WEBVTT 1 00:00:00.120 --> 00:00:03.720 Hey, this is Emily sowderback of Scarecrow Videos Viva Physical Media. 2 00:00:03.759 --> 00:00:05.599 All right, this is Matt Lynch, co host of Viva. 3 00:00:05.960 --> 00:00:08.359 The Projection Booth. Podcast is sponsored by Scarecrow. 4 00:00:08.640 --> 00:00:11.480 Try out Scarecrow Videos rant by mail service. Choose from 5 00:00:11.480 --> 00:00:14.519 over one hundred and fifty five thousand films and get 6 00:00:14.560 --> 00:00:17.960 Blu rays, four k's and DVDs all delivered directly to 7 00:00:18.000 --> 00:00:18.399 your door. 8 00:00:18.800 --> 00:00:20.160 Visit Scarecrow Video dot Org. 9 00:00:20.199 --> 00:00:30.039 Today Old ye is boot. It's showtime. People say good 10 00:00:30.160 --> 00:00:32.320 money to see this movie. When they go out to 11 00:00:32.359 --> 00:00:32.759 a theater. 12 00:00:33.039 --> 00:00:36.799 They want cold sodas, hot popcorn, and no monsters in 13 00:00:36.840 --> 00:00:37.920 the projection booths. 14 00:00:37.960 --> 00:00:39.799 Everyone pretend podcasting isn't boring. 15 00:00:40.840 --> 00:01:05.359 Put it off, get it over with. 16 00:01:08.359 --> 00:01:13.159 No, no, no, you have to show me what a 17 00:01:13.200 --> 00:01:14.000 tough guy you are. 18 00:01:14.560 --> 00:01:15.439 You're getting old. 19 00:01:29.200 --> 00:01:30.120 Where's the money? 20 00:01:32.719 --> 00:01:34.040 Without me, I'll never find it? 21 00:01:35.000 --> 00:01:35.680 Where's the money? 22 00:01:37.000 --> 00:01:37.879 Where is the boy? 23 00:01:45.040 --> 00:01:48.200 Thank god you came. You gotta take me with you. 24 00:01:49.079 --> 00:02:41.080 Don't worry, I'll pay you. You saved my life. 25 00:02:39.080 --> 00:04:00.159 And where's the money. 26 00:04:13.240 --> 00:04:15.240 Welcome to the Projection Booth. I'm your host, Mike White, 27 00:04:15.280 --> 00:04:19.800 Jimmy Once again is Miss Jessica Shires. Hello, Also back 28 00:04:19.839 --> 00:04:21.560 in the booth is mister Spencer Parsons. 29 00:04:21.639 --> 00:04:22.079 Hello. 30 00:04:22.879 --> 00:04:26.040 Our look at Western's continues with a Patreon request from 31 00:04:26.040 --> 00:04:29.800 our very own Jessica Shires. Deadlock released in nineteen seventy. 32 00:04:29.839 --> 00:04:32.399 The film was written and directed by Roland Click. It 33 00:04:32.519 --> 00:04:36.839 stars markwand Boehm as Kid, a mysterious figure who wanders 34 00:04:36.839 --> 00:04:38.800 out of the desert with a machine gun and a 35 00:04:38.800 --> 00:04:42.040 suitcase full of money and a forty five RPM record. 36 00:04:42.439 --> 00:04:47.000 He's found by the always wonderful Mario Adorff as Charles Dump, 37 00:04:47.199 --> 00:04:50.040 who takes the money and abandons the kid with some 38 00:04:50.160 --> 00:04:53.759 dire consequences. We will be spoiling this film as we 39 00:04:53.800 --> 00:04:56.319 discuss it, so if you don't want anything ruined, go 40 00:04:56.399 --> 00:04:58.680 track down the film and watch it. We will still 41 00:04:58.720 --> 00:05:01.240 be here. So, Jessica, when was the first time you 42 00:05:01.279 --> 00:05:03.079 saw Deadlock? And what did you think? 43 00:05:03.800 --> 00:05:03.879 So? 44 00:05:03.959 --> 00:05:06.720 I first saw this one just a couple of years ago, actually, 45 00:05:07.199 --> 00:05:11.040 and I'm not sure what exactly about this may me go, 46 00:05:11.079 --> 00:05:12.639 oh yeah, I really want to see this other than 47 00:05:12.639 --> 00:05:17.439 the fact that it is a euro Western. And what 48 00:05:17.639 --> 00:05:21.199 may surprise people who've heard me cover other things on 49 00:05:21.240 --> 00:05:23.720 the show before, is you know, you mostly do like 50 00:05:23.759 --> 00:05:26.519 sort of eurocult horror adjacent type of things. 51 00:05:26.560 --> 00:05:28.519 But I love westerns. 52 00:05:29.120 --> 00:05:32.319 I love euro westerns from the sixties and seventies particularly, 53 00:05:32.399 --> 00:05:34.759 so when I found out there was this West German, 54 00:05:35.319 --> 00:05:37.160 a lot of people referred to it in the genre 55 00:05:37.199 --> 00:05:39.319 of acid westerns, so I was kind of intrigued. 