WEBVTT 1 00:00:05.120 --> 00:00:07.960 Old you is, folks, it's showtime. 2 00:00:08.679 --> 00:00:10.560 People pay good money to see this movie. 3 00:00:10.919 --> 00:00:12.160 When they go out to a theater. 4 00:00:12.439 --> 00:00:15.960 They want cold sodas, hot popcorn, and no monsters. 5 00:00:16.079 --> 00:00:20.440 In the protection booth, everyone pretend podcasting isn't boring, don 6 00:00:20.519 --> 00:00:20.879 it off? 7 00:01:00.920 --> 00:01:48.400 What Welcome to the projection booth. 8 00:01:48.400 --> 00:01:50.599 I'm here, Mike White joined me once again? Is mister 9 00:01:50.680 --> 00:01:54.519 rob Saint Mary Greetings. There's not a lot of lines 10 00:01:54.560 --> 00:01:55.560 to quote from this movie. 11 00:01:55.799 --> 00:01:59.280 No, And I was gonna say something horrible, but I 12 00:01:59.359 --> 00:02:01.719 decided I don't want to get hate mail. 13 00:02:02.159 --> 00:02:04.280 That's probably for the best. Also, back in the booth 14 00:02:04.400 --> 00:02:06.239 is the one who's getting the hate mail, Miss. 15 00:02:06.079 --> 00:02:10.520 Heather Edraid Oh boy Hattie. If I had a dollar 16 00:02:10.639 --> 00:02:13.039 for all the hate meil, I'd have some dollars. I'd 17 00:02:13.039 --> 00:02:16.280 me bind me a candy bar and a criterion copy 18 00:02:16.360 --> 00:02:17.560 of this amazing movie. 19 00:02:17.560 --> 00:02:21.439 Also Hello, Hello, We are kicking off Cheptember twenty twenty 20 00:02:21.439 --> 00:02:24.080 four with a classic of the check new wave yon 21 00:02:24.199 --> 00:02:27.960 Nemes Diamonds of the Night. Released in nineteen sixty four, 22 00:02:28.039 --> 00:02:31.560 The film was a groundbreaking piece of cinema based on 23 00:02:31.800 --> 00:02:37.120 Arnest Lustig's semi autobiographical novel Darkness Cast no shadow. The 24 00:02:37.159 --> 00:02:39.240 film is about the escape of two boys from a 25 00:02:39.280 --> 00:02:42.039 train carrying them to a death camp. The film works 26 00:02:42.080 --> 00:02:46.039 on several levels of past, present, and possible future, along 27 00:02:46.080 --> 00:02:50.039 with fantasy sequence, all mixed into one big movie via 28 00:02:50.159 --> 00:02:53.719 it's avant garde editing. We will be spoiling this film 29 00:02:53.759 --> 00:02:55.840 if that's possible, as we go along, so we don't 30 00:02:55.840 --> 00:02:58.879 want anything ruined. Please turn off the podcast, watch the 31 00:02:58.879 --> 00:03:01.560 criteria disc that Heather I was just talking about, and 32 00:03:01.759 --> 00:03:04.919 come on back. We will still be here. So Rob, 33 00:03:05.000 --> 00:03:06.800 was this a first time watch for you, sir? 34 00:03:07.360 --> 00:03:11.199 Yes, it was. I know that you've been doing your 35 00:03:11.599 --> 00:03:15.800 check series every year for many years, and having visited 36 00:03:16.759 --> 00:03:20.479 Czech Republic last year, which we'll talk about later. I 37 00:03:20.479 --> 00:03:23.199 think I may have said, hey, I've got some suggestions 38 00:03:23.199 --> 00:03:26.000 for you, and you said, how about we do this one? 39 00:03:26.039 --> 00:03:28.520 And I said that wasn't one of my suggestions, but 40 00:03:28.879 --> 00:03:33.080 it's still good. And what I like about watching this 41 00:03:33.120 --> 00:03:38.000 one is that it has a lot of aspects of 42 00:03:39.400 --> 00:03:43.560 just making you figure it out as you go. And 43 00:03:44.039 --> 00:03:48.159 this is not a film that is going to feed 44 00:03:48.199 --> 00:03:51.840 it to you on a spoon and expect you to 45 00:03:51.879 --> 00:03:54.960 lap it up and love it. But I think if 46 00:03:55.039 --> 00:04:00.639 you're into challenging work and interesting work and documentary style work. 47 00:04:01.000 --> 00:04:04.479 It really does a lot and talks about a very 48 00:04:04.520 --> 00:04:06.960 historical period, but it could be even broader than that, 49 00:04:07.400 --> 00:04:09.919 more existentially me That's why I liked it. 50 00:04:10.439 --> 00:04:12.000 Rob, You're gonna have to send me that list of 51 00:04:12.080 --> 00:04:14.080 movies you'd like to cover next year, as I set 52 00:04:14.159 --> 00:04:17.720 up the schedule for twenty twenty five, we'll do. Thank 53 00:04:17.759 --> 00:04:19.800 you and Heather, how about you? Had you seen this 54 00:04:19.839 --> 00:04:20.480 one before? 