WEBVTT 1 00:00:05.120 --> 00:00:07.639 Oh jeez, books shoot. 2 00:00:08.679 --> 00:00:10.720 People pay good money to see this movie. 3 00:00:10.919 --> 00:00:13.560 When they go out to a theater, they are cold sodas, 4 00:00:13.880 --> 00:00:15.960 hot popcorn and no monsters. 5 00:00:16.079 --> 00:00:19.519 In the protection booths. Everyone pretend podcasting isn't boring. 6 00:00:41.479 --> 00:00:43.600 Or land Elios are not taking us out for the seasons. 7 00:00:43.719 --> 00:00:48.679 Amiga Syria. It goes west to Pendaca. 8 00:00:51.840 --> 00:00:55.479 Del menu amasacs, he said, goes to Marilla is. 9 00:00:55.520 --> 00:00:59.960 Let's see become more dee Paris, gabrila, petitoto, miel al mandras, 10 00:01:00.079 --> 00:01:17.079 ignasa la signor, turnkeys, curricula media ka extra. 11 00:01:27.200 --> 00:01:41.439 M calm and signors. 12 00:01:41.840 --> 00:01:44.560 They are panic, no innother and as it was you 13 00:01:44.680 --> 00:01:49.519 costa man, mister Thomas, cantaos amigo. 14 00:01:49.719 --> 00:01:55.760 It's the noise cartillombrujo mi dagi no ela combe noise. 15 00:01:56.439 --> 00:02:02.760 It sees the mas stalking sliply, said he the younger man. 16 00:02:35.879 --> 00:02:39.680 Well you stay, agena, said he say, okay, well you 17 00:02:39.719 --> 00:02:40.680 stay again, said. 18 00:02:42.120 --> 00:03:35.159 Sad Vitia. 19 00:03:36.960 --> 00:03:39.639 Sorry in nomine. 20 00:03:41.479 --> 00:03:47.840 Patrick, but conda bakss. 21 00:03:56.759 --> 00:03:59.039 Welcome to the projection booth. I'm your host. Mike White 22 00:03:59.080 --> 00:04:01.719 joined me once again. Mister rob sa Mary, you. 23 00:04:01.759 --> 00:04:04.919 Know I think lower classes are less sensitive to pain. 24 00:04:05.560 --> 00:04:06.039 It's true. 25 00:04:06.199 --> 00:04:08.280 Also joining us as mister Miguel Janzo. 26 00:04:09.159 --> 00:04:12.560 Hey, I'm here back to the Mediterranean area. 27 00:04:13.639 --> 00:04:17.160 This week we are looking at Louis Benwell's The Exterminating Angel, 28 00:04:17.279 --> 00:04:19.879 re leased in nineteen sixty two. The film stars unruly 29 00:04:19.959 --> 00:04:23.560 number of actors in an unusual situation. The situation really 30 00:04:23.680 --> 00:04:25.600 is the movie. So I'm going to give a spoiler 31 00:04:25.680 --> 00:04:27.920 warning before we go any further. If you do want 32 00:04:27.920 --> 00:04:30.319 anything ruined, go ahead, turn off the podcast and come 33 00:04:30.399 --> 00:04:33.079 back after you've seen the film. So, rob when was 34 00:04:33.120 --> 00:04:35.639 the first time we saw The Exterminating Angel? And what 35 00:04:35.839 --> 00:04:36.319 did you think? 36 00:04:37.160 --> 00:04:39.360 I have to think that this may have been another 37 00:04:39.439 --> 00:04:42.279 one of those that I got deeper in after. They 38 00:04:42.360 --> 00:04:43.920 talk a lot about working at the bookstore, and I 39 00:04:43.959 --> 00:04:46.160 worked at the bookstore. I had a coworker named Mike 40 00:04:46.639 --> 00:04:48.720 who was very much into film. He's the one who 41 00:04:48.759 --> 00:04:52.040 got me into Jurowski and Herzog and all of this. 42 00:04:52.519 --> 00:04:55.560 So I remember at the time it was always easier 43 00:04:55.600 --> 00:04:58.639 to get the later French films, those were much easier 44 00:04:58.680 --> 00:05:01.959 to get in the stage, the Mexican air films, there 45 00:05:02.040 --> 00:05:04.720 was a couple you could get. I remember I held 46 00:05:04.759 --> 00:05:06.720 off on Robinson Caruso for a long time, so I'm like, 47 00:05:07.279 --> 00:05:10.600 I don't know, but there was this, and I believe 48 00:05:10.720 --> 00:05:14.319 that if my memory serves, they were. Again we've talked 49 00:05:14.319 --> 00:05:18.040 about New Yorker, So New Yorker. I remember those box designs, 50 00:05:18.160 --> 00:05:19.839 and I think it was probably I went to Thomas 51 00:05:19.920 --> 00:05:23.000 Videos before I worked there, and I remember getting it, 52 00:05:23.879 --> 00:05:26.079 and I think at the time, kind of like the 53 00:05:26.160 --> 00:05:28.399 first time I watched Discreet Charm, I was like, I 54 00:05:28.439 --> 00:05:30.199 don't know if I get it. I don't know if 55 00:05:30.240 --> 00:05:32.199 I like it, but I like some of the humor. 