56 00:05:39.360 --> 00:05:41.040 So I checked it out. 57 00:05:41.240 --> 00:05:45.240 Just really liked it, loved the soundtrack obviously. I really 58 00:05:45.279 --> 00:05:48.639 became intrigued by the director. Roland Click is a really 59 00:05:48.680 --> 00:05:51.360 interesting character and I'm really excited to talk about him 60 00:05:51.720 --> 00:05:54.439 and his career, and so, yeah, I sought out his 61 00:05:54.480 --> 00:05:57.240 other films after that, and yeah, I just think this 62 00:05:57.439 --> 00:05:59.639 movie is great fun And. 63 00:06:00.079 --> 00:06:01.399 Or was this the first time watched for you? 64 00:06:01.639 --> 00:06:02.959 Yeah, this is the first time watch for me. 65 00:06:03.560 --> 00:06:06.600 As I think I mentioned previously, I'm not big on 66 00:06:06.639 --> 00:06:09.279 western so one thing is this is an opportunity for 67 00:06:09.319 --> 00:06:12.519 me to step out of comfort zone a little bit, 68 00:06:12.560 --> 00:06:13.959 and that was part of why I wanted. 69 00:06:13.759 --> 00:06:14.360 To check it out. 70 00:06:15.040 --> 00:06:17.399 I think it's a very interesting film. I really love 71 00:06:17.480 --> 00:06:19.399 the visual style of it. I mean, like that's what 72 00:06:19.439 --> 00:06:21.160 I'm going to go on and on about. And I 73 00:06:21.199 --> 00:06:25.319 love the soundtrack by Can, credited here as Duck Can 74 00:06:26.240 --> 00:06:27.319 the nine inch Nails. 75 00:06:27.360 --> 00:06:28.720 In that one episode of. 76 00:06:28.639 --> 00:06:32.000 Twin Peaks The Return. All the music by Duck Can 77 00:06:32.160 --> 00:06:35.120 is great. I actually only wish there was more. I 78 00:06:35.160 --> 00:06:38.879 would love, you know, more soundtracking in this movie. So 79 00:06:39.000 --> 00:06:42.800 I'm really really jazzed by the sights and sounds. I 80 00:06:42.879 --> 00:06:45.560 will say the plot and characters don't really grab me, 81 00:06:45.680 --> 00:06:48.480 and after a certain point, arguing about who's going to 82 00:06:48.519 --> 00:06:49.959 get killed over this money. 83 00:06:50.240 --> 00:06:51.639 Is just not my thing. 84 00:06:52.560 --> 00:06:56.560 But that said, this is I went to look up 85 00:06:57.560 --> 00:07:01.920 Click's other work because I was very intrigued by what 86 00:07:02.000 --> 00:07:02.839 he's up to visually. 87 00:07:03.000 --> 00:07:05.240 So thanks to you guys for inviting me onto this. 88 00:07:05.279 --> 00:07:07.759 Because he's now a project, I've got to check out 89 00:07:07.800 --> 00:07:09.000 these other films. 90 00:07:08.839 --> 00:07:10.000 That I haven't seen before. 91 00:07:10.160 --> 00:07:12.959 I've been aware of Supermarket and wanted to see that 92 00:07:13.000 --> 00:07:16.319 for some time, so now that's high on the list 93 00:07:17.240 --> 00:07:19.920 because I think he's pretty amazing director. 94 00:07:20.519 --> 00:07:23.439 He's also quite the character as well. He's still alive. 95 00:07:24.120 --> 00:07:27.439 He turns eighty seven years old next month. Most of 96 00:07:27.480 --> 00:07:30.319 his pices have he hasn't He actually hasn't. I'm sure 97 00:07:30.360 --> 00:07:31.759 we'll get into this slater and we'll talk more about 98 00:07:31.759 --> 00:07:35.279 his career, but he has not done that many feature films. 99 00:07:36.000 --> 00:07:38.639 He gets lumped in. I think with the new German 100 00:07:38.680 --> 00:07:43.600 cinema suspender. Hebdog a lot of these people, young German 101 00:07:43.639 --> 00:07:45.279 directors who are working around the same time, but his 102 00:07:45.319 --> 00:07:48.439 work is a lot different for reasons that we'll get 103 00:07:48.439 --> 00:07:53.079 into at some point, but I will say he does 104 00:07:53.240 --> 00:07:56.959 the commentaries for all I think all of his films 105 00:07:56.959 --> 00:08:00.519 that are commercially available on home video, and he's an 106 00:08:00.519 --> 00:08:04.600 incredible rack huntur. It's amazing how much he remembers from 107 00:08:05.319 --> 00:08:08.560 these movies. This particularly his films from the early late sixties, 108 00:08:08.560 --> 00:08:12.279 early seventies. He's got great stories. He's a really fun interview. 