runk,
Speaker 2: but changed a lot of it, so instead we're getting inside.
Speaker 2: Lewin Davis, what'd you say?
Speaker 1: You played folk songs?
Speaker 3: Alkso solo act?
Speaker 4: Now?
Speaker 5: I had a partner threw himself off the George Washington Bridge.
Speaker 2: George Washington Bridge.
Speaker 3: You throw yourself off the Brooklyn Bridge traditionally George Washington Bridge.
Speaker 3: Who does that?
Speaker 1: If I hand rain.
Speaker 3: Nose?
Speaker 6: I fly?
Speaker 1: Explain the cat? What's its name?
Speaker 7: I don't know the gold coins cat.
Speaker 8: It's slipped out and I don't have the key.
Speaker 5: My honey fairy.
Speaker 1: Will don't tell Jim. Obviously I had a man.
Speaker 3: Stung and tall.
Speaker 2: He moved his body.
Speaker 9: Doctor cannon Ball.
Speaker 3: Well fed the way. No, there was no advance on
Speaker 3: my solo record. There's gotta be some royalty. Christ's sake.
Speaker 3: It's cold out. I don't even have a winter coat.
Speaker 3: You're kidding me, Ain't this kidd?
Speaker 9: No?
Speaker 5: No, I remember one evening.
Speaker 2: In the porn ray.
Speaker 1: In my heart?
Speaker 7: Do you ever think about the future at all?
Speaker 3: You mean fine?
Speaker 8: Cause hotels on the moon, Okay.
Speaker 1: I want you to leave, get out of here.
Speaker 3: I mean, well, Danny, your uncle's a bad man.
Speaker 1: Okay, show super.
Speaker 7: Fine, lashing with living without the one? You know?
Speaker 8: Anywhere money, I'm interested in gigging here, Okay, let's hear something.
Speaker 8: You don't want to hear the record?
Speaker 3: Why should I hear? Play me something? Play me something?
Speaker 3: From Inside Lewin Davis. Is Lewin Davis based on someone?
Speaker 3: Or is it? Oh?
Speaker 2: Yeah?
Speaker 3: Oh?
Speaker 2: He is Inside Lewin Davis. Written and directed by Joel
Speaker 2: and Ethan Cohen, starring Oscar and Carrie Mulligan, John Goodman,
Speaker 2: Garrett Headland, f Murray Abraham, Justin Timberlake, Adam Driver. Oh
Speaker 2: my god, it just goes on and on. Max Casella,
Speaker 2: who's great in it? This was released December sixth two thirteen. Yes,
Speaker 2: to answer your question, Antonio, the Giant I mentioned, Dave
Speaker 2: van Ronk is the basis for Lewin Davis in this film.
Speaker 2: He's lightly based on him in nineteen six where he
Speaker 2: released an album Inside. Dave van Ronk. The song that
Speaker 2: Lewin Davis starts the film with, hang Me is a
Speaker 2: song that he popularized. In fact, a couple of the
Speaker 2: songs he sings in this Dave Van Ronk was once
Speaker 2: in the merchant Marines before he became a folk singer,
Speaker 2: and he stood in the shadow of everyone who towered
Speaker 2: over him in that scene. In every future music scene
Speaker 2: becoming kind of a footnote. So no surprise he would
Speaker 2: be the member of the folk music scene that the
Speaker 2: Cohen Brothers would gravitate towards and tell a story with
Speaker 2: absolutely no plot at all. What was your first encounter
Speaker 2: with mister Lewin Davis?
Speaker 3: All right, when it came out. I love the Coen Brothers.
Speaker 3: My my writing and producing partner, Matt Chavrudin and I
Speaker 3: we often joke are about us being like low rent
Speaker 3: Cohen bro like, we're like b movie Cohen Brothers. I
Speaker 3: think they're the best, or at least they're definitely among
Speaker 3: the best. They're definitely the caretakers of storytellers about interesting
Speaker 3: white people.
Speaker 7: But they're definitely.
Speaker 3: What's funny, Yeah, I'm gonna take that that joke and
Speaker 3: go back real quick, and you're like, it's funny? Had
Speaker 3: I just said that? But then Joel just made the
Speaker 3: greatest Macbeth since Orson Wells with one and only Denzel Washington.
Speaker 3: That's gonna eat.
Speaker 2: My shoes and eat then put a comedy thriller starring
Speaker 2: two lesbians as their leads, you.
Speaker 3: Know, And I haven't seen that yet, and it's unlay
Speaker 3: list of movies to watch I've got that one and
Speaker 3: Past Lives are my like on my next to watch list.
Speaker 2: Did they need to get away from each other to
Speaker 2: have a non white male lead?
Speaker 3: I think so, you know, I think so I get together.
Speaker 3: They've found a niche, so to speak, of doing movies
Speaker 3: about somewhat likeable losers who are in way over their heads.
Speaker 3: Like there's generally the plot of their pictures. I mean,
Speaker 3: whether it's the dude or high or what's the guy's
Speaker 3: name and no country or old men. Josh Browlin's character
Speaker 3: is another you know, likable loser in way over his head.
Speaker 2: The entire cast of Old Brotherware, aren't they the.
Speaker 3: Old Brotherware out Out, Yes, which is the most lovable
Speaker 3: losers in movie history. And Lewin Davis where he's he's
Speaker 3: not as likable, I guess as their usual protagonist, but
Speaker 3: he's again just a guy who's kind of been over
Speaker 3: his head. He's like like he feels like he's just
Speaker 3: almost good enough to be a folks singer, can't quite
Speaker 3: get anything. And yeah, that's generally they're the thing. Here's
Speaker 3: the thing. This movie doesn't resonate with me a lot,
Speaker 3: Like I don't super enjoy it. But then at the
Speaker 3: same time, I super identify it with you know, I'm
Speaker 3: a struggling artist. Making a living is very very very hard.
Speaker 3: It's very very stressful, and it's very very difficult to
Speaker 3: maintain that level of artistic integrity and you're still trying
Speaker 3: to make living and trying to balance both. It's hard.
Speaker 3: So like, as I'm watching this, my heart breaks for
Speaker 3: this guy because I've been through a lot of this stuff.
Speaker 3: Now brands that I've never misappropriated a cat, never knocked
Speaker 3: up a lady and acted like an asshole, you know,
Speaker 3: like I've never I've joined the merger of marines or
Speaker 3: been addicted to it my dad, you know, make him
Speaker 3: swail himself. I play at the horror song.
Speaker 7: I understand that.
Speaker 3: The difficulty that the artist life is, and this movie
Speaker 3: really kind of encompasses. I'm watching it again. The ladies
Speaker 3: eat a hell? Is that the whole point the way
Speaker 3: cycle their nature? Like where he starts with the devil
Speaker 3: and ends with the devil, almost, you know, like a
Speaker 3: record going around and round. You know.
Speaker 2: The Coen Brothers are often riffing on a theme from
Speaker 2: movie to movie, and you'll see echoes from one to
Speaker 2: the other. This certainly reminds me.
Speaker 3: Of a serious man.
Speaker 2: Yeah, as far as that sort of the biblical connotations
Speaker 2: to it, it also reminds me very much of O Brother,
Speaker 2: Where art thou in that it is a quest movie,
Speaker 2: where in this case it's a quest for him to,
Speaker 2: I don't know, find some sort of meaning and reason
Speaker 2: to continue on as an artist in this you know,
Speaker 2: burned out world. In fact, like gonna be a Barton Fink,
Speaker 2: and definitely Barton Fink. This seems like, in some ways
Speaker 2: a lighter version of Barton Fink. Yeah. You know, they
Speaker 2: come again and again to creative types and they're always tortured,
Speaker 2: sometimes at their own hands like Barton, and sometimes because
Speaker 2: they just can't relate to anyone in humanity, like like
Speaker 2: Lewin Davis here, I.
