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<v Speaker 1>Thanks for tuning in to another show in the next

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<v Speaker 1>real family of film podcasts, I.

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<v Speaker 2>Want to skip those ads and get early access.

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<v Speaker 3>Become a member at true story dot fm, slash Joint

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<v Speaker 3>and discover all the other great perks that come with it.

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<v Speaker 2>Exterior a moderately obscure European airstrip day. The camera dollies passed,

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<v Speaker 2>a series of neatly arranged suitcases, a broken harmonium, and

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<v Speaker 2>a pigeon holding a classified microfilm in its beak. We

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<v Speaker 2>hear the narrator. The film board gathers. This week a

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<v Speaker 2>gang of thugs don their finest pastels to unravel the

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<v Speaker 2>Phoenician scheme.

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<v Speaker 4>Back this moment, rescue workers are laboring to recover and

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<v Speaker 4>identify the remains of Jaja Korda, international businessman maverick in

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<v Speaker 4>the fields of armaments and aviation, among the richest men

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<v Speaker 4>in Europe. This was Corda's sixth recorded airplane crash. He

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<v Speaker 4>is survived by ten children, boys, one nun, his daughter Lisa.

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<v Speaker 1>I've appointed you sole heir to my estate, which you

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<v Speaker 1>may come into sooner rather than later.

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<v Speaker 4>Why it's been six years since our last meeting.

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<v Speaker 1>I have my reasons, which are what my reasons I'm

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<v Speaker 1>not saying I'm saying.

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<v Speaker 4>I'm not saying, Quarter our land and sea, Phoenician infrastructure scheme,

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<v Speaker 4>my most important project of my lifetime. Our objective disrupting, obstructing, impeding,

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<v Speaker 4>crippling quarters enterprise in any manner possible.

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<v Speaker 2>Get the hand grenades.

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<v Speaker 1>Today, tonight, and tomorrow.

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<v Speaker 4>We're rendezvous with every titan and pretend we agree what

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<v Speaker 4>we already agreed, but in fact we don't.

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<v Speaker 1>We can call it heads heads is it supposed to

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<v Speaker 1>be here? Who was under the lunch? Oh dear, we'll

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<v Speaker 1>shut you terros from out of town. Help yourself to

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<v Speaker 1>a heliday.

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<v Speaker 4>You're very kind. Could you imagine falling in love with

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<v Speaker 4>a manliney by the ray? Not pathetically?

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<v Speaker 1>You're drunk on three beers. Why are you shooting my silly?

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<v Speaker 1>This is a robbery on behalf of I understand that

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<v Speaker 1>I'm asking about my sily.

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<v Speaker 2>You idiots are destroying a magnificent lightclock in the spring

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<v Speaker 2>of a year that could be nineteen sixty three or

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<v Speaker 2>twenty twenty five, depending on one's taste. In Lapel with

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<v Speaker 2>a man named Anatole Korda call him Jaja, boarded a

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<v Speaker 2>luxury aircraft bound for divine reconciliation. The plane crashed, his

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<v Speaker 2>soul did not. What followed was a spiritual espionage caper

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<v Speaker 2>involving one nun, one bug collector, something like twelve failed assassins,

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<v Speaker 2>and possibly God himself. Brian Doyle, Murray's father's son. Tonight

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<v Speaker 2>on the film board, we unpacked the Phoenicia Scheme, the

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<v Speaker 2>latest addition to the Wes Anderson Cinematic diorama. We'll ask

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<v Speaker 2>is this a caper, a confession, or an elaborately constructed

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<v Speaker 2>dream about guilt and redemption? And how many Pastel duffelbags

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<v Speaker 2>does one arms dealer really need? Sitting patiently against an

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<v Speaker 2>undecorated pink wall, waiting patiently for whatever comes next. I

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<v Speaker 2>welcome Tommy Mets the third Tonight. He's here to help

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<v Speaker 2>us decode the emotional frequencies of Michael Sarah's accent and

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<v Speaker 2>determine whether Benicio del Toro can in fact act with

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<v Speaker 2>just his nostrils. Welcome Tommy, it.

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<v Speaker 1>Is an absolute pleasure to be here.

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<v Speaker 2>And Steve Sarmento, equal parts philosopher and puzzlebox technician. Steve

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<v Speaker 2>Sarmento spends his spare time diagramming narrative symmetry with a

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<v Speaker 2>fountain pen. He's here to explain why the Phoenician scheme

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<v Speaker 2>is actually a morality play disguised as an Air France

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<v Speaker 2>safety video.

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<v Speaker 3>Welcome Steve, good evening, help yourself to a hand grenade.

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<v Speaker 2>You can't do You can't do that long like that

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<v Speaker 2>whole bit, you can't. It turns out human beings have

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<v Speaker 2>more emotion than I think Wes Anderson can do an attack. Hi,

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<v Speaker 2>what a what a fun opportunity. We have to talk

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<v Speaker 2>about our first, our first Wes Anderson film on the show.

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<v Speaker 2>Why have we never done Wes Anderson?

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<v Speaker 1>Yeah? Why is that?

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<v Speaker 2>It's JJ's fault? And JJ was supposed to be here

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<v Speaker 2>to interest help us resolve this conundrum, but got sick,

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<v Speaker 2>and so it is us carrying the torch of Wes Anderson.

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<v Speaker 2>Can we start with a little table setting? Where do

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<v Speaker 2>we stand on the films of Wes Anderson? Steve there.

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<v Speaker 3>I think the best comparison I can make is to

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<v Speaker 3>like a very light and sweet dessert. It's something that

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<v Speaker 3>you enjoy while you have it. In ten minutes you've forgotten.

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<v Speaker 3>Remember it was good, but it's gone and there's nothing

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<v Speaker 3>enough to stay with you and you will go back

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<v Speaker 3>for more, but still be just as unsatisfied. Shortly thereafter, Ouch,

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<v Speaker 3>I think, ouch, but maybe I didn't feel the sting Tom.

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<v Speaker 1>I have not seen a lot of them. I saw

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<v Speaker 1>a bottle rocket, I saw Rushmore, I saw the Royal Tenenbaums,

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<v Speaker 1>and then at some point I just sort of stopped

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<v Speaker 1>going and they kept coming, and the cast got bigger

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<v Speaker 1>and the colors got brighter. But I just didn't and

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<v Speaker 1>I don't know why. I saw an Asteroid City Asteroid

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<v Speaker 1>City last year, two years ago, whenever it was I

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<v Speaker 1>really enjoyed that, and much like this movie. Yes, I

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<v Speaker 1>agree with Steve that it is a beautiful situation, and

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<v Speaker 1>I love seeing it in the theater, and by the

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<v Speaker 1>time I'm in my car, I'm starting to forget large

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<v Speaker 1>parts of it. That being said, having really enjoyed the experience.

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<v Speaker 2>That may make it difficult to talk critically about the

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<v Speaker 2>film that we just saw, don't you think a little bit,

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<v Speaker 2>because I'm in that same space. I walked out of

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<v Speaker 2>the theater, and I know I didn't go to sleep

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<v Speaker 2>during the movie, but I felt like I had just

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<v Speaker 2>awoken from a dream. Like the whole thing feels so

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<v Speaker 2>much like a dreamscape, and it's that sort of ephemeral too, right,

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<v Speaker 2>It's like the images are there and then they're not,

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<v Speaker 2>because I might have dreamed something very much like this,

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<v Speaker 2>Like when I dream, it's very much top down camera

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<v Speaker 2>over a bathroom, and that I find comforting to the

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<v Speaker 2>point that I'm I'm lulled to a sense of calm

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<v Speaker 2>and comfort and that the memories don't stick. So it's

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<v Speaker 2>interesting to talk about. I think I'm probably on the maybe,

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<v Speaker 2>just judging by how you talk about it, I'm on

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<v Speaker 2>the deeper end of Wes Anderson. I'm a big Wes

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<v Speaker 2>Anderson fan. I loved Bottle Rocket and Rushmore and ten

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<v Speaker 2>and Bounds. I hated for some reason, Steve's Easy The

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<v Speaker 2>Life Aquatic. I hated it. I don't know why, and

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<v Speaker 2>it's it's so irrational that I feel like I need

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<v Speaker 2>to watch it again because I really struggled with it.

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<v Speaker 2>But Darjeeling Limited, I didn't care for Fantastic Mister Fox either.

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<v Speaker 2>Apparently that should be growing on me. I need to

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<v Speaker 2>watch that again the rest of them. With the I

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<v Speaker 2>have not seen The Wonderful World of Henry Sugar on Netflix,

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<v Speaker 2>but the rest of them I've seen and deeply appreciate,

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<v Speaker 2>and I love the experience of watching them because the

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<v Speaker 2>level of precision in the art and craft of this

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<v Speaker 2>filmmaker is extraordinary. It is extraordinary. So I feel like,

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<v Speaker 2>whatever we think of the film, man, is there a

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<v Speaker 2>lot to appreciate about this guy and the attentiveness he

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<v Speaker 2>puts to his film. So all of that said, why

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<v Speaker 2>the Phoenician scheme? What did you? How did the movie?

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<v Speaker 2>Let's do our opening thoughts, initial thoughts on the film?

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<v Speaker 1>How?

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<v Speaker 2>I mean, however much you remember? What did you think?

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<v Speaker 3>There was more to this one for me to hold

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<v Speaker 3>on to than Asteroid City, which I did not enjoy

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<v Speaker 3>that much. One of my favorites of his is Dargene Limited.

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<v Speaker 3>I think there's a lot for me the grasp ound

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<v Speaker 3>of this one and this one I felt like there

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<v Speaker 3>was a through line that I could hold on to

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<v Speaker 3>that there hasn't been in some of the previous ones.

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<v Speaker 3>And maybe it's that that mid century, you know, titans

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<v Speaker 3>of industry versus the government type of thing. I got

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<v Speaker 3>the sense of the self made man that's that's out

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<v Speaker 3>there to accomplish something and now faces a bit of

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<v Speaker 3>a crisis. Moment with you know, the assassinations and his

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<v Speaker 3>bringing his daughter into the fold, trying to build the

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<v Speaker 3>relationship with her, And I thought, okay, I it's not

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<v Speaker 3>that I can relate to this guy, but I get

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<v Speaker 3>a sense of what he's trying to accomplish. There's still

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<v Speaker 3>a lot of, you know, things that I can't explain

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<v Speaker 3>what the gap is. I don't know what the whole

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<v Speaker 3>scheme is. I know there's there's something. There's the trans

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<v Speaker 3>monument or the trans Mountain or the trans Oceanic. There's

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<v Speaker 3>all kinds of things coming together as part of his

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<v Speaker 3>big plan. Don't ask me to explain it. I don't

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<v Speaker 3>think I can. I don't think it matters. There's a

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<v Speaker 3>lot of talk about things that I don't think. There

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<v Speaker 3>are a lot of mcguffins all over the place to

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<v Speaker 3>just keep things moving. But I'm not bored by it.

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<v Speaker 3>I went along with the ride. I had fun. There's

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<v Speaker 3>there's quirky characters, but there's a consistency to them, and

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<v Speaker 3>it was enjoyable. And I thought it was we have

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<v Speaker 3>a character that could carry the story well in this one.

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<v Speaker 3>And I think that's the thing that was the strength

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<v Speaker 3>for me, is that I've got a character that I'm

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<v Speaker 3>interested in, so that when we get to the final

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<v Speaker 3>confrontation at the end, there was there was something to

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<v Speaker 3>you know, things came together, it came to a head

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<v Speaker 3>meaningfully and reasonably that I thought, ah, okay, it wasn't

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<v Speaker 3>just story story story, and then it ends there was

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<v Speaker 3>there was something that happened that was significant.

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<v Speaker 1>Yeah, no, I agree with all of that. I think

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<v Speaker 1>the engine that keeps this moving and that makes it

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<v Speaker 1>work is the trio, especially the nun and the father,

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<v Speaker 1>but then with Michael Sarah in there also with who's

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<v Speaker 1>a character that actually has a twist at one point,

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<v Speaker 1>which is fun. If they weren't compelling, then the whole

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<v Speaker 1>movie would fall apart. Because the movie's pretty episodic. It's

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<v Speaker 1>kind of he came up with a reason to or

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<v Speaker 1>away or a device in order to just have a

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<v Speaker 1>bunch of character sketches. Like we go to a place

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<v Speaker 1>and we have this little character sketch and everyone kind

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<v Speaker 1>of talks like but a little bit different, just different

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<v Speaker 1>enough to be interesting, and so he just sort of

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<v Speaker 1>has a bunch of sketches. The beating heart through it

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<v Speaker 1>with them does make it work, and I really again

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<v Speaker 1>I really enjoyed it. I thought it was really funny

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<v Speaker 1>at times. The fact that there is no emotion, that

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<v Speaker 1>no one really has any emotion to it. You can't

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<v Speaker 1>hide the jokes that don't work, you can't hide the

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<v Speaker 1>bits that don't work. There's nowhere else to look. He's

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<v Speaker 1>so controlled that it either works or doesn't. And there

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<v Speaker 1>is one sequence in the movie that I thought was

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<v Speaker 1>a disaster. We can get to that later, and it

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<v Speaker 1>almost like took down the movie a half star for me,

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<v Speaker 1>because it was the film came alive in order to

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<v Speaker 1>fall over its own feet, in my personal opinion. But

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<v Speaker 1>until then, I mean, that's the reason why it's so ephemeral,

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<v Speaker 1>I think, is that no one's really allowed to have emotion.