109 00:08:12.519 --> 00:08:17.120 You've seen the documentaries, two documentaries with him, great stuff. 110 00:08:17.160 --> 00:08:20.279 He's like incredible to listen to, and he's yeah, just 111 00:08:20.319 --> 00:08:23.560 got a million stories to tell. So I engaging with 112 00:08:23.639 --> 00:08:25.519 his work has been really fun. 113 00:08:26.240 --> 00:08:28.480 Yeah, this was the first time watched for me as well. 114 00:08:28.639 --> 00:08:32.440 I had this kind of on my radar for years 115 00:08:32.440 --> 00:08:34.759 and years, and I was just really glad, Jessica when 116 00:08:34.799 --> 00:08:37.519 you asked to cover this, because I was like, Okay, great, 117 00:08:37.559 --> 00:08:43.840 finally an excuse. I've had supermarket deadlock. I can't remember 118 00:08:43.879 --> 00:08:47.000 if I have White Star on DVD, but it's yeah, 119 00:08:47.120 --> 00:08:49.120 just give me an excuse to finally sit down and 120 00:08:49.200 --> 00:08:52.120 watch these movies. So it's okay, thank you so much 121 00:08:52.519 --> 00:08:56.559 for providing that with me and I Yeah, I didn't 122 00:08:56.559 --> 00:08:59.639 listen to the commentary for this. I did watch Supermarket 123 00:08:59.679 --> 00:09:03.440 with the not the commentary on, but I had the 124 00:09:03.480 --> 00:09:06.320 subtitles for the commentary, so it was nice. I was 125 00:09:06.360 --> 00:09:08.759 just reading what he was saying while I was watching 126 00:09:08.759 --> 00:09:12.279 it and listening to the original audio. It's wish they 127 00:09:12.279 --> 00:09:14.840 would do that for more commentaries, whether they were in 128 00:09:14.919 --> 00:09:18.960 English or not. Just give me the English subtitles of 129 00:09:19.000 --> 00:09:21.080 the commentary so I can just read along while I 130 00:09:21.159 --> 00:09:23.600 watch it. But yeah, it was a lot of fun, 131 00:09:23.720 --> 00:09:25.879 and I had a lot of fun with this movie. 132 00:09:26.080 --> 00:09:28.120 I agree with you, Spencer. There is a point in 133 00:09:28.159 --> 00:09:30.120 here where it gets a little long in the tooth. 134 00:09:30.440 --> 00:09:36.200 This is a very sparse film. There's only a handful 135 00:09:36.240 --> 00:09:38.679 of people in here. While I was watching it, I 136 00:09:38.720 --> 00:09:42.279 was reminded of things like cul de Sac or even 137 00:09:42.679 --> 00:09:46.720 Spirits of the Air, Grimlins of the Clouds, where especially 138 00:09:46.759 --> 00:09:50.960 that one, because it's this nouveau western in Australia and 139 00:09:51.000 --> 00:09:55.240 there's this threat of there's the genman who shows up 140 00:09:55.279 --> 00:09:58.240 at the beginning. There's a brother and sister rather than 141 00:09:58.360 --> 00:10:02.200 being a whatever dump is to this woman and her daughter. 142 00:10:02.960 --> 00:10:06.320 And then there's the threat of other gunman coming to town, 143 00:10:06.399 --> 00:10:09.000 and you've got this whole thing of mister Sunshine coming 144 00:10:09.000 --> 00:10:11.120 to town. Love these names, by the way, I love 145 00:10:11.240 --> 00:10:15.919 dump Kid mister Sunshine, But I have to say the mom. 146 00:10:16.360 --> 00:10:19.159 She's in her web three times, and I was really 147 00:10:19.600 --> 00:10:22.480 hoping she would be more of a presence, and instead 148 00:10:22.559 --> 00:10:24.559 she just like shows up here and there, and she's 149 00:10:24.639 --> 00:10:27.159 just wild. She looks like, I don't know Edith Massey 150 00:10:27.240 --> 00:10:27.879 of the Desert. 151 00:10:28.639 --> 00:10:32.000 Yeah, she's apparently a famous Israeli actress, and I'm sure 152 00:10:32.000 --> 00:10:35.279 we'll get to talking about later on about the location 153 00:10:35.399 --> 00:10:37.519 and things like that, but she was a local actress 154 00:10:37.519 --> 00:10:40.559 because it's film is shot in Israel, so she was 155 00:10:40.639 --> 00:10:42.879 just like like a well known actress that they probably 156 00:10:42.879 --> 00:10:44.159 just pulled in locally. 