Speaker 3: Wrote a paper in college of Barton Fink, maybe years
Speaker 3: and years and years ago, and it was examining Barton
Speaker 3: think like a retelling of job before they actually did
Speaker 3: job with serious man. But it was you know, and
Speaker 3: again it was another allegory a hell too. It's like
Speaker 3: it was the artist hell, you know, like he's this
Speaker 3: struggling writer and now he's in hell. I think the
Speaker 3: job thing, you know, it's like twenty two or something
Speaker 3: thing that like, he had everything in New York and
Speaker 3: it was taken away from him, and now he's trying
Speaker 3: to find himself again with nothing. Even though he's in
Speaker 3: this you know, he's a Hollywood an, money and this stuff,
Speaker 3: but he doesn't have that integrity anyway.
Speaker 2: Is that what that movie is about? I always think
Speaker 2: Barton has zero integrity. I think what he's producing in
Speaker 2: New York is bullshit, and I think he's lucky to
Speaker 2: get to get it. And once he gets there, he
Speaker 2: thinks he's made a masterpiece. And all he's redone is
Speaker 2: retype his New York play that was bullshit at the beginning.
Speaker 2: You know whose head is in our box?
Speaker 8: His?
Speaker 3: Oh yeah, I gotta watch it again.
Speaker 2: I to watch it, I know, man, every time I
Speaker 2: start talking about it to Colin Brothers movie, the next
Speaker 2: step is to rewatch it. So the plot here as
Speaker 2: it is, finds our protagonist Lewin Damis, who is a
Speaker 2: struggling folks singer in New York's Greenwich village. He is CouchSurfing,
Speaker 2: He's homeless. I never really thought of it. This is
Speaker 2: like maybe the sixth or seventh time I've seen the
Speaker 2: movie rewatched it today and realized that he's basically a
Speaker 2: homeless person.
Speaker 3: Yeah, he's hollless.
Speaker 2: He's just on people's couches. I think we've all been there, particularly,
Speaker 2: as you said, if you're pursuing a more artistic lifestyle
Speaker 2: or not the nine to five, button down thing, which
Speaker 2: this movie is a. I won't say it's praising this lifestyle,
Speaker 2: because it is not. It is showing how difficult and horrible. Yeah,
Speaker 2: an artist's path is how you're willing to forfeit every
Speaker 2: creature comfort to exist, as Lewyn Davis calls it at
Speaker 2: one point, which is her sisters like, is that what
Speaker 2: we're doing outside of showbiz, all of us, which just existing?
Speaker 3: It's not so bad, No, you're It's exactly it. And
Speaker 3: what I guess there It bugs me because is I
Speaker 3: try to I suffer like that I have to like
Speaker 3: give up a lot of creature comforts just to be
Speaker 3: able to exist as a filmmaker, you know, and the
Speaker 3: idea that like, you know, only done a full time
Speaker 3: job and then trying to run my little movie company
Speaker 3: and edit something this and endit something that, and then
Speaker 3: put out the marketing for it and then manage film
Speaker 3: festivals for it and then do this and do that.
Speaker 3: It's not easy. It's a full time job in and
Speaker 3: of itself, with little perks.
Speaker 2: We take Lewin Davis here, who is not necessarily and
Speaker 2: also ran but maybe it never was, though he is
Speaker 2: well regarded within the folk community, and the film basically
Speaker 2: without a plot, follows him grasping in every direction at
Speaker 2: validation that he should keep going as a musician, and
Speaker 2: in virtually every avenue he takes tells him to stop.
Speaker 2: This is all sort of hung around the sort of
Speaker 2: running not gag necessarily, but a subplot in this plotless
Speaker 2: film is that he has accidentally one of the couches
Speaker 2: he's surfing on is the Gore Finds, who are a
Speaker 2: couple of college educator intellectuals, and he's slept on their
Speaker 2: couch one night, and on leaving lot left their cat out,
Speaker 2: this little orange tabby, and he's now he has to
Speaker 2: basically squire this cat around for the rest of the movie,
Speaker 2: and sometimes it is the cat, and maybe it isn't,
Speaker 2: and the cat maybe represents something and maybe represents something else. Entirely,
Speaker 2: we're watching him basically come to the conclusion of whether
Speaker 2: or not he should just give up this whole life.
Speaker 3: There's a cat per act. Basically, there's the three cats
Speaker 3: you know, and then the original cat shows up a
Speaker 3: game at the end, But then so does you know
Speaker 3: the guy who beats him up, and then you know
Speaker 3: him waking on the couch. So it's like the cyclical
Speaker 3: nature of the movie, like his never ending cycle of
Speaker 3: being Lewin Davis and not quite getting there.
Speaker 2: And a word about the cat. Now this orange tabby
Speaker 2: now recently, just recently, but I lost my cat van
Speaker 2: mister van Go, who was an orange Tabby and bore
Speaker 2: a remarkable resemblance to the cat in this one, including
Speaker 2: the sort of sleepy hooded eyes of the hero cat here,
Speaker 2: whose name I don't know and I should I'll find out. No,
Speaker 2: the cat the characters of the cat is named Ulysses,
Speaker 2: but I don't know the cat actor's actual name.
Speaker 3: Oh no, I don't know the cat actor.
Speaker 2: There are several because you can tell almost immediately the
Speaker 2: one on the train is not the one who wakes
Speaker 2: him up, right, that's just a continuity era because the
Speaker 2: one that enclose up when he meets that he meets
Speaker 2: in the apartment building is one of the most adorable
Speaker 2: cats of all the time. Anyway, point is about this
Speaker 2: cat without getting into its implications thematically and otherwise. The
Speaker 2: sequence of Lewin Davis leaving the apartment realizing he's now
Speaker 2: let this cat out and he's going to have to
Speaker 2: carry this cat with him on his journeys. While going
Speaker 2: through the subway, He's sitting on the subwit this sequence.
Speaker 2: I could watch this scene over and over, Antonio. In fact,
Speaker 2: I have on occasion put this movie on just to
Speaker 2: watch this sequence and then turn it off. The cat's
Speaker 2: fascination looking out the window as the different trains are
Speaker 2: rolling by, there are two black children sitting in the
Speaker 2: corner who are delighted that this man, this crazy man,
Speaker 2: is sitting in the train with an orange cat. There's
Speaker 2: a businessman who's like looking at the whole thing, A
Speaker 2: scants I don't know. And the song playing, which is
Speaker 2: Lewin Davis. Our lead character is a solo folk artist,
Speaker 2: but he had my old success as a duo, we
Speaker 2: find out, and that was his partner Mike, who we
Speaker 2: come to find out is committed suicide.
Speaker 3: Fine No I fare the river to the one Oh.
Speaker 1: Fair, the way.
Speaker 3: Honey Fair.
Speaker 2: We get that song a couple of times in this movie,
Speaker 2: and this becomes a runner in the film. And I
Speaker 2: noticed that they do this a lot, where they will
Speaker 2: pick a song if their movie is musically oriented and
Speaker 2: run with that like I'm a man of constant sorrow obviously,
Speaker 2: and or brother we aren't there. But Lady Killer also
Speaker 2: has a couple of tunes that recur over and over again.
Speaker 2: Here it's this one, and we'll get a little bit
Speaker 2: more into the music of it later, But the sound
Speaker 2: of that song playing and the visials of that cat
Speaker 2: in nineteen sixty one New York, gritty, grimy New York,
Speaker 2: it's just delightful to me.
