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<v Speaker 1>Hold yours both it show die.

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

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

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<v Speaker 1>hot popcorn and no monsters in the protection booths.

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<v Speaker 3>Everyone pretend podcasting isn't boring? So why did you come

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<v Speaker 3>to London? Were you bored in Manchester?

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<v Speaker 4>Oh? Sash, I didn't see you?

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<v Speaker 5>Eh so bored?

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<v Speaker 3>No?

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<v Speaker 6>I wasn't bored.

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<v Speaker 5>I'm never bored.

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<v Speaker 6>That's the trouble with everybody, and also bored. Do you

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<v Speaker 6>want to come in?

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<v Speaker 3>All right? What's funny?

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<v Speaker 5>I used to be a wearewolf, but I'm all right now?

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<v Speaker 1>Do you want to come in?

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<v Speaker 6>You've had nature explained to you and you're bored with it.

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<v Speaker 6>You've had a living body explained to you and you're

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<v Speaker 6>board with it. You've had a universe explain to your.

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<v Speaker 5>And your board with it.

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<v Speaker 1>Do you want to come in?

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<v Speaker 3>Right? So?

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<v Speaker 6>Now you just want cheap thrills and like plenty of them,

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<v Speaker 6>And it doesn't matter out chargery or vacuous guard, as

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<v Speaker 6>long as it's new. As long as it's new, as

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<v Speaker 6>long as it flashes and bleeps in botty different colors,

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<v Speaker 6>or whatever else you can say about me. I'm not

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<v Speaker 6>bored see more life in an open grave. Come on,

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<v Speaker 6>I don't have a future. Nobody has a future. We're

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<v Speaker 6>not important, We're just a crap idea. You know the

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<v Speaker 6>sense of jungle out there?

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<v Speaker 4>Have you seen it in air?

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<v Speaker 5>If God just put us here for his own entertainment,

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<v Speaker 5>there's some things in this world that you never ever

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<v Speaker 5>ever understand.

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<v Speaker 6>So I was all going for you spitboring, otular.

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

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<v Speaker 2>joined me for the first time. Is miss Ellie Levy, Hello,

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<v Speaker 2>nice to be here. Also making his premier appearance in

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<v Speaker 2>the booth is mister and Nick Kuyava.

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<v Speaker 4>Resolve is never stronger than in the morning after the night.

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<v Speaker 4>It was never weaker. What do you think of that?

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<v Speaker 2>We continue Art House August with a look at Mike

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<v Speaker 2>Lee's naked No, Mike Lee is not naked in this film,

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<v Speaker 2>and there's not really a ton of nudity. If anything,

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<v Speaker 2>it's about naked, raw emotions, especially those of Johnny, played

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<v Speaker 2>brilliantly by David Doulas. We follow Johnny, who flees to

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<v Speaker 2>London from Manchester after raping a woman and stealing a car.

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<v Speaker 2>We also follow Jeremy, who's played by Greg Kruttwell, an

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<v Speaker 2>unrepentant bastard and interesting counterpoint to Johnny. I'm not sure

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<v Speaker 2>if this film can be spoiled, but it really just

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<v Speaker 2>needs to be experienced, so we're going to try our

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<v Speaker 2>best to spoil it, though, so you have been warned.

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<v Speaker 2>So Ellie, when was the first time you saw Naked

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<v Speaker 2>and what did you think?

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<v Speaker 3>I think I first saw in high school. I probably

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<v Speaker 3>read up about it somewhere in some now forgotten film

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<v Speaker 3>site in the early two thousands, and I rented it

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<v Speaker 3>on my own and I really liked how enigmatic it was,

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<v Speaker 3>but I also wasn't surely able to take it in

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<v Speaker 3>I don't think as a teenager, especially the character of Johnny.

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<v Speaker 3>So it also might have been my very first michaelisim

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<v Speaker 3>which didn't quite prepare me for the rest of his work,

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<v Speaker 3>which is quite different because Naked is quite a lot

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<v Speaker 3>darker and more nihilistic than a lot of his work.

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<v Speaker 3>So this film. Scholar Professor Nikolai Lubecker has a concept

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<v Speaker 3>called the shield badge film. I don't know if you

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<v Speaker 3>know this, and this, like films that deadlock are desired for,

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<v Speaker 3>Catharsis and I really think that this film can be

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<v Speaker 3>categorized as a feel bad film, and watching it now

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<v Speaker 3>was tough again but fascinating. Mike Lee is definitely one

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<v Speaker 3>of my favorite British directors, and he really has a

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<v Speaker 3>naturally showcasing complex humanity and relationship dynamics which are really

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<v Speaker 3>loved to see. So those are my first thoughts.

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<v Speaker 2>And Nick, how about yourself.

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<v Speaker 3>Actually, I was.

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<v Speaker 4>Working in a bookstore at the time and a coworker

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<v Speaker 4>of mine kept quoting the film. She said, you, really,

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<v Speaker 4>of all people, need to watch this film, she said,

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<v Speaker 4>because a lot of the times when this character speaks,

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<v Speaker 4>I feel like I'm listening to you in retrospect. I'm

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<v Speaker 4>not sure whether that was a compliment, but I did

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<v Speaker 4>certainly take her advice and I rented it. It was

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<v Speaker 4>a night that I was just settling in. I had

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<v Speaker 4>an old stack of movies and I'd watched one already,

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<v Speaker 4>and I was like, Okay, I'm going to go into

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<v Speaker 4>this one. You have that first opening scene, and I'm like, well,

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<v Speaker 4>let's go on one here, and then of course the

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<v Speaker 4>phone rings and all of a sudden, it was eleven

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<v Speaker 4>o'clock at night, but I found myself with my own

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<v Speaker 4>Little Johnny Adventure for the rest of that evening. But

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<v Speaker 4>as soon as I got back home, I always feel

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<v Speaker 4>like I've got to see where this movie's going. I

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<v Speaker 4>got in probably about three point thirty in the morning

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<v Speaker 4>and immediately just went right back into it and just

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<v Speaker 4>was intrigued whole way through.

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<v Speaker 3>Are you sittings?

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<v Speaker 4>Yes?

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<v Speaker 2>I saw this one at the Detroit Film Theater back

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<v Speaker 2>in nineteen ninety three or ninety four, whenever it actually

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<v Speaker 2>was touring around the United States, and I had never

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<v Speaker 2>seen a Mike Lee film. I think this might be

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<v Speaker 2>the only Mike Lee film that I've seen other than

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<v Speaker 2>the short that was on the Criterion version of this

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<v Speaker 2>the short and Curlies. Otherwise, I just I knew the titles.

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<v Speaker 2>He was a pretty big sensation, art house sensation in

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<v Speaker 2>the nineties, late eighties, even going into the two thousands,

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<v Speaker 2>so I know. Before we started recording, Nick was reading

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<v Speaker 2>some of the titles of some of the other films

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<v Speaker 2>that he's seen. I'm like, I've heard these titles, I

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<v Speaker 2>know these titles, but I've never actually sat down and

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<v Speaker 2>watched them. And I don't know why, because I can't

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<v Speaker 2>say I enjoy Naked. I was actually dreading rewatching this

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<v Speaker 2>one for the episode, just because it is such a

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<v Speaker 2>visceral film and it just kicks you in the gut.

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<v Speaker 2>I had a friend, Mike Thompson, who's been on the

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<v Speaker 2>show many times before. He took his wife to see

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<v Speaker 2>this on a date not a good date movie. Not

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<v Speaker 2>a good date movie. And they've been married for I

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<v Speaker 2>don't know how many decades now, have two wonderful children.

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<v Speaker 2>But they almost didn't make it after they saw Naked

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<v Speaker 2>because they were.

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<v Speaker 4>Just going at it.

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<v Speaker 2>And this film, like you said, it's a feel bad

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<v Speaker 2>movie for sure. And what a way to start this

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<v Speaker 2>film in an alleyway with the camera just rushing up

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<v Speaker 2>to this couple who's having sex, very rough sex turns violent,

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<v Speaker 2>turns into a rape. Next thing you know, this guy's

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<v Speaker 2>running away, grabs a car, gets in, steals it, drives

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<v Speaker 2>off and that's how the credits start. Wow, what a

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<v Speaker 2>way to start a movie. And it just plunges you

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<v Speaker 2>right into this world. And we don't even see Johnny's face,

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<v Speaker 2>David Doulas's face until I think he gets to London.

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<v Speaker 2>The rest of it is shot from the back of

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<v Speaker 2>his head. He's pretty blurred inside of the car and

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<v Speaker 2>once we get to know him. I can't say this enough,

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<v Speaker 2>and I know I'm going to be saying it through

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<v Speaker 2>this entire episode. This movie lives and dies by David

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<v Speaker 2>Doulass's performance, and he's fucking amazing.

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<v Speaker 4>As soon as I saw this movie, then I went

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<v Speaker 4>purposely to try and find anything else that he was in.

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<v Speaker 3>Now.

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<v Speaker 4>I had seen Life as Sweet before, and you had

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<v Speaker 4>that small part in that. I was so like, I

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<v Speaker 4>just need to know more about this guy after this performance,

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<v Speaker 4>and I honestly, I would say until he did the

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<v Speaker 4>recent Fargo television series, I feel like there's never been

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<v Speaker 4>another vehicle which spotlights just how incredible he can. May

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<v Speaker 4>I feel like Naked and the Fargo Show or like

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<v Speaker 4>his top performance is in my opinion, and just I

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<v Speaker 4>always feel like there's so much of his potential in

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<v Speaker 4>other films that just is not allowed to break through.

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<v Speaker 3>I think also owes a lot to the way Mike

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<v Speaker 3>Lee his process, like what he let David Thuliz also do,

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<v Speaker 3>and his whole improvisation and this whole phase of working

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<v Speaker 3>together and really collaborating, because that's how Mike Lee works.

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<v Speaker 3>He works like no one else basically, which is really fascinating.

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<v Speaker 3>He has this long process of finding his actors without

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<v Speaker 3>a casting agent, just like purely because he finds something

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<v Speaker 3>in them. And then I think letting them talk about

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<v Speaker 3>a person they know that's his audition and like trying

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<v Speaker 3>to mimic who they are and getting a shield for them,

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<v Speaker 3>and then just like months and months of just trying

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<v Speaker 3>to whittle down like who this character is and basing

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<v Speaker 3>it off of their own experience is probably Mike Lee's experience.

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<v Speaker 3>So I think John he also has quite a bit

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<v Speaker 3>of Mike Lee in him, I would imagine, So I

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<v Speaker 3>think it brings something very unique out of all the

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<v Speaker 3>actors and in his film basically as you say, like

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<v Speaker 3>he's never been like this but again and never had

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<v Speaker 3>the opportunity to really show himself like this again.

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<v Speaker 2>So it's really sad because Fulis is so amazing in

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<v Speaker 2>this movie, and just like you, I was like, Oh,

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<v Speaker 2>what else has this guy been in? I got to

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<v Speaker 2>see this. I think it was just a few years

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<v Speaker 2>after this that The Island of Doctor Moreau, the ill

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<v Speaker 2>Fated Island of Doctor Moreau was coming out. I was like,

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<v Speaker 2>Oh my god, Oh this is going to be great.

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<v Speaker 2>Val Kilmer Marlon Brando for us a bulk David Dolist,

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<v Speaker 2>he's got nothing to do. You could pass the wooden

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<v Speaker 2>pole in that movie, and that does the same job

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<v Speaker 2>that David does in that film. Not criticizing him necessarily,

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<v Speaker 2>but just he's never had the opportunity to be this

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<v Speaker 2>amazing again, and he just gets shuttled into these movies.

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<v Speaker 2>It's sad because I think most people these days would

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<v Speaker 2>know him from either being remiss loupin and we'll talk

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<v Speaker 2>about were wolves. So I think that's pretty funny that

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<v Speaker 2>he's playing a were wolf in the Harry Potter films,

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<v Speaker 2>or that horrific role as Sir Patrick in Wonder Woman

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<v Speaker 2>where he turns into spoilers for Wonder Woman where he

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<v Speaker 2>turns into aries with that fucking mustache. Oh man, I've

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<v Speaker 2>never seen him reach these heights. And I agree with you.

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<v Speaker 2>The Fargo TV show he does a great job in that.

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<v Speaker 2>Of course, his tiny role in The Big Lebowski he's

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<v Speaker 2>amazing in. But I've never seen him live up to

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<v Speaker 2>this height again because he's he's not on screen every

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<v Speaker 2>single moment. We do have the secondary story with Jeremy,

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<v Speaker 2>but for the most part, Johnny's on screen. That's say

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<v Speaker 2>seventy five percent of this film. And he's riveting, and

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<v Speaker 2>he's a bastard, he's a jerk, he's incredibly funny. He

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<v Speaker 2>has turns a phrase are so incredibly quick. I've read

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<v Speaker 2>so many people just saying I don't know if I

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<v Speaker 2>want to be Johnny or if I want to punch

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<v Speaker 2>him in the face. And that's my impression as well.

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<v Speaker 3>Be Johnny. Wow, that's the that's revealing, that's the people.

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<v Speaker 4>There's definitely elements of Johnny which I would love to have. Certainly,

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<v Speaker 4>his way obviously is just top notch. But here you've

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<v Speaker 4>got this is somebody you wouldn't necessarily, just based off

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<v Speaker 4>of first sight, say this is a charismatic individual. But

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<v Speaker 4>as he's traveling through the film, he does have this

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<v Speaker 4>charisma that just comes across to all these people that

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<v Speaker 4>he encounters. I mean, he's able to weasel his way

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<v Speaker 4>into people's homes and travel in their lives for you know,

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<v Speaker 4>even just a few hours, and that's not something I

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<v Speaker 4>would ever be able to do. So, I mean there's

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<v Speaker 4>aspects of this character which usually I wouldn't mind, being

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<v Speaker 4>that Hair's maggot of an individual that I could pull

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<v Speaker 4>something like this off. I mean, I think, how well

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<v Speaker 4>you could, you know, use that in your workplace, just

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<v Speaker 4>being able to manipulate things, you know, to your liking,

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<v Speaker 4>if you have that sort of charisma.

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<v Speaker 2>I think that what I enjoy about him the most

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<v Speaker 2>is that ability to turn a phrase and just how

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<v Speaker 2>quick witted he is about things. And I'm curious because

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<v Speaker 2>you were talking about the method that Mike Lee uses

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<v Speaker 2>and what they say, like, there's one scene in this

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<v Speaker 2>film that is actually improvised in front of the camera,

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<v Speaker 2>and the rest of the entire movie has already been

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<v Speaker 2>plotted out and done through rehearsals and through improvisation and

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<v Speaker 2>through just figuring out how all this is going to go.

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<v Speaker 2>Because when you read about Mike Lee, you read about

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<v Speaker 2>the process so much because that is it is very

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<v Speaker 2>unique to him, and just that way that he allows

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<v Speaker 2>the actors to I imagine that as an actor, it's

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<v Speaker 2>probably the most satisfaction that you would ever get is

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<v Speaker 2>by working with somebody like Mike Lee who allows you

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<v Speaker 2>to find the character and work with you and put

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<v Speaker 2>you in these situations. I think about the scene later

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<v Speaker 2>in the film with the limo driver, the chauffeur and

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<v Speaker 2>just how quick that scene happens, and just the tension

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<v Speaker 2>between the two characters, and that's all been worked out

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<v Speaker 2>prior to this, but it just feels so natural. It

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<v Speaker 2>just feels so documentarian as far as the way that

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<v Speaker 2>this film comes together.

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<v Speaker 4>I had read actually that during the rehearsals the improvisations

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<v Speaker 4>that David Thiller said he just had his entire floor

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<v Speaker 4>of his house was just scattered with all these books,

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<v Speaker 4>and that he was actually reading the Bible and he

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<v Speaker 4>was actually reading, you know, about chaos theory, all these

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<v Speaker 4>things that come up throughout the course of the movie.

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<v Speaker 4>He was just sat rating himself with information so that

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<v Speaker 4>it would just percolaid up when it needed to. Definitely

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<v Speaker 4>served him well, because you get those riveting dialogues, especially

254
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<v Speaker 4>like with Brian the knight Watchman, where that whole diatribe

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<v Speaker 4>all this stuff that's coming out, and that's in no

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<v Speaker 4>small part, i'm sure, to everything that he was absorbing

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<v Speaker 4>at the time.

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<v Speaker 3>Like what you said about it being a documentary or

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<v Speaker 3>some part of it, I feel like that's one of

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<v Speaker 3>Mike Lee's sets him apart as well as that, I

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<v Speaker 3>feel like he is focused on the external rather than

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<v Speaker 3>the internal, so we don't really see characters, you know,

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<v Speaker 3>looking at the window wistfully and trying to get into

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<v Speaker 3>their soul. That's really how they interact, is what makes

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<v Speaker 3>them up. So in a way, it's like this observational perspective,

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<v Speaker 3>which in a way makes being in the midst of

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<v Speaker 3>we're being near and someone like Johnny for so long

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<v Speaker 3>variable because we're not. It is really looking at what's

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<v Speaker 3>happening through his eyes. That's at least how I saw it.

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<v Speaker 3>We're perceiving it or just letting it happen, basically like

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<v Speaker 3>a documentary, which I think is the right way to go,

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<v Speaker 3>especially when we're talking about such complicated, tough, unbearable people,

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<v Speaker 3>and so also when we talk about Moss's face. Jeremy

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<v Speaker 3>slash Sebastian I love.

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<v Speaker 2>I always got the multiple names because you don't know

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<v Speaker 2>who this guy is what he is. He claims at

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<v Speaker 2>one point to be a landlord, and I'm not even

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<v Speaker 2>sure if I believe that. Which one is the one

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<v Speaker 2>that's missing? Sondra, right, Sondra the missing roommate who comes

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<v Speaker 2>back at the end of the film. Sandra seems to

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<v Speaker 2>be the only one who knows who he is, but

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<v Speaker 2>she doesn't even know him for who he actually is.

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<v Speaker 2>He introduces himself in one way, but she's looking at

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<v Speaker 2>all these ideas, going who is this person? What is

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<v Speaker 2>happening here? And they're under the impression that he's the landlord.

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<v Speaker 2>I don't even know if that's true, or maybe he's

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<v Speaker 2>like a former boyfriend. I don't know what the story is.

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<v Speaker 2>Just the way that he comes into this house, shows

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<v Speaker 2>up there, and then terrorizes these people. With Jeremy, it

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00:16:04.480 --> 00:16:07.960
<v Speaker 2>almost feels like we're getting more into like funny Games

291
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<v Speaker 2>territory than the rest of the film. It's almost like

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<v Speaker 2>a different movie inside of the movie.