55 00:04:21.040 --> 00:04:23.360 No, this was the first time watch for me as well. 56 00:04:23.800 --> 00:04:26.319 In fact, I remember when I saw it on the list. 57 00:04:27.319 --> 00:04:30.040 It's one I'd heard of, and I was like, ooh, 58 00:04:30.120 --> 00:04:33.600 this is the perfect opportunity for me to dive in. 59 00:04:33.920 --> 00:04:38.079 And I was definitely not disappointed. And it's I love 60 00:04:38.240 --> 00:04:42.360 seeing a film that tackles something from recent history, especially 61 00:04:42.759 --> 00:04:44.959 but does it in a way that doesn't feel cheap. 62 00:04:45.120 --> 00:04:49.839 It doesn't feel like overly dramatic or Oscar Baby or 63 00:04:49.839 --> 00:04:53.639 anything like that. This is definitely something I think incredibly 64 00:04:53.720 --> 00:04:57.839 creatively pure and emotionally pure about this film and how 65 00:04:57.879 --> 00:04:58.600 it's presented. 66 00:04:59.319 --> 00:05:01.519 This was also first time watch for me too. This 67 00:05:01.720 --> 00:05:04.040 was one of those I'm kicking my own ass to 68 00:05:04.079 --> 00:05:07.240 watch this movie because it's supposed to be a classic, 69 00:05:07.600 --> 00:05:10.240 and everything I hear about it, oh, it's so great. 70 00:05:10.279 --> 00:05:10.720 It's so great. 71 00:05:10.759 --> 00:05:12.680 It's so great, you know what. It lived up to 72 00:05:12.720 --> 00:05:16.079 the hype. If anything, it exceeded the hype because I 73 00:05:16.360 --> 00:05:19.160 just knew two boys escaped from a train and then 74 00:05:19.199 --> 00:05:22.680 you follow them yawn. But the way that this is shot, 75 00:05:22.800 --> 00:05:25.360 the way it's put together, the editing. We're going to 76 00:05:25.399 --> 00:05:28.759 talk about the editing for sure, just everything about it. 77 00:05:28.759 --> 00:05:32.319 I was like, oh wow, I did not expect this, 78 00:05:32.519 --> 00:05:35.399 even just from that very first shot. When I talk 79 00:05:35.439 --> 00:05:39.160 about boys escaping from a train, you basically catch them 80 00:05:39.519 --> 00:05:43.199 mid motion in media res as they are jumping and 81 00:05:43.279 --> 00:05:47.000 going into this ditch and running up this hill. And 82 00:05:47.079 --> 00:05:50.040 you got the sound of these shots and these boys 83 00:05:50.120 --> 00:05:53.560 just trying their most to get away. You get really 84 00:05:53.600 --> 00:05:57.319 close to them. It's not handheld, and I saw how 85 00:05:57.360 --> 00:06:00.360 they shot this, which was amazing. But just the way 86 00:06:00.399 --> 00:06:02.879 that you're focusing in on these boys and just it 87 00:06:02.959 --> 00:06:06.160 is so cinema veritate with that, and then when they 88 00:06:06.240 --> 00:06:10.360 start to introduce fantasy aspects of it, it just really 89 00:06:10.399 --> 00:06:11.319 took my breath away. 90 00:06:12.000 --> 00:06:15.199 Oh you were in it. That's the thing that I 91 00:06:15.240 --> 00:06:19.439 really enjoy about this, and it really I think sets 92 00:06:19.439 --> 00:06:22.160 it off. Like you were saying, from the first shot, 93 00:06:22.720 --> 00:06:25.759 this is a movie that's this is where we're at, 94 00:06:25.879 --> 00:06:29.560 This is where we're going, and they're in the middle 95 00:06:29.560 --> 00:06:34.360 of a forest, and everything is so tight. It's so 96 00:06:34.560 --> 00:06:38.600 tight on their faces and it's I want you to 97 00:06:38.639 --> 00:06:40.959 be there with them. They don't show you the train, 98 00:06:41.079 --> 00:06:45.519 you don't see anyone running after them. Everything is soundtrack. 99 00:06:46.000 --> 00:06:51.439 Soundtracking here is so important to that psychological element of 100 00:06:51.680 --> 00:06:55.399 just making you live with them. They want you to 101 00:06:55.439 --> 00:07:02.319 be as scared and confused and just regulated, to put 102 00:07:02.319 --> 00:07:04.879 a better word on it, through this whole thing, and 103 00:07:05.079 --> 00:07:08.600 it's fantastic in the way that it does that with 104 00:07:08.639 --> 00:07:09.439 such economy. 