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<v Speaker 1>That's why we've been saying things like admire like I

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<v Speaker 1>admire the film, I enjoyed the film, versus like this

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<v Speaker 1>is a film that will stick with me. I also

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<v Speaker 1>agree with Steve. At some point I realized, I bet

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<v Speaker 1>all of this incredibly important fast talk is not as important.

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<v Speaker 1>It's important to the style and not the story because

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<v Speaker 1>I didn't understand some of the story either, other than

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<v Speaker 1>we're just going to meet all these people and at

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<v Speaker 1>the end, they'll tell me if it worked or not.

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<v Speaker 1>The end. That's it. That's kind of what happened.

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<v Speaker 2>Yeah, yeah, well it's interesting. I want to I want

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<v Speaker 2>to take a sidebar a little bit on Wes Anderson's

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<v Speaker 2>directorial style, because I mean, you mentioned the sort of

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<v Speaker 2>lack of emotion, this sort of deadpan direction. What does

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<v Speaker 2>that do for you when you watch one of these movies,

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<v Speaker 2>because it it feels to me whenever I sit down

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<v Speaker 2>and watch one of these movies, I'm watching like through glass,

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<v Speaker 2>like they're like there, it's going on in a cage

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<v Speaker 2>in a zoo, the Wes Anderson Zoo and their entire

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<v Speaker 2>films happening at scale behind this terrarium, and I that

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<v Speaker 2>emotional terrarium is distancing. And yet here I am going

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<v Speaker 2>to all the movies and watching them. I wonder how

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<v Speaker 2>you sort of what's your mental model for approaching character

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<v Speaker 2>stakes when the characters don't demonstrate any particular emotional stakes.

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<v Speaker 1>I didn't feel any character stakes, and yet I still

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<v Speaker 1>enjoyed it. That's why it didn't stay with me. I

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<v Speaker 1>was never worried about anyone. I was never concerned about

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<v Speaker 1>what happened. I mean, they win and they lose. He

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<v Speaker 1>loses spoiler alert, he loses his entire fortune. They're back

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<v Speaker 1>to that same room with the dripping ceiling that we

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<v Speaker 1>saw teased from the beginning. But at what cost. But

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<v Speaker 1>you know what the good cost is he gets his

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<v Speaker 1>daughter back. He sort of gets his motivation in life back.

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<v Speaker 1>But I didn't care. I was just happy to be there.

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<v Speaker 1>I was happy to be there, like sort of strolling

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<v Speaker 1>through an art gallery. Whenever the camera would move, it's

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<v Speaker 1>always on a dolly. There's a couple whippans, usually just

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<v Speaker 1>left and right, and I'm like, oh, I'm excited to

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<v Speaker 1>see what the next composition will be. And it's never surprising,

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<v Speaker 1>but it's always pretty. Because he likes everything. He's like

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<v Speaker 1>one of the only directors that puts people right in

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<v Speaker 1>the middle of the frame, right, which is something that

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<v Speaker 1>they tell art you know, film students don't ever do.

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<v Speaker 1>It's in the thirds. Putting someone in the middle of

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<v Speaker 1>the frame is like what we used to do when

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<v Speaker 1>the train would come at the camera. But instead he

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<v Speaker 1>just loves symmetry and he loves all of those things.

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<v Speaker 1>So to be able to enjoy that amount of control

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<v Speaker 1>and confidence is really winning. But not staying it's just

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<v Speaker 1>not that deep and so there weren't really character character

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<v Speaker 1>stakes for me, and I didn't really realize that until

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<v Speaker 1>you ask the question. So I appreciate it.

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<v Speaker 3>Yeah, I think that's this was one and I haven't

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<v Speaker 3>watched you know, many of them recently, so I don't

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<v Speaker 3>know how much blood or death there is and a

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<v Speaker 3>lot of them. But it did really shock me early

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<v Speaker 3>on the first plane crash where his assistant is, you

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<v Speaker 3>know that there's an explosion of the plane and the

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<v Speaker 3>assistant is, you know, his top half is gone and

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<v Speaker 3>there's a blood smear all along the wall, and I

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<v Speaker 3>thought that is not typical of a Wes Anderson filmed

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<v Speaker 3>And I thought, okay, But coming back to the emotional stakes,

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<v Speaker 3>it's it's played very cartoony. It is it's an event

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<v Speaker 3>that happens. It's sudden and drastic, and there is not

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<v Speaker 3>really an extreme emotional response to that. And I think

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<v Speaker 3>that's that's really the stakes is. It's it's it is

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<v Speaker 3>one step removed. It's a very hyper real world. It

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<v Speaker 3>reminds me of if you've ever you know, when you

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<v Speaker 3>go to a theme park, the newer rides, where as

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<v Speaker 3>you go through the line, you're sort of slowly entrying

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<v Speaker 3>the world, and it has to get you in the

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<v Speaker 3>atmosphere and can convey all this information about the world

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<v Speaker 3>to you very efficiently and very quickly. So like the

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<v Speaker 3>Indiana Jones, right, you're gonna go through, you're gonna see

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<v Speaker 3>these things that all these things that are set up

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<v Speaker 3>that are supposed to be real, but they're beyond the

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<v Speaker 3>reel because they've got And that's what this entire movie

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<v Speaker 3>feels like, is all these documents, all these things are

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<v Speaker 3>there to create this sense, but they're all they're all props,

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<v Speaker 3>they're all fake. There's there's no substance to them, there's

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<v Speaker 3>no meaning behind besides creating the sense of the world

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<v Speaker 3>that you are going to be sitting in for the

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<v Speaker 3>next hour and forty minutes. And so there's no emotion

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<v Speaker 3>to it because it is really just taking you on

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<v Speaker 3>a ride that you exit at the end.

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<v Speaker 1>It's a really good point about all of the props

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<v Speaker 1>and stuff. One of my biggest feelings about the movie

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<v Speaker 1>is I would like to walk around all the sets

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<v Speaker 1>and open like as if it was an immersive haunted

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<v Speaker 1>house or something, and open up all the drawers because

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<v Speaker 1>everything would be real and beautiful and fun and like

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<v Speaker 1>old time all those books that he's d Yes, I

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<v Speaker 1>would love that maybe more than like sometimes you can

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<v Speaker 1>just yeah, like the fact that they're painting. It's just

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<v Speaker 1>like set up the shot and get rid of those

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<v Speaker 1>pesky actors, Like.

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<v Speaker 2>I want a Wes Anderson wolf right, yes, yes, and

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<v Speaker 2>it does you bring up the books like I can't

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<v Speaker 2>wait to see this on streaming because I want to

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<v Speaker 2>pause it and write down every title of every book

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<v Speaker 2>because some of them are hysterically funny and and I

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00:16:12.360 --> 00:16:15.440
<v Speaker 2>didn't catch them all. It's interesting to think about these

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<v Speaker 2>characters because I sometimes think they're all I mean, every

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<v Speaker 2>character in I can't think of a character in a

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<v Speaker 2>Wes Anderson movie that isn't an emotionally stunted person trying

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<v Speaker 2>to learn to feel again. Does that make any sense?

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<v Speaker 2>I kind of feel that way here. Look, she's trying

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<v Speaker 2>to feel her way out of religion and doesn't even

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<v Speaker 2>know it until she is Her commitment is her sacred

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00:16:40.399 --> 00:16:43.840
<v Speaker 2>commitment is annulled. He is trying to feel his way

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<v Speaker 2>into fatherhood again and figure out what that looks like

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<v Speaker 2>free from the you know, the trappings of arms dealing.

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<v Speaker 2>There is a lot of that. And when you go

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<v Speaker 2>back through the other you know, some of the other

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<v Speaker 2>in the catalog of Wes Anderson films, they have all

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<v Speaker 2>of this same style. It's like it's it's emotionless, but

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<v Speaker 2>mostly because every character has turned is turned inside out,

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<v Speaker 2>like they're all, you know, I'm I'm so sad without

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<v Speaker 2>crying because inside they're crying I love you without like

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00:17:14.839 --> 00:17:19.480
<v Speaker 2>it's they're like saying, it's also cold outside, right. And

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<v Speaker 2>And I think that is an interesting thing about Wes

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<v Speaker 2>Anderson movies that makes that makes them appeal to me

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<v Speaker 2>because they allow me to sort of be the emotional

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<v Speaker 2>litmus test of a scene. That allows me to participate

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<v Speaker 2>in an interesting way because I can put myself in there.

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<v Speaker 2>It's like generic beans. I get to put the flavor in.

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<v Speaker 2>That's a weird I don't know why I brought up beans.

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<v Speaker 2>Let's talk just really quickly about violence, because you brought

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<v Speaker 2>it up. I think this might be Wes Anderson I

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<v Speaker 2>probably arguably Wes Anderson's most violent film. There were some

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<v Speaker 2>things in if did you guys say you've seen Budapest Hotel?

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<v Speaker 2>Oh yeah, yeah, yeah, So there was like a throat

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<v Speaker 2>slitting and some fingers cut off, and there's a prison shive,

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<v Speaker 2>but they're so absurd that there were probably more absurd

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<v Speaker 2>than any of the violence that was here. Isle of Dogs,

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<v Speaker 2>of course had some really brutal dog fights, but they're animated, right,

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<v Speaker 2>so that was different. Everything else is just really I think,

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<v Speaker 2>really emotional, like like emotional violence, right. Everybody else is

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00:18:30.880 --> 00:18:33.079
<v Speaker 2>just really not very nice to each other. And if

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<v Speaker 2>it's violent, I guess French Dispatch had its share of deaths,

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00:18:36.920 --> 00:18:41.920
<v Speaker 2>so I think this one was the most bold. And

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<v Speaker 2>I'm wondering how that impacted your viewing of it, Like

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<v Speaker 2>not what you expected. Did it add something to the

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<v Speaker 2>story watching this guy get beaten up as he did

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<v Speaker 2>and other people around him get beaten up? Did it work?

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<v Speaker 1>You've already said, But the opening shock meeting and the

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<v Speaker 1>opening probably bought me, probably bought him a lot of time.

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<v Speaker 1>Interesting just sort of like shook me awake from this

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<v Speaker 1>isn't exactly what you're thinking about it going to be

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<v Speaker 1>a Wes Anderson movie, as the rest of the movie

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<v Speaker 1>was absolutely exactly what I was thinking it was going

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<v Speaker 1>to be as a west As movie. But it was

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00:19:12.359 --> 00:19:14.799
<v Speaker 1>always like, well, just you wait, maybe something else and

349
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<v Speaker 1>it never does, and not in a complaining way, but

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<v Speaker 1>it just never reaches that kind of surprise again on purpose.

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<v Speaker 1>It doesn't want to.

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<v Speaker 3>I think the most graphic for me was, you know,

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<v Speaker 3>when he gets shot and it's just you know, pluck

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<v Speaker 3>the bullet out, and it's he's sitting there with this wound,

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<v Speaker 3>just bleeding out, and I'm looking at that thinking, this

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<v Speaker 3>is unlike other things that are very you know, flat

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<v Speaker 3>or caricature or whatever, this is a very realistic, you know,

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<v Speaker 3>looking wound with blood, you know, slowly trickling out of it.

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<v Speaker 3>And I thought, I don't I don't know what to

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<v Speaker 3>make of this in this film. But when you have

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<v Speaker 3>a character that is there are multiple assassination attempts on him,

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<v Speaker 3>something has to happen. But I thought, okay, how straight

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<v Speaker 3>how serious were you playing this? And then it gets

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<v Speaker 3>the pluck it out and it's just the fingers digging

365
00:20:05.799 --> 00:20:08.880
<v Speaker 3>there a second pop it out because his all his

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<v Speaker 3>documents had sort of slowed the bullet, so that sort

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<v Speaker 3>of took it back to the typical Okay, no emotional

368
00:20:17.680 --> 00:20:20.000
<v Speaker 3>stakes to this. It's well and it's in there, just

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<v Speaker 3>take it out and I'm fine. But throughout the film,

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<v Speaker 3>his arms in the sling all that, so he's injured.