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<v Speaker 4>First to the names thing, I've always wondered about that

294
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<v Speaker 4>as well, and even though still you don't know for certain,

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<v Speaker 4>I think I read at some point that there was

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<v Speaker 4>a thing in England where people would get properties under

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00:16:26.919 --> 00:16:30.919
<v Speaker 4>different names for legal reasons, so they would have several

298
00:16:30.960 --> 00:16:37.200
<v Speaker 4>different identities within their property holdings. So that's where this

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00:16:37.320 --> 00:16:40.759
<v Speaker 4>whole Jeremy Sebastian kind of thing comes through. But I

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00:16:40.799 --> 00:16:44.000
<v Speaker 4>also got the impression definitely that he had some sort

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00:16:44.039 --> 00:16:46.960
<v Speaker 4>of dating history with Soundra, even whether it was just

302
00:16:47.120 --> 00:16:50.600
<v Speaker 4>a single date or because any date you're going to

303
00:16:50.679 --> 00:16:52.480
<v Speaker 4>go on with that guy is going to be burned

304
00:16:52.519 --> 00:16:54.240
<v Speaker 4>in your brain for the rest of your life. So

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00:16:54.440 --> 00:16:56.840
<v Speaker 4>even if it was just a dinner, I'm sure she

306
00:16:57.039 --> 00:17:00.480
<v Speaker 4>was here like I know exactly you are. But she

307
00:17:00.639 --> 00:17:05.240
<v Speaker 4>also didn't seem to recoil from him, as every other

308
00:17:05.359 --> 00:17:09.680
<v Speaker 4>character pretty much does, which kind of indicates that somehow

309
00:17:09.720 --> 00:17:13.720
<v Speaker 4>she was able to maintain some control with him, whatever

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00:17:14.119 --> 00:17:18.279
<v Speaker 4>however way they passed before this film, you know, or

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00:17:18.279 --> 00:17:19.400
<v Speaker 4>the events of this film.

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<v Speaker 2>I do seem to remember that thing about the property stuff.

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00:17:23.279 --> 00:17:25.079
<v Speaker 2>I think Mike Lee might have talked about that in

314
00:17:25.119 --> 00:17:29.200
<v Speaker 2>the audio commentary as well, And that kind of makes sense.

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<v Speaker 2>It feels so well to do. And this is nineteen

316
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<v Speaker 2>ninety three. It feels like we're little north of the

317
00:17:35.319 --> 00:17:38.160
<v Speaker 2>yuppie era, but it feels like he's the ultimate yuppie

318
00:17:38.200 --> 00:17:38.440
<v Speaker 2>for me.

319
00:17:38.599 --> 00:17:39.279
<v Speaker 4>The way that he.

320
00:17:39.799 --> 00:17:43.480
<v Speaker 2>Enjoys the good life, getting the massage after he's working

321
00:17:43.519 --> 00:17:47.119
<v Speaker 2>out of the restaurant, that he goes to, the way

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00:17:47.160 --> 00:17:50.839
<v Speaker 2>that he switches women constantly, that he picks up the masseuse,

323
00:17:51.279 --> 00:17:55.599
<v Speaker 2>takes her to dinner, doesn't find her interesting anymore, goes

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00:17:55.640 --> 00:17:59.400
<v Speaker 2>to the waitress, takes her home. Don't know what happens

325
00:17:59.400 --> 00:18:01.680
<v Speaker 2>with her, but I'm shirt it's not good. You see

326
00:18:01.759 --> 00:18:04.759
<v Speaker 2>him in the car later on with another woman, and

327
00:18:04.799 --> 00:18:08.880
<v Speaker 2>then he shows up at the apartment and you're just like, wow,

328
00:18:09.000 --> 00:18:11.160
<v Speaker 2>he is just moving from person to person, probably just

329
00:18:11.240 --> 00:18:13.759
<v Speaker 2>ruining all of their lives. He drives a very sporty

330
00:18:13.759 --> 00:18:17.519
<v Speaker 2>little car, probably cost a fortune, and just him and

331
00:18:17.559 --> 00:18:21.720
<v Speaker 2>his confidence and walking around in those little black bikini

332
00:18:21.799 --> 00:18:25.599
<v Speaker 2>briefs and not a care in the world. Hats off

333
00:18:25.599 --> 00:18:29.200
<v Speaker 2>to this actor for just being exposed through so much

334
00:18:29.240 --> 00:18:31.880
<v Speaker 2>of this film. The last third of the movie, he

335
00:18:32.000 --> 00:18:35.400
<v Speaker 2>just wears these little briefs and that's all and just

336
00:18:35.519 --> 00:18:40.519
<v Speaker 2>struts around in that look of condescension on his face,

337
00:18:40.559 --> 00:18:42.880
<v Speaker 2>and he just thinks that he's better than everybody else

338
00:18:42.920 --> 00:18:46.559
<v Speaker 2>in the world, and they're just all there to be playthings.

339
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<v Speaker 2>He just is playing with everybody. And the way that

340
00:18:48.920 --> 00:18:52.240
<v Speaker 2>he and it's rough play, the way that he and

341
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<v Speaker 2>Louise interact. Oh, that scene of her whipping him with

342
00:18:58.680 --> 00:19:02.319
<v Speaker 2>her hair while he's laying down, that image was just

343
00:19:02.519 --> 00:19:05.359
<v Speaker 2>burned into my brain all the way from nineteen ninety three,

344
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<v Speaker 2>and I just kept wondering, what's the context of that shot.

345
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<v Speaker 2>You don't really get that much context that's cut to

346
00:19:12.000 --> 00:19:15.319
<v Speaker 2>her in bed with him whipping him with her hair,

347
00:19:15.960 --> 00:19:19.000
<v Speaker 2>and it just feels, oh wow, he started some weird

348
00:19:19.039 --> 00:19:21.200
<v Speaker 2>game before we even got here, and this is what

349
00:19:21.240 --> 00:19:23.559
<v Speaker 2>he wants her to do and she has no control.

350
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<v Speaker 4>That's actually Sophie, not Louise. It's funny you bring up

351
00:19:28.440 --> 00:19:31.599
<v Speaker 4>from a woman to woman. And talking about with Sondra,

352
00:19:31.799 --> 00:19:35.279
<v Speaker 4>I almost felt like that scene in the car with

353
00:19:35.359 --> 00:19:38.920
<v Speaker 4>the very timid woman when he's just cursing to whoever

354
00:19:39.000 --> 00:19:42.400
<v Speaker 4>on the phone in different languages and the bastards cost

355
00:19:42.400 --> 00:19:46.359
<v Speaker 4>me fifty thousand dollars or whatever. I almost felt like

356
00:19:47.079 --> 00:19:49.839
<v Speaker 4>she was so turned off by that. But she also

357
00:19:49.920 --> 00:19:53.240
<v Speaker 4>seemed like she wasn't the waitress type or the masseuse type.

358
00:19:53.880 --> 00:19:56.920
<v Speaker 4>It seems like he almost dates different types of women

359
00:19:57.000 --> 00:19:59.960
<v Speaker 4>depending on things like what sort of mood he had.

360
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<v Speaker 4>And this woman that was in the car, he had

361
00:20:04.799 --> 00:20:07.880
<v Speaker 4>to play a little nicer, but I feel like it

362
00:20:07.920 --> 00:20:10.240
<v Speaker 4>didn't go so well for him, and then he probably

363
00:20:10.319 --> 00:20:12.799
<v Speaker 4>thought about Sondra and I'm going to drop in Sondra,

364
00:20:13.839 --> 00:20:16.920
<v Speaker 4>Sondra and Sophie. But so I feel like he was

365
00:20:16.960 --> 00:20:18.799
<v Speaker 4>so like, I'm going to drop in on Sondra, and

366
00:20:18.839 --> 00:20:23.359
<v Speaker 4>that's what brought him into these events. I just always

367
00:20:23.400 --> 00:20:25.480
<v Speaker 4>had that is a little bit of the thread of

368
00:20:25.720 --> 00:20:28.519
<v Speaker 4>how this happened, because you have to wonder how do

369
00:20:28.680 --> 00:20:35.039
<v Speaker 4>these how do all these criss crossings of interactions, how

370
00:20:35.039 --> 00:20:37.559
<v Speaker 4>did they begin, how do they end? Where did they start?

371
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<v Speaker 3>Also feel like there's also his scenes are often intercut

372
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<v Speaker 3>with Johnny's scenes. Obviously in a way, it lends to

373
00:20:43.319 --> 00:20:47.440
<v Speaker 3>us comparing the two kind of spicckle men, And that

374
00:20:47.519 --> 00:20:50.119
<v Speaker 3>always made me feel uncomfortable in a way because in

375
00:20:50.160 --> 00:20:52.559
<v Speaker 3>a way it's showing this man is really bad, but

376
00:20:52.640 --> 00:20:55.160
<v Speaker 3>Johnny does not so bad. Actually, when you think about it,

377
00:20:54.880 --> 00:20:58.359
<v Speaker 3>I find that a little questionable, to say the least,

378
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<v Speaker 3>because both of them are rapists. Just because we get

379
00:21:01.920 --> 00:21:04.599
<v Speaker 3>to know Johnny better and he has different sides to him, potentially,

380
00:21:04.640 --> 00:21:06.680
<v Speaker 3>if you want to look at it that way, it

381
00:21:06.680 --> 00:21:08.519
<v Speaker 3>doesn't actually change that shack.

382
00:21:09.319 --> 00:21:13.039
<v Speaker 4>I think that was absolutely intentional. I think that it

383
00:21:13.119 --> 00:21:15.519
<v Speaker 4>was definiteent Like if you did not have a Jeremy

384
00:21:15.640 --> 00:21:19.640
<v Speaker 4>and you just had a Johnny, you are going to

385
00:21:19.720 --> 00:21:23.000
<v Speaker 4>be much harder on Johnny as a character because you

386
00:21:23.079 --> 00:21:26.960
<v Speaker 4>don't have anybody else to make him look good. There's

387
00:21:27.440 --> 00:21:32.759
<v Speaker 4>moments at least with Johnny where he almost seems sensitive

388
00:21:32.799 --> 00:21:38.000
<v Speaker 4>and soft and almost caring, like when he's taking Maggie

389
00:21:38.079 --> 00:21:43.200
<v Speaker 4>around looking for Archie, and even when he's settling down

390
00:21:43.240 --> 00:21:46.000
<v Speaker 4>with the waitress from the coffee shop for a little bit,

391
00:21:46.160 --> 00:21:50.599
<v Speaker 4>and you know, you can tell that he really fancies

392
00:21:50.640 --> 00:21:53.200
<v Speaker 4>her in a way and is going to be softer

393
00:21:53.359 --> 00:21:57.799
<v Speaker 4>than he was with Sophie when they first met. So

394
00:21:58.960 --> 00:22:03.160
<v Speaker 4>having those little moments and then comparing them to Jeremy,

395
00:22:03.200 --> 00:22:08.440
<v Speaker 4>who's just horrific every scene that he's in. There's not

396
00:22:08.759 --> 00:22:13.720
<v Speaker 4>one spec of redemption in that character at all. And

397
00:22:14.160 --> 00:22:18.200
<v Speaker 4>it's funny too because there are times when they even

398
00:22:18.359 --> 00:22:21.799
<v Speaker 4>frame Johnny out he looks more angelic, like when he's

399
00:22:21.960 --> 00:22:25.200
<v Speaker 4>with the waitress and he's got the big clock behind

400
00:22:25.279 --> 00:22:29.519
<v Speaker 4>him and it just frames him like a halo. It

401
00:22:29.519 --> 00:22:33.440
<v Speaker 4>plays little tricks with you in that sense where things

402
00:22:33.480 --> 00:22:37.720
<v Speaker 4>are trying to make this guy more likable than really

403
00:22:37.759 --> 00:22:41.839
<v Speaker 4>we should feel about him, you know, because like I said,

404
00:22:42.119 --> 00:22:45.839
<v Speaker 4>he's got a charisma to him, but really at the end,

405
00:22:46.720 --> 00:22:47.519
<v Speaker 4>he's a pastard.

406
00:22:47.960 --> 00:22:49.680
<v Speaker 2>But I do agree with you, Ellie, as far as

407
00:22:50.279 --> 00:22:54.119
<v Speaker 2>look at Jeremy, look at Johnny, he's just so not

408
00:22:54.279 --> 00:22:57.799
<v Speaker 2>that bad compared to Jeremy, but he's awful. He is

409
00:22:58.200 --> 00:23:03.000
<v Speaker 2>absolutely awful. If he was cleaner, if he shaved that horrible,

410
00:23:03.039 --> 00:23:07.400
<v Speaker 2>scraggly beard off, if he became in outward appearance that

411
00:23:07.519 --> 00:23:12.160
<v Speaker 2>yuppie that Jeremy is. I think he could be successful

412
00:23:12.319 --> 00:23:15.119
<v Speaker 2>in that same world and just carry himself through that,

413
00:23:15.359 --> 00:23:18.359
<v Speaker 2>but he's not interested in that. But yes, I agree

414
00:23:18.400 --> 00:23:22.759
<v Speaker 2>he's an awful human being. And he uses violence, yes,

415
00:23:22.920 --> 00:23:26.759
<v Speaker 2>but especially against women and especially in sexual situations. But

416
00:23:26.920 --> 00:23:30.920
<v Speaker 2>more than that violence, the violence of the horrible things

417
00:23:30.960 --> 00:23:33.039
<v Speaker 2>he says to people, and just the way that he

418
00:23:33.160 --> 00:23:37.079
<v Speaker 2>has to tear everyone down, And that's very similar to

419
00:23:37.160 --> 00:23:41.279
<v Speaker 2>Jeremy as well. But that scene with the waitress is

420
00:23:42.160 --> 00:23:45.759
<v Speaker 2>it's really like this almost domestic bliss that they have

421
00:23:45.920 --> 00:23:49.480
<v Speaker 2>going on. Something is going on with her and she's

422
00:23:49.519 --> 00:23:53.480
<v Speaker 2>a fascinating character. And the way that when he leaves

423
00:23:53.519 --> 00:23:57.400
<v Speaker 2>he has to just completely tear her down. And that

424
00:23:57.519 --> 00:24:00.960
<v Speaker 2>whole thing about.

425
00:24:00.160 --> 00:24:03.160
<v Speaker 6>Top tonight of snug and warm underneath your tears, sudden

426
00:24:03.240 --> 00:24:06.599
<v Speaker 6>fucking do in your ankle and Emily b onto your winding.

427
00:24:06.319 --> 00:24:08.519
<v Speaker 2>Sheet is spared apart for me with my head, and

428
00:24:08.559 --> 00:24:09.920
<v Speaker 2>I put on a cold dog's.

429
00:24:09.680 --> 00:24:12.359
<v Speaker 4>Piss and I hope that you dream about me, and

430
00:24:12.440 --> 00:24:13.000
<v Speaker 4>I hope.

431
00:24:12.839 --> 00:24:17.119
<v Speaker 6>That you wake up screaming, and I hope that all

432
00:24:17.160 --> 00:24:21.920
<v Speaker 6>your fucking children are bond blind, bullet and hallette, homeless hunchbacks.

433
00:24:25.839 --> 00:24:31.279
<v Speaker 2>He always has to twist the knife, not physically but verbally,

434
00:24:31.480 --> 00:24:34.319
<v Speaker 2>like the thing that he does with the woman across

435
00:24:34.400 --> 00:24:38.480
<v Speaker 2>the way from Bryan's building, and how he calls he

436
00:24:38.559 --> 00:24:41.519
<v Speaker 2>says that she reminds him of his mother. You know,

437
00:24:41.680 --> 00:24:45.000
<v Speaker 2>that just hit her as hard as a slap across

438
00:24:45.039 --> 00:24:47.799
<v Speaker 2>the face. But when he grabs her hair and it

439
00:24:47.839 --> 00:24:49.960
<v Speaker 2>feels like hair is a real big theme to this

440
00:24:50.319 --> 00:24:53.920
<v Speaker 2>movie because when he grabs her hair, that's like his move,

441
00:24:54.119 --> 00:24:55.319
<v Speaker 2>his bedroom.

442
00:24:54.920 --> 00:24:59.559
<v Speaker 4>Move, it really is. And stepping back again to when

443
00:24:59.799 --> 00:25:03.480
<v Speaker 4>the waitress throws him out and how you know he's

444
00:25:03.559 --> 00:25:07.400
<v Speaker 4>not used to rejection, and that's where that outburst is

445
00:25:07.480 --> 00:25:10.200
<v Speaker 4>coming from. He's like, I can't believe that I'm being

446
00:25:10.400 --> 00:25:13.359
<v Speaker 4>cast out onto the street. So if you're going to

447
00:25:13.440 --> 00:25:14.920
<v Speaker 4>cast me out, I'm going to give you something to

448
00:25:15.000 --> 00:25:19.240
<v Speaker 4>remember me by. It's interesting, though, because his violence is

449
00:25:19.400 --> 00:25:23.720
<v Speaker 4>strictly sexual violence. Within this film. He's never raising a

450
00:25:23.880 --> 00:25:28.720
<v Speaker 4>hand against anybody in any other way, so his violent

451
00:25:28.880 --> 00:25:33.279
<v Speaker 4>tendencies are always sexual so in a situation like this

452
00:25:33.480 --> 00:25:36.759
<v Speaker 4>where she's kicking him out, you're almost here, like, why

453
00:25:36.920 --> 00:25:39.680
<v Speaker 4>is he putting his hands up against the wall and

454
00:25:39.799 --> 00:25:43.119
<v Speaker 4>rubbing his head on her belly which is almost tender,

455
00:25:43.279 --> 00:25:46.799
<v Speaker 4>like her almost about ready to stroke his hair, and

456
00:25:46.960 --> 00:25:48.920
<v Speaker 4>then she pulls it back and thinks the better of

457
00:25:49.039 --> 00:25:52.119
<v Speaker 4>it is this way, he's trying to manipulate the situation,

458
00:25:52.400 --> 00:25:56.920
<v Speaker 4>thinking maybe she will take pity on me, or is

459
00:25:57.000 --> 00:26:00.720
<v Speaker 4>it just It's almost like he gives himself some sort

460
00:26:00.799 --> 00:26:04.119
<v Speaker 4>of code on how he behaves with this. He's not

461
00:26:04.240 --> 00:26:06.759
<v Speaker 4>going to raise a hand to a woman, but in

462
00:26:06.839 --> 00:26:13.319
<v Speaker 4>the context of sexual intercourse, he can justify, oh, it's

463
00:26:13.400 --> 00:26:18.400
<v Speaker 4>just rough, instead of actually outwardly being violent. So in

464
00:26:18.480 --> 00:26:21.240
<v Speaker 4>that case, his violence comes through words.

465
00:26:21.920 --> 00:26:23.759
<v Speaker 3>Interesting he said that you don't feel like she ever

466
00:26:24.200 --> 00:26:26.680
<v Speaker 3>was rejected. I feel like in a way, he goes

467
00:26:26.720 --> 00:26:30.200
<v Speaker 3>around life feeling like a rejected person. Maybe not in

468
00:26:30.279 --> 00:26:32.279
<v Speaker 3>this form like with a woman. And it seems like

469
00:26:32.359 --> 00:26:35.759
<v Speaker 3>all the women are finding pretty resistible in someway or

470
00:26:35.759 --> 00:26:38.640
<v Speaker 3>another in this film. But I do feel like he

471
00:26:38.759 --> 00:26:40.920
<v Speaker 3>knows what it's like to be on the margins. He

472
00:26:41.000 --> 00:26:42.720
<v Speaker 3>also wants to be. He chooses to be in a

473
00:26:42.799 --> 00:26:46.400
<v Speaker 3>way right, because he's obviously in some ways educated himself,

474
00:26:46.559 --> 00:26:50.920
<v Speaker 3>either institutionally or just self taught, and he would technically

475
00:26:51.240 --> 00:26:54.400
<v Speaker 3>be able to be a worthwhile member of society, so

476
00:26:54.480 --> 00:26:57.559
<v Speaker 3>to speak, But he is not. It's hard to say,

477
00:26:57.680 --> 00:26:59.720
<v Speaker 3>at least for me. That's my perspective on it. I

478
00:26:59.720 --> 00:27:04.119
<v Speaker 3>don't know if he's really lived life without feeling much rejection.