105 00:07:10.160 --> 00:07:12.600 Yes, that's a beautiful way to put that. I love 106 00:07:12.600 --> 00:07:16.560 the economy the sound design, Chris. As you guys know, 107 00:07:16.720 --> 00:07:20.639 I am a massive sucker for when a director does 108 00:07:20.720 --> 00:07:24.160 that and has that attention and gives that because sound 109 00:07:24.240 --> 00:07:29.240 impacts everything, it can make or even break how powerful 110 00:07:29.279 --> 00:07:31.000 a film can be and how powerful scene could be. 111 00:07:31.360 --> 00:07:34.000 Just effect from the opening frame where you just have 112 00:07:34.199 --> 00:07:37.319 the stark black background and the white titles and all 113 00:07:37.319 --> 00:07:40.720 you're hearing is like a bell and that's really the 114 00:07:40.759 --> 00:07:44.120 closest thing we get to music and the whole film. 115 00:07:44.800 --> 00:07:48.680 And I love the fact that there's almost no dialogue. 116 00:07:48.720 --> 00:07:51.480 There's very little dialogue. I think it's sleep what the 117 00:07:51.480 --> 00:07:54.120 thirteen or fourteen minute mark that we finally hear a word. 118 00:07:54.920 --> 00:07:58.399 I love it because it's making you discomfort, like what 119 00:07:58.439 --> 00:08:02.680 you were saying, rob Like it's purposely putting you in 120 00:08:02.800 --> 00:08:05.879 this place where you're with these boys. These are kids, 121 00:08:06.639 --> 00:08:10.079 they're not like little kids that they're like teenagers. And 122 00:08:10.319 --> 00:08:14.160 I love it so much because I think sometimes, especially 123 00:08:14.399 --> 00:08:16.879 for us here in the States, you get so used 124 00:08:16.920 --> 00:08:21.879 to just this hollywoodification of everything, and especially if this 125 00:08:22.040 --> 00:08:24.959 is a serious movie, but then it almost feels that 126 00:08:25.120 --> 00:08:28.519 you're at the risk of cheapening emotions. With that kind 127 00:08:28.600 --> 00:08:31.160 of attention, it looks like anything in the right hands, 128 00:08:31.160 --> 00:08:34.159 you can do anything. But I love seeing something that 129 00:08:34.279 --> 00:08:37.840 was just so, this is this director's vision, and he 130 00:08:38.039 --> 00:08:40.960 is not giving you any comfort, because this is a 131 00:08:41.120 --> 00:08:43.720 story that doesn't warrant comfort. If you add any comfort 132 00:08:43.759 --> 00:08:46.879 to it, then you're robbing the power. And you're also 133 00:08:47.440 --> 00:08:51.600 doing a huge disservice to these characters and their situation. 134 00:08:52.000 --> 00:08:56.679 And the nonlinear aspect in which we really brings us 135 00:08:56.679 --> 00:08:58.840 in thinking that we're in real time and we very 136 00:08:59.039 --> 00:09:03.000 may well could in real time. We very may That 137 00:09:03.279 --> 00:09:07.840 is the main stock of the story is that, but 138 00:09:08.399 --> 00:09:14.159 slowly these and they start. They're rather short to begin with, 139 00:09:14.799 --> 00:09:18.679 the flashback pieces, and so there's a flashback of them 140 00:09:18.799 --> 00:09:24.240 jumping onto the street car, and then there's other flashbacks 141 00:09:24.240 --> 00:09:29.399 that come in, and it forces you as a viewer 142 00:09:29.960 --> 00:09:33.720 to consider when is this, was this just before? Was 143 00:09:33.720 --> 00:09:37.080 this five years ago? When was this? And what does 144 00:09:37.120 --> 00:09:40.720 this mean up against what we just saw? And the 145 00:09:40.759 --> 00:09:44.279 thing with those flashbacks is that when he does them, 146 00:09:44.320 --> 00:09:47.879 he doesn't really call attention to them so much. For example, 147 00:09:48.600 --> 00:09:53.399 cliche dream sequences in film, Oh it gets fuzzy around 148 00:09:53.440 --> 00:09:56.000 the edges, or we've shifted from black and white to color. 149 00:09:56.120 --> 00:09:58.799 The whole films in black and white, but anyway it 150 00:09:59.000 --> 00:10:02.320 shifts in some way. There's none of that. It's just here, 151 00:10:02.759 --> 00:10:05.080 have this image and deal with it, and then we're 152 00:10:05.080 --> 00:10:06.639 going to go to some other image. 