Speaker 3: Am.
Speaker 2: I just waxing raps on. It might be we can
Speaker 2: get into the nuts and boll movie, but I'm telling you,
Speaker 2: there are parts of this movie that I fucking adore.
Speaker 3: Yeah, and I agree with you too. There's a lot
Speaker 3: to really like the cinematography. It's clearly not Deacons as
Speaker 3: the usual collaborator. And when you say dark and gritty
Speaker 3: New York of nineteen sixty one or whatever, that's really
Speaker 3: evident because Deacon's stuff is usually never that desaturated, although
Speaker 3: like he'll manage to do something make it disaturated and
Speaker 3: still make it a little a color.
Speaker 2: This is their first digital film?
Speaker 3: Is this their first digital one? It is?
Speaker 2: Okay, you can why Deacons was not It was not involved,
Speaker 2: though I think it's worked with them again.
Speaker 3: Sense no Deacon shoots digital now though.
Speaker 2: Yeah, no, no, no, I know.
Speaker 3: Yeah, and it does it Yeah, no, I think it
Speaker 3: was a statially thick. But but there's a different look
Speaker 3: to to this than there are other films. It definitely
Speaker 3: feels different than their underwork and you can really like
Speaker 3: a stick and.
Speaker 2: Yeah, definitely the cinematography, but the setting really goes a
Speaker 2: long way, because you know, we've seen New York portrayed
Speaker 2: in all of its decades and all of its guys.
Speaker 2: Is one thing they did very wisely was sent this
Speaker 2: in winter, but that winter bordering on spring. So yes,
Speaker 2: there's snow on the ground, but not a ton, just
Speaker 2: enough to be annoying, just enough to get across the
Speaker 2: idea that you're in a hostile environment, just enough that
Speaker 2: all the sand and grit and all the stuff that
Speaker 2: they use to dissolve that snow is piled up. It
Speaker 2: feels grimy and oily.
Speaker 3: Yeah, it does. It feels dirty, and it feels definitely
Speaker 3: feels libd in you know, doesn't feel friendly, which is weird.
Speaker 3: Vida folk music is so you know, folky and warm
Speaker 3: and cozy, and why that New York is not. It's
Speaker 3: interesting how that sound comes out of that world.
Speaker 2: And I do encourage everyone to watch A Complete Unknown
Speaker 2: as a companion piece to this film, because a lot
Speaker 2: of these same locations, like I said, and a lot
Speaker 2: of these same characters. Dave van Rocket is character in
Speaker 2: A Complete Unknown. Albert Grossman, who is the f Murray
Speaker 2: Abraham character. Bud Grossman in this film was a major
Speaker 2: player in the folk music scene and the recording of
Speaker 2: folk music and putting it out. So you know, a
Speaker 2: lot of these same sort of things recur in it.
Speaker 2: But watching the movie, like these coffee houses and basket
Speaker 2: houses through Dylan's eyes, who sort of shows up as
Speaker 2: a conquering hero versus somebody who's been fighting in the
Speaker 2: trenches this whole time, is very illuminating.
Speaker 3: I haven't got a chance to watch it. Is it good?
Speaker 2: I think it might be the best movie I saw
Speaker 2: last year.
Speaker 3: Oh wow, that's a bold statement. All right, then I'll
Speaker 3: keep an eye out for it.
Speaker 2: Yeah. It bumps up against kneecap that Irish rap movie
Speaker 2: that I just adore too much. But both musical films
Speaker 2: this year sort of did it for me.
Speaker 3: Well, there you go. You know when they get Timberlake
Speaker 3: plays she plays gym, right, Yeah, there's something about Timberlake's
Speaker 3: beard is so funny in that.
Speaker 2: He looks letter perfect. I mean, he looks like he
Speaker 2: should be in the A Complete Unknown movie. He's so squeaky.
Speaker 7: Yeah, Like, it's hilarious. And I like Carrie Mulligan.
Speaker 2: You know, here's the thing about Carrie Mulligan. If I'm
Speaker 2: being totally honest, every time I see her in a
Speaker 2: movie and not realizing it's Carrie Mulligan for a moment,
Speaker 2: I think, oh my god, Michelle Williams is in this movie.
Speaker 2: I'm so excited, ha ha ha, And then it's Carrie
Speaker 2: Mulligan and no offense to her. She seems like a
Speaker 2: lovely performer and you know she can. She does it.
Speaker 2: She's okay.
Speaker 3: But you know, I like her.
Speaker 2: There aren't many like her. There aren't many performances in
Speaker 2: Coen Brothers movies that I can point to in a
Speaker 2: scene and go like, eh, that's a bit iffy. Her
Speaker 2: delivery of asshole here is a little too something.
Speaker 3: Yeah, Yeah, you ain't got a point there.
Speaker 2: It's like when yeah, she can't get her mouth around
Speaker 2: Cohen Brother's dialogue.
Speaker 3: It might be a little much for her. Yeah, maybe.
Speaker 3: I like Jaron Gatsby. That movie's kind of a message,
Speaker 3: really pretty you'll look at and I like hearing it.
Speaker 2: I heard it's great young seen it great Gatsby. Never
Speaker 2: mind moving on. Yeah, Garry Mugan or a Jim and Jane,
Speaker 2: they're they're at this, like I said, the squeaky clean
Speaker 2: folk couple. They might be brother and sister for all
Speaker 2: we know. I mean, they're not.
Speaker 3: They're right, they're.
Speaker 2: Clearly husband and wife. But but for to the outside world,
Speaker 2: if you saw them on an album cover, you would
Speaker 2: be confused. And yeah, absolutely, And so now they represent
Speaker 2: an avenue of an artistic path that he could be
Speaker 2: going down. Like that, each of the characters he encounters
Speaker 2: are basically like another way to make it in the
Speaker 2: music industry, whether you know whatever that means actually making it.
Speaker 2: And they seem like a couple who have integrity. They're
Speaker 2: singing the old folk songs there people are in love
Speaker 2: with them. And on top of that, the Jim justin
Speaker 2: Timberlink's character writes a novelty tune and which is going
Speaker 2: to make a million dollars.
Speaker 10: He's mister Kennedy, Bubble that's good. No where the things.
Speaker 6: Sets you read and meat loud and clean rolls.
Speaker 7: Mister Kennedy.
Speaker 2: He doesn't want their brand of music, and he definitely
Speaker 2: doesn't want the sellout commerciality. He'll take that money, but
Speaker 2: he's embarrassed that he's on that album.
Speaker 3: Yeah, but then he signs away the royalty so he
Speaker 3: can get the abortion money right away.
Speaker 2: Chance in this movie is It's the Odyssey and It's
Speaker 2: job combined. Is Lewyn Davis their most unlikable carecter?
Speaker 3: He is pretty likable. Let me read it.
Speaker 2: Let me read the list of movies Blood, Simple, Raising, Arizona,
Speaker 2: Miller's Crossing, Barton Fink, Hudsucker, Proxy, Fargo, Big Lebowski or Brother,
Speaker 2: Aren't the Man who Wasn't There? Intolerable, Cruelty, Lady Killers,
Speaker 2: No Country for Old Men? Burn After reading Serious Man,
Speaker 2: True Grit Inside, Lewin Davis Hail Caesar, ballad of Buster scrugs.
Speaker 2: As a lead character goes, is he their most despicable?
Speaker 3: Is I wanted to a bathroom because I struggle like
Speaker 3: you and I my temperate things go. You know, like
Speaker 3: I'm remember gonna suckle a lady on stage. I don't
Speaker 3: care as.