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<v Speaker 3>So it was something that did stand out to me,

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<v Speaker 3>And I guess it fits in when you have a

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<v Speaker 3>character where the world is trying to destroy him, but

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<v Speaker 3>then all the other attempts are so you know, oh

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<v Speaker 3>that assassin, I think he worked for me before, you know.

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<v Speaker 3>And even the confrontation at the end with his with

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<v Speaker 3>his brother, I think, you know, Bennett Cumberbatch, it's so

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<v Speaker 3>much acting with his eyes and eyebrows. It was like

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<v Speaker 3>a German expressionist film of just you know. That's that's

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00:20:56.559 --> 00:20:59.400
<v Speaker 3>where the evil was. There was no true menace in it.

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<v Speaker 3>Everything is cartoonish. Even his threat is not so I

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<v Speaker 3>I yeah, that's why those two sort of moments at

383
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<v Speaker 3>the beginning and the Bulow wants stand out because they

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<v Speaker 3>are so distinctly different from the other assassination attempts, you know,

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<v Speaker 3>throughout the film.

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<v Speaker 2>And yet still even in all those assassination assassination attempts,

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<v Speaker 2>it is that deadpan, emotionless experience. He feels no pain.

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<v Speaker 2>I couldn't help but that. I haven't seen the movie yet,

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<v Speaker 2>but I'm very interested in the Jack Quaid movie. Novacane Novacate.

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<v Speaker 2>I kept thinking of that, like this, what if Wes

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00:21:40.839 --> 00:21:44.079
<v Speaker 2>Anderson directed Novacane? I think we might get this.

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<v Speaker 1>Yes, because he himself feels very safe.

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<v Speaker 2>Yes, yeah, all right, the that's a great line too.

394
00:21:52.880 --> 00:21:55.519
<v Speaker 2>I actually think that's probably the mic drop line that

395
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<v Speaker 2>I will internalize and use in my life the most.

396
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<v Speaker 2>From this. Myself feel I myself feel very safe, and

397
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<v Speaker 2>I will not. It'll a year, maybe two, I'll forget

398
00:22:05.759 --> 00:22:08.079
<v Speaker 2>that it's from this movie, and in ten years I'll

399
00:22:08.079 --> 00:22:10.079
<v Speaker 2>watch the movie again and I'll be so surprised that

400
00:22:10.119 --> 00:22:12.839
<v Speaker 2>I've been cribbing from it for a decade. That's how

401
00:22:12.880 --> 00:22:17.680
<v Speaker 2>it works usually, I myself feel very safe, all right,

402
00:22:18.720 --> 00:22:23.200
<v Speaker 2>the story, So I feel like it should be we

403
00:22:23.200 --> 00:22:25.680
<v Speaker 2>should make this like a game to try to piece

404
00:22:25.680 --> 00:22:28.680
<v Speaker 2>together what the hell happened in this movie and why

405
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<v Speaker 2>it exists.

406
00:22:29.839 --> 00:22:32.720
<v Speaker 1>He was too powerful and had too much money in

407
00:22:32.759 --> 00:22:35.079
<v Speaker 1>his fingers in too many pots, and so the government

408
00:22:35.240 --> 00:22:39.160
<v Speaker 1>works to do something to his something in order to

409
00:22:39.200 --> 00:22:42.160
<v Speaker 1>put him at risk of something. And so he has

410
00:22:42.200 --> 00:22:45.279
<v Speaker 1>to go around to all five different business partners, including

411
00:22:45.359 --> 00:22:49.200
<v Speaker 1>his strange brother, in order to get something from them

412
00:22:49.240 --> 00:22:51.519
<v Speaker 1>that was a percentage. And it doesn't work, and it

413
00:22:51.559 --> 00:22:54.119
<v Speaker 1>doesn't work, but it kind of works. The end. Is

414
00:22:54.160 --> 00:22:57.359
<v Speaker 1>that pretty good? That was in the middle he has

415
00:22:57.680 --> 00:23:02.279
<v Speaker 1>assassinated a bunch and seemingly going through some sort of judgment. Ye,

416
00:23:02.440 --> 00:23:03.880
<v Speaker 1>periodic judgment in heaven.

417
00:23:04.000 --> 00:23:07.039
<v Speaker 2>Yes, yes, okay, I'm so glad you did it the

418
00:23:07.079 --> 00:23:08.759
<v Speaker 2>way you did because what you did was a plot

419
00:23:08.759 --> 00:23:11.359
<v Speaker 2>summary mad lib. And now it's up to Steve to

420
00:23:11.440 --> 00:23:13.440
<v Speaker 2>figure out the words that fill something.

421
00:23:14.079 --> 00:23:14.279
<v Speaker 1>Yep.

422
00:23:15.799 --> 00:23:19.799
<v Speaker 2>And honestly, Steve, like truly, I'm really interested in your

423
00:23:19.839 --> 00:23:24.640
<v Speaker 2>perspective on the judgment, the divine reconciliation. Yeah, this thing,

424
00:23:24.759 --> 00:23:27.759
<v Speaker 2>because I have a feeling that that gave you something

425
00:23:27.799 --> 00:23:28.319
<v Speaker 2>to think about.

426
00:23:28.440 --> 00:23:31.359
<v Speaker 3>It did, because the first time that happened, that was

427
00:23:31.400 --> 00:23:33.920
<v Speaker 3>the other thing that I do not work. It seemed

428
00:23:34.000 --> 00:23:37.480
<v Speaker 3>very uncharacteristic of a Wes Anderson film because it's this

429
00:23:37.920 --> 00:23:41.599
<v Speaker 3>there's this bold edit and the images in a black

430
00:23:41.599 --> 00:23:43.519
<v Speaker 3>and white negative, and then it flips back and now

431
00:23:43.559 --> 00:23:46.319
<v Speaker 3>it's black and white and we're in a very again

432
00:23:47.000 --> 00:23:50.720
<v Speaker 3>like mid early twentieth century depiction of some type of

433
00:23:50.720 --> 00:23:54.720
<v Speaker 3>heavenly round with just cotton fluff around and people sitting

434
00:23:54.759 --> 00:23:58.920
<v Speaker 3>on benches and all that. And I wasn't sure what

435
00:23:59.000 --> 00:24:01.519
<v Speaker 3>to make of it learns to his is it his

436
00:24:01.559 --> 00:24:04.200
<v Speaker 3>mother or his grandmother that is there? And you know

437
00:24:04.279 --> 00:24:07.119
<v Speaker 3>she's like grandmother and she's like, I don't know you.

438
00:24:07.519 --> 00:24:10.079
<v Speaker 3>And I thought, oh, okay, this is this is interesting

439
00:24:10.200 --> 00:24:14.400
<v Speaker 3>because it's playing around with this. Does is this a rejection?

440
00:24:14.640 --> 00:24:15.079
<v Speaker 1>You know what?

441
00:24:15.079 --> 00:24:16.839
<v Speaker 3>What is this back and forth? And as we keep

442
00:24:16.839 --> 00:24:21.160
<v Speaker 3>coming back, it's it's giving him some information. It's somehow

443
00:24:21.240 --> 00:24:23.319
<v Speaker 3>enlightening him as to something, because it seems like he

444
00:24:23.400 --> 00:24:27.799
<v Speaker 3>takes something from each vision or out of you know,

445
00:24:27.960 --> 00:24:31.400
<v Speaker 3>near death experience. There's something that he gets from that.

446
00:24:31.559 --> 00:24:34.200
<v Speaker 3>I don't know that it's clear. I didn't. I couldn't

447
00:24:34.200 --> 00:24:36.519
<v Speaker 3>make a clear connection of like, oh he got this nugget,

448
00:24:36.559 --> 00:24:39.240
<v Speaker 3>he's going to use that to leverage or it's going

449
00:24:39.319 --> 00:24:41.400
<v Speaker 3>to help him develop his relationship with his daughter. So

450
00:24:41.440 --> 00:24:44.000
<v Speaker 3>I couldn't track those points. I don't know that I'm

451
00:24:44.039 --> 00:24:47.480
<v Speaker 3>supposed to other than there's an assassination attempt. He has

452
00:24:47.480 --> 00:24:51.680
<v Speaker 3>a near death experience. Weird things happen, and he take

453
00:24:51.799 --> 00:24:56.799
<v Speaker 3>he's taking some knowledge from that, because I could not

454
00:24:57.079 --> 00:24:59.799
<v Speaker 3>parse out what was going on other than we get

455
00:24:59.799 --> 00:25:04.559
<v Speaker 3>to Bill Murray is God allegedly, I guess. So I

456
00:25:04.599 --> 00:25:09.279
<v Speaker 3>mean there as with everything else very interesting looking, lots

457
00:25:09.319 --> 00:25:11.200
<v Speaker 3>of talk with not a lot of substance. I can

458
00:25:11.240 --> 00:25:13.200
<v Speaker 3>peg anything to. But again, I don't know that it's

459
00:25:13.240 --> 00:25:16.559
<v Speaker 3>for us as the audience. It's the meaning for the character,

460
00:25:16.640 --> 00:25:18.799
<v Speaker 3>for him to take something from here.

461
00:25:18.839 --> 00:25:22.799
<v Speaker 2>We have ostensibly a Cain and Able story where we

462
00:25:22.880 --> 00:25:26.920
<v Speaker 2>have the marked man, right, we have this guy who's

463
00:25:27.079 --> 00:25:33.279
<v Speaker 2>metaphorically guilty of spilling blood. That's Zaza. He's an arms dealer, right,

464
00:25:33.359 --> 00:25:37.400
<v Speaker 2>He's he's struggling under the weight of past choices. And

465
00:25:37.559 --> 00:25:41.480
<v Speaker 2>we have his brother, whose moral stance seems to be

466
00:25:41.519 --> 00:25:46.720
<v Speaker 2>the most righteous of them. And because it's Wes Anderson,

467
00:25:47.319 --> 00:25:52.000
<v Speaker 2>at the end, it's inverted and instead of Cain slaying Able,

468
00:25:52.079 --> 00:25:54.759
<v Speaker 2>he's trying to make amends. Is there any room?

469
00:25:54.920 --> 00:25:55.799
<v Speaker 1>I don't know.

470
00:25:55.880 --> 00:26:00.000
<v Speaker 3>I watched the Vanity Fair interview le Wes Anderson explained

471
00:26:00.240 --> 00:26:03.599
<v Speaker 3>his films. Oh I watch that, and it's but he

472
00:26:03.640 --> 00:26:06.279
<v Speaker 3>gets a little bit into a story. And because I

473
00:26:06.680 --> 00:26:10.359
<v Speaker 3>wonder about how tightly structured things are, because I think

474
00:26:10.440 --> 00:26:13.920
<v Speaker 3>visually things are very tightly choreographed, where you know, things

475
00:26:13.960 --> 00:26:15.960
<v Speaker 3>have to enter frames at certain times and all that.

476
00:26:16.200 --> 00:26:18.319
<v Speaker 3>But the since I got from that interview that story

477
00:26:18.920 --> 00:26:22.119
<v Speaker 3>he's he's got the story. There's clearly some improvising that

478
00:26:22.440 --> 00:26:24.480
<v Speaker 3>goes on. Even says, you know, the art of writing

479
00:26:24.519 --> 00:26:27.960
<v Speaker 3>itself is improvisation. You're you're starting from nothing so great,

480
00:26:28.000 --> 00:26:30.079
<v Speaker 3>something you have to improvise, you have to make it up.

481
00:26:31.559 --> 00:26:35.119
<v Speaker 3>And he talks a little bit about the sort of

482
00:26:34.920 --> 00:26:39.599
<v Speaker 3>the process is the movie revealing itself. So it's not

483
00:26:39.680 --> 00:26:42.359
<v Speaker 3>that he's got a specific finished product. I think he's

484
00:26:42.400 --> 00:26:45.680
<v Speaker 3>willing to say, oh, well, this seems to be working. Well, okay,

485
00:26:45.720 --> 00:26:49.720
<v Speaker 3>let's that. Let's go towards that. So I think that

486
00:26:49.880 --> 00:26:52.799
<v Speaker 3>maybe some of these things we try to pin something

487
00:26:52.880 --> 00:26:56.359
<v Speaker 3>specifically on might just be a well, it seemed to

488
00:26:56.440 --> 00:26:59.799
<v Speaker 3>fit the story well and it resonated at some level.