153 00:10:07.159 --> 00:10:12.799 Those flashbacks or fantasy sequences, they are slightly overexposed sometimes 154 00:10:12.840 --> 00:10:16.080 but not too much. But the way that you can 155 00:10:16.159 --> 00:10:18.399 tell that they're more fantasy than real because you get 156 00:10:18.399 --> 00:10:21.480 to see them like hopping onto a tram and taking 157 00:10:21.480 --> 00:10:24.879 a tram across the city. But they're wearing these jackets 158 00:10:24.879 --> 00:10:27.360 that have a big KL on the back, and you 159 00:10:27.399 --> 00:10:29.759 see them as soon as the movie opens, when they're 160 00:10:30.440 --> 00:10:33.240 landing on the ground. They strip themselves on these jackets 161 00:10:33.279 --> 00:10:37.320 and they're very, very conspicuous in the KL on the back. 162 00:10:37.399 --> 00:10:38.919 I had to look it up because I didn't know. 163 00:10:38.960 --> 00:10:41.320 I was just like, just like a brand, or what 164 00:10:41.440 --> 00:10:44.240 are they? Why are they wearing this? And no, no, 165 00:10:44.320 --> 00:10:47.000 it's not like some sort of hip brand or anything. 166 00:10:47.000 --> 00:10:54.200 It's actually an abbreviation for and forget my pronunciation, Concentracian slager, 167 00:10:54.240 --> 00:10:58.000 which is German for concentration camp. So they're marked right there. 168 00:10:58.320 --> 00:11:01.200 And then you're like, oh, all of these sequences they 169 00:11:01.240 --> 00:11:04.720 have these jackets on, So is this the past but 170 00:11:04.840 --> 00:11:08.679 that now colored with their experience of going to the camps? 171 00:11:09.320 --> 00:11:12.840 Or is there just pure fantasy of these two guys 172 00:11:13.000 --> 00:11:15.960 enjoying their day and hopping on this tram because you 173 00:11:16.000 --> 00:11:18.600 also get to see them on a train later on, 174 00:11:19.279 --> 00:11:22.679 and I guess the one kid is eating a pine cone? 175 00:11:22.879 --> 00:11:23.399 Is that right? 176 00:11:23.519 --> 00:11:25.440 It just I kept trying to figure out what he 177 00:11:25.600 --> 00:11:28.720 was chewing on, but he seems desperately hungry. In some 178 00:11:28.759 --> 00:11:29.879 of those scenes. 179 00:11:30.279 --> 00:11:33.159 With the tram, it looks like a regular street As 180 00:11:33.200 --> 00:11:34.679 a matter of fact, I said, I was in frag 181 00:11:34.759 --> 00:11:37.440 and it looks like it was by the castle gate 182 00:11:37.519 --> 00:11:42.320 there at Charles River Bridge and they hop on there. 183 00:11:42.360 --> 00:11:45.240 But then it takes on this other element where it 184 00:11:45.279 --> 00:11:47.840 looks burned out and there's nothing, there's no one in it. 185 00:11:48.159 --> 00:11:50.120 And then they show you the same shot again later 186 00:11:50.639 --> 00:11:53.039 and it's just a regular streetcar and people are on 187 00:11:53.120 --> 00:11:57.000 it on a regular day. So he has this also 188 00:11:57.080 --> 00:12:01.919 recurring image use that recn and textualizes it where it's okay, 189 00:12:02.080 --> 00:12:07.080 is this fantasy, is this reality? Is this documentary of 190 00:12:07.600 --> 00:12:11.600 what they were doing days before or years before? But 191 00:12:11.879 --> 00:12:16.080 you really get the sense of with them, even within 192 00:12:16.519 --> 00:12:19.159 the context of them being on the street car and 193 00:12:19.200 --> 00:12:21.759 it's quote unquote normal, there's still others. There's still this 194 00:12:22.320 --> 00:12:27.519 feeling of they're the outsiders, that they're people are looking 195 00:12:27.559 --> 00:12:28.440 at them weird. 