Speaker 11: Long it's the lowest snap at the lady who wants yeah,
Speaker 11: or snapping at the lady who just wants him to
Speaker 11: play the guitar a little bit like I think, but
Speaker 11: like he he doesn't approach you, and I don't.
Speaker 3: Know, there's a lot of like self loathing on his
Speaker 3: part too. And yeah, you know, like knocking women up
Speaker 3: that isn't great. Banging the guy's wife isn't great. That's
Speaker 3: why he's thinking he's in hell and like he's the
Speaker 3: shitty guy.
Speaker 7: This is where he's at.
Speaker 2: Not that I've knocked anybody up or you know, heckled
Speaker 2: anybody from a crowded bar or anything. But I find
Speaker 2: myself relating to Lewin Davis more than any other Cohen
Speaker 2: brother's character, honestly.
Speaker 11: Just that.
Speaker 2: And it is partly what you and I have been
Speaker 2: talking about, which is if you make a decision in
Speaker 2: your life at a certain point that you're going to
Speaker 2: follow some sort of creative path and you're not going
Speaker 2: to get the business degree or get whatever a cubicle
Speaker 2: job you're in an uphill battle with everybody, everybody from
Speaker 2: the straight world. He meets his sister. The first thing
Speaker 2: she says, yeah, do you have your merchant card? Like,
Speaker 2: go get a job. It's a you know, it's a
Speaker 2: tough road to ho So it's like I relate to
Speaker 2: Lewin Davis so much on that level. I don't relate
Speaker 2: on what he's doing in his actions necessarily, but I
Speaker 2: also recognize his his recognizing the weight of the world
Speaker 2: around him. It's a fucking horrible slug, you know.
Speaker 7: I think, why one, I think he's a shitty character
Speaker 7: or a shitty guy.
Speaker 3: At least you and I are wor a perspective is
Speaker 3: the we Oh, we do see a lot of oursonals
Speaker 3: and a lot of us that we have to deal with.
Speaker 3: And yeah, that's an uphill battle against the squares, so
Speaker 3: to speak. You know, I have to go see my
Speaker 3: sister asking for money sometime. You know, I up saying, God,
Speaker 3: she believes her, and you thinks I'm brilliant, and it's
Speaker 3: like happy to support you know what you can, but
Speaker 3: like it's still hard, you know, and when your friends
Speaker 3: all have houses and wives and kids and stuff, and
Speaker 3: you're like, well, I'm trying to get my next feature
Speaker 3: up about it, It's like, ah, fuck, dude, it's not
Speaker 3: it's it stinks.
Speaker 4: And the funny thing is even people in the industry
Speaker 4: that I deal with, you know, like a lot of
Speaker 4: them have great jobs because their gricks and their ac
Speaker 4: canvas and their customers and their hairdressers.
Speaker 3: And I'm like, no, I'm a writer, go out to her.
Speaker 3: I'm the most lauded and least respected. It the same dime. Like,
Speaker 3: it's weird. Like unless you're you hit the jackpot and
Speaker 3: make something to everybody doors, you're just like a bum.
Speaker 2: But here's the thing, amid no, you're right, amidst all
Speaker 2: the misery in this movie. Whenever he picks up the guitar,
Speaker 2: suddenly we're trying sported. In fact, anytime anyone sings in
Speaker 2: this movie, music is transformative in this film. It stops
Speaker 2: time and it illuminates things, and it makes us see
Speaker 2: the characters in in lights that we would have before.
Speaker 2: I've often said that you know, even the worst band
Speaker 2: in the world, if you see them play live and
Speaker 2: they're halfway competent, you instantly gain a bit of respect
Speaker 2: for them. Never mind the fact that when Lewin Davis
Speaker 2: is putting his heart into a song. It's gorgeous, it
Speaker 2: really is.
Speaker 7: The names is a beautiful performance. And then Doman just.
Speaker 3: Like bud Golder, but Ray rud Gros were just like,
Speaker 3: I know's the amount of money I fucked up? I
Speaker 3: mean that's pucked up.
Speaker 2: It's yeah. Every door is closed in his face in
Speaker 2: this movie.
Speaker 7: I think Biden closes the celt and at the.
Speaker 2: End, does he I see, here's the thing. Let's talk
Speaker 2: about the ending.
Speaker 3: Yeah, not to go back? Right? No? He does?
Speaker 2: Okay, so he gives it all up, but then that
Speaker 2: door closes on it. He can't live his life. He
Speaker 2: has to continue, He has to go back just to
Speaker 2: make money from the basket being passed around at the club.
Speaker 2: That final performance. This movie does begin and end. It
Speaker 2: is a mirror because it starts and then the whole
Speaker 2: movie is a flashback, and then we come back to
Speaker 2: this opening scene. And as I said, the opening scene,
Speaker 2: he's singing a movie. He's singing a song called hang Me,
Speaker 2: which was the Dave van Ronk standard, and that is
Speaker 2: a lament. It is a man who has given up
Speaker 2: entirely and is the only thing that really bothers him.
Speaker 2: Is how long his body is going to be laying
Speaker 2: in the ground.
Speaker 5: Hang me, Oh, hang me, I'll be didn't gone? Hang me? O,
Speaker 5: hang me, I'll be didn't go? Wouldn't man hang him?
Speaker 5: But playing in the grays Now.
Speaker 2: In the opening they cut from that to him getting
Speaker 2: off stage and then being assaulted by the woman's husband,
Speaker 2: the potential devil character in this film. Right when we
Speaker 2: come back to the end and he performs he does
Speaker 2: have But then he performs if I Had Wings again?
Speaker 2: Now if I Had Wings? We hear at the beginning.
Speaker 2: It is an angelic sequence with that cat. But that's
Speaker 2: him with his partner singing. When he tries to sing
Speaker 2: the song again, that's the dinner party sequence with the
Speaker 2: intellectuals that you mentioned that the woman starts singing his
Speaker 2: dead partner's part. That's where he blows up and freaks
Speaker 2: out on them.
Speaker 3: A have we.
Speaker 6: Lord hod fly River to the words, well money, what
Speaker 6: are you doing? What?
Speaker 1: But what is that?
Speaker 3: What are you doing?
Speaker 1: Well, it's Mike's part. Don't do that.
Speaker 5: Oh you know what, this is bullshit.
Speaker 9: I'm sorry, this is I don't do this, Okay, I
Speaker 9: do this for a living. It's not a it's not
Speaker 9: a fucking.
Speaker 7: Parlor game, Lewin, Please, that's unfair to lose this bullshit.
Speaker 9: I don't ask you over for dinner, and then suggests
Speaker 9: to give a lecture on the peoples a meso America,
Speaker 9: whatever your pre Columbia shit is.
Speaker 2: So he tries on his own to sing that song
Speaker 2: and it doesn't work. There here at the end of
Speaker 2: the movie, he's singing that song and he means it.
Speaker 2: And I think he has renewed his faith in the music,
Speaker 2: no matter what the world is going to be throwing
Speaker 2: at him.
Speaker 9: You fa had we nod ah fly the river do luwana? Well, honey.
Speaker 2: And I do think even though he's been living this
Speaker 2: cyclical nature, this hell escape, I think he breaks it
Speaker 2: at the end because we've seen him get up at
Speaker 2: the gor Finds house and the cat escape. This time
Speaker 2: he has the presence of mind to catch the cat.
Speaker 2: It's like at the end of Rosencrans and guildensterm like,
Speaker 2: maybe we'll know better next time. There is a possibility
Speaker 2: here we see Davis at least make the move.