157 00:10:45.080 --> 00:10:47.200 The part, well, she has this really different energy that 158 00:10:47.879 --> 00:10:50.840 not only is evident however she shot, but she's also 159 00:10:50.879 --> 00:10:54.600 shot differently from from the other characters in the movie. 160 00:10:54.679 --> 00:10:59.679 She gets these big, wide angle almost directly into camera, 161 00:11:00.000 --> 00:11:04.440 soops moving around with her and nobody else does, and 162 00:11:04.480 --> 00:11:06.919 it's a kind of It's interesting because she makes an 163 00:11:06.919 --> 00:11:10.519 impression anyway, But then it's pretty clear that something about 164 00:11:10.519 --> 00:11:13.480 the way that they were working together required this other 165 00:11:13.519 --> 00:11:14.240 way of shooting. 166 00:11:14.360 --> 00:11:15.679 And I kind of love that. 167 00:11:16.360 --> 00:11:18.480 We can describe this as a Western, but there were 168 00:11:18.519 --> 00:11:21.440 moments too where I was completely thinking of a noir. 169 00:11:21.799 --> 00:11:25.320 This feels like this could be something that Jim Thompson 170 00:11:25.360 --> 00:11:29.159 could have written, where you've got these bizarro characters who 171 00:11:29.200 --> 00:11:32.000 are under a lot of tension. I think, especially if 172 00:11:32.000 --> 00:11:34.480 we had learned more of Dump's backstory to find out 173 00:11:34.519 --> 00:11:37.840 why the hell he's here in this mining town and 174 00:11:38.399 --> 00:11:40.759 what the hell's going on with this former mind. And 175 00:11:40.840 --> 00:11:43.600 I love when he has these moments where he's I 176 00:11:43.759 --> 00:11:47.600 have police authority because he's just such a The first 177 00:11:47.639 --> 00:11:50.279 time you see him, you get a beat on him 178 00:11:50.399 --> 00:11:54.360 so easily. First off, Mario Adoff has a fantastic face. 179 00:11:54.440 --> 00:11:56.720 I love the shape of his face. But then just 180 00:11:56.759 --> 00:11:59.440 to see that outfit in the big hole in his sweater, 181 00:11:59.519 --> 00:12:02.759 and that he is where multiple layers have closed. At 182 00:12:02.759 --> 00:12:05.039 one point later on in the film, he dresses up 183 00:12:05.080 --> 00:12:08.519 in a suit, and meanwhile, the kid is almost always 184 00:12:08.600 --> 00:12:11.399 in a suit, if not completely through the entire film. 185 00:12:11.440 --> 00:12:15.799 This light blue, powder blue suit that just gets dirtier 186 00:12:15.840 --> 00:12:18.279 and dirtier as we go along, so I'm like, Okay, 187 00:12:18.320 --> 00:12:21.159 are they going to kind of switch places? And they don't, 188 00:12:21.360 --> 00:12:23.960 but yeah, it's just watching the outfits that these people 189 00:12:24.039 --> 00:12:26.080 are wearing. It's kind of telling its own story. 190 00:12:27.240 --> 00:12:29.799 Just to your point about we don't get any of 191 00:12:29.840 --> 00:12:34.000 Dump's backstory. I think Klick has spoken in interviews about 192 00:12:34.000 --> 00:12:36.679 the fact that he doesn't like to over explain, and 193 00:12:36.799 --> 00:12:40.120 part of his approach is that he and this is 194 00:12:40.480 --> 00:12:44.519 something that separates him from I think the fellow German 195 00:12:44.600 --> 00:12:48.879 New cinema directors, is that he has approaches to engage 196 00:12:48.919 --> 00:12:51.440 with the audience, so he doesn't like to over explain. 197 00:12:51.440 --> 00:12:54.320 A lot of his endings for his films are incredibly ambiguous, 198 00:12:54.399 --> 00:12:59.679 this one included because he wants to have a dialogue 199 00:13:00.039 --> 00:13:03.480 with the audience and not just give them everything. So 200 00:13:03.559 --> 00:13:07.200 I think part of the reason he spoke about sort 201 00:13:07.200 --> 00:13:09.840 of the beginning of this film and how it's just 202 00:13:10.960 --> 00:13:13.559 slightly inexplicable, But I think at the same time also 203 00:13:13.600 --> 00:13:17.240 echoes a lot of the spaghetti westerns where someone walking 204 00:13:17.240 --> 00:13:21.639 through the desert, because we've got this unexplained person in 205 00:13:21.679 --> 00:13:24.480 a suit walking through the desert with a machine gun 206 00:13:24.759 --> 00:13:28.559 and a suitcase with the sun blazing down and he 207 00:13:28.600 --> 00:13:29.240 says nothing. 