479
00:27:05.319 --> 00:27:07.519
<v Speaker 2>Talking about the way that women interact with Johnny, I

480
00:27:07.640 --> 00:27:10.440
<v Speaker 2>have to say that the one thing, there's a few

481
00:27:10.519 --> 00:27:12.720
<v Speaker 2>things in this movie that ring a little false to me,

482
00:27:12.880 --> 00:27:15.680
<v Speaker 2>And I don't know if it's via the Mike Lee

483
00:27:15.880 --> 00:27:19.839
<v Speaker 2>method or something else, but just you feel at times,

484
00:27:20.599 --> 00:27:22.599
<v Speaker 2>like I was talking about the limo scene earlier, you

485
00:27:22.680 --> 00:27:25.000
<v Speaker 2>feel at times like, Okay, here's these two actors and

486
00:27:25.039 --> 00:27:27.160
<v Speaker 2>they're going to now interact and we'll see how this

487
00:27:27.279 --> 00:27:30.400
<v Speaker 2>plays out. And you get that a few times, like

488
00:27:30.640 --> 00:27:33.880
<v Speaker 2>throughout this film, the whole thing is just Okay, here's

489
00:27:33.960 --> 00:27:36.680
<v Speaker 2>these two people, these three people, these four people, how

490
00:27:36.680 --> 00:27:38.680
<v Speaker 2>are they going to interact and what's this going to

491
00:27:38.720 --> 00:27:41.559
<v Speaker 2>be like? But I have to say sometimes the characters

492
00:27:41.640 --> 00:27:44.720
<v Speaker 2>don't feel like they're the same from scene to scene,

493
00:27:45.039 --> 00:27:50.240
<v Speaker 2>Like the Catherine Partlage character Sophie She's a very interesting character,

494
00:27:50.359 --> 00:27:54.160
<v Speaker 2>but the way that she falls in love with Johnny

495
00:27:54.640 --> 00:27:58.960
<v Speaker 2>and just is almost speaking of hair pulling her hair out,

496
00:27:59.200 --> 00:28:01.839
<v Speaker 2>just as far as oh my god, I love this

497
00:28:02.000 --> 00:28:05.440
<v Speaker 2>guy so much, and Louise, I'm so jealous of you

498
00:28:05.640 --> 00:28:08.599
<v Speaker 2>because you had this relationship with him, and oh my god,

499
00:28:08.640 --> 00:28:11.000
<v Speaker 2>if only I could have had a year with this guy,

500
00:28:11.079 --> 00:28:14.559
<v Speaker 2>and she just just so overly dramatic about it, and

501
00:28:14.599 --> 00:28:17.160
<v Speaker 2>I'm just like, this doesn't feel right, like you fell

502
00:28:17.240 --> 00:28:20.160
<v Speaker 2>in love with him like that and just not just

503
00:28:20.359 --> 00:28:23.599
<v Speaker 2>in love with him, but just infatuation. And it just

504
00:28:24.160 --> 00:28:29.039
<v Speaker 2>every time she gets put into this position to talk

505
00:28:29.079 --> 00:28:32.079
<v Speaker 2>about Johnny or to think about Johnny, she just loses

506
00:28:32.119 --> 00:28:34.640
<v Speaker 2>her shit. And I'm like, this doesn't feel like the

507
00:28:34.720 --> 00:28:37.440
<v Speaker 2>same Sophie that I saw two scenes ago, or in

508
00:28:37.559 --> 00:28:41.079
<v Speaker 2>this scene. It just feels like they shot that maybe

509
00:28:41.200 --> 00:28:44.720
<v Speaker 2>early on and said, Okay, your character is obsessed with

510
00:28:44.920 --> 00:28:48.640
<v Speaker 2>Johnny after you have this one encounter with him. I

511
00:28:48.680 --> 00:28:50.920
<v Speaker 2>don't know that's my feeling anyway. And I feel like

512
00:28:51.319 --> 00:28:53.759
<v Speaker 2>this movie's great, but there are certain things where I'm

513
00:28:53.799 --> 00:28:55.200
<v Speaker 2>just like, this doesn't really.

514
00:28:55.519 --> 00:28:59.359
<v Speaker 4>Add up for me. I've thought about that sometimes as well.

515
00:28:59.559 --> 00:29:02.359
<v Speaker 4>And the one thing I keep coming back to with

516
00:29:02.640 --> 00:29:06.400
<v Speaker 4>that is that she mentions later on when she's in

517
00:29:06.480 --> 00:29:10.279
<v Speaker 4>the bar with Louise and talking about how she had

518
00:29:10.319 --> 00:29:14.599
<v Speaker 4>an abortion by a lover who was a philosopher or

519
00:29:14.680 --> 00:29:17.640
<v Speaker 4>something like that, and you hear her say that, and

520
00:29:17.640 --> 00:29:20.960
<v Speaker 4>you like, I don't see you with a philosopher. But

521
00:29:21.279 --> 00:29:23.839
<v Speaker 4>at the same time, maybe that's just like this whole

522
00:29:23.960 --> 00:29:28.440
<v Speaker 4>other dimension to Sophie that we just don't know about historically,

523
00:29:29.039 --> 00:29:34.359
<v Speaker 4>Like maybe she really deep down is like incredibly attracted

524
00:29:34.480 --> 00:29:38.119
<v Speaker 4>to intelligent people and this is like the first one

525
00:29:38.200 --> 00:29:40.960
<v Speaker 4>that's come her way in a really long time, and

526
00:29:41.759 --> 00:29:45.039
<v Speaker 4>that's what's making it for her. This is the moment

527
00:29:45.119 --> 00:29:48.680
<v Speaker 4>I've been waiting for, and she falls head over heels

528
00:29:48.759 --> 00:29:51.519
<v Speaker 4>because this is what she's built up in head to

529
00:29:51.599 --> 00:29:56.279
<v Speaker 4>being what she's wanted all this time. And I feel like, though,

530
00:29:57.160 --> 00:30:01.319
<v Speaker 4>if that's the case, then the entire movie kind of

531
00:30:02.119 --> 00:30:06.039
<v Speaker 4>probably is encapsulates everything that her life has been so

532
00:30:06.240 --> 00:30:11.279
<v Speaker 4>far within that our realm where it's like I've with

533
00:30:11.400 --> 00:30:14.559
<v Speaker 4>the intelligent person, but I lost the intelligent person, so

534
00:30:14.720 --> 00:30:16.960
<v Speaker 4>I've just got these assholes who are going to be

535
00:30:17.480 --> 00:30:20.680
<v Speaker 4>abusing me and using me for sex to the point

536
00:30:20.680 --> 00:30:24.920
<v Speaker 4>where I just lose my shit because everything she's experienced

537
00:30:25.640 --> 00:30:28.359
<v Speaker 4>has just happened to her in such a compressed amount

538
00:30:28.400 --> 00:30:31.240
<v Speaker 4>of time. And that's like why she's like screaming and

539
00:30:31.359 --> 00:30:33.400
<v Speaker 4>hitting Johnny at the end. You know, you just don't

540
00:30:33.519 --> 00:30:36.799
<v Speaker 4>know because he doesn't know what her life is and

541
00:30:36.960 --> 00:30:39.319
<v Speaker 4>especially what's happened to her in the past twenty four hours,

542
00:30:39.319 --> 00:30:42.079
<v Speaker 4>because he never bothers to find that out. And then

543
00:30:42.119 --> 00:30:45.680
<v Speaker 4>she just loses it because it's like I've just watched

544
00:30:45.720 --> 00:30:48.519
<v Speaker 4>my entire life unfold over the past few days again,

545
00:30:48.680 --> 00:30:51.200
<v Speaker 4>and it is shit, and I need to go. I

546
00:30:51.240 --> 00:30:53.279
<v Speaker 4>don't even know where I'm going, but I got to go.

547
00:30:53.920 --> 00:30:56.119
<v Speaker 3>It doesn't feel very it's not like an empowering move.

548
00:30:56.200 --> 00:31:01.240
<v Speaker 3>I guess her move out. You're gonna end up maybe

549
00:31:01.240 --> 00:31:04.039
<v Speaker 3>a bit like Maggie or something, hopefully not. But it's

550
00:31:04.079 --> 00:31:09.000
<v Speaker 3>interesting with Soshi. I also was a little confused about

551
00:31:09.000 --> 00:31:12.240
<v Speaker 3>the intensity right away. That's just like you are everything

552
00:31:12.319 --> 00:31:14.920
<v Speaker 3>to me. But it does seem like she unfortunately does

553
00:31:14.960 --> 00:31:17.440
<v Speaker 3>not have a lot going on currently in her life,

554
00:31:17.680 --> 00:31:20.559
<v Speaker 3>and it seems like she really is like a desperate

555
00:31:20.680 --> 00:31:26.519
<v Speaker 3>person just needing anything and something, some connection to someone.

556
00:31:26.720 --> 00:31:29.880
<v Speaker 3>And even though she's not really seeing Johnny for who

557
00:31:29.920 --> 00:31:33.039
<v Speaker 3>he is, but she's seeing him for maybe the potential

558
00:31:33.160 --> 00:31:36.400
<v Speaker 3>he holds for her or a way out of this life,

559
00:31:36.480 --> 00:31:38.759
<v Speaker 3>so I think, because obviously she doesn't know him, so

560
00:31:38.839 --> 00:31:40.440
<v Speaker 3>it's all about like projection.

561
00:31:40.240 --> 00:31:43.319
<v Speaker 4>Right what And that's actually said between the two of them,

562
00:31:43.319 --> 00:31:46.000
<v Speaker 4>where she's feel like I love you, I know you,

563
00:31:46.119 --> 00:31:50.039
<v Speaker 4>and he's you don't know me, And she's built who

564
00:31:50.160 --> 00:31:53.079
<v Speaker 4>he is up in her own head, so she's not

565
00:31:53.200 --> 00:31:56.960
<v Speaker 4>even seeing him, she's seeing what he represents to her,

566
00:31:57.720 --> 00:32:02.240
<v Speaker 4>whatever that is. And unfortunate. I've known people who are

567
00:32:02.400 --> 00:32:06.039
<v Speaker 4>like that, not in my own personal relationships, but I've

568
00:32:06.079 --> 00:32:09.480
<v Speaker 4>had roommates who have acted like Sophie has, where it's

569
00:32:09.599 --> 00:32:14.160
<v Speaker 4>just this is somebody that I just find so intriguing

570
00:32:14.599 --> 00:32:17.200
<v Speaker 4>and I need to be with this person, and you, like,

571
00:32:17.759 --> 00:32:21.119
<v Speaker 4>you went on one date with this person. Yes, and

572
00:32:21.200 --> 00:32:25.599
<v Speaker 4>calm down. In that sense, it's certainly possible, but it

573
00:32:25.759 --> 00:32:27.960
<v Speaker 4>is a little problematic as far as for how the

574
00:32:28.039 --> 00:32:28.799
<v Speaker 4>plot develops.

575
00:32:29.440 --> 00:32:32.119
<v Speaker 3>I was very grateful for the scene It's Sophie and

576
00:32:32.599 --> 00:32:36.119
<v Speaker 3>now I'm forgetting it, Louise, where they and Sophie really

577
00:32:36.200 --> 00:32:38.720
<v Speaker 3>does show a lot of in a way reflection about

578
00:32:38.799 --> 00:32:41.799
<v Speaker 3>the situation and just like relationships and how you can't

579
00:32:41.839 --> 00:32:44.519
<v Speaker 3>really please mend this way or that way, and really

580
00:32:44.599 --> 00:32:47.119
<v Speaker 3>has this clear eyed because she is actually quite clear

581
00:32:47.160 --> 00:32:50.039
<v Speaker 3>eyed the whole way through a very interesting mix because

582
00:32:50.680 --> 00:32:52.680
<v Speaker 3>she knows what's going on, but she also is in

583
00:32:52.759 --> 00:32:55.839
<v Speaker 3>this pretend world at the same time. So it's very.

584
00:32:56.279 --> 00:33:00.839
<v Speaker 4>Intriguing when Jeremy pulls her onto the case and she

585
00:33:01.079 --> 00:33:03.839
<v Speaker 4>just gets that look of here we go again. She

586
00:33:04.039 --> 00:33:08.640
<v Speaker 4>knows she's been down this road unfortunately before, and so

587
00:33:09.000 --> 00:33:14.559
<v Speaker 4>it's with a life like that, and it's stated that

588
00:33:14.720 --> 00:33:18.480
<v Speaker 4>she's on the doll and she's got nothing going on,

589
00:33:19.279 --> 00:33:21.160
<v Speaker 4>and then all of a sudden, you have this person

590
00:33:21.319 --> 00:33:24.680
<v Speaker 4>come in and you're speaking with them and sharing an

591
00:33:24.720 --> 00:33:29.599
<v Speaker 4>afternoon with them and feeling like maybe I have more

592
00:33:29.640 --> 00:33:33.599
<v Speaker 4>than two brain cells to contribute to a conversation. Finally again,

593
00:33:34.279 --> 00:33:37.440
<v Speaker 4>and she's just built it up. This is what it's

594
00:33:37.519 --> 00:33:40.000
<v Speaker 4>all been for. Now I've got him.

595
00:33:40.720 --> 00:33:42.799
<v Speaker 2>She gives it to Johnny as well as he gives

596
00:33:42.839 --> 00:33:44.839
<v Speaker 2>it to her, as far as the philosophy and the

597
00:33:44.960 --> 00:33:47.920
<v Speaker 2>quick wit and all of that, which is surprising because

598
00:33:47.960 --> 00:33:50.880
<v Speaker 2>I think there's something that as Americans we probably missed

599
00:33:50.880 --> 00:33:54.319
<v Speaker 2>in this film, which is the voices and the class

600
00:33:54.400 --> 00:33:58.480
<v Speaker 2>distinctions and what the accents mean. Because obviously Jeremy is

601
00:33:58.559 --> 00:34:00.920
<v Speaker 2>very posh and he has that accent, and we can

602
00:34:01.000 --> 00:34:03.559
<v Speaker 2>tell that even as Americans. But what does a man

603
00:34:03.640 --> 00:34:06.519
<v Speaker 2>Cunion accent bring to us? What does the way that

604
00:34:06.759 --> 00:34:09.360
<v Speaker 2>Sophie talks like, what does that tell us? What's the

605
00:34:09.400 --> 00:34:12.000
<v Speaker 2>way that Brian talks like? Everybody has their little thing.

606
00:34:12.400 --> 00:34:16.039
<v Speaker 2>We've got a lot about Scottish people and Irish people.

607
00:34:16.079 --> 00:34:18.400
<v Speaker 2>We've got ewen Bremer and I can't remember the name

608
00:34:18.440 --> 00:34:21.400
<v Speaker 2>of the actress that plays Maggie, but that whole thing

609
00:34:21.519 --> 00:34:23.840
<v Speaker 2>about them being Scott's is a big deal in this

610
00:34:24.119 --> 00:34:27.480
<v Speaker 2>and all of these displaced people inside of London, this

611
00:34:27.920 --> 00:34:30.840
<v Speaker 2>melting pot of all these different I guess London is

612
00:34:30.840 --> 00:34:32.960
<v Speaker 2>probably not a melting pot, especially with all of the

613
00:34:33.039 --> 00:34:34.920
<v Speaker 2>things that have been going on in England lately. We

614
00:34:35.000 --> 00:34:37.480
<v Speaker 2>don't like the outsiders, but we're okay with ourselves. But

615
00:34:37.559 --> 00:34:40.840
<v Speaker 2>yet there's the class distinctions between all of these different

616
00:34:41.480 --> 00:34:45.719
<v Speaker 2>strata of accents and people. I am curious if the

617
00:34:45.760 --> 00:34:48.199
<v Speaker 2>way Sophie talks in a very distinct way, and that's

618
00:34:48.239 --> 00:34:50.239
<v Speaker 2>one of the things I really like about that actress.

619
00:34:50.320 --> 00:34:53.039
<v Speaker 2>I'd recognize her voice more than I recognize her as

620
00:34:53.079 --> 00:34:55.760
<v Speaker 2>a body. Just to hear that voice, I'm like, oh,

621
00:34:55.840 --> 00:34:59.320
<v Speaker 2>I've seen her before, I know this person. And I'm

622
00:34:59.360 --> 00:35:02.039
<v Speaker 2>curious as far what her accent brings to the table,

623
00:35:02.079 --> 00:35:04.519
<v Speaker 2>as far as what her class is and what her

624
00:35:04.639 --> 00:35:05.320
<v Speaker 2>background is.

625
00:35:06.280 --> 00:35:10.119
<v Speaker 4>That's a good question. I certainly wouldn't consider it an

626
00:35:10.239 --> 00:35:16.440
<v Speaker 4>upper level accent or even middle class. And that's funny too,

627
00:35:16.559 --> 00:35:22.480
<v Speaker 4>because like outside of Jeremy, pretty much everybody's really like

628
00:35:23.280 --> 00:35:25.519
<v Speaker 4>if you're going to say anybody's even middle class in

629
00:35:25.559 --> 00:35:28.840
<v Speaker 4>this like the security guards like the closest shot you've

630
00:35:28.880 --> 00:35:30.639
<v Speaker 4>got to that, and I wouldn't even say that he's

631
00:35:30.719 --> 00:35:36.400
<v Speaker 4>probably all that affluent. But so you've got all these

632
00:35:36.480 --> 00:35:41.000
<v Speaker 4>people who are on the dole, who are working stiffs,

633
00:35:41.079 --> 00:35:48.519
<v Speaker 4>but all are showing greater intellect, then you would necessarily

634
00:35:48.719 --> 00:35:53.719
<v Speaker 4>expect if you just say somebody's lower class. And I

635
00:35:53.880 --> 00:35:56.880
<v Speaker 4>think that's I really like that actually about this film,

636
00:35:57.039 --> 00:36:03.800
<v Speaker 4>because it's you can't judge somebody's mental abilities based off

637
00:36:03.880 --> 00:36:05.559
<v Speaker 4>of their social stratu.

638
00:36:06.199 --> 00:36:09.320
<v Speaker 3>Michael himself grew up in Manchester and he was middle

639
00:36:09.360 --> 00:36:12.079
<v Speaker 3>class when he was all surrounded by working class people.

640
00:36:12.159 --> 00:36:14.599
<v Speaker 3>So he went to school with working class kit Ken's

641
00:36:14.639 --> 00:36:17.119
<v Speaker 3>he knows this world very well, so I never feel

642
00:36:17.199 --> 00:36:17.599
<v Speaker 3>like he's.