56 00:05:32.879 --> 00:05:35.439 Like I say, opening, No, I don't personally feel that 57 00:05:35.680 --> 00:05:38.959 lower classes are less sensitive to pain. That is actually 58 00:05:39.040 --> 00:05:40.399 one of the quotes from the movie. 59 00:05:40.759 --> 00:05:40.920 Oh. 60 00:05:41.000 --> 00:05:42.959 I thought that's just how you felt about things and 61 00:05:43.560 --> 00:05:46.680 really needed to express it here in this podcast. Okay, Yes, 62 00:05:46.920 --> 00:05:48.079 I'm glad you clarified. 63 00:05:48.279 --> 00:05:50.079 Yeah, you know, I just want to make sure that 64 00:05:50.160 --> 00:05:53.240 people understand. You know, I'm not a class trader. I'm 65 00:05:53.279 --> 00:05:56.279 as poor as y'all. When you're not used to a 66 00:05:56.439 --> 00:06:00.319 movie that is plot driven. Basically, American film is very 67 00:06:00.480 --> 00:06:03.000 plot centric, So to see a movie like this for 68 00:06:03.079 --> 00:06:04.800 the first time, or like I said when I said 69 00:06:04.839 --> 00:06:07.519 discreet term, you can go back and listen to that episode, 70 00:06:07.600 --> 00:06:09.800 I was like, I don't understand what's going on, Like, 71 00:06:10.279 --> 00:06:14.399 why isn't this progressing? I mean this does progress, so 72 00:06:14.480 --> 00:06:17.759 seriously it does, but I think even more so than 73 00:06:17.839 --> 00:06:20.480 just green Chart. But it was just this feeling of 74 00:06:21.000 --> 00:06:23.319 I'm trying to get what's in here, I'm trying to 75 00:06:23.399 --> 00:06:27.519 understand certain aspects, and it's like, of course, on repeated viewings, 76 00:06:28.120 --> 00:06:31.800 much more really enjoy it. It's one of you know, 77 00:06:31.920 --> 00:06:34.399 my favorite suppose going to do a tier of when 78 00:06:34.439 --> 00:06:37.519 Will films, But sadly again it's like it's you know, 79 00:06:37.879 --> 00:06:40.439 Criterion has it. You can watch it on streaming or 80 00:06:40.839 --> 00:06:42.600 I used to have it on DVD and Blu ray. 81 00:06:42.639 --> 00:06:44.279 I think they did a Blu ray of it. But 82 00:06:44.399 --> 00:06:46.839 it's like all that Mexican era stuff, there's some of 83 00:06:46.879 --> 00:06:48.600 them that are still really hard to get in the States, 84 00:06:48.639 --> 00:06:52.040 even like Los Aldadaldos, you know, which should be lauded 85 00:06:52.079 --> 00:06:55.160 as an important film, and for some reason that thing 86 00:06:55.279 --> 00:06:57.360 is not available. So there must be some sort of 87 00:06:57.480 --> 00:06:59.639 rights issues with a lot of these, you know, Mexican 88 00:06:59.639 --> 00:07:02.480 era fil because I know that a lot of them 89 00:07:02.560 --> 00:07:06.399 he did for just a job. He was just working, 90 00:07:07.399 --> 00:07:10.279 so some of them don't have his quote unquote stamp 91 00:07:10.399 --> 00:07:12.879 on it in the way that this does and connects 92 00:07:12.920 --> 00:07:15.319 to other movies, like we talked about before we started rolling, 93 00:07:15.360 --> 00:07:16.439 and we'll obviously get into that. 94 00:07:17.199 --> 00:07:18.839 And Migaul, how about yourself when it was the first 95 00:07:18.879 --> 00:07:20.120 time we saw it? And what did you think? 96 00:07:20.560 --> 00:07:24.079 It wasn't TV in Spain? It was very you know, 97 00:07:24.199 --> 00:07:26.720 there was this movie. They were sawing it at night, 98 00:07:27.240 --> 00:07:30.279 the classic host Classics, and it was with my mother 99 00:07:30.920 --> 00:07:34.519 after dinner. You had this tuesdays that you watch films 100 00:07:34.560 --> 00:07:37.800 with your parents on TV, and ah, this is a 101 00:07:37.879 --> 00:07:40.759 very important film, they told me, and we were watching 102 00:07:41.639 --> 00:07:45.560 and of course I didn't understand the plot, but it 103 00:07:45.680 --> 00:07:50.720 was very funny. It was very funny, and somehow, if 104 00:07:50.800 --> 00:07:53.800 you're from Spain, I think you understand it. I mean 105 00:07:53.879 --> 00:07:57.639 in another way, because you laugh a lot. You understand 106 00:07:57.680 --> 00:08:00.800 the type of jokes, the type of howple get stuck. 