489
00:27:00.759 --> 00:27:03.799
<v Speaker 3>We'll go with that, not that there was any intentional

490
00:27:03.880 --> 00:27:05.759
<v Speaker 3>I'm doing this. You know, he's going to see the

491
00:27:06.400 --> 00:27:09.200
<v Speaker 3>three former wives there and that's going to represent this

492
00:27:09.359 --> 00:27:11.640
<v Speaker 3>or that. I think it's a oh, it seems to

493
00:27:11.680 --> 00:27:13.720
<v Speaker 3>feel right for this guy to go through these things

494
00:27:13.720 --> 00:27:17.319
<v Speaker 3>to sort of how I'm now taking that information of

495
00:27:18.160 --> 00:27:20.759
<v Speaker 3>It's like the exact opposite of a David Fincher of like,

496
00:27:20.880 --> 00:27:24.359
<v Speaker 3>you know, this movie is built to every second in

497
00:27:24.400 --> 00:27:26.920
<v Speaker 3>my head and I'm going to do that, and he's

498
00:27:26.920 --> 00:27:29.200
<v Speaker 3>sort of like, well, we'll discover it a bit as

499
00:27:29.240 --> 00:27:29.759
<v Speaker 3>we go through.

500
00:27:30.359 --> 00:27:32.599
<v Speaker 1>That's a good point. And I wonder you said he

501
00:27:32.640 --> 00:27:35.359
<v Speaker 1>doesn't truck an allegory. I think this is these are

502
00:27:35.599 --> 00:27:39.240
<v Speaker 1>very allegorical, yeah, scenarios, And I think that the idea

503
00:27:39.240 --> 00:27:42.119
<v Speaker 1>that his own family does not recognize him, that he

504
00:27:42.480 --> 00:27:45.240
<v Speaker 1>sacrifices something in the forest and opens it up and

505
00:27:45.279 --> 00:27:47.960
<v Speaker 1>it's just filled with money. That it looks like in

506
00:27:47.960 --> 00:27:50.839
<v Speaker 1>the beginning, the very first one, someone is opening the

507
00:27:50.839 --> 00:27:53.119
<v Speaker 1>book of his life in order like a Saint Peter,

508
00:27:53.279 --> 00:27:56.319
<v Speaker 1>in order to be judgment. But then instead of opening

509
00:27:56.400 --> 00:28:00.119
<v Speaker 1>a book, opens a casket where maybe him is as

510
00:28:00.119 --> 00:28:00.720
<v Speaker 1>a child.

511
00:28:00.519 --> 00:28:01.119
<v Speaker 3>As a child.

512
00:28:01.359 --> 00:28:04.200
<v Speaker 1>Yeah, yeah, so I'm interested in that kind of stuff.

513
00:28:04.279 --> 00:28:07.119
<v Speaker 1>It is a little alarming to try to use. I

514
00:28:07.400 --> 00:28:11.680
<v Speaker 1>desperately need it to be allegorical, because this film doesn't.

515
00:28:12.200 --> 00:28:14.559
<v Speaker 1>I don't feel this film allows any kind of like

516
00:28:15.440 --> 00:28:19.799
<v Speaker 1>David Lynch dream logic, because everything is so tightly wound

517
00:28:20.200 --> 00:28:22.680
<v Speaker 1>that's almost like it just makes me think it's like

518
00:28:22.680 --> 00:28:25.880
<v Speaker 1>pretentious or out of ideas or something, you know what

519
00:28:25.880 --> 00:28:27.960
<v Speaker 1>I mean, Just like it makes me angry if it

520
00:28:28.039 --> 00:28:31.079
<v Speaker 1>doesn't mean something, because everything in this movie is so.

521
00:28:31.599 --> 00:28:34.480
<v Speaker 2>Well taught out. Yeah, yeah, well that's what's so interesting

522
00:28:34.480 --> 00:28:36.440
<v Speaker 2>about it. For me, It's like this whole movie is

523
00:28:37.200 --> 00:28:41.599
<v Speaker 2>walking that tightrope between this one character's exploration of like

524
00:28:42.160 --> 00:28:45.960
<v Speaker 2>the vengeance thread in the Old Testament while also trying

525
00:28:46.000 --> 00:28:50.480
<v Speaker 2>to navigate toward the grace thread of the New Testament, right,

526
00:28:50.519 --> 00:28:54.279
<v Speaker 2>And it's like, it's like I find that fascinating because

527
00:28:54.319 --> 00:28:58.079
<v Speaker 2>I don't expect it from Wes Anderson movies. And and

528
00:28:58.119 --> 00:29:01.279
<v Speaker 2>it just felt like it was screaming, Tom, you've now

529
00:29:01.359 --> 00:29:04.319
<v Speaker 2>dropped the hint twice. We have to talk about your

530
00:29:04.400 --> 00:29:05.559
<v Speaker 2>least favorite sequence.

531
00:29:06.480 --> 00:29:09.400
<v Speaker 1>The fight. The fight at the end between him and

532
00:29:10.079 --> 00:29:17.400
<v Speaker 1>what's his name, what's his name? Cumber Man. It didn't

533
00:29:17.400 --> 00:29:21.160
<v Speaker 1>make sense stylistically, it didn't match anything. I thought it

534
00:29:21.200 --> 00:29:23.000
<v Speaker 1>was ugly. I thought it was weird. I thought it

535
00:29:23.039 --> 00:29:26.279
<v Speaker 1>was hard to decipher. It was weird. The one time

536
00:29:26.319 --> 00:29:29.200
<v Speaker 1>when his camera dared to be hand held and dared

537
00:29:29.240 --> 00:29:32.079
<v Speaker 1>to be not nailed down to a rail, I thought

538
00:29:32.079 --> 00:29:35.839
<v Speaker 1>it was terrible. I hated it, and it deflated so

539
00:29:36.000 --> 00:29:38.279
<v Speaker 1>much of the movie, all of this control. It could

540
00:29:38.279 --> 00:29:40.799
<v Speaker 1>have been cool to have this crazy, but it's like

541
00:29:40.839 --> 00:29:43.559
<v Speaker 1>he didn't know how to do it. I don't know,

542
00:29:43.640 --> 00:29:45.519
<v Speaker 1>like he's just not trained that way. I know this

543
00:29:45.599 --> 00:29:48.039
<v Speaker 1>is the first movie that he hasn't used his longtime

544
00:29:48.079 --> 00:29:50.559
<v Speaker 1>cinematographer in a long time. I don't know, but I

545
00:29:50.599 --> 00:29:53.200
<v Speaker 1>mean it looked until that sequence, it looked exactly like

546
00:29:53.240 --> 00:29:55.559
<v Speaker 1>everything else. But I thought it was so weird and

547
00:29:55.640 --> 00:29:57.720
<v Speaker 1>I don't mean to use this word, but like cringey.

548
00:29:58.519 --> 00:30:02.119
<v Speaker 1>Like I just thought the fight was so everything's leading

549
00:30:02.200 --> 00:30:04.559
<v Speaker 1>up to that, and it was such a disappointment, and

550
00:30:04.599 --> 00:30:09.599
<v Speaker 1>it really like put through the movie down a peg

551
00:30:09.680 --> 00:30:12.200
<v Speaker 1>for me hugely. Obviously I am alone on that.

552
00:30:12.680 --> 00:30:15.759
<v Speaker 3>No, I mean, it reminded me of things from like

553
00:30:16.160 --> 00:30:18.240
<v Speaker 3>I think of it, like the Marx Brothers, where it's

554
00:30:18.279 --> 00:30:20.960
<v Speaker 3>just like somebody's running around and they're hiding behind things,

555
00:30:21.000 --> 00:30:24.440
<v Speaker 3>they're popping out in different places, and it's exaggerated actions

556
00:30:24.440 --> 00:30:27.039
<v Speaker 3>and it's sort of you know, I guess Screwball's any

557
00:30:27.480 --> 00:30:31.359
<v Speaker 3>of things, and what's doing in this movie is throwing

558
00:30:31.400 --> 00:30:34.880
<v Speaker 3>the little vial right at him. All of that it

559
00:30:35.200 --> 00:30:39.559
<v Speaker 3>felt felt like that. So I was along for the ride.

560
00:30:39.640 --> 00:30:43.960
<v Speaker 3>It didn't feel like such a jarring shift for me.

561
00:30:44.119 --> 00:30:47.880
<v Speaker 3>So it didn't bother me as much because this is

562
00:30:48.359 --> 00:30:51.400
<v Speaker 3>every other attempt to kill him has been you know,

563
00:30:51.440 --> 00:30:54.319
<v Speaker 3>this assassin where now he's he's dealing with a face

564
00:30:54.440 --> 00:30:57.920
<v Speaker 3>to face his enemy on this. So I just took

565
00:30:57.960 --> 00:31:00.759
<v Speaker 3>that as okay, now sort of the charade is gone,

566
00:31:00.759 --> 00:31:03.880
<v Speaker 3>We're going to deal with this directly. Does that justify that?

567
00:31:03.960 --> 00:31:08.759
<v Speaker 3>I don't know that necessarily would say that, But I

568
00:31:08.839 --> 00:31:11.680
<v Speaker 3>just took that as okay, We're entering a different phase

569
00:31:12.039 --> 00:31:14.960
<v Speaker 3>of the story here now. So because everything else, the

570
00:31:15.000 --> 00:31:19.599
<v Speaker 3>other thing was all the design and everything was very

571
00:31:19.599 --> 00:31:24.240
<v Speaker 3>Middle Eastern, that whole Phoenician thing, everything, Once we get that,

572
00:31:24.720 --> 00:31:26.799
<v Speaker 3>we're in a completely different place than we have been

573
00:31:26.920 --> 00:31:31.279
<v Speaker 3>for you know, the entire movie, so the book was different.

574
00:31:31.319 --> 00:31:33.200
<v Speaker 3>So for me, I just accepted that.

575
00:31:33.279 --> 00:31:37.880
<v Speaker 2>I guess I think I accepted it too. I think

576
00:31:37.880 --> 00:31:41.000
<v Speaker 2>you actually might be on an island all out. And

577
00:31:41.039 --> 00:31:43.160
<v Speaker 2>there were a couple of things. First of all, I

578
00:31:43.240 --> 00:31:46.920
<v Speaker 2>was I really enjoyed I might be an island. I

579
00:31:47.039 --> 00:31:52.240
<v Speaker 2>enjoyed the the actual diorama of all of the lands

580
00:31:52.400 --> 00:31:55.559
<v Speaker 2>having come together, with the waterfall and the trails going

581
00:31:55.599 --> 00:31:58.640
<v Speaker 2>back and forth. That was really fun. And so the

582
00:31:58.759 --> 00:32:02.680
<v Speaker 2>satisfying umber Batch Godzilla moment where he climbs up to

583
00:32:04.519 --> 00:32:09.839
<v Speaker 2>and then the grenade. He explodes with the grenade. I

584
00:32:09.880 --> 00:32:12.920
<v Speaker 2>was really satisfied by the way his arc came to

585
00:32:12.960 --> 00:32:17.839
<v Speaker 2>an end and how everything like the tower falls, and

586
00:32:18.640 --> 00:32:22.160
<v Speaker 2>that was I guess maybe I've just stuck so deeply

587
00:32:22.200 --> 00:32:26.359
<v Speaker 2>into the biblical arc. But the other piece is, you know,

588
00:32:26.400 --> 00:32:31.720
<v Speaker 2>our cinematographer Bruno Doubleell done a lot of Tim Burton done,

589
00:32:31.759 --> 00:32:37.839
<v Speaker 2>some Cohen's done, Joe Wright, Alexander Sukarov, David Yeates did

590
00:32:37.839 --> 00:32:43.720
<v Speaker 2>The Half Blood Prince. So I feel like this had

591
00:32:44.160 --> 00:32:47.119
<v Speaker 2>like this was his first Wes Anderson film, but it

592
00:32:47.160 --> 00:32:50.079
<v Speaker 2>wasn't really his first Wes Anderson film. Like he's done.

593
00:32:50.559 --> 00:32:57.000
<v Speaker 2>He's done incredibly opinionated visualists before, and so I give him.

594
00:32:57.279 --> 00:32:59.519
<v Speaker 2>I give him some credit there this And in fact

595
00:32:59.559 --> 00:33:02.839
<v Speaker 2>he did and his Peregrine's Home for Peculiar Children, the

596
00:33:02.880 --> 00:33:05.240
<v Speaker 2>Tim Burton adaptation of the book, and I think you

597
00:33:05.279 --> 00:33:07.759
<v Speaker 2>could see a lot of parallels between the lensing of

598
00:33:07.759 --> 00:33:11.319
<v Speaker 2>that movie and this one, which is strange to say

599
00:33:11.319 --> 00:33:13.640
<v Speaker 2>because it's so unique and iconic in its own way,

600
00:33:13.720 --> 00:33:18.599
<v Speaker 2>but especially that final sequence was interesting to me.