643
00:36:17.480 --> 00:36:21.159
<v Speaker 2>Talking down And I don't know what this means other

644
00:36:21.280 --> 00:36:23.679
<v Speaker 2>than there's a lot of stairs in England, but this

645
00:36:23.840 --> 00:36:27.000
<v Speaker 2>movie's filled with stairs. There are stairs everywhere, so much

646
00:36:27.079 --> 00:36:30.440
<v Speaker 2>of the everything that's shot at the apartment, I would

647
00:36:30.480 --> 00:36:33.360
<v Speaker 2>say probably a third of it takes place on a stairwell.

648
00:36:33.880 --> 00:36:36.519
<v Speaker 2>And then you get over to Brian, and Brian's my

649
00:36:36.760 --> 00:36:39.960
<v Speaker 2>second favorite part of this film, or the second biggest memory,

650
00:36:39.960 --> 00:36:41.599
<v Speaker 2>I should say, because the hair whipping is not a

651
00:36:41.679 --> 00:36:44.079
<v Speaker 2>favorite part, but that was burning my brain. The other

652
00:36:44.159 --> 00:36:48.199
<v Speaker 2>stuff was just the entire Brian scene. And with that,

653
00:36:48.599 --> 00:36:51.719
<v Speaker 2>I love how they start while he's on his little stairwell.

654
00:36:51.960 --> 00:36:55.480
<v Speaker 2>When they meet, he's sitting outside on the stoop, and

655
00:36:55.760 --> 00:36:59.400
<v Speaker 2>so much of their big conversation starts in a stairwell

656
00:36:59.559 --> 00:37:02.639
<v Speaker 2>ends in a starewell. And I don't know exactly what

657
00:37:03.280 --> 00:37:05.199
<v Speaker 2>all of that is, but just if you watch this

658
00:37:05.360 --> 00:37:07.239
<v Speaker 2>movie with stares in mind, you're going to see him

659
00:37:07.440 --> 00:37:10.239
<v Speaker 2>like crazy. Between that and the other thing I picked

660
00:37:10.320 --> 00:37:13.320
<v Speaker 2>up on a lot was alliteration. There's so much alliteration

661
00:37:13.440 --> 00:37:15.119
<v Speaker 2>in this and I think that helps with the way

662
00:37:15.159 --> 00:37:18.400
<v Speaker 2>that Johnny could just speak these lines and speak them

663
00:37:18.440 --> 00:37:22.559
<v Speaker 2>so quickly, and he just latches onto a consonant sound

664
00:37:22.639 --> 00:37:25.239
<v Speaker 2>and just like starts hitting it over and over again,

665
00:37:25.320 --> 00:37:28.159
<v Speaker 2>and it's almost like poetry at ryan'sn No, it's almost

666
00:37:28.199 --> 00:37:31.239
<v Speaker 2>like poetry the way that he speaks, which is wonderful

667
00:37:31.320 --> 00:37:34.320
<v Speaker 2>to hear. And that's one reason why I can tolerate

668
00:37:34.400 --> 00:37:36.760
<v Speaker 2>Johnny a lot more than I think I could Otherwise

669
00:37:36.840 --> 00:37:39.800
<v Speaker 2>if he wasn't as well spoken as he is, I

670
00:37:39.920 --> 00:37:42.800
<v Speaker 2>would just be like, get away from this county now,

671
00:37:43.039 --> 00:37:43.920
<v Speaker 2>he's awful.

672
00:37:44.800 --> 00:37:49.199
<v Speaker 4>That's really the dialogue is what keeps you riveted throughout it.

673
00:37:49.400 --> 00:37:54.679
<v Speaker 4>Like it's not it's not the events even necessarily that

674
00:37:54.760 --> 00:37:59.360
<v Speaker 4>are happening, it's how they're how the dialogue that happens

675
00:37:59.480 --> 00:38:03.639
<v Speaker 4>in the course the events, that's what makes everything. That's

676
00:38:03.679 --> 00:38:06.360
<v Speaker 4>what makes you want to continue to watch it. Because

677
00:38:06.920 --> 00:38:09.719
<v Speaker 4>if it wasn't there and you were just watching these

678
00:38:09.760 --> 00:38:13.559
<v Speaker 4>events unfold without that kind of banter going on, without

679
00:38:13.719 --> 00:38:18.000
<v Speaker 4>those rants, you would shut it off. Let's face it,

680
00:38:18.039 --> 00:38:20.760
<v Speaker 4>it just wouldn't. You would be like, I don't want

681
00:38:20.840 --> 00:38:24.519
<v Speaker 4>to watch this. So it's the dialogue and the rants

682
00:38:24.800 --> 00:38:29.199
<v Speaker 4>that just help keep you fixed on this film throughout

683
00:38:29.840 --> 00:38:32.880
<v Speaker 4>even but it's two hour and ten minute timeline.

684
00:38:32.920 --> 00:38:34.599
<v Speaker 3>I think that's quite the moment in all of his films.

685
00:38:34.719 --> 00:38:37.559
<v Speaker 3>The dialogue is what you're there for, really, like just

686
00:38:37.679 --> 00:38:42.360
<v Speaker 3>interaction with the people and how they express themselves and

687
00:38:42.559 --> 00:38:46.400
<v Speaker 3>are able to really seness what they're about just by talking,

688
00:38:46.840 --> 00:38:48.639
<v Speaker 3>because we don't see a lot of interior, so it's

689
00:38:48.679 --> 00:38:51.639
<v Speaker 3>really just how they talk to each other, and.

690
00:38:51.719 --> 00:38:53.360
<v Speaker 4>If there is an interior, there's a stare.

691
00:38:54.039 --> 00:38:57.000
<v Speaker 2>And the way that he talks with Uhin Bremer. He's

692
00:38:57.119 --> 00:38:59.599
<v Speaker 2>talking and Bremer is just not getting it. He is

693
00:38:59.719 --> 00:39:03.760
<v Speaker 2>not hearing him because he's just monologuing and telling these

694
00:39:03.880 --> 00:39:07.000
<v Speaker 2>stories and just giving all these quips and doing all

695
00:39:07.039 --> 00:39:10.239
<v Speaker 2>this stuff while Bremer is there looking for Maggie, and

696
00:39:11.159 --> 00:39:13.800
<v Speaker 2>Bremer is just like, who is this weird guy? And

697
00:39:14.320 --> 00:39:16.880
<v Speaker 2>he eventually starts to tag along. I wrote in my

698
00:39:16.960 --> 00:39:19.440
<v Speaker 2>note at one point that Johnny is like a dark

699
00:39:19.519 --> 00:39:22.159
<v Speaker 2>shadow the way that he follows people along, because he's

700
00:39:22.639 --> 00:39:27.880
<v Speaker 2>following w. Bremer's character. He's following Brian throughout the building,

701
00:39:28.400 --> 00:39:32.000
<v Speaker 2>He's following the waitress as she goes home. He's just

702
00:39:32.320 --> 00:39:34.360
<v Speaker 2>I don't want to say he's a puppy, because he's not.

703
00:39:34.519 --> 00:39:36.800
<v Speaker 2>He's to me he's that dark shadow, and I think

704
00:39:36.920 --> 00:39:41.599
<v Speaker 2>Jeremy's the shadow version of Johnny, but he's the dark version.

705
00:39:42.000 --> 00:39:45.559
<v Speaker 2>Johnny is a dark presence, and he's I don't want

706
00:39:45.599 --> 00:39:47.199
<v Speaker 2>to use the N word. I don't want to say

707
00:39:47.199 --> 00:39:50.079
<v Speaker 2>that he's nihilistic, but I think that's as close to

708
00:39:50.960 --> 00:39:53.639
<v Speaker 2>Brian gets pretty darn close to call him a nihilist.

709
00:39:53.719 --> 00:39:56.079
<v Speaker 2>And I think that there are a lot of nihilistic

710
00:39:56.199 --> 00:39:59.480
<v Speaker 2>aspects of Johnny, but I think more than anything, he's

711
00:40:00.000 --> 00:40:03.880
<v Speaker 2>obsessed with the apocalypse, and he will use things like Nostrodamus,

712
00:40:04.159 --> 00:40:07.719
<v Speaker 2>like Book of Revelation, spinning all of these things together

713
00:40:08.239 --> 00:40:11.000
<v Speaker 2>to try to come up with this very apocalyptic vision

714
00:40:11.079 --> 00:40:13.039
<v Speaker 2>of the world and that everything is going to end.

715
00:40:13.320 --> 00:40:16.760
<v Speaker 2>No matter what he's talking about, he seems to lean

716
00:40:16.920 --> 00:40:20.679
<v Speaker 2>towards that and just bring things to the bad. Even

717
00:40:20.800 --> 00:40:23.719
<v Speaker 2>when he's talking about the butterfly theory and chaos theory

718
00:40:23.760 --> 00:40:26.960
<v Speaker 2>and the butterfly effect, it's always something happens here and

719
00:40:27.039 --> 00:40:28.800
<v Speaker 2>then something bad happens over there.

720
00:40:29.679 --> 00:40:32.159
<v Speaker 4>Interesting you bring up the whole nihilistic aspect of this,

721
00:40:32.280 --> 00:40:36.320
<v Speaker 4>because the one thing that I've done some of my

722
00:40:36.480 --> 00:40:41.719
<v Speaker 4>viewings of this movie is just playing Devil's advocate and saying,

723
00:40:42.239 --> 00:40:46.400
<v Speaker 4>what if Johnny's dying? What if all of this is

724
00:40:47.480 --> 00:40:49.760
<v Speaker 4>so much of his motivation and so much of his

725
00:40:49.920 --> 00:40:55.000
<v Speaker 4>reaction is because he's actually dying. He gets that coughing

726
00:40:55.159 --> 00:40:58.000
<v Speaker 4>jag when he's reading the chaos theory, which of course

727
00:40:58.079 --> 00:41:02.280
<v Speaker 4>lends itself to the butterfly flapped its wings somewhere comment.

728
00:41:03.119 --> 00:41:06.599
<v Speaker 4>Also when he's with the woman from the window, you

729
00:41:06.679 --> 00:41:08.280
<v Speaker 4>don't want to fuck me or you're going to catch

730
00:41:08.360 --> 00:41:12.360
<v Speaker 4>something cruel, and like his reaction even to seeing the

731
00:41:12.480 --> 00:41:15.800
<v Speaker 4>skull and crossbones on her shoulder, like it's taken aback

732
00:41:15.880 --> 00:41:19.480
<v Speaker 4>by that. Who's this? How dare you remind me again

733
00:41:19.840 --> 00:41:22.119
<v Speaker 4>that I'm not in control and that I'm going to die,

734
00:41:22.840 --> 00:41:25.199
<v Speaker 4>And I'm just like, I'm sorry, I have to like

735
00:41:26.039 --> 00:41:29.679
<v Speaker 4>this whole notion. I just I follow it sometimes and

736
00:41:29.800 --> 00:41:33.239
<v Speaker 4>thinking is this where this misogyny is coming from? Is

737
00:41:33.320 --> 00:41:35.639
<v Speaker 4>he like, is he pissed off that he was born

738
00:41:35.800 --> 00:41:39.679
<v Speaker 4>and that he's just like hate fucking anybody with a

739
00:41:39.800 --> 00:41:43.199
<v Speaker 4>womb because he's pissed off that he's born and he's dying.

740
00:41:43.719 --> 00:41:45.800
<v Speaker 4>And then you get to that scene where he's on

741
00:41:45.920 --> 00:41:48.679
<v Speaker 4>the stairs and he's freaking out and Jeremy comes out

742
00:41:49.280 --> 00:41:53.639
<v Speaker 4>and Johnny's got this glaze in his eyes. Well he's

743
00:41:53.719 --> 00:41:57.840
<v Speaker 4>not seeing reality as it is and reaching out to

744
00:41:57.960 --> 00:42:01.079
<v Speaker 4>Jeremy and saying things like, why not, my brother? Is

745
00:42:01.159 --> 00:42:03.920
<v Speaker 4>it going to be quiet now? I'm still wet yet

746
00:42:04.280 --> 00:42:08.599
<v Speaker 4>almost sounds like somebody who's seeing Jeremy and thinking, is

747
00:42:09.039 --> 00:42:11.239
<v Speaker 4>this the angel who's come to take me? And then

748
00:42:11.480 --> 00:42:13.960
<v Speaker 4>when he reaches out to him and he pulls back,

749
00:42:14.039 --> 00:42:17.719
<v Speaker 4>and it's just jolted back into this reality and even

750
00:42:17.800 --> 00:42:21.199
<v Speaker 4>to the point of the ending of this film where

751
00:42:21.360 --> 00:42:23.760
<v Speaker 4>it's like he seems like he's going to be going

752
00:42:23.840 --> 00:42:27.320
<v Speaker 4>back with Louise and maybe there's a happy ending after

753
00:42:27.440 --> 00:42:30.880
<v Speaker 4>all and all this craziness, but instead he scoops the

754
00:42:30.960 --> 00:42:34.440
<v Speaker 4>money and just goes down the street. Is that because

755
00:42:34.639 --> 00:42:38.559
<v Speaker 4>he doesn't want Maybe this is a moment of kindness

756
00:42:38.639 --> 00:42:41.840
<v Speaker 4>to her, saving her from what he might be going through.

757
00:42:42.480 --> 00:42:46.360
<v Speaker 4>And it would also explain why he's constantly absorbing information

758
00:42:46.519 --> 00:42:49.039
<v Speaker 4>and trying to find out what's it all about?

759
00:42:49.639 --> 00:42:50.280
<v Speaker 1>And then he.

760
00:42:50.480 --> 00:42:53.840
<v Speaker 4>Loses his books and as soon as he says, it

761
00:42:53.920 --> 00:42:56.000
<v Speaker 4>doesn't matter how many books you read, there's just some

762
00:42:56.159 --> 00:42:59.599
<v Speaker 4>things you're never ever gonna understand, And then pretty much

763
00:42:59.639 --> 00:43:02.239
<v Speaker 4>the next with him in it, he loses lose books,

764
00:43:02.920 --> 00:43:07.159
<v Speaker 4>he's losing his ability to try and understand through the

765
00:43:07.239 --> 00:43:12.280
<v Speaker 4>written word. But because of this crazy series of events

766
00:43:12.320 --> 00:43:14.840
<v Speaker 4>that he's gone through, maybe he's trying to find meaning

767
00:43:14.880 --> 00:43:19.639
<v Speaker 4>an understanding by continuing this journey at the end outside

768
00:43:19.920 --> 00:43:24.360
<v Speaker 4>of books and through experience. Is an interaction just something

769
00:43:24.400 --> 00:43:27.400
<v Speaker 4>that I've come to look at and just be know, like,

770
00:43:28.079 --> 00:43:30.960
<v Speaker 4>what if this is not such a simple thing of

771
00:43:31.239 --> 00:43:36.239
<v Speaker 4>just persecute's just an absolute bastard. Maybe there's some sort

772
00:43:36.280 --> 00:43:39.159
<v Speaker 4>of subtext underneath of all this which is controlling him.

773
00:43:39.840 --> 00:43:42.920
<v Speaker 2>I really like what you're saying there, especially because one

774
00:43:42.960 --> 00:43:46.480
<v Speaker 2>of the early scenes of Johnny, when he's going up

775
00:43:46.480 --> 00:43:50.480
<v Speaker 2>the stairs in order to see I think Sophie, he

776
00:43:50.880 --> 00:43:55.079
<v Speaker 2>starts to walk up and he almost falls down and

777
00:43:55.199 --> 00:43:57.320
<v Speaker 2>he's just like, oh, bloody hell, and then he moves

778
00:43:57.400 --> 00:43:59.480
<v Speaker 2>back up the stairs. I'm like, Oh, that was weird.

779
00:43:59.559 --> 00:44:02.480
<v Speaker 2>That was an odd thing to happen, And why even

780
00:44:02.559 --> 00:44:05.360
<v Speaker 2>keep that in the movie other than that fitting with

781
00:44:05.519 --> 00:44:06.960
<v Speaker 2>your theory? And I really like that.

782
00:44:07.559 --> 00:44:09.760
<v Speaker 4>I see that is just he's just chilling. God. I

783
00:44:09.800 --> 00:44:13.599
<v Speaker 4>can't believe I'm going to have to go through this.

784
00:44:14.199 --> 00:44:17.639
<v Speaker 4>I slept with her once or I can't believe that

785
00:44:17.639 --> 00:44:20.599
<v Speaker 4>I've got to go and suffer checking out this room

786
00:44:21.159 --> 00:44:24.840
<v Speaker 4>so that I have someplace to be right now kind

787
00:44:24.880 --> 00:44:26.719
<v Speaker 4>of things. And then he goes up and he's just

788
00:44:27.440 --> 00:44:29.840
<v Speaker 4>croll and gets out of there and goes right on

789
00:44:29.960 --> 00:44:30.679
<v Speaker 4>back down again.

790
00:44:31.440 --> 00:44:33.639
<v Speaker 3>I really like this theory. I think when you say

791
00:44:34.239 --> 00:44:38.000
<v Speaker 3>he's doing kindness to Louise, like he's doing kindness either way,

792
00:44:38.679 --> 00:44:41.320
<v Speaker 3>whether he's dying, Mark just get away from me, so

793
00:44:41.559 --> 00:44:44.639
<v Speaker 3>it makes sense what you're saying. I just feel like

794
00:44:44.840 --> 00:44:47.039
<v Speaker 3>he has this relentlessness about Usually people who are so

795
00:44:47.199 --> 00:44:50.960
<v Speaker 3>witty and educated, they want a reaction like they're they're

796
00:44:51.000 --> 00:44:54.760
<v Speaker 3>also to be impressed by me, and this guy doesn't care.

797
00:44:55.000 --> 00:44:57.840
<v Speaker 3>He just does the He's the same with everyone, and

798
00:44:57.960 --> 00:45:00.360
<v Speaker 3>that's quite fascinating. What is this urge? He wants to

799
00:45:00.360 --> 00:45:02.079
<v Speaker 3>shake people up and don't you see things the way

800
00:45:02.119 --> 00:45:04.800
<v Speaker 3>I do? But also he doesn't actually want to connect

801
00:45:04.840 --> 00:45:07.199
<v Speaker 3>with people, so it's just like push and pull thing

802
00:45:07.280 --> 00:45:11.039
<v Speaker 3>the whole time. It's really he's quite an enigma.

803
00:45:11.719 --> 00:45:13.920
<v Speaker 4>It's really quite sad too. You're talking about like how

804
00:45:14.159 --> 00:45:16.480
<v Speaker 4>a lot of times he's just talking at people, just

805
00:45:17.519 --> 00:45:20.119
<v Speaker 4>he was talking at Archie. All of it's going over

806
00:45:20.199 --> 00:45:24.400
<v Speaker 4>his head. Times he talks to Sophie and be like,

807
00:45:24.519 --> 00:45:26.679
<v Speaker 4>did you get that, And she'll be like, of course

808
00:45:26.719 --> 00:45:28.840
<v Speaker 4>I got it, but you don't really get it because

809
00:45:28.880 --> 00:45:32.039
<v Speaker 4>you're not really listening. So he just pretty much during

810
00:45:32.119 --> 00:45:34.760
<v Speaker 4>most of the film just talks at people.