208 00:13:30.000 --> 00:13:31.360 You don't get dialogue. 209 00:13:30.960 --> 00:13:34.039 In this movie until at least quite a few minutes 210 00:13:34.039 --> 00:13:37.559 in and then so yes, he wants to create I 211 00:13:37.559 --> 00:13:41.759 think this air of for the audience to be asking 212 00:13:41.799 --> 00:13:44.759 themselves questions about what exactly is happening here rather than 213 00:13:45.360 --> 00:13:46.600 just giving you everything. 214 00:13:47.679 --> 00:13:48.159 It's funny. 215 00:13:48.240 --> 00:13:50.440 It's a very different movie, but it reminded me of 216 00:13:51.240 --> 00:13:53.919 the opening of Paris, Texas with Harry Dean Stanton walking 217 00:13:54.000 --> 00:13:57.399 out of the desert. Obviously it's a common idea to 218 00:13:58.200 --> 00:14:01.120 the Western but the I canography here with the suit 219 00:14:02.360 --> 00:14:05.679 like Harry Dean Stanton with his red hat, that creates 220 00:14:06.200 --> 00:14:10.879 a similar kind of man from nowhere vibe that goes 221 00:14:10.919 --> 00:14:12.919 to very different places in these movies. 222 00:14:13.639 --> 00:14:16.440 What's that kind of incongruity too, the red hat on 223 00:14:16.559 --> 00:14:19.720 Harry Dean Stanton versus this guy who's carrying a machine 224 00:14:19.720 --> 00:14:21.960 gun and a suitcase full of cash. 225 00:14:22.120 --> 00:14:23.919 Yeah. I just don't know guns that well. 226 00:14:23.919 --> 00:14:26.399 But the visual choice of this particular machine gun is 227 00:14:26.399 --> 00:14:31.279 great because it's very strange, cobble together looking a weapon. 228 00:14:32.120 --> 00:14:32.320 Yeah. 229 00:14:32.320 --> 00:14:35.320 Anthony Dawson's as well, is very It reminds me of 230 00:14:35.360 --> 00:14:37.960 the howitzer in The Great Silence, like the sort of 231 00:14:38.000 --> 00:14:42.840 weird gun that Silence has. It's just like sort of 232 00:14:42.879 --> 00:14:44.279 a hybrid of sorts. 233 00:14:44.600 --> 00:14:47.080 It reminded me of the gun that Colonel Mortimer uses 234 00:14:47.159 --> 00:14:49.440 in for a few dollars More, where you kind of 235 00:14:49.720 --> 00:14:51.960 put the stock on it and use it almost like 236 00:14:52.000 --> 00:14:56.840 a rifle when he's doing those long shots at different things. 237 00:14:57.240 --> 00:15:00.240 As I was, the dead shot in there, luckily, not 238 00:15:00.320 --> 00:15:02.320 the grade of shots in here. There's a lot of 239 00:15:02.320 --> 00:15:04.320 times where people should be shot but they aren't. 240 00:15:05.039 --> 00:15:07.840 If you bring down Western to just one historical period, 241 00:15:07.919 --> 00:15:09.759 I don't think that that's. 242 00:15:09.759 --> 00:15:13.000 I don't think that that's quite on point. And one 243 00:15:13.000 --> 00:15:14.799 thing you mentioned Jim Thompson. 244 00:15:16.039 --> 00:15:19.840 Thompson's novels often have but you know, like Savage Nights 245 00:15:19.840 --> 00:15:22.600 for instance, has a very you know, Western kind of 246 00:15:22.639 --> 00:15:24.799 flavor to it, and a number of noirs deal with 247 00:15:25.720 --> 00:15:30.240 rural noir gets overlaps a little bit into Western territory. 