601
00:33:18.799 --> 00:33:23.799
<v Speaker 1>So I've said, and I like the Godzilla Part two

602
00:33:23.880 --> 00:33:25.960
<v Speaker 1>and I love the model thing. It was just that

603
00:33:26.000 --> 00:33:29.400
<v Speaker 1>fight scene, It's like they it felt like if it

604
00:33:29.480 --> 00:33:33.440
<v Speaker 1>wasn't this director and it wasn't this movie, I would

605
00:33:33.480 --> 00:33:35.039
<v Speaker 1>go to see this movie and be like, oh, they

606
00:33:35.039 --> 00:33:37.720
<v Speaker 1>really ran out of time. Interesting, like they ran out

607
00:33:37.720 --> 00:33:40.079
<v Speaker 1>of time to film that sequence, or they just they

608
00:33:40.200 --> 00:33:44.880
<v Speaker 1>burned so much time on all of these excruciatingly controlled things.

609
00:33:45.039 --> 00:33:46.480
<v Speaker 1>Then it was time for the fight. They were just like,

610
00:33:46.519 --> 00:33:48.680
<v Speaker 1>all right, just chased me around with the camera and well,

611
00:33:48.680 --> 00:33:50.759
<v Speaker 1>if we get in trouble, will Benny Hillett speed it

612
00:33:50.839 --> 00:33:53.400
<v Speaker 1>up slightly, go broad, give the people what they want.

613
00:33:53.440 --> 00:33:55.200
<v Speaker 1>And it's like there's an one I want it at all.

614
00:33:55.279 --> 00:34:00.240
<v Speaker 2>Yeah, Yeah, that's really interesting. I totally get it. Especially

615
00:34:00.279 --> 00:34:03.400
<v Speaker 2>went like I was from the moment like the opening

616
00:34:03.400 --> 00:34:07.720
<v Speaker 2>credits sequence. I you know, I was just like I

617
00:34:08.159 --> 00:34:12.079
<v Speaker 2>had chills because I was so fascinated with the layered

618
00:34:12.159 --> 00:34:17.320
<v Speaker 2>outlines around each letter in the typography as it appeared,

619
00:34:17.679 --> 00:34:21.320
<v Speaker 2>and the way the color mimicked the outlines in the

620
00:34:21.400 --> 00:34:24.480
<v Speaker 2>tile floor, and I felt like I was playing Where's

621
00:34:24.519 --> 00:34:27.760
<v Speaker 2>Waldo with words like when's the next word? Show? Yes?

622
00:34:28.800 --> 00:34:33.079
<v Speaker 2>That was like the helpers are moving in slow motion

623
00:34:33.199 --> 00:34:36.519
<v Speaker 2>a little bit. I thought that was so great And

624
00:34:36.559 --> 00:34:39.440
<v Speaker 2>if you you're going to spend the time to make that.

625
00:34:39.840 --> 00:34:42.800
<v Speaker 2>Then yeah, I think you're right. Then let's not Benny

626
00:34:42.840 --> 00:34:46.679
<v Speaker 2>Hill the final sequence. Right, Yeah, I get it.

627
00:34:46.800 --> 00:34:47.159
<v Speaker 1>I get it.

628
00:34:47.320 --> 00:34:49.320
<v Speaker 2>But again, so much of this stuff I feel like

629
00:34:49.360 --> 00:34:54.039
<v Speaker 2>it it just demands a second viewing just to see

630
00:34:54.079 --> 00:34:59.960
<v Speaker 2>it again. Okay, do we have any sort of thematic issues?

631
00:35:00.719 --> 00:35:02.360
<v Speaker 2>You know, we've talked a little bit about the biblical

632
00:35:02.360 --> 00:35:06.880
<v Speaker 2>stuff about transactional relationships versus transcendence and finding the end.

633
00:35:07.199 --> 00:35:09.400
<v Speaker 2>The gift of hand grenades, I think is an interesting

634
00:35:09.440 --> 00:35:12.239
<v Speaker 2>one to keep coming back to. I don't know why

635
00:35:12.280 --> 00:35:14.599
<v Speaker 2>that was a thing. I obviously it's rooted in his

636
00:35:14.800 --> 00:35:18.840
<v Speaker 2>arms dealership. Is there something else to it that I missed.

637
00:35:19.239 --> 00:35:21.840
<v Speaker 3>Other than early on? He says it's what they're cheaper

638
00:35:21.880 --> 00:35:25.039
<v Speaker 3>than bullets or something like that. It costs them less

639
00:35:25.079 --> 00:35:29.320
<v Speaker 3>than actual bullets. But they're in a little like fruit crate,

640
00:35:29.480 --> 00:35:33.000
<v Speaker 3>you know, something that's been repurposed. But yeah, no, I

641
00:35:33.039 --> 00:35:36.320
<v Speaker 3>was wondering about that because when we get to you know,

642
00:35:36.400 --> 00:35:38.000
<v Speaker 3>his brother, he's like, oh, would you like a hand

643
00:35:38.000 --> 00:35:40.199
<v Speaker 3>grena He's like, oh, got my own. It's like okay,

644
00:35:40.239 --> 00:35:44.000
<v Speaker 3>so there's something. But again, I don't know that you

645
00:35:44.039 --> 00:35:47.559
<v Speaker 3>can abscribe, meaning to it other than it was consistent

646
00:35:47.599 --> 00:35:49.400
<v Speaker 3>throughout it and it was of a piece of itself

647
00:35:49.440 --> 00:35:53.000
<v Speaker 3>and it just fit that that world. I mean, it's

648
00:35:53.320 --> 00:35:56.079
<v Speaker 3>it's as I said, it's that hyper real world. The

649
00:35:56.079 --> 00:35:58.800
<v Speaker 3>other thing I think of is the quicksand we're in

650
00:35:58.800 --> 00:36:01.280
<v Speaker 3>the air where quicksand is a thing that is, you know,

651
00:36:01.800 --> 00:36:04.039
<v Speaker 3>a danger just and it's like hand greanades, you know,

652
00:36:04.119 --> 00:36:06.880
<v Speaker 3>that's that those are the things that are out there

653
00:36:06.920 --> 00:36:10.719
<v Speaker 3>because they're this sort of existential threat that's funny, Whereas

654
00:36:10.719 --> 00:36:13.280
<v Speaker 3>a bullet is something that's very real and I think

655
00:36:13.400 --> 00:36:17.599
<v Speaker 3>very relatable to today versus no one's throwing around thankfully,

656
00:36:17.639 --> 00:36:21.000
<v Speaker 3>no one's throwing around hand grenades. So it is is

657
00:36:21.039 --> 00:36:24.639
<v Speaker 3>something that that's the only sense I could could make

658
00:36:24.679 --> 00:36:27.199
<v Speaker 3>out of that is it represents something without having a

659
00:36:27.920 --> 00:36:31.599
<v Speaker 3>real strong emotional resonance or connection to anybody in the

660
00:36:31.639 --> 00:36:34.920
<v Speaker 3>audience that might feel that, you know, bullets or guns

661
00:36:35.079 --> 00:36:36.880
<v Speaker 3>made you know, trigger some things.

662
00:36:37.280 --> 00:36:38.079
<v Speaker 1>Although the end.

663
00:36:38.119 --> 00:36:41.559
<v Speaker 2>Right, speaking sort of symbolically, the hand grenade is a

664
00:36:41.599 --> 00:36:44.079
<v Speaker 2>representation of, you know, we are the architects of our

665
00:36:44.119 --> 00:36:47.480
<v Speaker 2>own destruction. Yes, I think is an interesting thing, especially

666
00:36:47.480 --> 00:36:51.199
<v Speaker 2>because the whole thing's anchored in him as an arms Dealer. Yeah.

667
00:36:51.400 --> 00:36:53.440
<v Speaker 2>I thought it was nice, especially like that they were

668
00:36:53.440 --> 00:36:57.840
<v Speaker 2>painted so beautiful. Yes, so Wes Anderson hadads are the best.

669
00:36:59.079 --> 00:37:06.079
<v Speaker 2>Shall we talk through our favorite performances? Oh? Benicio captivating?

670
00:37:06.239 --> 00:37:08.679
<v Speaker 2>Oh he always yeah, Yeah.

671
00:37:08.519 --> 00:37:10.199
<v Speaker 1>He can do. He's one of those actors that can

672
00:37:10.239 --> 00:37:13.599
<v Speaker 1>just do very little and it's just always interesting to

673
00:37:13.639 --> 00:37:14.519
<v Speaker 1>watch one.

674
00:37:14.800 --> 00:37:17.480
<v Speaker 2>He's such an interesting performer that he can go back

675
00:37:17.519 --> 00:37:21.760
<v Speaker 2>and forth between things like this and Marvel and twenty

676
00:37:21.800 --> 00:37:26.159
<v Speaker 2>one Grams and Big Top Pee wee and be just

677
00:37:26.320 --> 00:37:33.239
<v Speaker 2>absolutely captivating as a performer. Yeah. I think I think

678
00:37:33.280 --> 00:37:36.519
<v Speaker 2>it was. I think the movie set us up with him,

679
00:37:36.719 --> 00:37:39.039
<v Speaker 2>you know, after the crash when he gets up and

680
00:37:39.119 --> 00:37:42.679
<v Speaker 2>we have that extreme close up on his face. I thought,

681
00:37:42.840 --> 00:37:44.119
<v Speaker 2>this is gonna be a move. I'm gonna have to

682
00:37:44.119 --> 00:37:46.679
<v Speaker 2>close my eyes through a lot because that, I oh,

683
00:37:46.760 --> 00:37:48.159
<v Speaker 2>was horrific.

684
00:37:49.000 --> 00:37:52.199
<v Speaker 3>Yeah, and we get several of those throughout the film.

685
00:37:52.199 --> 00:37:55.280
<v Speaker 3>It something else I don't recall in prior films. I know,

686
00:37:55.320 --> 00:38:00.199
<v Speaker 3>we're always centered in straight on but this was full

687
00:38:00.320 --> 00:38:03.280
<v Speaker 3>just face filling the entirety of the frame. And that's

688
00:38:03.320 --> 00:38:07.159
<v Speaker 3>not something I recall seeing done often or as frequently.

689
00:38:07.159 --> 00:38:10.320
<v Speaker 3>Because I want to say it's probably occurs like three

690
00:38:10.440 --> 00:38:14.360
<v Speaker 3>or four times, but it's his story to tell, and

691
00:38:14.440 --> 00:38:17.199
<v Speaker 3>I think I think the performance works. I think he

692
00:38:17.239 --> 00:38:20.840
<v Speaker 3>really keyed into who this guy was. You know, the

693
00:38:21.159 --> 00:38:24.480
<v Speaker 3>bit about he doesn't have a passport because he doesn't

694
00:38:24.519 --> 00:38:27.960
<v Speaker 3>need human rights, you know, associated anyone country tells you

695
00:38:28.000 --> 00:38:32.320
<v Speaker 3>that he's a unique person, and I think that, yeah,

696
00:38:32.360 --> 00:38:35.840
<v Speaker 3>he's it's somebody that I don't know that I would

697
00:38:35.880 --> 00:38:38.760
<v Speaker 3>ever want to meet or know someone like him. But

698
00:38:38.960 --> 00:38:42.199
<v Speaker 3>the performance, I think he found the right person for

699
00:38:42.239 --> 00:38:43.840
<v Speaker 3>this this character.

700
00:38:43.639 --> 00:38:45.880
<v Speaker 1>And that I the close up of that horrific guy,

701
00:38:46.000 --> 00:38:49.519
<v Speaker 1>I think does help you side with him because if

702
00:38:49.559 --> 00:38:52.960
<v Speaker 1>someone always feels safe and believes they're safe and never

703
00:38:53.000 --> 00:38:55.000
<v Speaker 1>has any emotion for something, then there's no one to

704
00:38:55.079 --> 00:38:57.800
<v Speaker 1>back but the fact that you've seen him hurt and

705
00:38:57.800 --> 00:39:01.639
<v Speaker 1>when he hilariously shows up during the news interview, how

706
00:39:01.639 --> 00:39:05.119
<v Speaker 1>would you like to, Oh, there, he is slightly off.

707
00:39:06.400 --> 00:39:10.119
<v Speaker 1>That was really awesome. Yeah, that's fine. It makes you

708
00:39:10.280 --> 00:39:13.199
<v Speaker 1>It makes him a little bit devilish, but also vulnerable.

709
00:39:13.239 --> 00:39:15.679
<v Speaker 1>I know I said there was no real stakes to feel,

710
00:39:15.960 --> 00:39:19.440
<v Speaker 1>but at least you know that he's not invulnerable, because

711
00:39:19.480 --> 00:39:21.840
<v Speaker 1>then you're at risk of just walking watching like a

712
00:39:21.880 --> 00:39:24.119
<v Speaker 1>Forrest Gump. Or a mister Magoo just sort of travel

713
00:39:24.199 --> 00:39:27.639
<v Speaker 1>through life and just accidentally stand on the crane at

714
00:39:27.679 --> 00:39:29.719
<v Speaker 1>the very last second instead of falling to his doom.