107 00:08:01.360 --> 00:08:05.160 They are kind of very very kind of classical Mediterranean jokes. 108 00:08:05.279 --> 00:08:08.399 Know that they are there. So even if the plot 109 00:08:08.560 --> 00:08:11.360 was not, it was not a thriller, you know. But 110 00:08:14.240 --> 00:08:16.920 to be honest, the first time, you know, I think 111 00:08:17.000 --> 00:08:19.720 I was fifteen or fourteen, and he was like okay, 112 00:08:20.560 --> 00:08:23.639 And then it took me some time, and then I 113 00:08:23.759 --> 00:08:27.079 started to study film and I started making my own films, 114 00:08:27.120 --> 00:08:30.319 and in the last ten years I really understand it again. 115 00:08:30.399 --> 00:08:32.120 You know, I watch it like three or four times 116 00:08:32.200 --> 00:08:35.879 in my life, I guess four times, and I really know, 117 00:08:36.120 --> 00:08:39.600 I really kind of feel it and understand it in 118 00:08:39.679 --> 00:08:42.120 a very deep way. It's not that you don't have 119 00:08:42.320 --> 00:08:46.720 to qualify any symbol, so there is nothing behind the movie. 120 00:08:46.799 --> 00:08:49.600 You know, there is nothing secret, But I think I 121 00:08:50.360 --> 00:08:54.600 somehow connect with the humor, connect with what is portrayed there. 122 00:08:55.080 --> 00:08:57.159 You know, I know why he's doing that, and I 123 00:08:57.240 --> 00:08:59.240 kind of feel it and I understand what is it 124 00:08:59.360 --> 00:08:59.840 coming from. 125 00:09:00.720 --> 00:09:04.840 This was only maybe second third watch. I remember definitely 126 00:09:04.919 --> 00:09:08.000 watching the film before when we talked about this great 127 00:09:08.080 --> 00:09:10.360 Charm of the Bourgeoisie, just because I had heard that 128 00:09:10.440 --> 00:09:13.200 the two films were so similar. So I definitely checked 129 00:09:13.240 --> 00:09:15.960 that out then, but I didn't remember it very well. 130 00:09:16.120 --> 00:09:17.759 So it's really glad to be able to go back 131 00:09:17.799 --> 00:09:20.399 to this. I find it very interesting that this is 132 00:09:20.480 --> 00:09:22.960 based on I don't know if it was a play 133 00:09:23.320 --> 00:09:26.799 or another script, because at the very beginning it talks 134 00:09:26.840 --> 00:09:30.600 about how it's based on a cnadrama from Louis el 135 00:09:30.879 --> 00:09:36.279 Coriza and Louis Bounoil called the castaways of Providence Street 136 00:09:36.960 --> 00:09:40.120 and rob You brought up Robinson Crusoe, which is the 137 00:09:40.240 --> 00:09:43.000 ultimate castaway story. But I find it very interesting how 138 00:09:43.080 --> 00:09:46.960 this is the way this movie plays out reminds me 139 00:09:47.000 --> 00:09:50.200 of Itchcock's Life Vote, just it's got the little group 140 00:09:50.279 --> 00:09:53.879 of people in all of their interactions, any sort of 141 00:09:54.080 --> 00:09:56.000 tensions that come out. I mean, with Life Vote, you've 142 00:09:56.000 --> 00:09:59.480 got people from all these different strata. Here in this one, 143 00:09:59.559 --> 00:10:03.600 you have everybody who's everybody except for Julio the major Domo. 144 00:10:04.159 --> 00:10:06.720 Everyone is in the same class, but they still find 145 00:10:06.799 --> 00:10:10.360 things they're right about and a bitch about. And just 146 00:10:10.559 --> 00:10:12.600 the way that they're stuck in here also reminded me 147 00:10:12.679 --> 00:10:14.960 a little bit of melbur Tweet with the whole thing 148 00:10:15.039 --> 00:10:16.639 of all of the people that are stuck in this 149 00:10:16.799 --> 00:10:19.399 house and they can never leave. But that's a whole house. 150 00:10:19.840 --> 00:10:23.840 This is basically one room where they just cannot escape from. 151 00:10:24.200 --> 00:10:26.519 And it's such an interesting premise as far as the 152 00:10:26.600 --> 00:10:30.000 way that people's tensions rise, the way that they handle 153 00:10:30.080 --> 00:10:33.639 themselves in here, and then you add on top of 154 00:10:33.720 --> 00:10:37.559 it the way that it's being made the whole repetition thing. 