811
00:45:35.159 --> 00:45:39.000
<v Speaker 2>Oh God, like the guy hanging the posters. That guy

812
00:45:39.159 --> 00:45:42.960
<v Speaker 2>barely says a word and is so tired of hearing

813
00:45:43.119 --> 00:45:45.400
<v Speaker 2>Johnny that he eventually just kicks his ass.

814
00:45:46.199 --> 00:45:49.480
<v Speaker 4>But the one person he does have a dialogue with

815
00:45:49.679 --> 00:45:55.039
<v Speaker 4>is Brian, and it's again sad that it's like the

816
00:45:55.239 --> 00:45:59.280
<v Speaker 4>only time he has a dialogue with somebody, it's with

817
00:45:59.400 --> 00:46:03.679
<v Speaker 4>another man instead of with woman. Really, but I'm also

818
00:46:03.760 --> 00:46:07.280
<v Speaker 4>wondering whether it's because he saw a bit of himself

819
00:46:07.360 --> 00:46:09.840
<v Speaker 4>and Brian in the fact of here's this guy and

820
00:46:09.920 --> 00:46:12.280
<v Speaker 4>he's got this stack of books. Maybe he's trying to

821
00:46:12.360 --> 00:46:17.199
<v Speaker 4>find answers to thing. But once Brian starts talking about

822
00:46:17.239 --> 00:46:21.679
<v Speaker 4>the future, his gleeful occupation with the future, then it's

823
00:46:21.880 --> 00:46:25.920
<v Speaker 4>just no glove's off. I'm gonna knock you down and

824
00:46:26.000 --> 00:46:28.880
<v Speaker 4>I'm going to tell you how there is no future,

825
00:46:29.119 --> 00:46:32.800
<v Speaker 4>and I'm going to not let you ever think that

826
00:46:33.000 --> 00:46:37.239
<v Speaker 4>positively ever again, and which then you get the next

827
00:46:37.320 --> 00:46:40.559
<v Speaker 4>day when they're in that cafe and Brian says, don't

828
00:46:40.599 --> 00:46:43.800
<v Speaker 4>waste your life, and he's like, what he almost took

829
00:46:43.880 --> 00:46:47.039
<v Speaker 4>that as an insult, it seems, and again that kind

830
00:46:47.079 --> 00:46:49.480
<v Speaker 4>of makes me heel like I don't have a life.

831
00:46:49.800 --> 00:46:52.159
<v Speaker 4>I'm not going to have you now. Whether that's just

832
00:46:52.320 --> 00:46:57.639
<v Speaker 4>his apocalyptic view or whether there's an actual medical thing

833
00:46:57.760 --> 00:47:01.480
<v Speaker 4>going on with them, that's all to interpretation.

834
00:47:01.639 --> 00:47:04.800
<v Speaker 2>Of course, that thing with Brian, so Brian. The stuff

835
00:47:04.840 --> 00:47:07.039
<v Speaker 2>with Brian I absolutely love. Like I said, that could

836
00:47:07.079 --> 00:47:09.559
<v Speaker 2>be a movie. Unto itself, is just these two guys

837
00:47:09.679 --> 00:47:13.679
<v Speaker 2>doing the back and forth and sharing their philosophies, and

838
00:47:13.719 --> 00:47:16.920
<v Speaker 2>it feels like there's almost a moment for people when

839
00:47:17.000 --> 00:47:19.719
<v Speaker 2>we meet them to share their philosophy. Things like Jeremy

840
00:47:19.840 --> 00:47:23.119
<v Speaker 2>talking about how he's going to commit suicide when he's forty,

841
00:47:23.199 --> 00:47:24.960
<v Speaker 2>if he's still alive when he's forty, he's going to

842
00:47:25.000 --> 00:47:27.119
<v Speaker 2>commit suicide because he doesn't want to get old. He

843
00:47:27.239 --> 00:47:29.400
<v Speaker 2>doesn't want to be in that future, the future that

844
00:47:29.519 --> 00:47:33.320
<v Speaker 2>Brian keeps talking about, and then Brian just being obsessed

845
00:47:33.360 --> 00:47:36.760
<v Speaker 2>with that, and then Brian also wanting to be alone,

846
00:47:37.000 --> 00:47:40.800
<v Speaker 2>like this whole idea of him being secluded in this

847
00:47:41.440 --> 00:47:46.039
<v Speaker 2>massive office building where he's guarding the space. And I

848
00:47:46.119 --> 00:47:48.360
<v Speaker 2>love that whole thing about what happens if they come

849
00:47:48.400 --> 00:47:50.039
<v Speaker 2>in and steal the space, You're out of a job.

850
00:47:50.440 --> 00:47:52.400
<v Speaker 2>And the way that he has to go around and

851
00:47:52.599 --> 00:47:57.440
<v Speaker 2>record his movements inside of the building with that little device,

852
00:47:57.639 --> 00:48:00.119
<v Speaker 2>and how he calls that device's boss, and just that

853
00:48:00.239 --> 00:48:03.840
<v Speaker 2>he is on a regulated schedule. He has to go

854
00:48:03.880 --> 00:48:07.320
<v Speaker 2>around twenty three times every hour and swipe these things

855
00:48:07.519 --> 00:48:09.800
<v Speaker 2>in order to keep that job, in order to show

856
00:48:10.119 --> 00:48:12.599
<v Speaker 2>that he was a certain place at a certain time

857
00:48:12.719 --> 00:48:15.760
<v Speaker 2>and have it recorded for all history. And just I

858
00:48:15.960 --> 00:48:18.599
<v Speaker 2>love that he has this whole thing with living in

859
00:48:18.679 --> 00:48:21.119
<v Speaker 2>that future. He wants to move away and go to

860
00:48:21.320 --> 00:48:25.440
<v Speaker 2>that isolated cabin that's right on the side of the sea,

861
00:48:25.519 --> 00:48:28.519
<v Speaker 2>looks like something out of Emily Bronte or something. And

862
00:48:28.679 --> 00:48:33.280
<v Speaker 2>then how he we've got that one round window in

863
00:48:33.400 --> 00:48:36.480
<v Speaker 2>the building, and the way that he walks to that

864
00:48:36.679 --> 00:48:39.760
<v Speaker 2>round window with Johnny in tow following him like his

865
00:48:39.840 --> 00:48:42.159
<v Speaker 2>little dark shadow, gets to that window, and then we

866
00:48:42.320 --> 00:48:45.639
<v Speaker 2>see what he's looking at and that he It's very

867
00:48:45.920 --> 00:48:48.760
<v Speaker 2>It's funny. There's a couple of Hitchcock references in this movie.

868
00:48:48.800 --> 00:48:51.440
<v Speaker 2>There's one about don't dress up like your mother and

869
00:48:51.639 --> 00:48:54.440
<v Speaker 2>stab me in the shower that happens with the waitress.

870
00:48:54.920 --> 00:48:57.519
<v Speaker 2>But then there's the whole thing of rear window, and

871
00:48:57.760 --> 00:49:02.280
<v Speaker 2>Johnny does basically that Grace Kelly thing by breaking the

872
00:49:02.519 --> 00:49:07.079
<v Speaker 2>voyeurism and going from the building over across the street

873
00:49:07.280 --> 00:49:10.199
<v Speaker 2>and actually meeting the woman in the window that seems

874
00:49:10.239 --> 00:49:13.760
<v Speaker 2>to be obsessing Brian. And that's a real violation for me.

875
00:49:13.920 --> 00:49:17.639
<v Speaker 2>The way that he now suddenly becomes the object of

876
00:49:17.800 --> 00:49:21.639
<v Speaker 2>Brian's gaze. Does he know that Brian's watching? At one point, yes,

877
00:49:21.800 --> 00:49:24.719
<v Speaker 2>he very much confirms that Brian is watching. And then

878
00:49:24.760 --> 00:49:27.039
<v Speaker 2>it becomes the I need to put on a show

879
00:49:27.119 --> 00:49:30.519
<v Speaker 2>for Brian, which is just a bizarro thing. And just

880
00:49:30.599 --> 00:49:33.599
<v Speaker 2>the way that he interacts with that lady, and is

881
00:49:33.679 --> 00:49:36.880
<v Speaker 2>it tender she's drunk off her ass. He knows that

882
00:49:36.960 --> 00:49:40.199
<v Speaker 2>he's drunk, she's drunk off her ass. He's going to

883
00:49:40.280 --> 00:49:42.800
<v Speaker 2>try to be kind, but then he ends up with

884
00:49:42.920 --> 00:49:45.519
<v Speaker 2>the whole hair pulling thing and then the insult. She's

885
00:49:45.559 --> 00:49:48.440
<v Speaker 2>trying to make herself look attracted to him, and he

886
00:49:48.599 --> 00:49:50.960
<v Speaker 2>wants nothing to do with her other than to just

887
00:49:51.199 --> 00:49:51.960
<v Speaker 2>tear her down.

888
00:49:52.320 --> 00:49:56.320
<v Speaker 4>For sure, Absolutely no reason you have to wonder about that,

889
00:49:56.519 --> 00:50:00.960
<v Speaker 4>like why the different reactions to the different characters. Why

890
00:50:01.159 --> 00:50:05.880
<v Speaker 4>is it that this woman he just immediately is cruel

891
00:50:05.960 --> 00:50:11.000
<v Speaker 4>to whereas the waitress he's showing tenderness too. Is it

892
00:50:11.119 --> 00:50:14.840
<v Speaker 4>because that waitress is more attractive to him? Is that

893
00:50:14.960 --> 00:50:18.239
<v Speaker 4>he feels like he had some sort of bait and

894
00:50:18.320 --> 00:50:22.440
<v Speaker 4>switch situation with looking through the window and he's upset

895
00:50:22.480 --> 00:50:26.400
<v Speaker 4>about that. He seems to genuinely like Sophie at first,

896
00:50:27.000 --> 00:50:29.320
<v Speaker 4>but then as soon as she becomes too clingy that

897
00:50:29.400 --> 00:50:31.519
<v Speaker 4>he's still he got buyer's remorse on this one now,

898
00:50:32.159 --> 00:50:35.079
<v Speaker 4>and then that's when he starts to be cruel to her,

899
00:50:35.840 --> 00:50:39.199
<v Speaker 4>and of course poor Luise who just wrote him a postcard.

900
00:50:39.480 --> 00:50:42.280
<v Speaker 4>He's just cruel to out until he gets the shit

901
00:50:42.400 --> 00:50:46.079
<v Speaker 4>kicked down. You really have to wonder what for him

902
00:50:47.119 --> 00:50:50.159
<v Speaker 4>is I'm going to be civil or I'm going to

903
00:50:51.159 --> 00:50:55.599
<v Speaker 4>be nasty, because he never really is nasty to Maggie,

904
00:50:56.320 --> 00:50:58.679
<v Speaker 4>never mean to her. If anything, he takes care of.

905
00:50:58.760 --> 00:51:03.920
<v Speaker 3>Her neighbor or character. He tells her that he does

906
00:51:04.000 --> 00:51:07.239
<v Speaker 3>not read, which is obviously I can't really believe that.

907
00:51:07.400 --> 00:51:10.760
<v Speaker 3>And then with the litltrice, he is very much talking

908
00:51:10.800 --> 00:51:12.960
<v Speaker 3>about his literature and his what he knows and when

909
00:51:13.000 --> 00:51:15.920
<v Speaker 3>he doesn't know, and so he feels more like he

910
00:51:16.000 --> 00:51:18.599
<v Speaker 3>can be himself and we or feels more comfortable maybe

911
00:51:18.679 --> 00:51:22.119
<v Speaker 3>in this more glamorous setting with all these books and

912
00:51:22.559 --> 00:51:26.239
<v Speaker 3>nice art and sculptures, and I feel he's able to

913
00:51:26.920 --> 00:51:30.320
<v Speaker 3>show different sides depending on as obviously who he is

914
00:51:30.440 --> 00:51:33.519
<v Speaker 3>with and with Maggie even felt something a bit like

915
00:51:33.639 --> 00:51:36.559
<v Speaker 3>paternal there, which is very weird, because she's like a

916
00:51:37.400 --> 00:51:39.760
<v Speaker 3>maybe soon to be homeless youth or a homeless youth.

917
00:51:40.440 --> 00:51:43.079
<v Speaker 3>And that's what I was gonna ask you too as well.

918
00:51:43.199 --> 00:51:45.320
<v Speaker 3>Why is he so nice to certain people?

919
00:51:45.400 --> 00:51:48.000
<v Speaker 4>Do you think the one thing I can't help but

920
00:51:48.519 --> 00:51:52.480
<v Speaker 4>make comparison. I'm not the first one who've done this, obviously,

921
00:51:52.639 --> 00:51:56.719
<v Speaker 4>but I see that there's a kindred spirit between Johnny

922
00:51:57.559 --> 00:52:01.239
<v Speaker 4>and look Back in Anger and the main character from that,

923
00:52:02.039 --> 00:52:04.440
<v Speaker 4>and how they go on these rants and can be

924
00:52:04.760 --> 00:52:08.880
<v Speaker 4>just viciously cruel and within look Back and Angry, It's

925
00:52:08.960 --> 00:52:12.760
<v Speaker 4>always been a matter of class. His wife comes from

926
00:52:12.800 --> 00:52:16.920
<v Speaker 4>a higher class family, but he's constantly cruel to her.

927
00:52:17.239 --> 00:52:17.519
<v Speaker 3>Still.

928
00:52:17.639 --> 00:52:20.360
<v Speaker 4>It was a great victory for him to steal a

929
00:52:20.440 --> 00:52:23.199
<v Speaker 4>woman from the upper class, but at the same time,

930
00:52:23.440 --> 00:52:28.639
<v Speaker 4>she's never completely come to his level. He's biting and

931
00:52:28.960 --> 00:52:31.559
<v Speaker 4>cruel to her, where he's got this buddy who comes

932
00:52:31.639 --> 00:52:34.639
<v Speaker 4>over and reads newspapers with them all through the day.

933
00:52:34.920 --> 00:52:39.480
<v Speaker 4>But he's Welsh, He's okay, I can be kinder to him.

934
00:52:39.679 --> 00:52:42.599
<v Speaker 4>He's my buddy. And I wonder if there's a little

935
00:52:42.599 --> 00:52:45.559
<v Speaker 4>bit of that with Johnny as well, where it's like

936
00:52:46.440 --> 00:52:53.079
<v Speaker 4>sometimes these people that he's feeling more kindred towards somebody

937
00:52:53.159 --> 00:52:56.480
<v Speaker 4>like Maggie because this is somebody who just doesn't have

938
00:52:57.400 --> 00:52:59.360
<v Speaker 4>a shot, and I'm gonna shield her, I'm going to

939
00:52:59.400 --> 00:53:02.440
<v Speaker 4>take care of her other people. I feel like he

940
00:53:02.880 --> 00:53:06.480
<v Speaker 4>saw the woman in the window, this is on you.

941
00:53:07.079 --> 00:53:09.440
<v Speaker 4>You screwed up your life on it. And so I

942
00:53:09.599 --> 00:53:13.199
<v Speaker 4>don't have any pity s because she's drinking and she's

943
00:53:13.360 --> 00:53:15.920
<v Speaker 4>in a place where she doesn't even know that there

944
00:53:16.000 --> 00:53:17.960
<v Speaker 4>is a map of Ireland on the wall. So it's

945
00:53:18.239 --> 00:53:20.840
<v Speaker 4>obviously this is all your fault. You brought this arms,

946
00:53:21.320 --> 00:53:23.800
<v Speaker 4>Whereas I don't think he necessarily feels that same way

947
00:53:23.800 --> 00:53:26.599
<v Speaker 4>about Maggie, And I think he's just got this weird

948
00:53:27.559 --> 00:53:31.719
<v Speaker 4>way of interacting with people, and it's based off of

949
00:53:31.840 --> 00:53:34.920
<v Speaker 4>his first impressions with them. And a lot of times

950
00:53:34.960 --> 00:53:39.039
<v Speaker 4>he will change his attitude towards them as is impressional

951
00:53:39.159 --> 00:53:42.559
<v Speaker 4>and changes too. That definitely seems to happen quite a

952
00:53:42.599 --> 00:53:43.079
<v Speaker 4>bit as well.

953
00:53:43.920 --> 00:53:48.679
<v Speaker 2>This whole idea of the might Lee method and how

954
00:53:48.760 --> 00:53:53.039
<v Speaker 2>these characters come into existence is fascinating for me too,

955
00:53:53.199 --> 00:53:56.360
<v Speaker 2>especially because whenever I interview an actor, I'm just like,

956
00:53:56.400 --> 00:53:58.000
<v Speaker 2>how do you get into this character? How do you

957
00:53:58.079 --> 00:54:01.400
<v Speaker 2>find this character? Is it all just on the page?

958
00:54:01.920 --> 00:54:04.159
<v Speaker 2>What do you bring to the party. And some actors,

959
00:54:04.199 --> 00:54:06.360
<v Speaker 2>of course, will do the whole thing of I've written

960
00:54:06.400 --> 00:54:09.639
<v Speaker 2>a backstory about this character. I want to know everything

961
00:54:09.679 --> 00:54:14.440
<v Speaker 2>that happened before we got to the movie. And this

962
00:54:15.039 --> 00:54:17.639
<v Speaker 2>Mike Lee stuff, it really feels like all of these

963
00:54:17.760 --> 00:54:20.239
<v Speaker 2>characters have been thought through to the nth degree that

964
00:54:20.400 --> 00:54:23.559
<v Speaker 2>we would know if I talked with the gentleman that

965
00:54:23.639 --> 00:54:26.719
<v Speaker 2>played Brian, that he would tell me, oh, Brian grew

966
00:54:26.800 --> 00:54:29.199
<v Speaker 2>up here and he had this, and his wife divorced

967
00:54:29.280 --> 00:54:31.000
<v Speaker 2>him because of this, that and the other thing, and

968
00:54:31.159 --> 00:54:34.599
<v Speaker 2>just like, give me the entire life of Sorry for

969
00:54:34.639 --> 00:54:37.159
<v Speaker 2>the pund in the life of Brian, but just give

970
00:54:37.239 --> 00:54:39.119
<v Speaker 2>me all of that stuff. So even when it comes

971
00:54:39.199 --> 00:54:41.559
<v Speaker 2>to the woman across the way and that map of

972
00:54:41.639 --> 00:54:45.880
<v Speaker 2>Ireland on the audio commentary, they're like, oh, she is

973
00:54:45.960 --> 00:54:48.000
<v Speaker 2>living in a flat that used to be occupied by

974
00:54:48.039 --> 00:54:50.760
<v Speaker 2>a couple of IRA people, and it's like, oh okay,

975
00:54:50.920 --> 00:54:54.119
<v Speaker 2>like we know they know all of these things about

976
00:54:54.199 --> 00:54:56.800
<v Speaker 2>all of them, Like they probably know what business Brian

977
00:54:56.960 --> 00:55:00.880
<v Speaker 2>is protecting from that postmodernist gas chamber that they're talking about.