196 00:12:28.759 --> 00:12:32.960 Well, they passed by those younger Nazis, and those Nazis 197 00:12:33.039 --> 00:12:35.559 look like they're younger than these kids are. They look 198 00:12:35.639 --> 00:12:37.720 like they're fourteen, fifteen years old. 199 00:12:38.480 --> 00:12:41.120 Yeah, and they're smiling and chatting with each other, and 200 00:12:41.879 --> 00:12:44.720 I thought of all the visual choices that stuck out 201 00:12:44.759 --> 00:12:47.600 with me, the use of ants. 202 00:12:46.960 --> 00:12:49.120 Oh yeah, I'm as soon as I saw that, I 203 00:12:49.159 --> 00:12:50.799 was like, oh, Rob must be happy. This is a 204 00:12:50.879 --> 00:12:51.440 total boon. 205 00:12:51.480 --> 00:12:54.879 Well left, yeah completely, and the fact that it comes 206 00:12:54.919 --> 00:12:57.919 back too, that we have for repetition of it, and 207 00:12:57.919 --> 00:13:01.039 it even just yeah, especially when it comes back. It's 208 00:13:01.559 --> 00:13:05.519 very surrealist the way it's executed, which of course I love. 209 00:13:06.240 --> 00:13:10.200 But the choice of having the most sinister humans in 210 00:13:10.240 --> 00:13:12.519 this film, it's necessarily the two because you're right, the 211 00:13:12.519 --> 00:13:15.519 two actual Nazis. We see the Swasa because they're kids, 212 00:13:15.799 --> 00:13:19.320 and that's honestly, that's the reality. People got drafted. I 213 00:13:19.320 --> 00:13:23.879 think we're so used to seeing the classic Stern villain. Obviously, 214 00:13:23.919 --> 00:13:27.399 the Nazis party terrible. Obviously there's no argument on that. 215 00:13:27.639 --> 00:13:30.039 But let time you just get these kids and get drafted. 216 00:13:30.720 --> 00:13:33.480 Does inside let the record reflect, I did not mention 217 00:13:33.559 --> 00:13:33.879 the name. 218 00:13:34.320 --> 00:13:36.919 Oh yes, no, no one's taking a drink because you 219 00:13:36.960 --> 00:13:39.759 didn't get to say it yet, So keep an here 220 00:13:39.840 --> 00:13:45.799 out for that people at home, be word, yes, Robie 221 00:13:46.159 --> 00:13:48.600 drinking game that he has. 222 00:13:48.039 --> 00:13:52.720 But when you were talking about the youngest Nazis is 223 00:13:53.320 --> 00:13:57.000 at the opposite end, you have the oldest men who 224 00:13:57.039 --> 00:14:00.799 are like the militia, the hunt party who or after them. 225 00:14:01.480 --> 00:14:04.720 And one of the things that I really like about 226 00:14:04.720 --> 00:14:07.679 what they do in here, and I wonder if this 227 00:14:07.799 --> 00:14:10.960 was the director's choice to do this or if it 228 00:14:11.159 --> 00:14:14.480 was just the way that it was released, is that 229 00:14:15.159 --> 00:14:19.600 there's no subtitles on any of the other dialogue. It's 230 00:14:19.720 --> 00:14:23.759 mostly the subtitle is on their dialogue. Anyone in kind 231 00:14:23.759 --> 00:14:26.600 of the outside world is not subtitled, So there is 232 00:14:26.639 --> 00:14:30.799 this kind of I don't understand what they're saying or 233 00:14:31.840 --> 00:14:35.120 so I guess that as an element of your them 234 00:14:35.559 --> 00:14:38.000 and you would be in these scenarios where if you 235 00:14:38.000 --> 00:14:41.399 didn't speak German, or you didn't speak whatever the language was, 236 00:14:41.919 --> 00:14:44.639 you would have felt as out. So they want the 237 00:14:44.720 --> 00:14:47.320 audience to feel as out in that way too. 238 00:14:48.080 --> 00:14:50.440 Right before I came down to record this episode, I 239 00:14:50.519 --> 00:14:53.360 was just putting the finishing touches on the episode about 240 00:14:53.399 --> 00:14:56.639 Chris Pettit's radio on and that has a lot of 241 00:14:56.679 --> 00:14:59.919 German ties to it. Vin Vendors was an associate producer 242 00:15:00.639 --> 00:15:03.159 and there are a lot of German characters in that 243 00:15:03.360 --> 00:15:05.759 and none of them are subtitled either, So you do 244 00:15:05.879 --> 00:15:09.559 get that I'm on the outs thing that these characters have, 245 00:15:09.639 --> 00:15:14.039 because yeah, anytime anyone speaking German, they're not subtitled, nor 246 00:15:14.080 --> 00:15:17.399 would these kids understand it. So you just feel like 247 00:15:17.480 --> 00:15:20.879 they do where you're being attacked by these old men. 248 00:15:20.919 --> 00:15:23.000 And it's funny because by the end of the war 249 00:15:23.120 --> 00:15:26.519 I think it was just old men and young kids 250 00:15:26.559 --> 00:15:28.840 that were left. And I don't know if this reflects 251 00:15:28.879 --> 00:15:32.200 that with the young and they almost