248 00:15:30.600 --> 00:15:33.879 But we have we really have the iconography and then 249 00:15:34.440 --> 00:15:38.840 extremely stripped down but a very typical kind of you know, 250 00:15:38.960 --> 00:15:44.919 Western setup of the lonely man walks into this place, 251 00:15:45.120 --> 00:15:48.799 interacts with three people who are there until a bad 252 00:15:48.879 --> 00:15:52.639 guy then also converges so that we can build up 253 00:15:52.679 --> 00:15:55.840 to a kind of final showdown. That's one of those 254 00:15:55.919 --> 00:15:59.440 kind of classic Western plots that then is just really 255 00:15:59.519 --> 00:16:04.679 reduced because we have like a Samuel Beckett style number 256 00:16:05.039 --> 00:16:09.639 of characters in this town, and I do think there's 257 00:16:09.679 --> 00:16:15.720 a beyond whatever budget issues there might be or anything else. 258 00:16:15.799 --> 00:16:20.919 This is definitely being played as a hyper abstracted Western, 259 00:16:21.840 --> 00:16:25.919 and yeah, we get trucks in place of horses, for instance, 260 00:16:25.919 --> 00:16:30.120 but it really is about these people introduced into a 261 00:16:30.200 --> 00:16:34.440 landscape together and the violence that results from that, and 262 00:16:35.919 --> 00:16:41.120 the abstraction is really beautiful. For the way that the 263 00:16:41.159 --> 00:16:45.720 camera moves with people throughout the film, Nearly every shot 264 00:16:45.960 --> 00:16:52.440 is beautifully choreographed, and we get such an expressive range 265 00:16:52.679 --> 00:16:57.000 of relationships of the camera to these characters and to 266 00:16:57.080 --> 00:17:01.679 the landscape and some really beautiful tricks. When I see 267 00:17:01.720 --> 00:17:03.600 camera moves like this, there's a part of me as 268 00:17:03.600 --> 00:17:08.160 a filmmaker that starts in my mind diagramming what kind 269 00:17:08.160 --> 00:17:09.599 of track is it, where is it? 270 00:17:10.759 --> 00:17:12.839 Are they using a zoom lens in the move and everything? 271 00:17:12.880 --> 00:17:15.559 And all those things are present, But there are a 272 00:17:15.599 --> 00:17:19.480 number of places in the movie whereas stripped down as 273 00:17:19.480 --> 00:17:20.160 everything is. 274 00:17:20.359 --> 00:17:23.039 I still I actually. 275 00:17:22.839 --> 00:17:25.640 Was wowed by going, Oh, I don't know how to 276 00:17:25.640 --> 00:17:26.240 diagram this. 277 00:17:27.119 --> 00:17:27.799 I'm not sure. 278 00:17:28.480 --> 00:17:32.000 The way that we're relating to the characters feel so 279 00:17:32.279 --> 00:17:38.519 bespoke and of its moment that it's not diagrammatic camera work. 280 00:17:38.559 --> 00:17:40.279 And I really appreciate that about it. 281 00:17:40.319 --> 00:17:42.680 I think, as I said, Click is going to be 282 00:17:42.880 --> 00:17:45.480 a sort of project for me, because anybody that shoots 283 00:17:45.519 --> 00:17:47.839 this way, I feel pretty ride or die. 284 00:17:48.720 --> 00:17:51.680 I think he also works narratively in a similar way 285 00:17:52.039 --> 00:17:55.319 because we don't I mean, yes, we know from sort 286 00:17:55.359 --> 00:17:57.960 of objects in the film, we can guess that it's 287 00:17:58.000 --> 00:18:00.759 taking place sort of in and around nineteen seventy, you know, 288 00:18:00.799 --> 00:18:02.920 based on the jukebox and the kind of cars we 289 00:18:03.000 --> 00:18:06.519 see and the clothing. You do know what time it's 290 00:18:06.519 --> 00:18:09.359 said in roughly, but I mean, you really it's I 291 00:18:09.400 --> 00:18:12.039 think it's easy to forget and I personally, I think 292 00:18:12.440 --> 00:18:16.359 because it channels spaghetti westerns so well, I think you 293 00:18:16.440 --> 00:18:19.079 sort of are able to sort of lose yourself in 294 00:18:19.079 --> 00:18:21.599 the fact that this could be happening in the wild West. 295 00:18:22.359 --> 00:18:24.799 And I think that's partially because it's so sort of 296 00:18:24.839 --> 00:18:27.319 you know, it is so desolate and isolated, and we 297 00:18:27.359 --> 00:18:31.480 have so many visual trademarks of spaghetti westerns in there 298 00:18:31.519 --> 00:18:35.880 as well, mingling with the sort of modern props that 299 00:18:36.000 --> 00:18:39.279 I think it's and I think I think this is 300 00:18:39.279 --> 00:18:43.000 why this film and some of clicks other works as well, 301 00:18:43.000 --> 00:18:45.279 because I think this is something that he works across 302 00:18:45.319 --> 00:18:48.480 his films, is that he he really does create like 303 00:18:48.559 --> 00:18:50.480 films in the zeitgeist at the time he's making them 304 00:18:50.519 --> 00:18:52.920 in so they always feel really fresh, like even now, 305 00:18:53.079 --> 00:18:55.640 because he's able to possibly sounds a little contrary, but 306 00:18:55.680 --> 00:18:58.680 because he's able to set them in this point of time, 307 00:18:58.799 --> 00:19:02.000 they somehow how he's able to make them still relevant 308 00:19:02.440 --> 00:19:06.480 decades later and feel interesting and fresh, whereas some films 309 00:19:06.559 --> 00:19:08.480 might feel dated. 