978
00:55:01.360 --> 00:55:05.280
<v Speaker 2>There's so much to this, So when things don't add up,

979
00:55:05.400 --> 00:55:06.880
<v Speaker 2>like with some of the stuff that I was talking

980
00:55:06.880 --> 00:55:09.280
<v Speaker 2>about with, I don't buy that reaction type of thing.

981
00:55:09.360 --> 00:55:11.559
<v Speaker 2>That's what makes a little bit more disappointing. But what

982
00:55:11.679 --> 00:55:13.400
<v Speaker 2>makes us such a rich story, and what I think

983
00:55:13.519 --> 00:55:16.440
<v Speaker 2>makes all of these Mike leevefilms so rich, which now

984
00:55:16.519 --> 00:55:19.559
<v Speaker 2>I need to watch more of them, is that these

985
00:55:19.840 --> 00:55:24.320
<v Speaker 2>characters are so well thought through and so well crafted,

986
00:55:24.599 --> 00:55:27.000
<v Speaker 2>and that we do get those little things like oh,

987
00:55:27.159 --> 00:55:30.719
<v Speaker 2>this apartment happened to be this beforehand, which then plays

988
00:55:30.760 --> 00:55:32.880
<v Speaker 2>into the troubles in place to this whole idea of

989
00:55:33.239 --> 00:55:36.159
<v Speaker 2>people from outside of London and what are these guys

990
00:55:36.199 --> 00:55:40.039
<v Speaker 2>doing here. They're plotting things against the government to do

991
00:55:40.199 --> 00:55:43.280
<v Speaker 2>some terrorist acts, which in ninety three that was still

992
00:55:43.360 --> 00:55:46.719
<v Speaker 2>definitely going on. The thing too with the woman across

993
00:55:46.800 --> 00:55:49.440
<v Speaker 2>the way is fascinating with you were talking about the

994
00:55:49.480 --> 00:55:52.320
<v Speaker 2>death head tattoo, and that's when it feels like the

995
00:55:52.400 --> 00:55:55.400
<v Speaker 2>worm turns and suddenly he goes from trying to have

996
00:55:55.519 --> 00:55:58.320
<v Speaker 2>sex with her to oh, keep away from me, you

997
00:55:58.519 --> 00:56:01.679
<v Speaker 2>are a bad omen type thing. And then once he do,

998
00:56:01.840 --> 00:56:04.559
<v Speaker 2>he fucking steals her books. I think it's the only

999
00:56:04.679 --> 00:56:07.079
<v Speaker 2>time he steals something other than the money at the end,

1000
00:56:07.119 --> 00:56:09.920
<v Speaker 2>but definitely showing his lack of moral fiber, but that

1001
00:56:10.079 --> 00:56:12.360
<v Speaker 2>he steals her fucking books. And she says, that's my

1002
00:56:12.480 --> 00:56:14.599
<v Speaker 2>favorite book. I've read it so many times, and he

1003
00:56:14.719 --> 00:56:17.199
<v Speaker 2>takes it. It's what a fucking bastard. Well, he stole

1004
00:56:17.239 --> 00:56:19.760
<v Speaker 2>a car, that's true. That's true. And let's not forget

1005
00:56:19.840 --> 00:56:23.039
<v Speaker 2>the rapes, the three big crimes of naked, the car,

1006
00:56:23.400 --> 00:56:25.880
<v Speaker 2>the books, and then the money at the end. There's

1007
00:56:25.920 --> 00:56:28.079
<v Speaker 2>a lot of rape, a lot of fucking rape in here.

1008
00:56:28.239 --> 00:56:32.119
<v Speaker 2>When he's banging Sophie's head against the arm of the couch,

1009
00:56:32.159 --> 00:56:34.719
<v Speaker 2>I'm just like, what is your fucking problem, dude?

1010
00:56:35.480 --> 00:56:39.280
<v Speaker 4>That one almost is more troubling to me than Jeremy

1011
00:56:39.639 --> 00:56:43.519
<v Speaker 4>when he rapes Sophie, because it's just like you could

1012
00:56:44.199 --> 00:56:47.480
<v Speaker 4>just be breaking the personall open. The way you're doing this,

1013
00:56:48.000 --> 00:56:50.880
<v Speaker 4>It's like that one hits me harder just because I'm like,

1014
00:56:51.599 --> 00:56:55.159
<v Speaker 4>this is crazy how you're doing this right now. There's

1015
00:56:55.199 --> 00:56:57.119
<v Speaker 4>a lot of rough scenes in this movie, there's no

1016
00:56:57.280 --> 00:56:57.880
<v Speaker 4>doubt about that.

1017
00:56:58.639 --> 00:57:01.400
<v Speaker 2>Well, it's nineteen ninety three, this is before the era

1018
00:57:01.679 --> 00:57:06.360
<v Speaker 2>of tattoos really has taken off. So these two female

1019
00:57:06.440 --> 00:57:10.000
<v Speaker 2>characters have tattoos between the woman in the window and

1020
00:57:10.159 --> 00:57:14.559
<v Speaker 2>then Sophie, and both Johnny and Jeremy call out that

1021
00:57:14.719 --> 00:57:18.559
<v Speaker 2>tattoo on Sophie's arm as well, what is this your

1022
00:57:18.639 --> 00:57:22.039
<v Speaker 2>tribal initiation? Or she says it's a tribal initiation because

1023
00:57:22.199 --> 00:57:23.920
<v Speaker 2>like I said, she can give it to Johnny as

1024
00:57:24.039 --> 00:57:27.760
<v Speaker 2>much as he gives. And then later on when Jeremy's

1025
00:57:27.920 --> 00:57:31.599
<v Speaker 2>oh did you tattoo hurt good? He's such a piece

1026
00:57:31.639 --> 00:57:35.199
<v Speaker 2>of shit, Jeremy man, oh man, what an amazing performance

1027
00:57:35.239 --> 00:57:37.239
<v Speaker 2>to be able to make me hate someone who's a

1028
00:57:37.320 --> 00:57:39.039
<v Speaker 2>fictional character so much.

1029
00:57:40.000 --> 00:57:43.800
<v Speaker 4>We never ever see Jeremy get his come upons at all.

1030
00:57:44.280 --> 00:57:48.239
<v Speaker 4>He just drives off into another thing. And whereas with

1031
00:57:48.480 --> 00:57:52.920
<v Speaker 4>Johnny it's and it just seems like there's always this

1032
00:57:53.199 --> 00:57:57.000
<v Speaker 4>fatalistic thread throughout the whole thing. And cause and effect

1033
00:57:57.079 --> 00:58:01.440
<v Speaker 4>and almost like an examination of determinism, and even so

1034
00:58:01.599 --> 00:58:04.800
<v Speaker 4>much so that Johnny came to London because he thought

1035
00:58:04.840 --> 00:58:06.800
<v Speaker 4>he was going to get a beating, and so he

1036
00:58:06.880 --> 00:58:09.559
<v Speaker 4>comes to London to avoid a beating. What happens, he

1037
00:58:09.679 --> 00:58:13.079
<v Speaker 4>gets a beating, and it's just so it's he can't

1038
00:58:13.239 --> 00:58:14.000
<v Speaker 4>escape this fate.

1039
00:58:14.079 --> 00:58:17.920
<v Speaker 3>That's it. Quite a random beating, totally beating someone he pissed.

1040
00:58:17.599 --> 00:58:20.559
<v Speaker 2>Off, just random group of kids, just beat the shit

1041
00:58:20.639 --> 00:58:23.239
<v Speaker 2>out of them. Seriously, Amy, it's what you're beat Nick

1042
00:58:23.280 --> 00:58:26.639
<v Speaker 2>friends call karma. The way that he comes to London

1043
00:58:26.840 --> 00:58:28.519
<v Speaker 2>just to catch that beating that he was going to

1044
00:58:28.559 --> 00:58:32.599
<v Speaker 2>get in Manchester, that there is that follow through that

1045
00:58:32.719 --> 00:58:36.320
<v Speaker 2>he does see this as almost a cosmic punishment and

1046
00:58:36.480 --> 00:58:40.199
<v Speaker 2>it's well deserved. And him running away at the end,

1047
00:58:40.440 --> 00:58:43.159
<v Speaker 2>or hopping or limping however you want to put that

1048
00:58:44.039 --> 00:58:47.000
<v Speaker 2>away from the apartment where so much of this has

1049
00:58:47.079 --> 00:58:50.119
<v Speaker 2>taken place, and or row House, i should say, and

1050
00:58:50.360 --> 00:58:55.360
<v Speaker 2>just the beautiful sunrise that's going on, and him limping

1051
00:58:55.480 --> 00:58:57.880
<v Speaker 2>down the middle of the street, just trying to run

1052
00:58:57.920 --> 00:59:01.320
<v Speaker 2>away as quickly as he can from everything, because there's

1053
00:59:01.360 --> 00:59:03.920
<v Speaker 2>no reason why he's running. It's not like Louise is

1054
00:59:04.000 --> 00:59:06.519
<v Speaker 2>going to chase after him for this money. He just

1055
00:59:06.679 --> 00:59:09.079
<v Speaker 2>gets up and takes it and should be able to

1056
00:59:09.760 --> 00:59:13.079
<v Speaker 2>slowly limp his way around, but instead we have almost

1057
00:59:13.119 --> 00:59:16.920
<v Speaker 2>the it's almost a triumphant shot, but it's not because

1058
00:59:16.960 --> 00:59:19.119
<v Speaker 2>he has had the shit kicked out of him, and

1059
00:59:19.239 --> 00:59:21.119
<v Speaker 2>just the way that he's limping along and the way

1060
00:59:21.199 --> 00:59:25.239
<v Speaker 2>that his ankle looks in this movie. Holy Kyle, whoever

1061
00:59:25.320 --> 00:59:28.400
<v Speaker 2>did the prosthetics on that good job, because that's disgusting.

1062
00:59:29.159 --> 00:59:31.440
<v Speaker 4>But once again, this is the classest to me. But

1063
00:59:31.519 --> 00:59:34.199
<v Speaker 4>it's just once again the rich fucker gets away, which

1064
00:59:34.960 --> 00:59:39.559
<v Speaker 4>everything has no come up in it all. Johnny, he's

1065
00:59:39.639 --> 00:59:41.440
<v Speaker 4>lower class, so you know he's going to get the

1066
00:59:41.480 --> 00:59:44.800
<v Speaker 4>shit kicked down. As rough of a movie as this is,

1067
00:59:44.960 --> 00:59:47.199
<v Speaker 4>it's always been like ever since I've seen it, it's

1068
00:59:47.199 --> 00:59:50.719
<v Speaker 4>always been within my top ten, just because the performance

1069
00:59:50.840 --> 00:59:54.480
<v Speaker 4>is amazing and I really just find it riveting, and

1070
00:59:54.880 --> 00:59:57.320
<v Speaker 4>so many of the scenes are just shot so well,

1071
00:59:57.400 --> 01:00:02.199
<v Speaker 4>and even the score that just the cello in that harp,

1072
01:00:03.119 --> 01:00:05.159
<v Speaker 4>not since the Marx Brothers has a heart been used

1073
01:00:05.199 --> 01:00:08.760
<v Speaker 4>so well in film. It's just amazing. It just has

1074
01:00:08.920 --> 01:00:11.039
<v Speaker 4>so many great elements. But I've never seen it on

1075
01:00:11.119 --> 01:00:14.480
<v Speaker 4>the big screen, and the time when it was coming

1076
01:00:14.519 --> 01:00:18.840
<v Speaker 4>around on a revival at my local movie theater two

1077
01:00:18.880 --> 01:00:23.599
<v Speaker 4>weeks before that, I broke my gulp and so I

1078
01:00:23.760 --> 01:00:26.480
<v Speaker 4>was sadly no, at least that would have been a

1079
01:00:26.519 --> 01:00:30.000
<v Speaker 4>better story. So it was just like, that's a little

1080
01:00:30.079 --> 01:00:32.880
<v Speaker 4>ironic that this movie that I've never seen on the

1081
01:00:32.880 --> 01:00:36.000
<v Speaker 4>big screen, which has been was something that I used

1082
01:00:36.000 --> 01:00:39.519
<v Speaker 4>to make an annual viewing of. I finally get the

1083
01:00:39.599 --> 01:00:41.280
<v Speaker 4>chance to see it on the big screen, and I

1084
01:00:41.360 --> 01:00:44.440
<v Speaker 4>can't do it because I've broken my ankle.

1085
01:00:45.000 --> 01:00:49.679
<v Speaker 3>So would you say, Jen your favorite? Mike Lee Chung, Absolutely.

1086
01:00:49.239 --> 01:00:52.360
<v Speaker 4>Yes, definitely. I think I'd seen Life as Sweet before,

1087
01:00:53.159 --> 01:00:56.280
<v Speaker 4>and so when this film was recommended to me, I

1088
01:00:56.440 --> 01:01:02.840
<v Speaker 4>was dubious because I didn't think that film necessarily would

1089
01:01:03.000 --> 01:01:06.440
<v Speaker 4>be my kind of like it wasn't exactly my kindest film.

1090
01:01:06.960 --> 01:01:10.000
<v Speaker 4>But then, of course, after I watched this one, then

1091
01:01:10.039 --> 01:01:12.920
<v Speaker 4>I started delving into a little bit of the back catalog,

1092
01:01:13.239 --> 01:01:16.559
<v Speaker 4>and it is such a radically different film than see

1093
01:01:16.679 --> 01:01:20.760
<v Speaker 4>every single other film that He's ever doe, And honestly,

1094
01:01:20.920 --> 01:01:24.880
<v Speaker 4>to me, that's probably why it's my favorite. All these

1095
01:01:24.920 --> 01:01:28.679
<v Speaker 4>other films at least have some note of optimism at

1096
01:01:28.719 --> 01:01:33.800
<v Speaker 4>the end, whereas this one gatting back to your feel

1097
01:01:33.880 --> 01:01:37.639
<v Speaker 4>bad movie. You get to that last scene and he's

1098
01:01:37.679 --> 01:01:41.400
<v Speaker 4>hobbling down the street and he's just framed by that

1099
01:01:41.559 --> 01:01:45.679
<v Speaker 4>street and you see the house behind and he's just

1100
01:01:45.840 --> 01:01:49.199
<v Speaker 4>limping along and the camera's getting further and further away

1101
01:01:49.239 --> 01:01:51.280
<v Speaker 4>from him because he can't keep up. And then you

1102
01:01:51.360 --> 01:01:53.920
<v Speaker 4>get to that final chord and it just cuts to

1103
01:01:54.039 --> 01:01:58.360
<v Speaker 4>black and you just feel like, Ah, what's going to

1104
01:01:58.480 --> 01:02:04.440
<v Speaker 4>happen next? There's no resolution, makes you keep thinking about

1105
01:02:04.480 --> 01:02:07.960
<v Speaker 4>it afterwards too. There is no resolution to this at

1106
01:02:08.000 --> 01:02:10.639
<v Speaker 4>all for any of these care except for maybe Sounder.

1107
01:02:10.719 --> 01:02:12.519
<v Speaker 4>She's had her bath and she's tied in the house

1108
01:02:12.719 --> 01:02:15.840
<v Speaker 4>and she'll go back to work as Immerse. It's everything's

1109
01:02:15.960 --> 01:02:18.079
<v Speaker 4>just so open ended, but it and it leaves you

1110
01:02:18.239 --> 01:02:21.960
<v Speaker 4>just with so much to digest. There's so much that

1111
01:02:22.119 --> 01:02:27.519
<v Speaker 4>happens in such limited period, and a lot of it's

1112
01:02:27.679 --> 01:02:32.920
<v Speaker 4>very miseral and very rough. It just it's not something

1113
01:02:32.960 --> 01:02:34.159
<v Speaker 4>that's going to leave you quickly.

1114
01:02:34.679 --> 01:02:38.760
<v Speaker 3>This variation, this one unique one off, and also the

1115
01:02:38.840 --> 01:02:42.840
<v Speaker 3>rest of his bis Law ENSEMBLEI shells too. But I

1116
01:02:42.880 --> 01:02:44.800
<v Speaker 3>guess if you watch this first in a way, you

1117
01:02:44.880 --> 01:02:47.440
<v Speaker 3>have this really different idea of what to expect from

1118
01:02:47.719 --> 01:02:49.119
<v Speaker 3>the rest of the films.

1119
01:02:49.679 --> 01:02:53.000
<v Speaker 2>This movie, even though I've only seen it two three times,

1120
01:02:53.880 --> 01:02:59.519
<v Speaker 2>this movie always tricks me because we have We've got Jeremy,

1121
01:03:00.039 --> 01:03:04.239
<v Speaker 2>who's just this uncontrollable force of nature, and he's just

1122
01:03:04.880 --> 01:03:07.880
<v Speaker 2>snoozing in their bedroom. It's basically like they've got a

1123
01:03:08.039 --> 01:03:12.320
<v Speaker 2>tiger in their house and he's the tiger. And Louise

1124
01:03:12.559 --> 01:03:15.039
<v Speaker 2>and Sophie go out to the pub and it's a

1125
01:03:15.159 --> 01:03:17.480
<v Speaker 2>wonderful scene of those two talking and talking about some

1126
01:03:17.559 --> 01:03:20.800
<v Speaker 2>of their past romances and things that have happened to them,

1127
01:03:21.559 --> 01:03:25.639
<v Speaker 2>and finally it feels like Louise is giving some of

1128
01:03:25.760 --> 01:03:29.920
<v Speaker 2>the sympathy to Sophie that she needs. Because when Louise

1129
01:03:30.000 --> 01:03:32.639
<v Speaker 2>comes in and doesn't know that Sophie has been raped,

1130
01:03:33.159 --> 01:03:35.119
<v Speaker 2>it is one of the worst things ever because she

1131
01:03:35.480 --> 01:03:37.440
<v Speaker 2>just starts to lay in on Sophie and you're just like,

1132
01:03:37.559 --> 01:03:41.400
<v Speaker 2>for fuck's sakes, Louise, she just had the most horrible

1133
01:03:41.599 --> 01:03:44.960
<v Speaker 2>day that she'll ever have and she just comes in

1134
01:03:45.039 --> 01:03:48.000
<v Speaker 2>and starts picking on her. Once they get through that,

1135
01:03:48.199 --> 01:03:51.159
<v Speaker 2>once they get to the pub, you've still got Jeremy

1136
01:03:51.239 --> 01:03:52.840
<v Speaker 2>back at the place and they're like, do you think

1137
01:03:52.880 --> 01:03:55.079
<v Speaker 2>he's gone. Now we're not sure. And then you see

1138
01:03:55.159 --> 01:03:58.760
<v Speaker 2>Johnny coming and I'm just like, oh, okay, great, Johnny's

1139
01:03:58.840 --> 01:04:01.159
<v Speaker 2>going to walk into the house or go back to

1140
01:04:01.239 --> 01:04:03.360
<v Speaker 2>the house while Jeremy's there, and We're going to have

1141
01:04:03.480 --> 01:04:06.719
<v Speaker 2>the biggest rout in the world. But that doesn't happen.