Speaker 3: And yeah, I think he responds to the guy beating
Speaker 3: him up a little soft or two right.
Speaker 7: Like he says, people respond is angry.
Speaker 2: No, it's not anger at all. It's sort of resignation
Speaker 2: that of his treatment, because of his treatment, because of
Speaker 2: his treatment, and you know, as the man is storming off,
Speaker 2: he's saying, like you can have this cesspool. He's witness
Speaker 2: somebody actually giving up. He and his wife are getting
Speaker 2: in the car and they're going back to Arkansas. One
Speaker 2: brief heckling at a show in New York has ended
Speaker 2: her career, so he's saying goodbye to them while he's
Speaker 2: going to continue to soldier on.
Speaker 3: Oh that's a good way to play.
Speaker 7: Yeah, I think he taught her.
Speaker 2: Yeah, that's all right, Well, okay that thank you for
Speaker 2: Jonings No, no.
Speaker 7: On that.
Speaker 3: Yeah.
Speaker 2: I kind of think this is their most hopeful.
Speaker 7: Because it's so heartbreaking this week that load.
Speaker 2: Oh the one he heckles on snad.
Speaker 7: Interesting, Yeah, this is a heartbreaking.
Speaker 2: That is, to me, the worst moment in the film.
Speaker 2: The Cat in many ways, is representative of his talent
Speaker 2: and his career throughout the entire movie. It's the one
Speaker 2: sort of sprightly thing that, no matter what circumstance, is
Speaker 2: always happy and always ready to go. And at a
Speaker 2: certain point in this movie he basically abandons the cat
Speaker 2: and then runs over at the cat, and that's sequence
Speaker 2: that's secret lost, you know. Yeah, the cat imping off
Speaker 2: into a forest lit by a tail light in a
Speaker 2: snowstorm is one of the most haunting images I've ever seen. Yeah,
Speaker 2: on a purely on a pent owner level. First of all,
Speaker 2: just seeing an animal in peril just breaks my heart.
Speaker 2: And then the idea that this is his career, that
Speaker 2: he has detonated and it's just limping away into the
Speaker 2: wilderness is double the heart.
Speaker 7: And he's running over it. But John goodwe about John
Speaker 7: Goodwy just fight.
Speaker 2: I was just about to say that Lewin Davis, then
Speaker 2: what is John Goodwan?
Speaker 7: Is the world?
Speaker 3: Thing? Is the asshole? You know what I mean?
Speaker 7: Like, Yeah, if there's something to be step.
Speaker 3: There, maybe Lewin that maybe he's not that hard on.
Speaker 2: Yeah, And I think that's exactly why those characters are
Speaker 2: in there. Lewin at a point in the movie basically
Speaker 2: hitches a ride to Chicago with a jazz musician and
Speaker 2: his valet played by Garrett Headland. That's Johnny five and
Speaker 2: Roland Turner is John Goodman's car. Every character's name is
Speaker 2: so evocative in this movie, so they're basically the beat generation.
Speaker 2: They're the last hip musical scene to come up, and
Speaker 2: they're giving him his ride to Chicago, which could potentially
Speaker 2: be his big break or his finale as a musician.
Speaker 2: And it's exactly what you said, Antonio, Like this is
Speaker 2: another way to make your life as a musician, strung
Speaker 2: out on the road, gigging and just endlessly feasting on
Speaker 2: your own nostalgia. John Goodman never shuts up about some
Speaker 2: past story, some you know, some gloried moment in his
Speaker 2: musical career. Meanwhile, he's in the back of a car
Speaker 2: like being driven by a monosyllabic thug slash beat poet
Speaker 2: and you know, some random guy who's about to give
Speaker 2: up on live.
Speaker 7: Yeah, that's it's a weird thing.
Speaker 3: And it's like but I mean he's so cool to lure,
Speaker 3: like just like he's it's well, he gives just back
Speaker 3: what you know, a liewd of dishes out. I guess
Speaker 3: at some points of loving too. But how do you
Speaker 3: how do you big front of a guy who jumped
Speaker 3: off of building, like jumped off a bridge, and so like.
Speaker 7: It's just a cold thing.
Speaker 3: Louis Louis partner Mike jumps off the George Washington Bridge
Speaker 3: and then John Goodwin goes off. He's like, well, why
Speaker 3: do you jump off the Preple Bridge. That's what you're
Speaker 3: suposed to jump off. Well say that I believe him
Speaker 3: for doing it, like the fuck, like come back and
Speaker 3: then come back with about the canes to get halfway
Speaker 3: afy gass and all the way up is great.
Speaker 2: Yeah, but then his reaction to that is even better.
Speaker 2: Like in the weirdo pantheon of Cohen Brothers characters, John
Speaker 2: Goodman's character evidently is a student of of voodoo and
Speaker 2: uh Brew harria and can curse Lewin Davis and he'll
Speaker 2: this is the great thing. What he says is I
Speaker 2: won't curse you to like harm you. You will wonder
Speaker 2: why is my life turned to shit? And I'll be
Speaker 2: laughing some kind of what happens.
Speaker 3: Yeah. Absolutely, But the thing is that' like you can't
Speaker 3: practice you're not human. Yeah.
Speaker 7: Absolutely, Like it's a weird it's a weird canagon for
Speaker 7: John Goodman to go off on.
Speaker 3: Everything is a surprize, you know, Like there's a lot
Speaker 3: of there's a phrase of screenwriting about throwing the duck
Speaker 3: into the window.
Speaker 7: Is that what it is? Like when you're still where
Speaker 7: we're seeing as.
Speaker 3: Going one way, you want to shake it up, knowing
Speaker 3: duck in there, like it'll that's John goodwin By. Everything
Speaker 3: he does in that.
Speaker 7: Movie is just somebody to shake up the scene. Whether
Speaker 7: it's just in a popread convent arry or him being
Speaker 7: strung out on smack.
Speaker 3: There's just always something surprising going on with that character.
Speaker 3: So is there a neat injection of the middle.
Speaker 2: And not only does he level Lewin Davis the way
Speaker 2: Lewyn Davis will eventually level that amateur woman from Arkansas,
Speaker 2: but he levels his entire career as far as his
Speaker 2: musical choice, like, oh we you know, we play all
Speaker 2: the notes in jazz, not just three chords B B,
Speaker 2: A like, Like he completely belittles the higher folk movement.
Speaker 3: I think, you know, listening to the folks and the
Speaker 3: folk music like I'm just getting it.
Speaker 7: I'm just thank God for the Beatles or else who
Speaker 7: would have been stuck with all.
Speaker 2: Of us well to be there around the same time
Speaker 2: people were still listening to Elvis Presley. So you know,
Speaker 2: folk was a neat little sub genre that we all
Speaker 2: pretend had a bigger impact than it did. I mean
Speaker 2: the biggest thing that came out of folk music. Let's face,
Speaker 2: it was Bob Dylan, well, Bob Dillon, who just became
Speaker 2: a rock star, right, who saw that folk music on
Speaker 2: its own was a dead genre. I mean it literally
Speaker 2: is singing songs from the past and when hey, let's
Speaker 2: use that with some rock and roll, shall we.
Speaker 7: Yeah, you're the only one who's ever really able able
Speaker 7: to pull that office.
Speaker 3: Jack White, who who does the greatest cover of Saint
Speaker 3: James A per worry Blueism has it whole. But you know, not.
Speaker 7: Everybody can be as cool as the White strikes.
Speaker 3: You know.