715
00:39:30.599 --> 00:39:31.199
<v Speaker 1>Right right.

716
00:39:31.320 --> 00:39:34.320
<v Speaker 2>I think he was the perfect face to lead this thing.

717
00:39:34.480 --> 00:39:36.840
<v Speaker 2>Really really liked him. Then we have to turn our

718
00:39:36.880 --> 00:39:40.280
<v Speaker 2>attention to Mia Freepleton.

719
00:39:41.679 --> 00:39:42.280
<v Speaker 1>She was great.

720
00:39:42.599 --> 00:39:45.360
<v Speaker 2>Had you seen her in anything else before?

721
00:39:45.480 --> 00:39:47.440
<v Speaker 1>Have I a good question?

722
00:39:48.360 --> 00:39:50.719
<v Speaker 2>That is a good question. She hasn't been too much.

723
00:39:51.599 --> 00:39:55.039
<v Speaker 2>She was on television. She did six episodes of Dangerous Liaisons.

724
00:39:56.039 --> 00:40:00.320
<v Speaker 2>She was in I Am and the Buccaneers. She was

725
00:40:00.360 --> 00:40:03.599
<v Speaker 2>in the main cast of the Buccaneers. She was in

726
00:40:03.639 --> 00:40:06.719
<v Speaker 2>a couple of shorts Scoop in twenty twenty four Firebrand,

727
00:40:06.800 --> 00:40:10.559
<v Speaker 2>she was Joan of arc I think in Firebrand, Shadows

728
00:40:10.639 --> 00:40:14.280
<v Speaker 2>and a Little Chaos. Going back to twenty fourteen, she

729
00:40:14.760 --> 00:40:20.960
<v Speaker 2>is the daughter of Kate Winslet. Oh can you see

730
00:40:20.960 --> 00:40:21.400
<v Speaker 2>it now?

731
00:40:21.840 --> 00:40:22.079
<v Speaker 1>Yes?

732
00:40:22.119 --> 00:40:23.360
<v Speaker 3>I can't see it?

733
00:40:23.480 --> 00:40:26.239
<v Speaker 2>Yes, Okay, yeah, there it is. Yeah.

734
00:40:26.280 --> 00:40:28.079
<v Speaker 1>I was kind of wondering what else I'd seen her

735
00:40:28.119 --> 00:40:30.320
<v Speaker 1>in because she looked familiar. The answer is no, I haven't,

736
00:40:30.400 --> 00:40:31.039
<v Speaker 1>but that's why.

737
00:40:31.199 --> 00:40:33.960
<v Speaker 2>Okay, yeah, yeah, she hasn't been in much. I imagine

738
00:40:34.000 --> 00:40:36.599
<v Speaker 2>she'll be in plenty more. I thought she was quite good.

739
00:40:37.360 --> 00:40:39.480
<v Speaker 1>I thought she was great. And that's a rough role

740
00:40:39.920 --> 00:40:42.599
<v Speaker 1>because she's not allowed to be as expressive facial wise

741
00:40:42.639 --> 00:40:44.719
<v Speaker 1>as Benicio del Toro, and yet she has to have

742
00:40:44.760 --> 00:40:47.280
<v Speaker 1>the same deadpan kind of arc and I thought she

743
00:40:47.400 --> 00:40:50.320
<v Speaker 1>was arch kind of attitude. And I thought she was

744
00:40:50.360 --> 00:40:54.320
<v Speaker 1>really extremely watchable. Their relationship was one of my favorite threads,

745
00:40:54.400 --> 00:40:56.679
<v Speaker 1>and it's probably what the movie really is about, yes,

746
00:40:56.960 --> 00:40:59.320
<v Speaker 1>but I liked you could see it step by step

747
00:40:59.320 --> 00:41:01.880
<v Speaker 1>and especially by the end, sitting back and watching them

748
00:41:02.159 --> 00:41:05.559
<v Speaker 1>go through things. Wes Anderson was really good about doling

749
00:41:05.599 --> 00:41:08.719
<v Speaker 1>out little connection, little things, Oh you armed yourself, good

750
00:41:08.719 --> 00:41:12.480
<v Speaker 1>for you, Like little moments of them slowly, slowly coming

751
00:41:12.519 --> 00:41:15.159
<v Speaker 1>together of two people that can't actually talk to each other.

752
00:41:15.280 --> 00:41:17.000
<v Speaker 1>I thought that was really satisfying. I like that.

753
00:41:18.039 --> 00:41:21.199
<v Speaker 2>I did too. I think the moment, there's that little

754
00:41:21.239 --> 00:41:23.840
<v Speaker 2>moment besides them at the end serving food together and

755
00:41:23.880 --> 00:41:26.360
<v Speaker 2>playing cards at the very end, which I thought was

756
00:41:26.440 --> 00:41:29.440
<v Speaker 2>just the icing on the cake for their emotional art.

757
00:41:29.519 --> 00:41:33.719
<v Speaker 2>Starting from the table where he's giving over airship to her.

758
00:41:35.039 --> 00:41:38.719
<v Speaker 2>My favorite moment was when she had pulled out her knife,

759
00:41:38.800 --> 00:41:42.000
<v Speaker 2>which was absurd, and he traded her.

760
00:41:41.880 --> 00:41:43.760
<v Speaker 3>With the new knife.

761
00:41:43.800 --> 00:41:46.840
<v Speaker 2>I thought that was such a weirdly loving moment and

762
00:41:47.159 --> 00:41:49.679
<v Speaker 2>a real mark in the fact that he'd made a

763
00:41:49.719 --> 00:41:51.679
<v Speaker 2>turn on their relationship.

764
00:41:51.280 --> 00:41:54.079
<v Speaker 1>And tellingly he offered it to her. He didn't she

765
00:41:54.880 --> 00:41:57.679
<v Speaker 1>took it, yeah, from this, so he offered it on

766
00:41:57.719 --> 00:42:01.440
<v Speaker 1>her level. She made the decision that's them communicator, Yeah.

767
00:42:01.159 --> 00:42:05.400
<v Speaker 2>Which is neat really really special kind of relationship. So

768
00:42:06.119 --> 00:42:07.960
<v Speaker 2>I think she was I think she was great. She

769
00:42:08.039 --> 00:42:10.320
<v Speaker 2>was a great nun. I like the arc of her

770
00:42:10.440 --> 00:42:14.239
<v Speaker 2>sort of trying to feel her space in the Wes

771
00:42:14.320 --> 00:42:22.679
<v Speaker 2>Anderson world and helping him her father, find find grace, right,

772
00:42:22.840 --> 00:42:25.840
<v Speaker 2>find a relationship that he can count on, which wasn't

773
00:42:25.920 --> 00:42:32.039
<v Speaker 2>much before. Okay, Michael Sarah Beren, where do we stand

774
00:42:32.199 --> 00:42:38.000
<v Speaker 2>on Michael sarah our loyalty, loyalty and a bug boy energy.

775
00:42:38.480 --> 00:42:41.960
<v Speaker 3>When you cast Michael Sarah, I never know what I'm

776
00:42:42.039 --> 00:42:44.280
<v Speaker 3>gonna want to expect or what I'm going to get

777
00:42:44.320 --> 00:42:46.880
<v Speaker 3>out of him. So I mean it's interesting because the

778
00:42:47.599 --> 00:42:50.880
<v Speaker 3>I thought, Okay, he's playing this character, but then when

779
00:42:51.519 --> 00:42:53.920
<v Speaker 3>we get the twists in the reveal and he's like, oh,

780
00:42:53.960 --> 00:42:57.199
<v Speaker 3>this is who I really am. I just thought that transformation,

781
00:42:57.880 --> 00:43:01.280
<v Speaker 3>you know, the tie comes undone and everything, and I thought,

782
00:43:01.679 --> 00:43:05.639
<v Speaker 3>and we get another character out of Michael Sarah. I

783
00:43:05.679 --> 00:43:09.199
<v Speaker 3>just love that so much about it, about how he

784
00:43:10.039 --> 00:43:12.280
<v Speaker 3>was used in this movie, all of that sort of

785
00:43:12.320 --> 00:43:15.000
<v Speaker 3>the you know, the unknown mole at the beginning of

786
00:43:15.039 --> 00:43:17.880
<v Speaker 3>the movie, to becoming you know again part of the team,

787
00:43:17.960 --> 00:43:20.639
<v Speaker 3>really be getting accepted in as part of that team.

788
00:43:20.639 --> 00:43:23.199
<v Speaker 3>It's sort of like the the misfits that sort of

789
00:43:24.360 --> 00:43:28.360
<v Speaker 3>are able to and I guess he has that with

790
00:43:29.119 --> 00:43:32.199
<v Speaker 3>Lisel as well, of like these moments of like transparency

791
00:43:32.639 --> 00:43:36.440
<v Speaker 3>with each other whereas everything is so as Tommy said,

792
00:43:36.480 --> 00:43:38.960
<v Speaker 3>behind the Glass, they have these human moments with each

793
00:43:39.000 --> 00:43:42.639
<v Speaker 3>other to the extent possible in a Wes Anderson movie.

794
00:43:42.920 --> 00:43:45.440
<v Speaker 3>I mean, you don't get them, you know, the emotional

795
00:43:45.480 --> 00:43:49.000
<v Speaker 3>residence to it, but the characters have those moments where received, oh,

796
00:43:49.079 --> 00:43:52.480
<v Speaker 3>there's connections going on here. And I thought that was

797
00:43:52.519 --> 00:43:55.519
<v Speaker 3>handled really well and it made sense and it worked

798
00:43:55.559 --> 00:43:57.400
<v Speaker 3>well with him in that role.

799
00:43:58.119 --> 00:44:00.480
<v Speaker 1>Has Michael Sarah ever been in a Wes Anderson MOVI before?

800
00:44:00.920 --> 00:44:01.000
<v Speaker 2>Not?

801
00:44:01.599 --> 00:44:04.159
<v Speaker 1>Because if not, he is he has made for it

802
00:44:04.599 --> 00:44:07.239
<v Speaker 1>that he is. Wes Anderson is going to adopt him

803
00:44:07.239 --> 00:44:11.480
<v Speaker 1>like he adopts actors. Michael Sarah's going to be in

804
00:44:11.519 --> 00:44:14.800
<v Speaker 1>every single Wes Anderson movie from now. Uh. He's perfect

805
00:44:14.800 --> 00:44:19.079
<v Speaker 1>for it. And I really like Michael and Michael Sarah.

806
00:44:19.159 --> 00:44:21.360
<v Speaker 1>Even when he's not doing a lot. I also think

807
00:44:21.360 --> 00:44:25.400
<v Speaker 1>he's very interesting. I loved the turn of the trick

808
00:44:26.199 --> 00:44:28.159
<v Speaker 1>of the You know that he is playing a different person.

809
00:44:28.360 --> 00:44:30.760
<v Speaker 1>The only thing that brought it a little bit not

810
00:44:30.960 --> 00:44:32.920
<v Speaker 1>as fun for me, as I've seen him do that

811
00:44:32.960 --> 00:44:35.320
<v Speaker 1>trick before. Did you guys see the movie Youth and Revolt.

812
00:44:36.000 --> 00:44:39.280
<v Speaker 1>Oh no, he plays his own alter ego like his

813
00:44:40.239 --> 00:44:43.320
<v Speaker 1>It's like a super cool spitting on the floor smoking

814
00:44:43.360 --> 00:44:46.039
<v Speaker 1>guy when the normal hymn is that. It's almost these

815
00:44:46.119 --> 00:44:48.440
<v Speaker 1>kind of reverse So I've seen him do that before,

816
00:44:48.760 --> 00:44:51.000
<v Speaker 1>so it didn't strike me too crazy. But I thought

817
00:44:51.039 --> 00:44:52.639
<v Speaker 1>it was really fun. I like him a lot.