155 00:10:37.759 --> 00:10:40.960 I find fascinating. It almost reminds me a little bit 156 00:10:40.960 --> 00:10:43.720 of Groundhog Day too. As far as the how long 157 00:10:43.759 --> 00:10:47.279 have these people been here, we have no idea. Towards 158 00:10:47.279 --> 00:10:49.399 the end of the movie. I'm just like, Okay, I've 159 00:10:49.480 --> 00:10:53.120 seen daytime and nighttime maybe four times, but it definitely 160 00:10:53.159 --> 00:10:55.320 feels like way more than four days. It feels like 161 00:10:55.360 --> 00:10:57.440 they've been stuck in this place for a month or more, 162 00:10:57.639 --> 00:11:01.919 just because of the but stink that they have. Of course, 163 00:11:01.960 --> 00:11:04.440 there's a dead body that they also are contending with 164 00:11:05.000 --> 00:11:09.159 and just trying to even go to the bathroom and 165 00:11:09.279 --> 00:11:11.200 the way that they talk about that will definitely talk 166 00:11:11.200 --> 00:11:15.240 about the vases in the closet kind of thing. But Yeah, 167 00:11:15.440 --> 00:11:17.799 fascinating film, and I was really glad to be able 168 00:11:17.879 --> 00:11:19.080 to come back to this one. 169 00:11:20.000 --> 00:11:22.240 I think it's amazing that I think we have to 170 00:11:22.360 --> 00:11:26.320 frame in more, yeah movies like the Marx Brothers, all 171 00:11:26.399 --> 00:11:30.240 the shortest movies that we have seen, even in the 172 00:11:30.919 --> 00:11:34.679 American and Hollywood context that makes no sense, and escalate 173 00:11:35.279 --> 00:11:39.200 in a very exaggerated and surreal way. But it happens 174 00:11:39.240 --> 00:11:42.320 a lot in Spain that you say, look, I have 175 00:11:42.480 --> 00:11:45.120 to leave you no, I have to leave this party, 176 00:11:45.399 --> 00:11:48.120 I know. Do you want to stay? Yes? Only five minutes? 177 00:11:48.399 --> 00:11:51.159 And next the scene is like six am. 178 00:11:51.519 --> 00:11:53.679 Like you you have to leave? Yeah? 179 00:11:53.840 --> 00:11:56.799 Well yeah, in five minutes, I'm living. No, And then 180 00:11:56.879 --> 00:11:59.879 suddenly you realize that it's nine am, and it's like fuck, 181 00:12:00.519 --> 00:12:02.960 I had to leave at at eleven pm, you know, 182 00:12:03.080 --> 00:12:05.679 and it's nine a m. And you don't know why 183 00:12:06.200 --> 00:12:07.039 are you still there? 184 00:12:07.159 --> 00:12:07.320 You know? 185 00:12:07.960 --> 00:12:10.279 And so it's just a very common feeling, you know. 186 00:12:10.399 --> 00:12:13.480 It's nothing strange or reality in that sense. 187 00:12:14.399 --> 00:12:17.120 I'm glad that Miguel brought up the absurd in the 188 00:12:17.240 --> 00:12:21.240 idea of Camu, but also I would say no exit, 189 00:12:21.440 --> 00:12:24.519 you know Sartre and the idea of being stuck in 190 00:12:24.600 --> 00:12:26.879 a place and you're like, I'm here, but you know 191 00:12:26.960 --> 00:12:30.159 what am I doing here? And obviously that can play 192 00:12:30.240 --> 00:12:35.679 into philosophical concepts of just human existence. Why are we here? 193 00:12:35.720 --> 00:12:38.519 What are we doing here? How do we get along together? 194 00:12:39.120 --> 00:12:43.799 The idea of creating these manners and what happens when 195 00:12:43.840 --> 00:12:46.879 the manners fall away? Or what do you do when 196 00:12:46.879 --> 00:12:49.639 you're under stress? Which I think I've talked about this 197 00:12:49.799 --> 00:12:52.600 before when we've talked about zombie movies and why I 198 00:12:52.679 --> 00:12:55.320 love the Romero films because it's not so much about 199 00:12:55.320 --> 00:12:58.120 the zombies, about putting people under a stressful situation and 200 00:12:58.159 --> 00:13:01.600 then seeing how they react versus who they think they are, 201 00:13:01.840 --> 00:13:04.480 versus what they become. There's a lot of that in there. 