Speaker 2: During the sequence with the with Roland Turner and Johnny Five,
Speaker 2: at one point, Lewin Davis sings a song called Green
Speaker 2: Green Rocky Road right, which is this very sprightly tune,
Speaker 2: and he uses it like a weapon against them after
Speaker 2: having you know, been pummeled by by Roland Turner for
Speaker 2: so on. That is actually a Dave Ronk, Dave Van
Speaker 2: Ronk number. And not to get too sort of granular
Speaker 2: with the portrayal of Dave Van Ronk here as Lewin Davis,
Speaker 2: but his what I noticed is Dave Van Ronk when
Speaker 2: he came up actually was at the tail end of
Speaker 2: that jazz movement, the one that John Goodman's character is
Speaker 2: representative of, and he was young enough to be at
Speaker 2: the tail end of it to realize that it was
Speaker 2: going nowhere, that it was a fad, and that's when
Speaker 2: he sort of moved into blue and eventually landed in folks.
Speaker 2: So by the time he got to folk, he had
Speaker 2: a very good musical history of American popular music or
Speaker 2: sub genres of popular music. So in his playing style,
Speaker 2: he's very much playing rag time. It's a very sprightly
Speaker 2: picking of the guitar. So he was actually in a
Speaker 2: on full in ways that everyone wasn't, and I think
Speaker 2: that fact is kind of left out in the film.
Speaker 2: He's only ever shown as a struggling thing, and we
Speaker 2: see that he performs well in everything, but we can
Speaker 2: also see everyone's criticism of him and his music that
Speaker 2: it's not really there's nothing to it.
Speaker 3: You know, Yeah, it's not the it's not the the
Speaker 3: next thing. It's just not adequate, but it's not the
Speaker 3: it's not it so to speak, you know, or you know,
Speaker 3: it's not the fire's.
Speaker 2: No, And that next fire actually shows up in the
Speaker 2: finale of this movie, and one of his songs plays
Speaker 2: over the end credits because while he has reaffirmed while
Speaker 2: Lewon Davis has reaffirmed his commitment to the musical lifestyle.
Speaker 2: Out in that alley inside the cafe, Bob Dylan is
Speaker 2: playing for the first time.
Speaker 3: Yeah we've never been.
Speaker 2: Which is, you know, cosmically funny, because like I said,
Speaker 2: I do find this to be an incredibly hopeful ending
Speaker 2: to the movie. But but it's sitting in the cafe
Speaker 2: just like a one wall away is an is a
Speaker 2: man who's going to completely obliterate folk music entirely.
Speaker 3: Yeah, that's interesting. They're gonna watch this mango picture now. Yeah,
Speaker 3: and he also turned the Beatles on to EAD, So
Speaker 3: there you go.
Speaker 2: Let's I just want to shout out their editor, Roderick James.
Speaker 3: So you're ry, namic, well rounded editor and delightful.
Speaker 2: Oh stuffy old englishman, Roderick James. He's been working with
Speaker 2: them for a long time, and I.
Speaker 7: Think a very very long long time.
Speaker 2: I think work here is great for all the musical sequences.
Speaker 2: I've always loved their sort of musical moments, like just
Speaker 2: even very simple as the please Mister Kennedy Novelty song
Speaker 2: recording sequence is so spectacular.
Speaker 3: Well you know what I mean, Like you've seen. The
Speaker 3: bid thing about the Coen Brothers is they're a student
Speaker 3: of all sid you know, like they're gonna they're gonna
Speaker 3: work everything then they and they don't shy away from
Speaker 3: musical numbers, and they have a history of really delightful numbers.
Speaker 3: And not just yet, but like the Big Labowski that
Speaker 3: almost sequence is the buzzy Berkeley musical whip about Korea.
Speaker 7: You know, the cable guy changing out there. He's got
Speaker 7: on any rods to the first issue and he's beautiful.
Speaker 3: We don't even forget hi about.
Speaker 7: He has like two or three of them, especially not
Speaker 7: Sailor one, which is.
Speaker 3: Dynamite and hilarious. Just Hell's Caesar.
Speaker 7: Getting better every time I watch it.
Speaker 11: Yeah, it's like, yeah, they just blows on you man,
Speaker 11: Like the first they watching season, I'm like, Okay.
Speaker 3: I want to say I love their movies and they
Speaker 3: usually generally get me.
Speaker 7: Also going to shout out to Oscar Isaac.
Speaker 3: I like it. I've always really liked him as an actor.
Speaker 3: From the first movie I saw him and I think
Speaker 3: was Sucker Budge. I think was his first thing I saw.
Speaker 2: Yeah, the first thing for me as well. He's very
Speaker 2: unnerving in that film.
Speaker 3: Yeah, I just think he's great. He's you know, another
Speaker 3: Kuanto like me. So that's you know, that cultural connection,
Speaker 3: I guess. So it's like, oh, Podamner is the best
Speaker 3: actor of those movies, and of course the other are
Speaker 3: great actors on those Star Wars sequels.
Speaker 7: The one and only Adam Driver in his face like
Speaker 7: he is another guy who I really like, although he
Speaker 7: is in everything now he's playing these wacky Italian guys.
Speaker 3: But I do like Adam Driver and I do like Oscars,
Speaker 3: and I think they're.
Speaker 2: The two Star Wars song about going into outer space.
Speaker 7: Yeah, how great is then?
Speaker 3: Huh? Well he's more than people to get justin but
Speaker 3: goes in two actors generally enjoy Oscar Isaac is one
Speaker 3: of my favorites. He does have that quality that seventies
Speaker 3: actors had, and I don't Drivers two.
Speaker 2: I think you know who else is right in here,
Speaker 2: Max Casella as the owner of that.
Speaker 7: You know, I've har heard of my own's Max Casella
Speaker 7: from Jukie Els.
Speaker 2: Who would have funk Man. He's so funny Toranos, he
Speaker 2: was great on the He's a great on.
Speaker 3: Which is you know that a silly show. But he's
Speaker 3: in there playing, you know, an ex mom guy who's
Speaker 3: now a stable hand.
Speaker 7: He reminds me of Bruno Kirby another she's steagling little
Speaker 7: Italian guy.
Speaker 3: Yeah.
Speaker 2: I met Bruno Kirby one, so yeah, yeah, I wasn't
Speaker 2: a shore at a movie theater in Los Angeles and
Speaker 2: he came in and I said, it was I can't
Speaker 2: I'll never heeart. It was Easter Sunday and he came
Speaker 2: in with Jennifer jason Lee and my mother the exploded
Speaker 2: because it was Jennifer Jason Lee. But she came in
Speaker 2: and tore her ticket quickly and then just went into
Speaker 2: the theater and he walked up very slowly, and I
Speaker 2: was like, oh, a happy Easter, mister Kirbedy, and he
Speaker 2: like he like hit me in the arm and he
Speaker 2: went call me Bruno, and then like he just kind
Speaker 2: of hung out and chatted for a while, and a
Speaker 2: friend of mine brought up this really embarrassing film that
Speaker 2: he was in called The herod Experiment from the seventies.
Speaker 2: It's oh wow, right, and he was like, can you
Speaker 2: tell us any stories about the herold Experiment? And he
Speaker 2: said it like as you know, you were in a
Speaker 2: terrible movie. And Bruna Kirby sort of stood back and
Speaker 2: he said, you know what, that was the movie where
Speaker 2: Don Johnson and Melanie Griffith met and those kids were
Speaker 2: so in love on that movie, so you know, nothing
Speaker 2: but fond memories. I thought, Wow, what a fucking class act, man.
Speaker 3: Yeah, real class act.
Speaker 7: It makes me think of my favorite performance is it
Speaker 7: the Cushman.