look like SS 252 00:15:32.200 --> 00:15:36.799 officers versus that old man group. And it could also 253 00:15:36.879 --> 00:15:40.279 be this is nineteen sixty four, this comes out. This 254 00:15:40.360 --> 00:15:43.759 could also be the hey, the youth have it going 255 00:15:43.840 --> 00:15:47.039 on and these old people are trying to keep us 256 00:15:47.080 --> 00:15:49.600 down kind of thing, because those old people, they just 257 00:15:49.639 --> 00:15:52.200 they're having the best time after they go out and 258 00:15:52.320 --> 00:15:54.399 go for a hunt and then they get to come 259 00:15:54.440 --> 00:15:56.759 back to this big empty hall with all of this 260 00:15:57.000 --> 00:15:58.960 that tried us all over and they just get to 261 00:15:59.360 --> 00:16:02.279 drink beer and sing and dance and they're having a 262 00:16:02.320 --> 00:16:07.279 good old time, which just goes against what you see 263 00:16:07.320 --> 00:16:10.200 these two boys standing with their faces against the wall 264 00:16:10.240 --> 00:16:12.720 and their hands up the entire time, and just what 265 00:16:12.799 --> 00:16:14.159 a stark contrast. 266 00:16:14.919 --> 00:16:18.279 And for me, again, this is another film with dancing Nazis. 267 00:16:18.279 --> 00:16:20.120 So you can add this one to Salo, you can 268 00:16:20.120 --> 00:16:22.360 add this one to the Damned if you really love 269 00:16:22.519 --> 00:16:25.639 dancing Nazis. It's another film to put in your catalog 270 00:16:25.679 --> 00:16:27.919 of dancing Nazi films. I don't know why they always 271 00:16:27.960 --> 00:16:29.279 hip dancing Nazis. 272 00:16:29.879 --> 00:16:32.639 That's a micro shot or people that talk about enough. 273 00:16:32.759 --> 00:16:34.759 I'm going to put my proposal together and see if 274 00:16:34.799 --> 00:16:36.559 i can get a book deel on that one. 275 00:16:36.759 --> 00:16:38.960 Also, you've got the guy who is in the concentration 276 00:16:39.080 --> 00:16:42.039 camp that dances for Dick Bogart in night Porter. But 277 00:16:42.120 --> 00:16:44.720 I think Dick Bogart also has a slow dance with 278 00:16:44.919 --> 00:16:47.639 the Charlotte Rampling too true. 279 00:16:48.000 --> 00:16:50.320 I hate these guys now. 280 00:16:50.559 --> 00:16:53.360 That was something I found such fascinating. Choice is that 281 00:16:53.759 --> 00:16:56.080 the real villains of this piece are these old men. 282 00:16:56.120 --> 00:17:01.559 It's not the actual literal Nazis, but these old, disgusting, 283 00:17:02.720 --> 00:17:05.640 hateful I don't think I have seen a more hateful 284 00:17:05.799 --> 00:17:09.559 village since al Topo. It actually a lot of times 285 00:17:09.559 --> 00:17:11.359 with the hunting and the weapons made me think of 286 00:17:11.400 --> 00:17:14.759 the ending of al Topo and just how grotesque and 287 00:17:14.880 --> 00:17:20.160 needlessly horrible, absolutely needlessly horrible. And you could read a 288 00:17:20.160 --> 00:17:26.480 lot into the problems of tribalism, and just some just 289 00:17:26.799 --> 00:17:29.680 there's so many pockets of humanity that don't even need 290 00:17:29.720 --> 00:17:33.839 to be fed too much propaganda, to be pushed very 291 00:17:33.880 --> 00:17:39.720 easily into being the absolute worst aspect of themselves. Seeing 292 00:17:39.799 --> 00:17:46.759 these horrible human beings hick at a chicken carcass eating sausage. 293 00:17:47.240 --> 00:17:51.200 Good lord, this makes it La grand bou look like 294 00:17:51.359 --> 00:17:52.400 a fantage. 295 00:17:53.440 --> 00:17:56.480 It's just a normal day in frankenmosh good as zenders, 296 00:17:56.519 --> 00:18:00.200 you'll see the same thing. Sorry, just a horrible as 297 00:18:00.200 --> 00:18:04.519 you can reference. Worse than watching them eat is hearing 298 00:18:04.599 --> 00:18:08.920 them eat. That lip smacking noise was driving me crazy. 