202 00:13:05.279 --> 00:13:09.279 I brought a couple of books here in my last SI, 203 00:13:09.679 --> 00:13:13.399 which is his autobiography. But as he notes in the 204 00:13:13.440 --> 00:13:17.559 front our guest Jehan Claulkerrier wrote with a series of 205 00:13:17.799 --> 00:13:20.519 interviews he did he said Exterminating Angel was made in Mexico, 206 00:13:20.639 --> 00:13:22.240 though I regret I was unable to shoot it in 207 00:13:22.320 --> 00:13:25.960 Paris or London with European actors and adequate costumes. Despite 208 00:13:25.960 --> 00:13:27.639 the beauty of the house where it was shot my 209 00:13:27.679 --> 00:13:31.559 effort to select actors who didn't look particularly Mexican, there 210 00:13:31.600 --> 00:13:35.399 were certain tawdriness in these aspects. Who couldn't get any 211 00:13:35.480 --> 00:13:38.960 really fine tablecloth or table napkins, for example, and the 212 00:13:39.039 --> 00:13:41.279 only one that I show on camera was barred from 213 00:13:41.279 --> 00:13:45.279 a makeup artists. The screenplay, however, was entirely original. It 214 00:13:45.399 --> 00:13:46.840 was a story of a group of friends who have 215 00:13:46.919 --> 00:13:50.000 dinner together after seeing a play. When they go into 216 00:13:50.039 --> 00:13:52.679 the living room after dinner, they find that for some 217 00:13:52.960 --> 00:13:56.440 inexplicable reason that can't leave. In the early stages, the 218 00:13:56.519 --> 00:14:00.360 working title was the Tassaways Providence Street. But then I 219 00:14:00.480 --> 00:14:05.240 remembered a magnificent title that Jose Beajureman had mentioned when 220 00:14:05.600 --> 00:14:08.440 we talked in Madrid in previous year about a play 221 00:14:08.519 --> 00:14:11.200 that he wanted to write. If I saw the Exterminating 222 00:14:11.240 --> 00:14:13.159 Angel on a marquis, I told him I would go 223 00:14:13.240 --> 00:14:15.840 in and see it on the spot. When I wrote 224 00:14:15.919 --> 00:14:18.639 him from Mexico asking him for news of the play, 225 00:14:19.240 --> 00:14:21.919 he replied to he hadn't written it yet, and that 226 00:14:22.120 --> 00:14:24.360 in any case, the title wasn't his. It came from 227 00:14:24.399 --> 00:14:28.679 a friend from the Apocalypse and therefore was in public domain. 228 00:14:29.480 --> 00:14:32.799 Apocalypse is in uppercase, so I don't know what that means. 229 00:14:32.840 --> 00:14:34.279 It doesn't seem like a title or anything. 230 00:14:34.679 --> 00:14:37.559 Probably from like Book of Revelation. I mean, the original 231 00:14:37.799 --> 00:14:40.639 Exterminating Angel, from what I was able to discern, was 232 00:14:40.720 --> 00:14:43.279 from the Book of Samuel. So I made the sacrifice 233 00:14:43.320 --> 00:14:46.639 and listened to a audio recording of the entire Book 234 00:14:46.639 --> 00:14:49.600 of Samuel, which was actually very fascinating. I was not 235 00:14:49.720 --> 00:14:52.320 familiar with Samuel, who actually is in the line of 236 00:14:52.399 --> 00:14:54.519 David and all this stuff, so I was like, okay, 237 00:14:54.679 --> 00:14:56.600 so it was interesting. There's a lot of stuff that 238 00:14:56.639 --> 00:14:57.519 happens in that book. 239 00:14:58.360 --> 00:15:00.279 There were many things in the film taken to directly 240 00:15:00.320 --> 00:15:02.080 from life. I went to a large dinner party in 241 00:15:02.120 --> 00:15:05.039 New York where the hostess had decided to amuse the 242 00:15:05.080 --> 00:15:08.200 guests by staging various surprises. For example, a waiter was 243 00:15:08.279 --> 00:15:10.200 stretched out to take a nap on the carpet in 244 00:15:10.240 --> 00:15:12.639 the middle of dinner while he was carrying a tray 245 00:15:12.679 --> 00:15:15.039 of food. Of course, the guests don't find the antics 246 00:15:15.120 --> 00:15:17.960 quite as amusing. She also brought in a bear in 247 00:15:18.039 --> 00:15:20.639 two Sheep, a scene in the film which has prompted 248 00:15:20.720 --> 00:15:25.840 several critics to symbolic excess, including that the bear is Bolshevism, 249 00:15:25.960 --> 00:15:31.559 waiting to ambush capitalistic society, which had been paralyzed by 250 00:15:31.600 --> 00:15:34.799 its own contradictions. As in the film. I've always been 251 00:15:34.879 --> 00:15:37.480 fascinated by repetition, which is why certain things tend to 252 00:15:37.519 --> 00:15:39.960 repeat themselves over and over again. I have no