1142
01:04:07.599 --> 01:04:09.159
<v Speaker 2>He gets shit kicked out of him.

1143
01:04:09.239 --> 01:04:09.719
<v Speaker 4>Like we said.

1144
01:04:10.079 --> 01:04:12.480
<v Speaker 2>The next time we see me falls into the door,

1145
01:04:13.000 --> 01:04:15.719
<v Speaker 2>and we still have Jeremy in that house, we still

1146
01:04:15.760 --> 01:04:19.639
<v Speaker 2>have the tiger in the bedroom. But nothing like that happens.

1147
01:04:19.679 --> 01:04:23.679
<v Speaker 2>There is no big final confrontation Johnny and Jeremy, Like

1148
01:04:23.800 --> 01:04:26.760
<v Speaker 2>you said, there's that whole thing where he mistakes Jeremy

1149
01:04:26.840 --> 01:04:30.679
<v Speaker 2>for somebody else and is just hallucinating through all of this.

1150
01:04:31.719 --> 01:04:34.159
<v Speaker 2>That's it. That's the interaction that we get. We don't

1151
01:04:34.239 --> 01:04:37.639
<v Speaker 2>get them having a conversation like of the two people

1152
01:04:37.880 --> 01:04:39.719
<v Speaker 2>in the entire movie, where I'm just like, I'm very

1153
01:04:39.800 --> 01:04:43.000
<v Speaker 2>curious what these two people would interact like. It's a

1154
01:04:43.239 --> 01:04:45.719
<v Speaker 2>very different situation than what I was expecting.

1155
01:04:47.159 --> 01:04:50.920
<v Speaker 4>At least. The one little aspect of cold comfort with

1156
01:04:51.159 --> 01:04:55.360
<v Speaker 4>Jeremy is when Louise plays him at his own game

1157
01:04:55.519 --> 01:04:59.840
<v Speaker 4>and just feeds into his narcissism and then grabs the

1158
01:05:00.280 --> 01:05:02.760
<v Speaker 4>and she'll like, what you don't want me to cut

1159
01:05:02.840 --> 01:05:05.679
<v Speaker 4>your prick off? And then as he's leaving the room,

1160
01:05:05.840 --> 01:05:08.920
<v Speaker 4>calling him a maggot dick, and just like the look

1161
01:05:09.000 --> 01:05:13.280
<v Speaker 4>on his face, it's like, for one brief second, he's

1162
01:05:13.320 --> 01:05:16.239
<v Speaker 4>been taken down a moment. It's just going to feed

1163
01:05:16.320 --> 01:05:19.880
<v Speaker 4>into his misogyny and make him probably even worse, but

1164
01:05:20.519 --> 01:05:25.119
<v Speaker 4>at least for like that one second, he saw how

1165
01:05:25.239 --> 01:05:27.880
<v Speaker 4>other people see it, and it's fitting.

1166
01:05:27.960 --> 01:05:30.880
<v Speaker 3>Did they take care of it rather than Johnny in

1167
01:05:30.920 --> 01:05:31.599
<v Speaker 3>a sense.

1168
01:05:32.119 --> 01:05:34.119
<v Speaker 2>Oh yes, thank goodness that they're the ones that take

1169
01:05:34.159 --> 01:05:36.920
<v Speaker 2>care of it. Though he just eventually leaves, it's not

1170
01:05:37.039 --> 01:05:39.119
<v Speaker 2>like he had to. He could stay there forever.

1171
01:05:39.239 --> 01:05:41.440
<v Speaker 4>I think I think Sondra is the one that really

1172
01:05:41.559 --> 01:05:45.760
<v Speaker 4>kicked him out. And again that's they had some different

1173
01:05:45.840 --> 01:05:51.000
<v Speaker 4>dynamic than he had with Sophie and Louise definitely.

1174
01:05:50.920 --> 01:05:53.480
<v Speaker 2>Undress in a rom com. The way that she comes

1175
01:05:53.559 --> 01:05:56.760
<v Speaker 2>in is just look at my place. Oh this is terrible.

1176
01:05:56.840 --> 01:05:59.519
<v Speaker 2>It's don't tell mom the babysitters dead type of thing.

1177
01:05:59.559 --> 01:06:02.280
<v Speaker 2>It's just what did you kids do to my place?

1178
01:06:02.639 --> 01:06:04.519
<v Speaker 2>Everything is a mess. I'm gonna have to clean the

1179
01:06:04.559 --> 01:06:06.599
<v Speaker 2>bathroom and now I'll clean the kitchen and she just

1180
01:06:06.719 --> 01:06:10.559
<v Speaker 2>becomes this cleaning machine and again doesn't understand what's going on.

1181
01:06:11.239 --> 01:06:14.880
<v Speaker 2>I just talked about the way that Louise reacts to Sophie,

1182
01:06:15.079 --> 01:06:18.159
<v Speaker 2>and now it's the way that Sondra acts when she

1183
01:06:18.320 --> 01:06:20.719
<v Speaker 2>comes in and she's just like, what kind of crazy

1184
01:06:20.719 --> 01:06:22.920
<v Speaker 2>antics have you guys been getting up to? Who's this

1185
01:06:23.039 --> 01:06:25.519
<v Speaker 2>strange man in my bed? I'm so upset because he's

1186
01:06:25.559 --> 01:06:28.559
<v Speaker 2>got his dirty boots on my bed, and I'm just like, Wow,

1187
01:06:28.760 --> 01:06:32.920
<v Speaker 2>you are not reading the room whatsoever. And it's almost

1188
01:06:33.079 --> 01:06:35.360
<v Speaker 2>funny the way she comes in and does that, and

1189
01:06:35.599 --> 01:06:38.679
<v Speaker 2>other times it's very frustrating. And it's just an interesting

1190
01:06:38.800 --> 01:06:41.159
<v Speaker 2>dynamic to have in this movie, this character who just

1191
01:06:41.639 --> 01:06:44.159
<v Speaker 2>drops in at the end, and she is the one

1192
01:06:44.239 --> 01:06:47.960
<v Speaker 2>that eventually solves the problem, not with violence, but just hey,

1193
01:06:48.039 --> 01:06:51.599
<v Speaker 2>get out of here type of thing. And it's her

1194
01:06:51.920 --> 01:06:54.719
<v Speaker 2>appearance in this movie is not something I was expecting.

1195
01:06:54.800 --> 01:06:57.159
<v Speaker 2>I didn't expect to see Sondra come back and to

1196
01:06:57.280 --> 01:06:58.960
<v Speaker 2>have her be this type of.

1197
01:06:59.079 --> 01:07:03.840
<v Speaker 4>Character completely by design as well. You've gone through so

1198
01:07:04.079 --> 01:07:09.320
<v Speaker 4>much rough stuff that you just needed something to break

1199
01:07:09.400 --> 01:07:12.280
<v Speaker 4>it up with a little bit of levity. And the

1200
01:07:12.360 --> 01:07:16.760
<v Speaker 4>fact that she can't finish a sentence and just and

1201
01:07:17.760 --> 01:07:21.880
<v Speaker 4>is a completely different character than anybody else that we've

1202
01:07:21.960 --> 01:07:26.000
<v Speaker 4>seen in this entire thing. Like she's the one person

1203
01:07:26.119 --> 01:07:29.039
<v Speaker 4>in this whole film who probably has a happy little

1204
01:07:29.119 --> 01:07:32.960
<v Speaker 4>life in a way. Everybody else has got their misery

1205
01:07:33.039 --> 01:07:36.079
<v Speaker 4>and their darkness. She's able to, you know, take time

1206
01:07:36.159 --> 01:07:39.360
<v Speaker 4>off of work and go on safaris to Africa, and

1207
01:07:40.199 --> 01:07:42.840
<v Speaker 4>you know, she has a professional job, and you know,

1208
01:07:43.199 --> 01:07:46.119
<v Speaker 4>she's the one person who probably can't relate to anybody

1209
01:07:46.239 --> 01:07:49.599
<v Speaker 4>else in this movie. I always want to say solemn drafts.

1210
01:07:50.480 --> 01:07:52.440
<v Speaker 3>Also, it's tiny that you observed this in a way

1211
01:07:52.480 --> 01:07:55.039
<v Speaker 3>because I read that Mike Lee wanted Claire Skinner the

1212
01:07:55.199 --> 01:07:58.719
<v Speaker 3>actress thing Sandra, so you wanted but she had another job,

1213
01:07:58.880 --> 01:08:01.119
<v Speaker 3>so you can really involve her the whole rehearsal process.

1214
01:08:01.480 --> 01:08:03.679
<v Speaker 3>That he left this space open, like he knew he

1215
01:08:03.760 --> 01:08:06.039
<v Speaker 3>wanted her to come back, and that's why he made

1216
01:08:06.079 --> 01:08:08.880
<v Speaker 3>this whole thing of her being on this troop. But

1217
01:08:09.039 --> 01:08:11.000
<v Speaker 3>then that's why in a way, there's this kind of

1218
01:08:11.280 --> 01:08:15.039
<v Speaker 3>amusing clash and it becomes a sort of farce. But

1219
01:08:15.280 --> 01:08:18.439
<v Speaker 3>it's funny that these styles also maybe are due to

1220
01:08:18.560 --> 01:08:21.159
<v Speaker 3>this kind of late addition to the whole process.

1221
01:08:21.640 --> 01:08:24.600
<v Speaker 2>Doesn't do Let's say, a line in Big Lebowski about

1222
01:08:24.680 --> 01:08:27.039
<v Speaker 2>Sandra's on holiday in Africa or something.

1223
01:08:27.720 --> 01:08:31.199
<v Speaker 6>It's Sandra, look, I have to take this.

1224
01:08:31.520 --> 01:08:33.000
<v Speaker 4>Do you still have that doctor's number?

1225
01:08:33.399 --> 01:08:36.039
<v Speaker 3>Oh? No, really it's and I've improog anymore.

1226
01:08:36.079 --> 01:08:38.119
<v Speaker 4>Oh please, Jeffrey, I don't want to be responsible for

1227
01:08:38.159 --> 01:08:39.479
<v Speaker 4>any delayed after effects.

1228
01:08:39.960 --> 01:08:44.680
<v Speaker 2>See another interesting thing that I found I was very

1229
01:08:44.760 --> 01:08:48.680
<v Speaker 2>purposeful when I watched this last where I paused the

1230
01:08:48.760 --> 01:08:53.239
<v Speaker 2>movie to see exactly when Johnny leaves their apartment versus

1231
01:08:53.319 --> 01:08:56.399
<v Speaker 2>when he comes back, And it's almost exactly at thirty

1232
01:08:56.479 --> 01:08:59.600
<v Speaker 2>minutes that he leaves, and almost exactly thirty minutes are

1233
01:08:59.640 --> 01:09:01.720
<v Speaker 2>left in the movie when he comes back. So it's

1234
01:09:01.800 --> 01:09:05.159
<v Speaker 2>interesting that we have this very distinct structure in a

1235
01:09:05.239 --> 01:09:08.319
<v Speaker 2>movie that is essentially a series of vignettes, but it

1236
01:09:08.439 --> 01:09:12.239
<v Speaker 2>is very carefully crafted. I appreciate that as well. We're

1237
01:09:12.279 --> 01:09:14.359
<v Speaker 2>talking all about this method and the way that Mike

1238
01:09:14.439 --> 01:09:16.920
<v Speaker 2>Lee does all these things, but yet he fits all

1239
01:09:17.000 --> 01:09:21.199
<v Speaker 2>of this into a very cinematic world and is able

1240
01:09:21.279 --> 01:09:26.479
<v Speaker 2>to make traditional ish movies out of the way that

1241
01:09:26.640 --> 01:09:29.319
<v Speaker 2>he has these characters interact and that he puts them

1242
01:09:29.359 --> 01:09:31.960
<v Speaker 2>in these situations where you can have very clean act

1243
01:09:32.039 --> 01:09:35.119
<v Speaker 2>breaks and say, okay, thirty minutes he leaves the house

1244
01:09:35.199 --> 01:09:38.279
<v Speaker 2>for that whole dark Knight of the Soul, and even

1245
01:09:38.439 --> 01:09:42.399
<v Speaker 2>within that there are little acts between the vignettes of

1246
01:09:42.520 --> 01:09:45.960
<v Speaker 2>him meeting with Maggie and Archie, and then we see

1247
01:09:46.039 --> 01:09:47.880
<v Speaker 2>him the next day in front of the subway and

1248
01:09:48.159 --> 01:09:50.760
<v Speaker 2>watching all of those people, and you get that real

1249
01:09:51.000 --> 01:09:51.680
<v Speaker 2>London feel.

1250
01:09:51.760 --> 01:09:52.119
<v Speaker 4>You get that.

1251
01:09:52.520 --> 01:09:55.199
<v Speaker 2>I get the feeling that a lot of this movie

1252
01:09:55.359 --> 01:09:58.560
<v Speaker 2>was probably stolen or maybe they had permits, but it

1253
01:09:58.640 --> 01:10:01.399
<v Speaker 2>feels a lot of it like it was just here

1254
01:10:01.479 --> 01:10:03.960
<v Speaker 2>we are, let's set up the camera, let's go. And

1255
01:10:04.039 --> 01:10:05.560
<v Speaker 2>I think they talk about that a little on the

1256
01:10:05.600 --> 01:10:08.159
<v Speaker 2>commentary too. As far as I want to say, it

1257
01:10:08.239 --> 01:10:12.880
<v Speaker 2>was Archie and Johnny got into a fight, and eventually

1258
01:10:13.439 --> 01:10:16.319
<v Speaker 2>Lee intervened, like the police recalled, and Lee came in

1259
01:10:16.439 --> 01:10:18.319
<v Speaker 2>and was just like, okay, you need to get out

1260
01:10:18.359 --> 01:10:22.439
<v Speaker 2>of character now, so that they wouldn't continue with this

1261
01:10:22.800 --> 01:10:24.640
<v Speaker 2>row that they were having in front of the public.

1262
01:10:25.000 --> 01:10:29.560
<v Speaker 4>That was actually during the improblemizational rehearsals that happened, because

1263
01:10:29.680 --> 01:10:32.079
<v Speaker 4>I think that I forget one of them had a

1264
01:10:32.279 --> 01:10:35.039
<v Speaker 4>screwdriver and was brandishing it on the other one or

1265
01:10:35.119 --> 01:10:39.600
<v Speaker 4>something that effect as well. But that that whole scene though,

1266
01:10:39.680 --> 01:10:42.439
<v Speaker 4>Like when they're on that street when Archie and Johnny

1267
01:10:42.479 --> 01:10:45.920
<v Speaker 4>initially meet, there weren't any extras. They didn't block off

1268
01:10:45.960 --> 01:10:48.880
<v Speaker 4>the street at all. Same thing for when he's standing

1269
01:10:48.960 --> 01:10:54.000
<v Speaker 4>outside of the underground. Those scenes were just normal people

1270
01:10:54.079 --> 01:10:56.720
<v Speaker 4>walking by. But then you have the scene where he's

1271
01:10:56.760 --> 01:11:00.520
<v Speaker 4>walking with Maggie underneath a bridge or wherever he's got

1272
01:11:00.760 --> 01:11:02.800
<v Speaker 4>the flaming trash can and the person with the dog.

1273
01:11:03.079 --> 01:11:06.399
<v Speaker 4>That was all very contell. I like that aspect. I

1274
01:11:06.439 --> 01:11:08.880
<v Speaker 4>always think that's funny, Like when you're watching old Monty

1275
01:11:08.960 --> 01:11:13.000
<v Speaker 4>Python flying circuses and they're obviously on the street, and

1276
01:11:13.079 --> 01:11:15.520
<v Speaker 4>these are people who are not extras, and they're just like,

1277
01:11:15.600 --> 01:11:18.439
<v Speaker 4>why is this person in this get up running down

1278
01:11:18.479 --> 01:11:22.640
<v Speaker 4>the street this way? You don't have that here obviously,

1279
01:11:23.079 --> 01:11:25.119
<v Speaker 4>but think about it, and you could be on some

1280
01:11:25.279 --> 01:11:26.880
<v Speaker 4>street in London and all of a sudden you just

1281
01:11:26.960 --> 01:11:31.159
<v Speaker 4>here see this guy just constantly screaming by, and then

1282
01:11:31.439 --> 01:11:34.319
<v Speaker 4>it's just gonna be like, little what was this guy's problem?

1283
01:11:35.039 --> 01:11:38.239
<v Speaker 4>That probably happens frequent enough that you just you have

1284
01:11:38.439 --> 01:11:41.720
<v Speaker 4>no idea that this is somebody acting right now, there's

1285
01:11:41.800 --> 01:11:45.199
<v Speaker 4>so much hacked in there, but I don't know where

1286
01:11:45.239 --> 01:11:49.560
<v Speaker 4>else you can go with that. You start picking out

1287
01:11:49.600 --> 01:11:53.920
<v Speaker 4>little bits of dialogue here and there, but really you

1288
01:11:54.000 --> 01:11:56.159
<v Speaker 4>can hash that out all day. One of the things

1289
01:11:56.199 --> 01:11:59.880
<v Speaker 4>that I of course now that it's not nineteen ninety

1290
01:12:00.079 --> 01:12:03.800
<v Speaker 4>three or even nineteen ninety six, now it's twenty twenty four,

1291
01:12:03.880 --> 01:12:08.239
<v Speaker 4>and that whole apocalyptic thread of these constellations are going

1292
01:12:08.319 --> 01:12:12.680
<v Speaker 4>to align on August eighteenth, nineteen ninety nine. And this

1293
01:12:12.880 --> 01:12:15.399
<v Speaker 4>is good. The end of the world is not because

1294
01:12:15.439 --> 01:12:19.279
<v Speaker 4>of this. It's a shame that kind of it was

1295
01:12:19.319 --> 01:12:22.159
<v Speaker 4>something else to be watching when are you seeing it

1296
01:12:22.319 --> 01:12:25.000
<v Speaker 4>in the mid nineties and you're, oh, shit, is this

1297
01:12:25.239 --> 01:12:29.640
<v Speaker 4>really really? Yeah, I gotta look this. Does Wormwood really

1298
01:12:29.800 --> 01:12:33.319
<v Speaker 4>mean Chre Nobyle? I gotta look this up, because damn

1299
01:12:33.399 --> 01:12:36.920
<v Speaker 4>this is I don't know about that. And of course

1300
01:12:37.479 --> 01:12:41.479
<v Speaker 4>we've gone past that, but it aged itself that way,

1301
01:12:41.600 --> 01:12:43.840
<v Speaker 4>which is a little bit of a pity. But the

1302
01:12:43.920 --> 01:12:48.199
<v Speaker 4>performances are just still so solid throughout that you can

1303
01:12:49.000 --> 01:12:52.079
<v Speaker 4>still get so much out of it too. And again

1304
01:12:52.880 --> 01:12:56.520
<v Speaker 4>we've touched on it, but the scene between Brian and

1305
01:12:56.960 --> 01:13:01.960
<v Speaker 4>Johnny and just Johnny's full if he where he's not

1306
01:13:02.239 --> 01:13:06.760
<v Speaker 4>nihilistic in saying that the apocalypse by definition is that

1307
01:13:06.960 --> 01:13:10.640
<v Speaker 4>man will cease to exist as he is. But he's

1308
01:13:10.760 --> 01:13:13.279
<v Speaker 4>like trying to even be a little optimistic for a

1309
01:13:13.439 --> 01:13:16.199
<v Speaker 4>moment there. But then of course he gets Brian on

1310
01:13:16.279 --> 01:13:20.000
<v Speaker 4>the stairs and talks about that omelet that stinks because

1311
01:13:20.039 --> 01:13:23.479
<v Speaker 4>God hates you. There are so many lines that you

1312
01:13:23.560 --> 01:13:27.960
<v Speaker 4>could talk about, but really, anybody who's listening to this

1313
01:13:28.399 --> 01:13:31.560
<v Speaker 4>who hasn't seen the movie, those lines are the lights

1314
01:13:31.600 --> 01:13:33.520
<v Speaker 4>that you find by watching it.