818
00:44:52.840 --> 00:44:54.280
<v Speaker 2>I did. I did think it was fun, and I

819
00:44:54.559 --> 00:44:56.239
<v Speaker 2>did think at the beginning, when we first meet him,

820
00:44:56.239 --> 00:44:57.559
<v Speaker 2>I thought, I wonder how long I'm going to be

821
00:44:57.559 --> 00:44:59.280
<v Speaker 2>able to put up with this accent. I hope this

822
00:44:59.440 --> 00:45:02.960
<v Speaker 2>isn't Jit. And so the turn was really nice, and

823
00:45:03.280 --> 00:45:05.800
<v Speaker 2>and finally seeing him settle into the head of the

824
00:45:05.800 --> 00:45:08.840
<v Speaker 2>class role at the little coda at the end with

825
00:45:08.880 --> 00:45:10.639
<v Speaker 2>the bug on his hand, I was like, this is

826
00:45:10.760 --> 00:45:15.360
<v Speaker 2>that they played this perfectly. They played it absolutely perfectly,

827
00:45:15.519 --> 00:45:18.639
<v Speaker 2>and it makes the early Sarah that much funnier. I

828
00:45:18.679 --> 00:45:22.440
<v Speaker 2>think it was. It was really really well earned. From there,

829
00:45:22.480 --> 00:45:28.119
<v Speaker 2>we have a coterie of extra little performances, I think

830
00:45:28.159 --> 00:45:30.679
<v Speaker 2>the big ones that stand out. I think the pairing

831
00:45:31.480 --> 00:45:36.360
<v Speaker 2>of Brian Cranston and Tom Hanks was of particular delight.

832
00:45:37.800 --> 00:45:41.159
<v Speaker 2>Did you take them on two on two first to five?

833
00:45:42.400 --> 00:45:43.320
<v Speaker 1>The most American?

834
00:45:46.880 --> 00:45:52.320
<v Speaker 2>I think that Cranston's calling the shots, calling his shots

835
00:45:52.320 --> 00:45:55.079
<v Speaker 2>in particular, maybe the most, but both of them. I

836
00:45:55.320 --> 00:45:57.599
<v Speaker 2>think that sequence was written so well. It was so

837
00:45:57.760 --> 00:46:00.599
<v Speaker 2>funny that that there happened. Their meeting happened sort of

838
00:46:00.599 --> 00:46:04.320
<v Speaker 2>illicitly at the place where the two train tracks don't meet,

839
00:46:04.360 --> 00:46:07.320
<v Speaker 2>like by fifty feet. I thought that was really really

840
00:46:07.360 --> 00:46:11.800
<v Speaker 2>perfectly architected, and it was really fun to see them.

841
00:46:12.400 --> 00:46:15.400
<v Speaker 2>Thoughts on them or any of your other favorite stunt

842
00:46:15.440 --> 00:46:16.639
<v Speaker 2>casting bits.

843
00:46:16.920 --> 00:46:19.840
<v Speaker 1>I was really pleased by how they didn't overlap too

844
00:46:19.880 --> 00:46:23.039
<v Speaker 1>much that I talked about before the episodic struck that

845
00:46:23.119 --> 00:46:25.519
<v Speaker 1>were and I mean Wes Anderson. You can think that

846
00:46:25.559 --> 00:46:28.000
<v Speaker 1>he writes the same characters over and over again, but

847
00:46:28.119 --> 00:46:32.039
<v Speaker 1>that's wrong. They are weirdly distinctive. And it's not just

848
00:46:32.079 --> 00:46:35.039
<v Speaker 1>their weird hats that they wear or weird choices of

849
00:46:35.079 --> 00:46:38.800
<v Speaker 1>like eyeglasses, like they're just they're all deadpan and weird.

850
00:46:39.679 --> 00:46:43.199
<v Speaker 1>But I don't know, there's just something really interesting about

851
00:46:43.199 --> 00:46:44.760
<v Speaker 1>all of them. And he picked the right people. And

852
00:46:44.920 --> 00:46:47.920
<v Speaker 1>Rais Ahmed was really fun and I would think that

853
00:46:47.960 --> 00:46:51.360
<v Speaker 1>maybe he would be an interesting maybe wouldn't fit that

854
00:46:51.400 --> 00:46:53.880
<v Speaker 1>world as much. Maybe I haven't seen enough of him,

855
00:46:54.119 --> 00:46:56.880
<v Speaker 1>or maybe I'm mixing up up with Robbie Malleck. That's

856
00:46:57.119 --> 00:47:02.079
<v Speaker 1>very possible. Either way, he he formed into that world

857
00:47:02.079 --> 00:47:05.559
<v Speaker 1>perfectly like everyone. Yeah, I believed everyone in the world,

858
00:47:05.639 --> 00:47:07.840
<v Speaker 1>which is always invited.

859
00:47:08.000 --> 00:47:11.719
<v Speaker 2>Yeah, what's funny about those guys? So Rezamed and Matthew

860
00:47:11.760 --> 00:47:17.719
<v Speaker 2>Almarek and Jeffrey Wright let's see I.

861
00:47:17.599 --> 00:47:19.000
<v Speaker 1>Think jeff run.

862
00:47:19.239 --> 00:47:23.679
<v Speaker 2>Yeah, so fun and they were really those guys were

863
00:47:23.840 --> 00:47:27.559
<v Speaker 2>allowed to emote in the ways that the other characters

864
00:47:27.559 --> 00:47:30.719
<v Speaker 2>were not, Like of all the emotion that interesting that

865
00:47:30.880 --> 00:47:34.679
<v Speaker 2>is missing from everyone else. We got some real spasmodic

866
00:47:35.239 --> 00:47:38.880
<v Speaker 2>experiences of emotion from those guys as they were dealing

867
00:47:38.880 --> 00:47:42.639
<v Speaker 2>with trauma. Matthew al Marek when pulling the bullet out

868
00:47:42.719 --> 00:47:47.519
<v Speaker 2>right he was he was downright anxious, which is saying

869
00:47:47.519 --> 00:47:50.960
<v Speaker 2>a lot for a Wes Anderson movie.

870
00:47:50.400 --> 00:47:55.159
<v Speaker 3>Well, I think it's the fact that we only get

871
00:47:55.199 --> 00:47:58.719
<v Speaker 3>them for those just few minutes. But they are not

872
00:47:59.599 --> 00:48:02.679
<v Speaker 3>forget you know. They do. They do stand out, but

873
00:48:02.760 --> 00:48:05.199
<v Speaker 3>not in a way that's like, I don't want to

874
00:48:05.199 --> 00:48:07.199
<v Speaker 3>say it, like they're flat, one dimensional. I get a

875
00:48:07.239 --> 00:48:09.920
<v Speaker 3>sense of like, oh, I could see them again in

876
00:48:09.960 --> 00:48:13.079
<v Speaker 3>another film, because there is there is something to them.

877
00:48:13.119 --> 00:48:15.719
<v Speaker 3>There is a history. There's something hinted at with each

878
00:48:15.719 --> 00:48:19.000
<v Speaker 3>of them, whether it's you know, the brothers, or we've

879
00:48:19.000 --> 00:48:21.280
<v Speaker 3>got the nightclub that the ceiling is getting shot up

880
00:48:21.280 --> 00:48:23.760
<v Speaker 3>and it's like, oh, what is this nightclub place? And

881
00:48:23.840 --> 00:48:25.760
<v Speaker 3>what is going on in this country? We've got the

882
00:48:25.800 --> 00:48:29.440
<v Speaker 3>rebels coming in. I thought, okay, there's there's something interesting

883
00:48:29.440 --> 00:48:33.320
<v Speaker 3>and intriguing that a good writer can get across, versus like, oh,

884
00:48:33.360 --> 00:48:37.920
<v Speaker 3>this is just a generic type X character that is this,

885
00:48:38.119 --> 00:48:41.079
<v Speaker 3>Oh he's a business man, he's the nightclub guy. I've

886
00:48:41.119 --> 00:48:43.440
<v Speaker 3>seen a thousand of these before, but these are all

887
00:48:43.599 --> 00:48:48.039
<v Speaker 3>unique and they get that and quickly efficiently. And yeah,

888
00:48:48.079 --> 00:48:51.800
<v Speaker 3>the emotion piece is coming back to the whole the

889
00:48:51.840 --> 00:48:55.159
<v Speaker 3>whole scheme is he's you know, he's backed out of

890
00:48:55.159 --> 00:48:57.360
<v Speaker 3>the deal, he's changed the terms on them, and so

891
00:48:57.480 --> 00:49:00.920
<v Speaker 3>it's like these are guys that have money. So it's

892
00:49:00.960 --> 00:49:04.679
<v Speaker 3>like we get to see because again, our main character

893
00:49:04.800 --> 00:49:07.639
<v Speaker 3>is just very emotionless. It's like, this is business, this

894
00:49:07.719 --> 00:49:09.199
<v Speaker 3>is my plan, this is how I'm going to.

895
00:49:09.159 --> 00:49:09.840
<v Speaker 1>Go through things.

896
00:49:10.400 --> 00:49:12.880
<v Speaker 3>Well, yeah, when you when you screw over the partner

897
00:49:12.920 --> 00:49:15.280
<v Speaker 3>in your plan, they're going to have a reaction to that.

898
00:49:15.400 --> 00:49:17.719
<v Speaker 3>And so it is interesting to see how they each

899
00:49:18.000 --> 00:49:21.920
<v Speaker 3>sort of handle the betrayal that he's trying to downplay,

900
00:49:22.119 --> 00:49:24.119
<v Speaker 3>you know, like oh, no, no no, we'll just we'll take

901
00:49:24.159 --> 00:49:26.519
<v Speaker 3>that back, right, Like no, no, no, no, no, you don't

902
00:49:26.559 --> 00:49:28.920
<v Speaker 3>you don't just get to take that back and all

903
00:49:29.039 --> 00:49:30.480
<v Speaker 3>is good and done.

904
00:49:30.599 --> 00:49:33.519
<v Speaker 2>There are consequences, Yes, there are consequences, and they're laid

905
00:49:33.559 --> 00:49:38.400
<v Speaker 2>out so plainly. It just maybe because it's a Wes

906
00:49:38.480 --> 00:49:41.639
<v Speaker 2>Anderson movie. It feels like I think, you know, Clippy

907
00:49:41.679 --> 00:49:44.320
<v Speaker 2>pops up and says, would you like me to outline consequences? Yes,

908
00:49:45.639 --> 00:49:48.920
<v Speaker 2>it's very very clear. I would love to see a

909
00:49:49.079 --> 00:49:53.000
<v Speaker 2>movie where Tom Hanks and Brian Cranston get shared top billing,

910
00:49:53.039 --> 00:49:54.760
<v Speaker 2>and I don't know, it's got to be like a

911
00:49:54.760 --> 00:49:58.360
<v Speaker 2>bosom buddies kind of a thing, an odd couple. I

912
00:49:58.360 --> 00:50:00.199
<v Speaker 2>don't care what it is. I want those two guys,

913
00:50:00.239 --> 00:50:05.800
<v Speaker 2>those two faces on screen together. They deserve each other.

914
00:50:06.079 --> 00:50:10.440
<v Speaker 2>That was one of my favorite sequences. Okay, I can't

915
00:50:10.800 --> 00:50:15.119
<v Speaker 2>I can't believe it, but I think we're I think

916
00:50:15.119 --> 00:50:17.440
<v Speaker 2>we're reaching the end of our time together here in

917
00:50:17.480 --> 00:50:21.519
<v Speaker 2>the Phoenician scheme. And yeah, I know, and that means.

918
00:50:21.199 --> 00:50:23.519
<v Speaker 1>Been very pleasant. And I will not remember a moment,

919
00:50:23.840 --> 00:50:24.800
<v Speaker 1>not a minute of it.

920
00:50:24.880 --> 00:50:29.519
<v Speaker 2>I've already forgotten anything before the last ten minutes. So

921
00:50:30.079 --> 00:50:36.360
<v Speaker 2>let us transition if we can to letterboxed, letterbox dot com,

922
00:50:36.400 --> 00:50:38.199
<v Speaker 2>slash the next world. That's where you can find our

923
00:50:38.719 --> 00:50:41.760
<v Speaker 2>h Q page. And now we have to apportion our

924
00:50:41.840 --> 00:50:44.920
<v Speaker 2>hearts and our stars. As you know, the rules that

925
00:50:45.000 --> 00:50:49.079
<v Speaker 2>are never obeyed. There is a fixed number of stars

926
00:50:49.119 --> 00:50:51.800
<v Speaker 2>in the world, and if you place stars here, you

927
00:50:51.840 --> 00:50:53.760
<v Speaker 2>have to take them from something else. No one ever

928
00:50:53.800 --> 00:50:56.360
<v Speaker 2>pays attention to this rule. It is key to the

929
00:50:56.519 --> 00:51:00.400
<v Speaker 2>entire system. I feel like the damn's gonna break. That's

930
00:51:00.440 --> 00:51:02.519
<v Speaker 2>the rule. Go ahead, break it, Tom, What do you

931
00:51:02.559 --> 00:51:04.760
<v Speaker 2>think never understand?

932
00:51:05.159 --> 00:51:08.119
<v Speaker 1>I've taken so many hearts away from the finest hours.