idea, 253 00:15:40.399 --> 00:15:44.559 but the phenomenon intrigues me enormously. There were at least 254 00:15:44.559 --> 00:15:48.519 a dozen repetitions in Exterminating Angel, two men introduce themselves, 255 00:15:48.559 --> 00:15:51.480 shake hands, say delighted, and then they meet each other 256 00:15:51.519 --> 00:15:53.759 a moment later and repeat the routine as if they've 257 00:15:53.799 --> 00:15:55.639 never met each other before, and the third time they 258 00:15:55.679 --> 00:15:58.919 greet each other with great enthusiasm like old friends. Another 259 00:15:59.000 --> 00:16:01.799 repetition inccurs when the guests enter the Great Hall and 260 00:16:01.879 --> 00:16:04.240 the host calls for the butler twice, and in fact 261 00:16:04.279 --> 00:16:07.960 it's the exact same scene, but shot from a different angle. Luis, 262 00:16:08.120 --> 00:16:10.559 the chief cameraman, said to me as we were filming, 263 00:16:11.000 --> 00:16:14.399 there's something very wrong here. What I asked, the scene 264 00:16:14.440 --> 00:16:17.639 where they enter the house, it's in here twice. Since 265 00:16:17.679 --> 00:16:19.559 he was the one who filmed both sequences, I still 266 00:16:19.639 --> 00:16:22.159 wonder how he could have possibly thought that it was 267 00:16:22.200 --> 00:16:25.039 such a colossal error that it escaped me and the editor. 268 00:16:25.679 --> 00:16:28.080 Sterminating Angel is one of the rare films that I've 269 00:16:28.159 --> 00:16:31.279 sat through more than once. Each time I regret its weakness, 270 00:16:31.879 --> 00:16:34.600 not to mention, is very short time we had to 271 00:16:34.639 --> 00:16:38.519 work on it. Basically, I simply see it as a 272 00:16:38.519 --> 00:16:40.440 group of people who can't do what they wanted to do, 273 00:16:40.799 --> 00:16:44.159 leave a room. It's that kind of dilemma, the possibility 274 00:16:44.200 --> 00:16:46.759 of satisfying a simple desire that often occurs in my 275 00:16:46.879 --> 00:16:50.360 movies and Lodge Door, for example, two people want to 276 00:16:50.440 --> 00:16:53.320 get together, but they can't, and that obscure object of desire. 277 00:16:53.399 --> 00:16:57.639 It's an aging man who can't satisfy his sexual desire. Similarly, 278 00:16:57.919 --> 00:17:01.720 Archibala de la Cruz tries in vain to commit suicide, 279 00:17:01.759 --> 00:17:03.960 while the characters of the discreet Charm of the Bourgeois 280 00:17:03.960 --> 00:17:06.240 he tried hard to eat dinner together but never managed to. 281 00:17:07.160 --> 00:17:10.680 This idea of a repetition, this idea of the failure 282 00:17:10.759 --> 00:17:15.119 of will, is a very recurrent thing in the failure 283 00:17:15.160 --> 00:17:18.839 of will. Instead of you a how is it calling 284 00:17:18.960 --> 00:17:21.920 English the triumph for the lenny of it and starts 285 00:17:22.079 --> 00:17:24.799 triumph of the will, drive of the will for us 286 00:17:24.960 --> 00:17:28.200 is the opposite. No, it's like the failure of will. 287 00:17:29.079 --> 00:17:31.000 And this is like happens every day. 288 00:17:31.119 --> 00:17:31.160 No. 289 00:17:31.279 --> 00:17:35.359 I see my for instance, my father trying to push 290 00:17:35.559 --> 00:17:38.559 the whole family to the family car to go on vacation. 291 00:17:38.839 --> 00:17:42.799 Nothing moves. He has to call us twenty five times 292 00:17:43.119 --> 00:17:45.839 push it into the car. In his word. There is 293 00:17:45.920 --> 00:17:49.359 a word here that every family repeats, is what a 294 00:17:49.440 --> 00:17:52.559 cross or what the cruciffects? And I think if you 295 00:17:52.720 --> 00:17:55.440 think about the end of Simon of the Deserts, there 296 00:17:55.519 --> 00:17:59.920 is this discal party where Simon is with the wife. 297 00:18:00.599 --> 00:18:01.599 The wife is the evil. 298 00:18:02.119 --> 00:18:02.240 You know. 299 00:18:02.400 --> 00:18:05.880 They finally get together and they are in this party 300 00:18:06.960 --> 00:18:10.759 and Simony is really hard and really wants to go. 301 00:18:11.000 --> 00:18:13.880 They said to the wife, please can we go? And 302 00:18:14.000 --> 00:18:16.480 the wife