1315
01:13:34.199 --> 01:13:36.600
<v Speaker 2>You could have a whole discussion just about the guy

1316
01:13:36.680 --> 01:13:40.920
<v Speaker 2>who's putting up the posters and where they start, where

1317
01:13:41.079 --> 01:13:44.560
<v Speaker 2>they end the Therapy posters, and that it's the band

1318
01:13:44.600 --> 01:13:47.520
<v Speaker 2>called Therapy is interesting. And then when he comes back

1319
01:13:47.560 --> 01:13:50.439
<v Speaker 2>by and somebody else has already plastered something over it,

1320
01:13:50.560 --> 01:13:53.960
<v Speaker 2>and then he plasters to canceled over what somebody plastered

1321
01:13:54.000 --> 01:13:57.399
<v Speaker 2>over his thing. It's just oh okay, And first off,

1322
01:13:57.920 --> 01:14:02.119
<v Speaker 2>Therapy is canceled maybe by just that they use Therapy

1323
01:14:02.199 --> 01:14:04.560
<v Speaker 2>as the Navy as the band, and I realized they're

1324
01:14:04.600 --> 01:14:06.800
<v Speaker 2>a real band. I recognized that album art and that

1325
01:14:07.039 --> 01:14:09.439
<v Speaker 2>was that was That was something I found very fascinating

1326
01:14:09.479 --> 01:14:12.880
<v Speaker 2>about London is the use of those posters and the

1327
01:14:12.920 --> 01:14:16.479
<v Speaker 2>way that those posters because people just come by and

1328
01:14:16.560 --> 01:14:18.359
<v Speaker 2>they post, and then they post again, and then the

1329
01:14:18.399 --> 01:14:21.399
<v Speaker 2>post again, and you're looking at inches. It's like an

1330
01:14:21.520 --> 01:14:25.119
<v Speaker 2>archaeological dig with all of these inches of posters that

1331
01:14:25.199 --> 01:14:27.840
<v Speaker 2>are just stuck there. They would do the same thing

1332
01:14:27.920 --> 01:14:31.920
<v Speaker 2>at the University of Michigan. There were these big concrete

1333
01:14:32.039 --> 01:14:34.920
<v Speaker 2>pillars where people would put up all of their posters

1334
01:14:34.920 --> 01:14:37.640
<v Speaker 2>and it would just get thicker and thicker. But their

1335
01:14:37.760 --> 01:14:40.359
<v Speaker 2>solution was to come along with flamethrowers and just burn

1336
01:14:40.439 --> 01:14:42.199
<v Speaker 2>them off. And I don't think that they're doing that

1337
01:14:42.319 --> 01:14:42.800
<v Speaker 2>in London.

1338
01:14:43.439 --> 01:14:46.359
<v Speaker 4>No, we don't need London's burning for real.

1339
01:14:47.000 --> 01:14:48.960
<v Speaker 2>But no, we've had that once already. We don't need

1340
01:14:49.039 --> 01:14:49.359
<v Speaker 2>it again.

1341
01:14:51.720 --> 01:14:54.840
<v Speaker 3>You're talking about and not being so apocalyptic anymore, not relevant.

1342
01:14:55.399 --> 01:14:57.439
<v Speaker 3>I do feel like watching it also now in twenty

1343
01:14:57.479 --> 01:15:00.479
<v Speaker 3>twenty four. Of course it's not a popa publish this way,

1344
01:15:00.760 --> 01:15:03.840
<v Speaker 3>there is the sense of doom that is consistent, and

1345
01:15:04.279 --> 01:15:07.680
<v Speaker 3>watching it again this past few months, it does feel

1346
01:15:07.720 --> 01:15:11.880
<v Speaker 3>still quite relevant. Unfortunately, this way of trying to get

1347
01:15:11.920 --> 01:15:16.199
<v Speaker 3>people's attentions about certain things in our world. Wendy andess

1348
01:15:16.239 --> 01:15:19.760
<v Speaker 3>I wanted to mention just about starting this is way

1349
01:15:19.800 --> 01:15:23.560
<v Speaker 3>back the way the Shilip starts, but for merely watching

1350
01:15:23.960 --> 01:15:27.520
<v Speaker 3>being introduced to Johnny in this way, this very violent way,

1351
01:15:28.079 --> 01:15:31.439
<v Speaker 3>also creates this tension throughout the whole show. What are

1352
01:15:31.479 --> 01:15:34.000
<v Speaker 3>be capable of doing? So no matter who he's interacting with,

1353
01:15:34.079 --> 01:15:39.600
<v Speaker 3>I'm always feeling so tense. And obviously it's purposeful and

1354
01:15:40.079 --> 01:15:42.760
<v Speaker 3>there's a reason why, but I found it really and

1355
01:15:42.800 --> 01:15:45.960
<v Speaker 3>also just the way it's handheld, which Mike Lee actually

1356
01:15:46.000 --> 01:15:49.399
<v Speaker 3>never really does, so it really distinguishes like this is

1357
01:15:49.800 --> 01:15:52.119
<v Speaker 3>its own show. Mike Lee is going through something he

1358
01:15:52.239 --> 01:15:55.600
<v Speaker 3>wants to show a certain kind of world that he

1359
01:15:55.680 --> 01:15:59.000
<v Speaker 3>has not shown before, and he's really making it clear

1360
01:15:59.199 --> 01:16:01.159
<v Speaker 3>this is like nothing else I have done. You know,

1361
01:16:01.199 --> 01:16:03.800
<v Speaker 3>he started his career in the seventies or even the

1362
01:16:03.880 --> 01:16:06.079
<v Speaker 3>late sixties, so he's really been around for a long time.

1363
01:16:06.760 --> 01:16:09.800
<v Speaker 3>And this is also I guess the question is why

1364
01:16:09.960 --> 01:16:12.279
<v Speaker 3>was this like his breakout in a way? He won

1365
01:16:12.680 --> 01:16:16.199
<v Speaker 3>the con for Best Director, the con Prize and David

1366
01:16:16.279 --> 01:16:19.119
<v Speaker 3>Luiswan for Best Actor, and since then he's also won

1367
01:16:19.199 --> 01:16:21.720
<v Speaker 3>quite a few after that, but this really was his

1368
01:16:21.880 --> 01:16:26.119
<v Speaker 3>breakout film and I wonder why that is. Of course

1369
01:16:26.239 --> 01:16:29.319
<v Speaker 3>is exceptional, but I also personally think that his previous

1370
01:16:29.359 --> 01:16:31.920
<v Speaker 3>films like High Hopes and All the Life Is Sweet

1371
01:16:31.960 --> 01:16:34.119
<v Speaker 3>and Nuts in May, even like you know, waid Back When,

1372
01:16:34.800 --> 01:16:37.680
<v Speaker 3>are quite special as well. So it's interesting how it

1373
01:16:37.920 --> 01:16:40.720
<v Speaker 3>struck a chord also in that time that era.

1374
01:16:41.479 --> 01:16:44.359
<v Speaker 4>It definitely struck a chord because when it was made, Oh,

1375
01:16:45.199 --> 01:16:48.119
<v Speaker 4>that's very apparent. It's is funny you mentioned that the

1376
01:16:48.520 --> 01:16:52.560
<v Speaker 4>tension that Johnny brings within everywhere he goes. But yet

1377
01:16:52.640 --> 01:16:54.720
<v Speaker 4>he says to Archie, what's it like up in there?

1378
01:16:55.119 --> 01:16:58.920
<v Speaker 4>Bit hectic, and that it's just what should light being new?

1379
01:16:59.680 --> 01:17:05.680
<v Speaker 4>That just casting that shadow, like you're saying, like throughout

1380
01:17:05.920 --> 01:17:08.920
<v Speaker 4>every life that he touches, course in nature.

1381
01:17:09.640 --> 01:17:12.319
<v Speaker 2>This one was distributed by Fine Line here in the

1382
01:17:12.439 --> 01:17:16.000
<v Speaker 2>States back in ninety three, and I think one of

1383
01:17:16.039 --> 01:17:19.800
<v Speaker 2>the reasons why it hit so hard was because this

1384
01:17:20.079 --> 01:17:23.720
<v Speaker 2>was such the time of independent films here in the States,

1385
01:17:23.880 --> 01:17:27.199
<v Speaker 2>and it did get the art house circuit. I don't

1386
01:17:27.279 --> 01:17:30.239
<v Speaker 2>know if it got outside of that, but that was

1387
01:17:30.279 --> 01:17:33.159
<v Speaker 2>the time where we were seeing this is right around

1388
01:17:33.199 --> 01:17:36.640
<v Speaker 2>the time of Reservoir Dogs, a year before pulp fiction

1389
01:17:36.840 --> 01:17:39.600
<v Speaker 2>was coming out, and it's just like this golden era

1390
01:17:39.960 --> 01:17:44.079
<v Speaker 2>of independent filmmakers. And I think Mike Lee, if anything,

1391
01:17:44.239 --> 01:17:48.079
<v Speaker 2>is a very independent filmmaker, and I think that this

1392
01:17:48.720 --> 01:17:52.560
<v Speaker 2>hit at the exact right time for us to be

1393
01:17:52.760 --> 01:17:54.560
<v Speaker 2>talking about this movie still today. Even if it came

1394
01:17:54.600 --> 01:17:56.680
<v Speaker 2>out a few years earlier, a few years later, I

1395
01:17:56.720 --> 01:17:58.960
<v Speaker 2>don't know if it would have had the same impact

1396
01:17:59.039 --> 01:18:00.920
<v Speaker 2>that it did in nineteen ninety three. But I think

1397
01:18:01.039 --> 01:18:04.159
<v Speaker 2>just the stars, to Johnny's ploint, the stars were aligning

1398
01:18:04.680 --> 01:18:07.199
<v Speaker 2>with all of the things that were happening in our

1399
01:18:07.319 --> 01:18:12.000
<v Speaker 2>cinema as well as with just this movie itself too,

1400
01:18:12.560 --> 01:18:15.159
<v Speaker 2>And that is such a because, like I said, I

1401
01:18:15.279 --> 01:18:16.920
<v Speaker 2>take it back as far as not seeing any other

1402
01:18:17.000 --> 01:18:19.319
<v Speaker 2>Mike Lee, I think I started to watch Toxis Turvy.

1403
01:18:19.399 --> 01:18:20.760
<v Speaker 2>I don't know why I never made it all the

1404
01:18:20.800 --> 01:18:23.319
<v Speaker 2>way through that, but I was like, Oh, this is

1405
01:18:23.359 --> 01:18:24.520
<v Speaker 2>the same guy that did Naked.

1406
01:18:24.720 --> 01:18:28.840
<v Speaker 4>What the Fuck's I was reading an interview with Mike

1407
01:18:28.960 --> 01:18:33.640
<v Speaker 4>Lee that's in the forward of the scripture Naked, and like,

1408
01:18:33.840 --> 01:18:35.680
<v Speaker 4>at the time when he was making this movie, he

1409
01:18:35.800 --> 01:18:38.439
<v Speaker 4>was forty nine, so he's just about to turn fifty,

1410
01:18:39.279 --> 01:18:43.600
<v Speaker 4>and he had been making films since the sixties and

1411
01:18:43.680 --> 01:18:47.680
<v Speaker 4>the seventies, and even talks about the attitude that when

1412
01:18:47.800 --> 01:18:50.319
<v Speaker 4>I was a young adult in the sixties, we had

1413
01:18:50.359 --> 01:18:52.960
<v Speaker 4>all this optimism and we felt like by the time

1414
01:18:53.079 --> 01:18:55.159
<v Speaker 4>I would get to the point where I was fifty

1415
01:18:55.319 --> 01:18:59.199
<v Speaker 4>years old, we would all be living a lot better

1416
01:18:59.399 --> 01:19:01.880
<v Speaker 4>and the world would have changed for the better. And

1417
01:19:02.000 --> 01:19:07.960
<v Speaker 4>he said, instead, we got this, And that's where he

1418
01:19:08.159 --> 01:19:13.960
<v Speaker 4>projected himself into Johnny, that disappointment and that frustration of

1419
01:19:14.119 --> 01:19:18.319
<v Speaker 4>where the world has gone instead of where he thought

1420
01:19:18.399 --> 01:19:21.119
<v Speaker 4>it was going to go. So I think that's another

1421
01:19:21.239 --> 01:19:25.119
<v Speaker 4>reason why it just was that movie for him at

1422
01:19:25.159 --> 01:19:28.720
<v Speaker 4>that time, because he was at that point in his

1423
01:19:28.920 --> 01:19:32.159
<v Speaker 4>life versus where he had been as a younger man,

1424
01:19:32.840 --> 01:19:35.319
<v Speaker 4>and where the state of the world had gone, and

1425
01:19:35.479 --> 01:19:39.520
<v Speaker 4>how he was so disappointed when you just take that

1426
01:19:39.760 --> 01:19:43.039
<v Speaker 4>one line of the interview and then throw it against

1427
01:19:44.399 --> 01:19:49.000
<v Speaker 4>how Johnny acts and see where he's projected himself into

1428
01:19:49.520 --> 01:19:54.800
<v Speaker 4>Johnny as far as that just disappointment with humanity, and

1429
01:19:54.920 --> 01:19:57.079
<v Speaker 4>I think that's good of a place that I can

1430
01:19:57.159 --> 01:20:00.399
<v Speaker 4>sum up and finish this discussion as any All.

1431
01:20:00.359 --> 01:20:01.680
<v Speaker 2>Right, we're going to take a break and play a

1432
01:20:01.720 --> 01:20:04.479
<v Speaker 2>preview for next week's show right after these brief messages.

1433
01:20:09.239 --> 01:20:13.000
<v Speaker 5>Okay, organist, that's your part in the book. A part,

1434
01:20:13.039 --> 01:20:14.279
<v Speaker 5>of course, is a good.

1435
01:20:16.960 --> 01:20:20.840
<v Speaker 1>To the ship police photo. If you'll come on.

1436
01:20:22.680 --> 01:20:33.880
<v Speaker 3>Record that's.

1437
01:20:36.399 --> 01:20:38.279
<v Speaker 2>Seen a vision.

1438
01:20:38.520 --> 01:20:46.800
<v Speaker 3>Supposed the represented, should be.

1439
01:20:46.880 --> 01:20:50.119
<v Speaker 2>Sure could make a mad but my little go on

1440
01:20:50.239 --> 01:20:55.800
<v Speaker 2>for thetibuty sham this ission.

1441
01:20:56.199 --> 01:20:58.319
<v Speaker 4>But just call down there list, just get a briefing

1442
01:20:58.520 --> 01:21:00.159
<v Speaker 4>inmit should.

1443
01:21:05.279 --> 01:21:07.600
<v Speaker 2>That's right, We are wrapping up Art House August with

1444
01:21:07.680 --> 01:21:11.159
<v Speaker 2>a look at Jean Pierre Melville's Army of Shadows. Until then,

1445
01:21:11.199 --> 01:21:14.479
<v Speaker 2>I want to think my co host Ellie and Nick. Nick,

1446
01:21:14.560 --> 01:21:15.920
<v Speaker 2>what's been keeping you busy lately?

1447
01:21:16.039 --> 01:21:16.199
<v Speaker 1>Sir?

1448
01:21:17.039 --> 01:21:21.640
<v Speaker 4>Actually I've begun to put a metaphorical pen to paper

1449
01:21:21.720 --> 01:21:25.640
<v Speaker 4>again and just finished a first chapter jil new book

1450
01:21:25.680 --> 01:21:29.239
<v Speaker 4>that I'm rather excited about because I was thinking did

1451
01:21:29.319 --> 01:21:32.039
<v Speaker 4>I have anything left to say? And it appears that

1452
01:21:32.159 --> 01:21:34.720
<v Speaker 4>maybe I have one last thing to write about, So

1453
01:21:35.359 --> 01:21:37.319
<v Speaker 4>I'm happy that's moving ash for me.

1454
01:21:37.680 --> 01:21:41.119
<v Speaker 2>Old man Nick, one last thing I have to say.

1455
01:21:41.159 --> 01:21:44.199
<v Speaker 2>You're not even sixty yet. Come on and Ellie, what's

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01:21:44.239 --> 01:21:44.840
<v Speaker 2>the latest with you?

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01:21:45.520 --> 01:21:48.720
<v Speaker 3>So I have my own film podcast call Somebody's Watching,

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01:21:49.000 --> 01:21:52.199
<v Speaker 3>which you can find on Instagram and Spottish Eye and

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01:21:52.279 --> 01:21:55.840
<v Speaker 3>anyplace else you listen to podcasts, And I also am

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01:21:56.039 --> 01:21:59.079
<v Speaker 3>the co director of the film festival called Final Girls

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01:21:59.159 --> 01:22:04.079
<v Speaker 3>Berlin's which is showcasing horror made by women and non

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01:22:04.119 --> 01:22:08.720
<v Speaker 3>binary filmmakers. Next year's our tenth edition, so pretty exciting,

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01:22:08.960 --> 01:22:12.239
<v Speaker 3>and submissions are open as anyone wants to submit a

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01:22:12.319 --> 01:22:14.920
<v Speaker 3>horror film or anything like that, very open to that.

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01:22:15.680 --> 01:22:17.760
<v Speaker 2>Well, thank you so much folks for being on the show.

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01:22:17.800 --> 01:22:19.720
<v Speaker 2>Thanks everybody for listening. If you want to hear more

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01:22:19.760 --> 01:22:21.279
<v Speaker 2>of me shooting off my mouth, check out some of

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01:22:21.319 --> 01:22:22.880
<v Speaker 2>the other shows that I work on. The are all

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01:22:22.920 --> 01:22:27.000
<v Speaker 2>available at weirdingwaymedia dot com. Thanks especially to our Patreon community.

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01:22:27.000 --> 01:22:29.520
<v Speaker 2>If you want to join the community, visit patreon dot

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01:22:29.600 --> 01:22:32.680
<v Speaker 2>com slash Projection Booth. Every donation we get helps the

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01:22:32.720 --> 01:22:34.600
<v Speaker 2>Projection Booth take over the world.

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<v Speaker 4>A I.

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<v Speaker 1>Am at the top in a flame of bail had