Speaker 12: I love that movie so much, and he is just
Speaker 12: so his in that movie, so hustling from the beginning
Speaker 12: to the all that I least frame of that movie's magic.
Speaker 3: If you haven't seen The Queshman, oh you haven't seen
Speaker 3: it since the nineties, like, go watch it again. It's
Speaker 3: just a great, great, great, great movie.
Speaker 2: Man, I have not seen that since the nineties. It
Speaker 2: is worth a rewatch. I think I'm definitely gonna.
Speaker 3: I watched it about her ago. I just delighted. I
Speaker 3: was so disappointed when I got to film school. It
Speaker 3: wasn't quite like it, but almost like it.
Speaker 2: Maxicu Sella is really good at Coen Brothers dialogue. They
Speaker 2: you know, Tarantino gets a lot of fucking respect for
Speaker 2: his dialogue, but in stylized dialogue, Land. I don't think
Speaker 2: you can get better than the Coen Brothers. Just in exchange,
Speaker 2: Like when they're at the bar, maxic Sella is like,
Speaker 2: you know, half of the guy come in here, they
Speaker 2: just want to they just want to fuck change. And
Speaker 2: then the half of the guys that going to come
Speaker 2: in here, they want to fuck Jim.
Speaker 3: You get it.
Speaker 2: They want to fuck Jim. You get it. They wanna
Speaker 2: fuck Jim. And the Lewin's like, so you're saying half
Speaker 2: the guys want to fuck Jim exactly. Something of a Mexico.
Speaker 2: Sela just put me in the mind that he should
Speaker 2: have been in more Cohen Brothers films.
Speaker 3: I think I I'm trying to agree. As much as
Speaker 3: I love Tarotito and I love Tarantino, it was dialogue
Speaker 3: and it all sounds to a certain degree like there's
Speaker 3: you know, Halid and stuff, and you know, but the
Speaker 3: Tombos have this ability to change their cadence, to change
Speaker 3: everything the way the character talks from character to character.
Speaker 3: Taratino Chinny keeps a similarit cadence to everything, like not
Speaker 3: tow bergs Man. They just go back and forth and
Speaker 3: they can take Shan Speirior revel.
Speaker 7: Kind of dialogue.
Speaker 3: And it's also bucks in there and get it all out,
Speaker 3: like I feel like they write in my pet or
Speaker 3: sometimes like the way their dialogue flows. Man, it's absolutely
Speaker 3: the musical and I love Tarantino, but I'm with you
Speaker 3: the Cones of weather Man.
Speaker 2: I wonder which of them is that? Which is I
Speaker 2: suspect it's Ethan.
Speaker 3: Maybe.
Speaker 2: I think Ethan is the dialogue guy. I think Ethan
Speaker 2: is the plant contrivance and dialogue guy. And I think
Speaker 2: Joel is the weird ones.
Speaker 3: Well, he's the he was the original, he was the director.
Speaker 3: Anything flowed into that part, you know. I think Joel
Speaker 3: is that might be the mo is the movie guy.
Speaker 2: Well, definitely more literary one. He's the Princeton English major guy.
Speaker 3: And Joel hung up, you know, getting stolen with Sam
Speaker 3: RAIDI probably like Bruce Campbell, like he's.
Speaker 2: That guy exactly.
Speaker 3: Joel I would love to make a movie together.
Speaker 11: Yeah.
Speaker 2: You know, they had some aborted attempts there, you know,
Speaker 2: like Sam Raimi has a credit on Hutzucker Proxy for
Speaker 2: that scrap and he's a producer on it as well,
Speaker 2: and and Crime Wave. They had a hand in that
Speaker 2: screenplay that lamented Forgotten. Sam Raimi film.
Speaker 3: Bruce Campbell's and Hudsucker.
Speaker 2: Oh yeah, he's one of the reporters in the Bullpady.
Speaker 2: Yeah he looks great. Very Clark Kenton, Oh my god. Yeah,
Speaker 2: I know I expected him to jump out the window
Speaker 2: at a certain point.
Speaker 3: I love hard soccer. So that's another one. Like it's
Speaker 3: just a neat piece of art. Like I don't don't
Speaker 3: care how successful it as they're not produced. Just every
Speaker 3: play with that of that movie's original and it's just
Speaker 3: lovely and yeah, Jennifer Jason letys something else?
Speaker 2: Is there any Coen Brothers movie you don't like?
Speaker 7: There are Coen Brothers movies that maybe I like less
Speaker 7: than others, I guess, but everything like Washington, There's od.
Speaker 2: The only one I'm iffy about, and that's because I
Speaker 2: only saw it the one time, so and given their
Speaker 2: history of once you rewatch it, you get it a
Speaker 2: little bit more intolerable cruelty.
Speaker 3: Yeah, I swore out with you too. I don't remember
Speaker 3: that being very fond. I remember that being kind of
Speaker 3: a bland Hollywood.
Speaker 2: And that's obviously a throwback to kind of Preston Sturgis.
Speaker 2: Just I don't know, I just did not connect with
Speaker 2: that flick.
Speaker 3: I don't know, but so the most part, yeah, and
Speaker 3: me happy man. I watched uler movie.
Speaker 7: I was talking with an actress like her mind, she's
Speaker 7: in the UK, and actually.
Speaker 3: Well, what you're gonna call him? Brothers? So oh right,
Speaker 3: well he says the Big Lebowski, Old Brother, we're out
Speaker 3: and probably on Raising Arizona. And then but you keep
Speaker 3: adding that, yeah, and oh we have a buttner fak
Speaker 3: is really good too, and oh my god, oh no, gargieve,
Speaker 3: old man is just like my embedding, like drum brother,
Speaker 3: like you shouldn't be his own gun, but yet it
Speaker 3: somehow is, you know, And so you keep adding stuff.
Speaker 7: To their phlography that be really ignore. My favorite is
Speaker 7: The Big Lebowski. I getta Lie, I was the right
Speaker 7: age and the right place, and riot Sime when that
Speaker 7: movie came out to be a separate.
Speaker 3: For the rest of my day. It's just the smallest movie.
Speaker 7: But but Old Brother, we're out the whole point. So
Speaker 7: that's something else.
Speaker 2: They've made a few flawless films.
Speaker 3: It's really bad, true goodter better better than the original one.
Speaker 2: It certainly is. And I think Raising Arizona is a
Speaker 2: perfect film. I think Aricona is just so good. I
Speaker 2: think Miller's Crossing is the best Nashal Hamlet movie ever made.
Speaker 2: I think Big Lebowski is the best Raymond Chandler film
Speaker 2: never made. Yeah, and the Lady Killers. That does not
Speaker 2: get the respect it deserves. I think that movie's fucking
Speaker 2: hilarious and one of their most one of their best
Speaker 2: characters in g A. Dore, the Tom Hanks character.
Speaker 3: I think people just always sponder when it's Tom Hanks
Speaker 3: is like eel and they just like automatically tune out
Speaker 3: and that will be like.
Speaker 2: Oh, yeah, they that's another one. People should reassess it totally.
Speaker 2: They don't need to go back and watch again. I've
Speaker 2: seen it so many fucking times.
Speaker 3: But and it's only Rade.
Speaker 7: And you know it's a part originated by.
Speaker 2: Because yeah, healing, reeling, Yep, where are we here, Lewin Davis.
Speaker 7: If you want to know what it's like to be
Speaker 7: a struggling artist, this is the movie for you. I
Speaker 7: think it's a film that that fans.
Speaker 3: Of the Coach should all at least walk towards. It's
Speaker 3: just film.
Speaker 7: It's not my favorite, but again, it's not about so little.