says, you will stay here until the party 303 00:18:16.559 --> 00:18:20.440 is over, and and my father are like, whoa, you know, 304 00:18:20.559 --> 00:18:24.240 the failure of will. I really cannot you know, do 305 00:18:24.400 --> 00:18:27.359 what I want. I'm always in a family that doesn't 306 00:18:27.400 --> 00:18:30.160 allow me to do anything, in a society that is 307 00:18:30.599 --> 00:18:35.839 super catholic, to have any agency. And I think that's 308 00:18:35.880 --> 00:18:40.440 why the this Exterminator Angel represents when in all the 309 00:18:40.880 --> 00:18:46.440 movies that kind of unbearable repetition of protocol, an unbearable 310 00:18:46.599 --> 00:18:49.880 repetition of things that I cannot do, you know that 311 00:18:50.039 --> 00:18:53.519 they really had to do because it's, you know, because 312 00:18:53.599 --> 00:18:55.839 my mother in law is coming to visit me and 313 00:18:55.960 --> 00:19:01.480 I really cannot escape this terrible like like a family dinner. 314 00:19:02.440 --> 00:19:04.960 They're really connected with that type of things, and all 315 00:19:05.000 --> 00:19:09.400 they speak cruss effects like impulse into your life every day. 316 00:19:10.319 --> 00:19:13.079 The thing that's interesting to me is, you know, Miguel, 317 00:19:13.200 --> 00:19:16.880 you have obviously the connection to your culture, and you 318 00:19:16.960 --> 00:19:19.759 know in that way with Gnoel who shares the heritage 319 00:19:19.839 --> 00:19:22.240 with you. I look at it as the son of 320 00:19:22.279 --> 00:19:25.000 a Scottish immigrant, and you were talking about it from 321 00:19:25.039 --> 00:19:27.480 the Kappac angle. I look at it from Protestant angle. 322 00:19:27.960 --> 00:19:30.799 My grandmother was very proper. There were certain things you 323 00:19:30.920 --> 00:19:33.039 did not say in public. There are certain things you 324 00:19:33.160 --> 00:19:35.920 did not talk about, and it was about keeping up appearances. 325 00:19:36.000 --> 00:19:37.599 It was about maintaining manners. 326 00:19:38.119 --> 00:19:38.279 You know. 327 00:19:38.480 --> 00:19:41.319 One of the earliest memories I have, and this used 328 00:19:41.319 --> 00:19:43.559 to blow the mind of the workers at the fast 329 00:19:43.599 --> 00:19:45.640 food restaurants when I was in high school, was my 330 00:19:45.799 --> 00:19:48.200 grandmother sat me down when I don't know, four or 331 00:19:48.240 --> 00:19:51.079 five years old at dinner table and said, okay, put 332 00:19:51.119 --> 00:19:52.839 a bowl of ice cream in front of me and say, okay, 333 00:19:52.880 --> 00:19:54.720 what do we say? Please? May I, yes, you may, 334 00:19:54.839 --> 00:19:58.519 thank you, You're welcome, and just will run through manners. 335 00:19:58.799 --> 00:20:01.359 Until recently when I've or to kind of deconstruct some 336 00:20:01.480 --> 00:20:03.599 of this and allow for a little bit more flexibility 337 00:20:03.640 --> 00:20:06.279 in my life. I used to be like Hannibal Lecter 338 00:20:06.400 --> 00:20:09.200 when it came to manners, Like if somebody was very rude, 339 00:20:09.680 --> 00:20:12.200 you know, I would just you know, I want to, 340 00:20:12.519 --> 00:20:14.960 you know, rip their face off, you know, Yeah, I 341 00:20:15.119 --> 00:20:20.200 just have this very visceral reaction to rudeness and to impropriety, 342 00:20:20.799 --> 00:20:23.119 and you know, we just still talk about those things. 343 00:20:23.599 --> 00:20:26.480 And so to me, I think this is probably what 344 00:20:27.079 --> 00:20:28.759 Bwin wilds films, you know, if I were to get 345 00:20:28.759 --> 00:20:33.200 into my psychology, and why they resonate is that he's 346 00:20:33.319 --> 00:20:36.480 breaking down those bits. He's looking at the cultures in 347 00:20:36.559 --> 00:20:38.279 which we live in and the manners in which we 348 00:20:38.440 --> 00:20:41.720 have and going to what end, Like, what do these 349 00:20:41.799 --> 00:20:44.319 things do? Do they just cover up the you know, 350 00:20:44.440 --> 00:20:48.279 the snarling, vicious animal that's underneath. Maybe if we were 351 00:20:48.319 --> 00:20:50.839 a bit more honest with ourselves and with each other, 352 00:20:50.920 --> 00:20:53.440 then maybe we wouldn't tear each other apart. You know, 353 00:20:54.559 --> 00:20:56.440 I think he leaves us with those questions, and I 354 00:20:56.519 --> 00:20:57.759 think that's what great art does. 355 00:20:58.640 --> 00:21:03.079 Yes, still I think some sort of a comedian anarchist. 