299 00:18:09.240 --> 00:18:14.000 And just you talk about that emphasis on audio, and 300 00:18:14.079 --> 00:18:18.079 I'm curious. I doubt any audio was shot on set. 301 00:18:18.240 --> 00:18:21.400 I imagine this was all post sounds. So all of 302 00:18:21.400 --> 00:18:25.000 this soundscape is very well crafted. The sound of the 303 00:18:25.000 --> 00:18:28.079 branches as they're going through the forest, the sound of 304 00:18:28.119 --> 00:18:31.240 the gunshots that are going off, the sounds of the tram. 305 00:18:31.559 --> 00:18:33.599 But yeah, when they get to that end part and 306 00:18:33.640 --> 00:18:37.119 you're just those guys eating, oh it is a little 307 00:18:37.119 --> 00:18:40.960 cross friend. They just and they're having such a good time. 308 00:18:41.039 --> 00:18:43.559 And the reason why I say it looks post dubbed 309 00:18:43.599 --> 00:18:46.000 is because there's a lot of times where mouths are moving, 310 00:18:46.119 --> 00:18:49.440 words aren't coming out, and just it sounds that way. 311 00:18:50.200 --> 00:18:53.160 It's so disgustingly executed. You literally you almost feel like 312 00:18:53.200 --> 00:18:55.880 they're spitting in your faith, like this spittle. It's like 313 00:18:55.920 --> 00:18:58.839 having to sit next to a really gross relative at 314 00:18:58.880 --> 00:19:02.160 a family table. Yea who in addition to telling you 315 00:19:02.240 --> 00:19:06.240 their garbage opinions on the youth of today and political 316 00:19:06.279 --> 00:19:09.079 affairs and how they're going to vote, they're also like 317 00:19:09.240 --> 00:19:14.400 basically filating a turkey leg and as they're gnawing our cartilage. 318 00:19:14.480 --> 00:19:17.720 That's how it felt. It is, and they're already repugnant 319 00:19:17.720 --> 00:19:19.359 because I think ikept thinking about two is these poor 320 00:19:19.440 --> 00:19:23.279 kids that have been starving, Like when we finally see them, 321 00:19:23.279 --> 00:19:25.160 the one time we see them get deep real food 322 00:19:25.319 --> 00:19:29.759 like bread, they start spinning up blood. These poor children 323 00:19:30.200 --> 00:19:33.680 that are suffering needlessly, and they're having to be in 324 00:19:33.680 --> 00:19:39.640 the room with these disgusting, loud, drunk Bavarians. And that's 325 00:19:39.680 --> 00:19:43.680 that all Bavarians obviously come on, but like these horrible people, 326 00:19:44.079 --> 00:19:46.480 and they could smell the cooked food that they probably 327 00:19:46.559 --> 00:19:52.839 had longer. Just how horrible that is. And ugh, it's amazing. 328 00:19:53.000 --> 00:19:56.119 That's duty of filmmaking, though, Like we didn't have to 329 00:19:56.160 --> 00:20:00.839 have any snidely whiplash moments, just the economy the earlier. 330 00:20:00.880 --> 00:20:01.920 I love that use of that word. 331 00:20:02.640 --> 00:20:04.799 And for me, all of this comes out of the 332 00:20:04.839 --> 00:20:07.920 fact of how they set this thing up in that 333 00:20:08.480 --> 00:20:10.599 because it is so quiet in the beginning, it makes 334 00:20:10.599 --> 00:20:14.000 you lean in, it makes you pay attention. When they 335 00:20:14.200 --> 00:20:16.279 work the sound the way that they do, it's just 336 00:20:16.359 --> 00:20:20.720 even more overly intimate. For lack of a better as 337 00:20:20.720 --> 00:20:23.680 they were talking about all the eating, but can we 338 00:20:23.759 --> 00:20:27.319 talk about when they get that opportunity to eat? And 339 00:20:29.079 --> 00:20:32.720 I was really thrown off and then it shifted on me. 340 00:20:33.079 --> 00:20:35.319 And what I mean by that is the boys are 341 00:20:35.319 --> 00:20:37.880 in the forest and one of them goes, I'm gonna 342 00:20:37.880 --> 00:20:40.640 go over that house and I'm gonna get something because 343 00:20:40.680 --> 00:20:41.920 they're like, when do we eat? And I don't know. 344 00:20:41.920 --> 00:20:44.359 It's been days, last time week. So he goes over 345 00:20:44.440 --> 00:20:47.920 this farmhouse and there's a woman there, and through a 346 00:20:48.000 --> 00:20:52.559 series of different interactions and repeated interactions, they're like, it's 347 00:20:52.599 --> 00:20:56.920 almost looping. He gets bread. At one point there's a 348 00:20:57.119 --> 00:20:59.960 suggestion that maybe he sleeps with her. There's a suggestion 349 00:21:00.039 --> 00:21:02.839 at one point and maybe he kills her. There's just 350 00:21:03.279 --> 00:21:08.400 multiple looping in this scene that I think that's the 351 00:21:08.440 --> 00:21:10.200 scene for me, at least when I was watching it, 352 00:21:10.200 --> 00:21:14.960 where I go, Okay, this is no longer linear with splashback. 