310 00:19:09.200 --> 00:19:12.279 That's interesting With last week the show, we covered Cemetery 311 00:19:12.319 --> 00:19:15.319 Without Crosses, and in that the first time you see 312 00:19:15.359 --> 00:19:19.359 the writer, director Robert Hossain in the film, he's living 313 00:19:19.400 --> 00:19:22.559 in a ghost town and he's this artifact man out 314 00:19:22.559 --> 00:19:24.759 of time. And I would say that Dump is very 315 00:19:24.799 --> 00:19:27.960 similar as far as the place that he lives at 316 00:19:28.240 --> 00:19:31.839 is so completely run down, and I think that the 317 00:19:31.880 --> 00:19:36.480 production design of this shack, for lack of a better term, 318 00:19:36.640 --> 00:19:41.480 the shack that he lives in is so completely run down. 319 00:19:41.519 --> 00:19:44.440 You just see the wear and tear of the boards 320 00:19:44.480 --> 00:19:47.680 and everything. Everything is a mess. Stuff is just piled 321 00:19:47.720 --> 00:19:51.400 on top of each other. It is just absolute chaos. 322 00:19:51.680 --> 00:19:53.880 And he's just like, why is he even here? This 323 00:19:54.079 --> 00:19:58.279 is a former mind? Is he protecting the mind? Is 324 00:19:58.319 --> 00:20:00.880 that why he has quote unquote police authority? But you've 325 00:20:00.920 --> 00:20:04.839 got like these big rooms. One of the first times 326 00:20:04.839 --> 00:20:08.480 that we see the Daughter character, she's in this blue 327 00:20:08.480 --> 00:20:11.759 painted room. The windows were all smashed and broken, and 328 00:20:11.799 --> 00:20:14.480 then you get like she's there by a piano and 329 00:20:14.519 --> 00:20:16.880 it's like, what the hell is this room? What did 330 00:20:16.880 --> 00:20:18.880 this used to be? Was this like some sort of 331 00:20:18.920 --> 00:20:21.720 gathering place where these offices for the people that ran 332 00:20:21.799 --> 00:20:25.759 the mind? But just yeah, it is so empty. And 333 00:20:25.799 --> 00:20:29.200 then you get things like his friend Enzo coming through 334 00:20:29.279 --> 00:20:32.279 and that really beat the shit car that is completely 335 00:20:32.319 --> 00:20:34.799 covered in dust. I love when he's like spitting in 336 00:20:34.880 --> 00:20:37.640 his handkerchief and rubbing the window and everything and he's 337 00:20:37.720 --> 00:20:40.480 just got all that shit on his car, but especially 338 00:20:40.559 --> 00:20:44.359 all the crucifixes that are on the car. Okay, and 339 00:20:44.400 --> 00:20:46.359 that's where we really get this whole idea of the 340 00:20:46.400 --> 00:20:50.880 commerce stuff, because he is such a vulture when it 341 00:20:50.920 --> 00:20:54.240 comes to how much he's charging for things and just 342 00:20:54.279 --> 00:20:57.359 always trying to upsell. And he's got these dirty pictures 343 00:20:57.400 --> 00:20:59.480 that he's handing over to dump and just like, oh 344 00:20:59.680 --> 00:21:01.880 you like that? Huh yeah, how about five bucks for 345 00:21:01.960 --> 00:21:04.279 that kind of stuff? Oh, I'll throw it in for free. 346 00:21:04.920 --> 00:21:10.720 It's just a real character. And I really just how 347 00:21:11.319 --> 00:21:14.079 because he's only what the sixth character in here, and 348 00:21:14.119 --> 00:21:16.759 that's it. I think we just get six people. 349 00:21:16.880 --> 00:21:17.720 Yeah. 350 00:21:17.839 --> 00:21:20.079 I just love the big the huge bag of toilet 351 00:21:20.119 --> 00:21:24.599 paper that he hands over, this big plastic bag like 352 00:21:24.640 --> 00:21:28.400 eggs and like a huge plastic bag of the toilet paper. 