356 00:21:03.839 --> 00:21:08.519 So he felt all these constrictions, the social manners, as 357 00:21:08.680 --> 00:21:12.039 something imposed but that we cannot escape, you know, and 358 00:21:12.319 --> 00:21:15.880 it's really like a barden, and he likes to laugh 359 00:21:15.960 --> 00:21:18.759 about it. If we think about, for instance, the beginning 360 00:21:18.799 --> 00:21:21.160 of the twentieth century, when he was in Madrid, he 361 00:21:21.279 --> 00:21:25.440 was studying with Lota and Dali in the student's residency. 362 00:21:25.960 --> 00:21:28.359 They were the three of them together, and it was 363 00:21:28.400 --> 00:21:30.920 a very strict society, but they were in a very 364 00:21:31.039 --> 00:21:35.160 liberal institution. So they will go every night dressless nuns. 365 00:21:35.640 --> 00:21:39.279 As to joke, and an Andalusian dog they use. All 366 00:21:39.359 --> 00:21:43.319 these jokes, All these jokes are related to repress desires 367 00:21:43.440 --> 00:21:47.039 to do whatever they wanted to do and escape from 368 00:21:47.119 --> 00:21:50.480 that kind of very strong Catholic society. You know that 369 00:21:50.920 --> 00:21:54.559 makes you, you know, repeat, you can really see the 370 00:21:54.720 --> 00:21:58.279 Andalusian dog is a collection of these jokes of how 371 00:21:58.359 --> 00:22:03.559 to escape through that very protocol society, which is the 372 00:22:03.720 --> 00:22:07.319 Catholic society. And I have the same grandma that you 373 00:22:07.480 --> 00:22:11.720 have Rob saying, Grandma, say, I think I have a 374 00:22:11.799 --> 00:22:15.599 picture here I show you. So that's the connection, you know, 375 00:22:15.759 --> 00:22:16.839 here he sees. 376 00:22:17.440 --> 00:22:20.720 See, but that's the connection Catholics and Protestants not so 377 00:22:20.880 --> 00:22:23.480 much different. There you go see exactly. 378 00:22:24.079 --> 00:22:26.640 Talking about religion. I find it very interesting. Well, first off, 379 00:22:26.759 --> 00:22:29.359 I find it interesting that this whole thing's supposed to 380 00:22:29.400 --> 00:22:32.160 be a dinner party. We never actually see them eat dinner. 381 00:22:32.759 --> 00:22:36.039 We see the one servant come in with the tray 382 00:22:36.680 --> 00:22:40.480 and fall over, which is big joke for everybody. Everybody's 383 00:22:40.519 --> 00:22:42.960 super happy, and it's all at the expense of this 384 00:22:43.079 --> 00:22:46.200 poor servant doesn't like jokes. So she goes into this 385 00:22:46.319 --> 00:22:48.960 little room and sees the bear there and these sheep 386 00:22:49.039 --> 00:22:51.359 that are under a table. Is like, yeah, yeah, no, 387 00:22:51.559 --> 00:22:53.839 no sheep, no bear, We're not going to play our joke. 388 00:22:53.880 --> 00:22:55.880 And I'm like, well, what the hell joke was this 389 00:22:56.039 --> 00:22:57.799 that you were doing the way you needed a bear 390 00:22:57.920 --> 00:22:58.880 in three sheep. 391 00:22:59.079 --> 00:22:59.240 You know. 392 00:22:59.319 --> 00:23:02.400 And then we come back to the room eventually to 393 00:23:02.480 --> 00:23:05.119 the dining room, and nobody's there except for the one woman. 394 00:23:05.559 --> 00:23:07.119 And like I said at the beginning, I'm not going 395 00:23:07.160 --> 00:23:09.920 to try to give people names because it's just I 396 00:23:09.960 --> 00:23:12.240 think it's ridiculous, and I think that it's very much 397 00:23:12.440 --> 00:23:15.480 on purpose ridiculous that we have so many characters in 398 00:23:15.519 --> 00:23:18.599 this movie and they kind of seem to exchange with 399 00:23:18.799 --> 00:23:22.119 each other as well. But yeah, she picks up something 400 00:23:22.160 --> 00:23:24.839 and throws it through a window, and you cut to 401 00:23:25.039 --> 00:23:27.920