353 00:21:15.160 --> 00:21:20.559 This is something that is almost internal, and I don't 354 00:21:20.599 --> 00:21:23.160 know whose internal it is. Is it the kid who's 355 00:21:23.200 --> 00:21:26.480 in the room, is it someone else? What is it 356 00:21:26.480 --> 00:21:28.559 they're trying to tell us Nip, because it seems at 357 00:21:28.559 --> 00:21:29.519 that point things shift. 358 00:21:30.200 --> 00:21:33.640 For me, My interpretation is that it is Drew. He 359 00:21:33.839 --> 00:21:39.319 is the character's name or antonin Comberra, the darker complexed 360 00:21:39.559 --> 00:21:40.119 of the two. 361 00:21:40.440 --> 00:21:40.640 God. 362 00:21:40.920 --> 00:21:44.599 He's really orgeous, this kid, and I feel like that's 363 00:21:44.799 --> 00:21:48.759 his fantasies? What should I do? Should I murder her? 364 00:21:48.799 --> 00:21:51.039 Should I rape her? I wouldn't say that they sleep together. 365 00:21:51.079 --> 00:21:53.039 It felt much more like a rape to me. I 366 00:21:53.039 --> 00:21:56.000 don't know or at least one of those should What 367 00:21:56.039 --> 00:21:58.519 should I do with this person? And can I get 368 00:21:58.559 --> 00:22:00.960 what I want? Which is that bread right there? And 369 00:22:01.000 --> 00:22:03.640 the way that she cuts those thick, thick slices of bread. 370 00:22:03.680 --> 00:22:06.200 I'm just like, oh man, that looks fantastic. 371 00:22:06.920 --> 00:22:09.119 And at the same time I couldn't figure out if, 372 00:22:10.039 --> 00:22:13.839 like where they were like, is she also an outsider 373 00:22:13.880 --> 00:22:16.119 because I can't remember if she says something to him 374 00:22:16.200 --> 00:22:16.440 or not. 375 00:22:16.960 --> 00:22:19.559 I think she's the farmer's wife. I think that that's 376 00:22:19.599 --> 00:22:22.559 how they find her, as they see the farmer plowing 377 00:22:22.640 --> 00:22:25.079 the field and she comes and brings him lunch, and 378 00:22:25.160 --> 00:22:27.359 so they figure that they have to have food, so 379 00:22:27.519 --> 00:22:28.640 they follow her back. 380 00:22:29.279 --> 00:22:30.319 Yeah, but you. 381 00:22:30.319 --> 00:22:32.279 Did it to see a woman who looks like she's 382 00:22:32.279 --> 00:22:34.960 in the city though sometimes and she's up in a window. 383 00:22:35.400 --> 00:22:37.240 Do you know who I'm talking about and looks like 384 00:22:37.359 --> 00:22:37.960 the same woman? 385 00:22:38.200 --> 00:22:41.680 Yeah, yeah, yeah, yeah. I noticed that you have a 386 00:22:41.720 --> 00:22:44.839 lot of flashbacks where some of the flashbacks do seem 387 00:22:44.960 --> 00:22:48.319 a bit like you're not entirely sure, You're like, is 388 00:22:48.359 --> 00:22:51.480 this reality? But it's also if you're in that kind 389 00:22:51.519 --> 00:22:56.039 of extremity of a situation, memory is going to get 390 00:22:56.079 --> 00:22:59.559 really weird. I think memory in the vist lush cush 391 00:22:59.640 --> 00:23:03.880 circum stances without stressed human memories already gets a little faulty. 392 00:23:03.960 --> 00:23:06.400 Kid's a little loosey cocy sometimes a lot of times 393 00:23:06.440 --> 00:23:08.559 I don't even intentionally, but then you're in this extreme 394 00:23:08.599 --> 00:23:11.960 situation and there are times we are almost like this 395 00:23:12.000 --> 00:23:15.200 could almost be like not a hallucination, but where your 396 00:23:15.240 --> 00:23:19.839 brain gets in that state because they're starving, they are exhausted, 397 00:23:19.880 --> 00:23:22.920 they are running on probably one hundred percent anxiety. Anybody's 398 00:23:22.880 --> 00:23:26.920 got a panic attack knows how horrible that feeling is. 399 00:23:26.960 --> 00:23:29.640 I can't imagine having to basically be running on that 400 00:23:29.680 --> 00:23:33.079 feeling and the absolute one of the worst circumstances of 401 00:23:33.119 --> 00:23:36.119