Speaker 3: It's just a little it's a little in spots and
Speaker 3: it's hard to root for the character. But then at
Speaker 3: the same time my suffer with that character. To you
Speaker 3: a lot, this movie or it's just like there's a
Speaker 3: hard watch street. But definitely you know another finding good
Speaker 3: films for the Coen Brothers.
Speaker 2: Yeah, absolutely, this one is creeping slowly up to the
Speaker 2: top of my Coen Brothers list, honestly, Like, I recognize
Speaker 2: that there are better made films that they've done, but
Speaker 2: as far as a personal attachment to it, they get
Speaker 2: accused of being cold a lot, the same way Kubrick
Speaker 2: got accused of being cold a lot, which I've never
Speaker 2: felt with Coen Brothers. I adore their characters, h I McDonough,
Speaker 2: Are you kidding me?
Speaker 7: You know the Coen.
Speaker 3: Brothers are cold because they're funny, you know what I mean?
Speaker 3: Funny people are cold.
Speaker 7: And I get another reason.
Speaker 3: It's too sas for Kubrick, because Kubrig where he is,
Speaker 3: there's hollywaeny each every one of his movies you just
Speaker 3: got to find, but it's there, you know, Like and yeah,
Speaker 3: Doctors Rakli is one of the best piss funny movies
Speaker 3: ever made, and very.
Speaker 2: Much like the Coen brothers fel Oh, yeah, I would be.
Speaker 2: It would surprise me if that that wasn't a huge influence.
Speaker 3: Yeah.
Speaker 7: And you know he was talking Chris Nolan and all
Speaker 7: his stuff. You're all like Coubert, like Chris all and nothing, like, well,
Speaker 7: what are you talking about? He makes these important does
Speaker 7: I'm like, yeah, but had you ever laughed?
Speaker 3: And co?
Speaker 7: And then a Chris Nolan movie.
Speaker 3: There's no humor.
Speaker 7: In any of that.
Speaker 3: There's humor and says there's humor in the darkest spots
Speaker 3: and Jack and it's just hilarious. Ship.
Speaker 7: It's all dark and disturbing. But the funny is there.
Speaker 7: People are funny.
Speaker 3: The only one he is that doesn't really have any
Speaker 3: comedy in it is eyes wide shut. But then it's
Speaker 3: so ridiculous.
Speaker 2: Yeah, it's funny.
Speaker 3: There's so ridiculous and so self serious. And I go
Speaker 3: with that's how important we are in these outrets. I'm
Speaker 3: like like this.
Speaker 2: Can you imagine? This is how you view your relationship,
Speaker 2: This is how your view adultery. It's a fucking brand
Speaker 2: affair with masked weirdos. Are you're gonna calm down, Tom Cruise?
Speaker 2: Your wife fantasizes about other people sometimes.
Speaker 3: And I'm I'm sure Nicole Timmans fantasizing a lot of
Speaker 3: other people quite a bit. We're married to Don Crug
Speaker 3: doesn't seem like he's pleasant, although he really is a
Speaker 3: great movie star.
Speaker 7: I can't take that away from he is the kreb
Speaker 7: de la.
Speaker 2: Prem Did you ever see that interview with her where
Speaker 2: they asked her what's different now that you're divorced and
Speaker 2: she said, I can wear high heels again.
Speaker 3: You can't. You can't argue that's one funny broad up then,
Speaker 3: But yeah, those are the great pictures, and check it out.
Speaker 7: It's a tiff on it, you know, like there's a
Speaker 7: different piece of gun. It's we're no plot, but.
Speaker 3: A lot of movies going a plot in them.
Speaker 7: It's an adventure, it's a quest.
Speaker 3: And it's kind of sad.
Speaker 2: Yeah, it's a challenging film and overall what it seems
Speaker 2: like it's a series of this character getting kicked in
Speaker 2: the series of events of these characters getting kicked in
Speaker 2: the teeth. And then he's what any other studio film
Speaker 2: would have done is a big priumphant concert, that last
Speaker 2: concert on that stage. He would have been the Dylan
Speaker 2: character and he would have been signed to a record
Speaker 2: label or whatever, and they don't give us that. But
Speaker 2: like I said, there are small victories throughout this movie.
Speaker 2: The music itself is the victory. The creative process itself
Speaker 2: is the victory here, and the continued adherents to it.
Speaker 2: So I do think this is one of their more
Speaker 2: depressing films, but also one of their more hopeful.
Speaker 7: Yeah.
Speaker 2: I've said in the minds, but you know, a hope
Speaker 2: a precious commodity, and I think this ultimately is that
Speaker 2: and more hopeful in many ways than more obvious examples
Speaker 2: of it, because you really have to fucking eke hope
Speaker 2: out of existence when you can.
Speaker 3: Yeah, absolutely, Antonio.
Speaker 2: Until next time, Where can people find you? If they're
Speaker 2: looking for you on the internets, you can find me
Speaker 2: on Instagram, at swamp Media Group or at Swampmedia Group
Speaker 2: dot com. And as for me, if you're listening here
Speaker 2: to the regular free feed being, feel free to continue
Speaker 2: to do that. But if you want to support us,
Speaker 2: you go over to patreon dot com slash father them alone.
Speaker 2: There you're going to get all these episodes early and
Speaker 2: commercial free, and you'll get access to our Patreon only
Speaker 2: bonus shows like Cable Box theater where night mister Walters
Speaker 2: host HP and I take a look at early nineteen eighties,
Speaker 2: late nineteen seventies, filmed for videotape for Film Broadway Productions,
Speaker 2: for HBO and Showtime. It is Oh boy, there something
Speaker 2: else entirely let me tell you. Oh yeah, I can
Speaker 2: see by your expression, Antonio, that you too are horrified
Speaker 2: and intrigued. But let me tell you something, my friend.
Speaker 2: You have not lived until you've seen Wait until Dark
Speaker 2: starring Stacy Keach on some theater in Cincinnati.
Speaker 7: So wow, wow, that is a really niche podcast, very
Speaker 7: very niche.
Speaker 2: Oh my, yes, well so niche. What The one good
Speaker 2: thing about it is that everything we talk about is
Speaker 2: readily available through YouTube, ort archive or whatever. So it's
Speaker 2: not like we're just niche and off and only the
Speaker 2: other two people who have any big recollection of this
Speaker 2: phenomenon that can participate. So anyway, go over there Patreon.
Speaker 2: If you know, if you don't want to give us money,
Speaker 2: and I don't blame you, money is tight, you could
Speaker 2: at least do us a favor by giving us a
Speaker 2: five star review, or write a few good words about us,
Speaker 2: or tell your friends or share it and all that
Speaker 2: other fucking great stuff. Ladies and gentlemen midnight viewers, thank
Speaker 2: you so much for joining us here, and we will
Speaker 2: catch you in the next episode, which I believe is
Speaker 2: going to be Buster scrugs look out more Cohens, but
Speaker 2: in actual anthology, so we'll be adhering back to our
Speaker 2: original structure.
Speaker 7: Do you ever think about the future at all?
Speaker 1: The future?
Speaker 3: You mean like flying cars, hotels on.
Speaker 12: The moon tang And this is why you fucked.
Speaker 8: No, it's why you're fucked.
Speaker 9: Just trying to blueprint a future move to the suburbs with.
Speaker 3: Jim have kids.
Speaker 12: That's bad.
Speaker 3: If that's what music is for you, a way to
Speaker 3: get to that place.
Speaker 10: And yeah, it's it's it's a little careerist and it's
Speaker 10: a little square, it's a little sad.
Speaker 1: Pass pack
Speaker 7: S