353 00:21:28.640 --> 00:21:34.559 This is among Westerns that, whether intentionally or not, feel 354 00:21:34.599 --> 00:21:38.640 post apocalyptic, that it's so stripped down, it's so run down. 355 00:21:39.839 --> 00:21:43.160 We're down to three people. Were yeah, we're like arriving 356 00:21:43.200 --> 00:21:46.799 with toilet paper. There's a post apocalyptic quality that then 357 00:21:47.640 --> 00:21:50.279 renders the money that's at the center of this so 358 00:21:50.400 --> 00:21:54.240 absurd What is money worth within the world as we're 359 00:21:54.279 --> 00:21:56.599 seeing it, What is it worth at all? Which I 360 00:21:56.599 --> 00:21:59.559 do think, as you know, an intentional absurdity here that 361 00:22:00.440 --> 00:22:03.960 they care so deeply about all this money, but within 362 00:22:04.039 --> 00:22:08.400 the available evidence of what this world is, how much 363 00:22:08.440 --> 00:22:11.920 is it worth anyway. It reminds me of some of 364 00:22:12.079 --> 00:22:16.680 our current billionaire class being concerned with what might happen 365 00:22:16.720 --> 00:22:21.279 in an apocalyptic event, and it's and the realization that, oh, 366 00:22:21.319 --> 00:22:24.160 their money isn't actually going to get them out of that. 367 00:22:24.160 --> 00:22:27.480 That even if the money allows them to survive, how 368 00:22:27.480 --> 00:22:29.680 long can that go on? Where is that going to go? 369 00:22:30.079 --> 00:22:33.440 Who will work for them when money isn't worth anything 370 00:22:33.559 --> 00:22:38.119 and pay is not an option? These kinds of strange things. 371 00:22:38.160 --> 00:22:39.880 So it takes my mind to that place, and I 372 00:22:39.880 --> 00:22:43.440 find it interesting. One of the repeated images of the 373 00:22:43.480 --> 00:22:48.039 film is this cowboy on top of you know, the building, 374 00:22:48.079 --> 00:22:51.640 and it has this arm that's been kind of broken 375 00:22:51.720 --> 00:22:55.960 and is dangling, you know, in the wind. And we 376 00:22:56.079 --> 00:22:58.680 come back to that a number of times. So that, Yeah, 377 00:22:58.720 --> 00:23:03.640 the kind of outrageous life level of desiccation to the 378 00:23:03.680 --> 00:23:07.599 world is something that I found absurd and fun. 379 00:23:07.440 --> 00:23:09.599 And one of the more compelling elements of the story. 380 00:23:10.319 --> 00:23:12.640 But you'll enjoy Supermarket when you get around to watching. 381 00:23:12.680 --> 00:23:16.039 I think he he does play around with societal issues, 382 00:23:16.039 --> 00:23:18.240 and I think money is definitely a theme that pops 383 00:23:18.319 --> 00:23:21.160 up in more than one of his films, because Supermarket 384 00:23:21.240 --> 00:23:25.160 is about also about giving too much away, is about 385 00:23:25.200 --> 00:23:29.200 money and commerce and economics and class. 386 00:23:29.279 --> 00:23:32.599 And I was watching a trailer earlier today and it 387 00:23:32.640 --> 00:23:35.559 was one of those moments of oh, supermarket. 388 00:23:34.960 --> 00:23:38.000 Where have you been all my life? I definitely have 389 00:23:38.079 --> 00:23:40.400 to see that. That trailer completely sold me. 390 00:23:41.200 --> 00:23:45.319 I love the dump. He's given so many opportunities to 391 00:23:45.519 --> 00:23:50.000 murder the kid, and he wants to murder this kid, 392 00:23:50.039 --> 00:23:52.240 but he just can't do it. He's given a chance 393 00:23:52.319 --> 00:23:56.319 with rock, he tries to with a wrench, then eventually 394 00:23:56.400 --> 00:24:00.640 takes the kid's gun and it's just got him to rights, 395 00:24:00.799 --> 00:24:03.440 but still can't do it. And then at the end 396 00:24:03.519 --> 00:24:05.319 it comes back to bite him in the ass when 397 00:24:05.319 --> 00:24:08.480 he's got the gun on mister Sunshine and he finally 398 00:24:08.559 --> 00:24:11.200 fucking pulls the trigger the only time he's able to 399 00:24:11.240 --> 00:24:14.200 pull the trigger, and the gun's empty. But it's this 400 00:24:14.319 --> 00:24:17.200 whole movie is him trying to work up the courage 401 00:24:17.680 --> 00:24:20.839