933
00:51:08.199 --> 00:51:11.000
<v Speaker 1>I don't know. It is in a hole. It is

934
00:51:11.039 --> 00:51:17.000
<v Speaker 1>in a hole, just like she did. When the movie ended,

935
00:51:17.280 --> 00:51:20.239
<v Speaker 1>it was a strong four. By the time I got

936
00:51:20.239 --> 00:51:22.800
<v Speaker 1>to my car, three point seventy five and now three

937
00:51:22.840 --> 00:51:23.400
<v Speaker 1>point five.

938
00:51:23.639 --> 00:51:26.119
<v Speaker 2>Unfortunately, sure we talked about it, it got worse.

939
00:51:26.719 --> 00:51:30.800
<v Speaker 1>Well, just because you guys brought up sequences that I forgot.

940
00:51:31.440 --> 00:51:34.079
<v Speaker 1>I forgot about him getting a shot. There's just not

941
00:51:34.280 --> 00:51:37.719
<v Speaker 1>enough sticky. So I love the experience. I will see

942
00:51:37.760 --> 00:51:40.559
<v Speaker 1>his next movie, and I'm really glad that this exists.

943
00:51:40.679 --> 00:51:43.480
<v Speaker 1>I am. It is so ephemeral. It's a great word

944
00:51:43.519 --> 00:51:46.639
<v Speaker 1>for it. I mean, I can't. I'm going to give

945
00:51:46.639 --> 00:51:49.079
<v Speaker 1>it a heart, absolutely, and if I see it again,

946
00:51:49.199 --> 00:51:51.559
<v Speaker 1>I better it'll go back up to four. And then

947
00:51:51.599 --> 00:51:53.760
<v Speaker 1>I'll see and I'll see what it is three days

948
00:51:53.800 --> 00:51:57.119
<v Speaker 1>later because I just cannot remember. I'm going to give

949
00:51:57.159 --> 00:51:58.840
<v Speaker 1>it a three point five. I can't give it a

950
00:51:58.880 --> 00:52:01.199
<v Speaker 1>four because that's what I gave and sinners. I still

951
00:52:01.239 --> 00:52:04.559
<v Speaker 1>think about sequences from every day since I've seen it.

952
00:52:04.920 --> 00:52:08.280
<v Speaker 1>What sequences am I remembering from this movie? Well, I

953
00:52:08.280 --> 00:52:11.679
<v Speaker 1>can remember my favorite part. You to my actual favorite part.

954
00:52:11.920 --> 00:52:14.719
<v Speaker 1>It was in the closing credits. This is the how

955
00:52:14.719 --> 00:52:17.519
<v Speaker 1>do you know that you're seeing a Wes Anderson movie

956
00:52:17.719 --> 00:52:21.599
<v Speaker 1>because there was a P knuckle consultant that was an

957
00:52:21.639 --> 00:52:25.039
<v Speaker 1>actual credit towards the end of the thing's P knuckle

958
00:52:25.079 --> 00:52:26.480
<v Speaker 1>consultant that was like Wes Anderson.

959
00:52:26.519 --> 00:52:28.639
<v Speaker 2>Like, if you just told me that, I'd be like Western, Yeah.

960
00:52:28.519 --> 00:52:33.760
<v Speaker 1>Of course, yeah knuckle three point five, huge heart, And

961
00:52:33.800 --> 00:52:35.800
<v Speaker 1>it will always as soon as I see the movie again,

962
00:52:35.880 --> 00:52:36.679
<v Speaker 1>it will go back up.

963
00:52:36.960 --> 00:52:40.719
<v Speaker 2>I like that, Tom. Your rationale for rating applying stars

964
00:52:40.800 --> 00:52:44.440
<v Speaker 2>needs like a five year moving average. You think that's funny.

965
00:52:44.719 --> 00:52:45.800
<v Speaker 2>It's like a stock pick.

966
00:52:47.440 --> 00:52:50.199
<v Speaker 1>Yes, things are looking up. I would just yeah, I would.

967
00:52:50.239 --> 00:52:52.519
<v Speaker 1>I would put a price checker on my track.

968
00:52:55.280 --> 00:52:59.519
<v Speaker 3>It is tricky to rate these these movies because, yeah,

969
00:53:00.119 --> 00:53:03.760
<v Speaker 3>you asked me, like, as I'm walking out of the theater, like,

970
00:53:03.800 --> 00:53:05.719
<v Speaker 3>what did you think of the movie, it's like fresh,

971
00:53:05.760 --> 00:53:08.599
<v Speaker 3>it's right there, and then over time like, oh yeah,

972
00:53:08.639 --> 00:53:10.960
<v Speaker 3>things fad. But then again we have this conversation and

973
00:53:10.960 --> 00:53:12.639
<v Speaker 3>I knew this was one that I had, I had

974
00:53:12.679 --> 00:53:18.320
<v Speaker 3>really enjoyed because there was something more to it, and

975
00:53:18.400 --> 00:53:20.760
<v Speaker 3>so I'm gonna go with I'm gonna go with four

976
00:53:20.800 --> 00:53:23.920
<v Speaker 3>stars because I think it is above some of the

977
00:53:23.920 --> 00:53:27.599
<v Speaker 3>others and Tommy, I hear you about comparing, but it's

978
00:53:27.679 --> 00:53:30.039
<v Speaker 3>like I'm looking at in terms of the scale of

979
00:53:30.039 --> 00:53:32.880
<v Speaker 3>Wes Anderson movies, not comparing it to like a movie

980
00:53:32.920 --> 00:53:36.280
<v Speaker 3>like Sinners, which was an amazing film. So I never

981
00:53:36.320 --> 00:53:38.920
<v Speaker 3>could put four star films against each other. I could say,

982
00:53:38.960 --> 00:53:41.400
<v Speaker 3>let me within the world of Wes Anderson, where it

983
00:53:41.400 --> 00:53:45.199
<v Speaker 3>does this fall four stars in a big old bleeding heart.

984
00:53:45.440 --> 00:53:46.639
<v Speaker 1>Yes, I love it.

985
00:53:47.480 --> 00:53:51.880
<v Speaker 2>I think I'm glad you brought up Sinners. I just

986
00:53:51.920 --> 00:53:56.320
<v Speaker 2>watched that again today. Wow, it's very timely is it streaming?

987
00:53:56.639 --> 00:53:58.039
<v Speaker 1>It is? Well.

988
00:53:58.079 --> 00:54:00.920
<v Speaker 2>I knew when I saw that I was going to

989
00:54:00.920 --> 00:54:02.320
<v Speaker 2>want to own it, and so I put in the

990
00:54:02.360 --> 00:54:08.280
<v Speaker 2>pre order for the top outwit. But I do sometimes

991
00:54:08.320 --> 00:54:10.039
<v Speaker 2>when I think of movies like these, I go back

992
00:54:10.079 --> 00:54:13.679
<v Speaker 2>to Ebert right, like, you have to judge the movie

993
00:54:13.800 --> 00:54:17.239
<v Speaker 2>against what it's against, what it's trying to do, how

994
00:54:17.239 --> 00:54:19.920
<v Speaker 2>well does it do what it's trying to do, Because

995
00:54:19.960 --> 00:54:22.679
<v Speaker 2>there is no comparison for me between Sinners in this

996
00:54:22.760 --> 00:54:26.400
<v Speaker 2>movie and in terms of Wes Anderson movies, in terms

997
00:54:26.719 --> 00:54:29.119
<v Speaker 2>of the esthetic that he's going for. This is very

998
00:54:29.159 --> 00:54:33.400
<v Speaker 2>near the top. I frankly, one of the great things

999
00:54:33.400 --> 00:54:36.119
<v Speaker 2>that this movie inspired me to do is to start

1000
00:54:36.159 --> 00:54:40.239
<v Speaker 2>going back through other favorite Wes Anderson movies because I

1001
00:54:40.320 --> 00:54:43.400
<v Speaker 2>really love the aesthetic. And if that's one thing that

1002
00:54:44.360 --> 00:54:47.199
<v Speaker 2>comes out of this experience right now, is that I'm

1003
00:54:47.239 --> 00:54:50.559
<v Speaker 2>going to dive into to Wes Anderson a little bit harder.

1004
00:54:52.039 --> 00:54:54.639
<v Speaker 2>That's great. So I land on a four star with

1005
00:54:54.679 --> 00:54:57.519
<v Speaker 2>this one, and a great big heart as well. That

1006
00:54:57.559 --> 00:54:59.639
<v Speaker 2>averages out to a three point eight. It'll be a

1007
00:54:59.679 --> 00:55:04.519
<v Speaker 2>four on our letterbox channel. This was a really fun movie.

1008
00:55:04.559 --> 00:55:06.880
<v Speaker 2>I'm so glad we did it. I'm so sorry JJ

1009
00:55:07.000 --> 00:55:09.079
<v Speaker 2>was not able to make it since it was his pick,

1010
00:55:09.639 --> 00:55:13.719
<v Speaker 2>And man, don't you agree it was better than Why

1011
00:55:13.760 --> 00:55:21.280
<v Speaker 2>two K? I don't know about that.

1012
00:55:21.320 --> 00:55:22.400
<v Speaker 1>What a horrible legacy.

1013
00:55:25.039 --> 00:55:27.360
<v Speaker 3>Okay, but in two years, which film will you be

1014
00:55:27.400 --> 00:55:29.440
<v Speaker 3>able to summarize and recall better?

1015
00:55:29.719 --> 00:55:30.159
<v Speaker 1>Y two K?

1016
00:55:30.719 --> 00:55:31.639
<v Speaker 3>Or Phoenician scheme?

1017
00:55:32.440 --> 00:55:36.239
<v Speaker 2>Absolutely hy two K? And the emotional weight that Tom

1018
00:55:36.320 --> 00:55:40.320
<v Speaker 2>carries forever because of it. Look, that allows us to

1019
00:55:40.400 --> 00:55:43.719
<v Speaker 2>put to transition to what our coming attractions? What are

1020
00:55:43.760 --> 00:55:46.039
<v Speaker 2>we going to do next month? Tom? Will you do

1021
00:55:46.119 --> 00:55:46.639
<v Speaker 2>the honors?

1022
00:55:47.119 --> 00:55:51.719
<v Speaker 1>Absolutely? We're going to see a movie. And I got

1023
00:55:52.079 --> 00:55:58.639
<v Speaker 1>two words for y'all, maybe tries there atoms? We are

1024
00:55:58.760 --> 00:56:01.599
<v Speaker 1>getting the Dino getting back together. We are going to

1025
00:56:01.599 --> 00:56:05.360
<v Speaker 1>see Jurassic Park Dominion. Why says the world, We don't know,

1026
00:56:05.480 --> 00:56:08.440
<v Speaker 1>because we love these movies and we have been burned

1027
00:56:08.480 --> 00:56:10.800
<v Speaker 1>and burned and burned, and we're going back for more.

1028
00:56:10.880 --> 00:56:14.159
<v Speaker 1>Gareth Edwards is helming this one. Hopefully Scar Joe's in it.

1029
00:56:14.159 --> 00:56:16.679
<v Speaker 1>We're going back to back Scar and hopefully this one

1030
00:56:16.719 --> 00:56:20.760
<v Speaker 1>will dig out the dino hole that we have been

1031
00:56:20.800 --> 00:56:25.159
<v Speaker 1>in for a while. I am for all things dinosaur.

1032
00:56:25.199 --> 00:56:25.960
<v Speaker 1>I'm very excited.

1033
00:56:26.360 --> 00:56:29.360
<v Speaker 2>I'm excited because I hope there's a dinosaur garage again.

1034
00:56:29.480 --> 00:56:35.320
<v Speaker 2>Remember one of these movies, the dinosaur uh Modetizer elevator.

1035
00:56:35.840 --> 00:56:37.719
<v Speaker 1>There was the Dinosaur Model Walk You remember that? Y?

1036
00:56:38.239 --> 00:56:41.719
<v Speaker 2>Yeah? Yes, yeah, we have a lot to look forward to,

1037
00:56:41.840 --> 00:56:44.400
<v Speaker 2>is what I'm saying. So, yes, that's coming up for

1038
00:56:44.519 --> 00:56:47.719
<v Speaker 2>our July pick uh. Go see this movie because it's

1039
00:56:47.719 --> 00:56:51.679
<v Speaker 2>a movie that probably needs more theatrical attention. Spend some bucks,

1040
00:56:51.760 --> 00:56:52.519
<v Speaker 2>go see it.

1041
00:56:52.559 --> 00:56:55.000
<v Speaker 1>I don't think it's it's worth it to see it.

1042
00:56:55.119 --> 00:56:57.440
<v Speaker 1>Not always do you need to go to movies just

1043
00:56:57.480 --> 00:56:59.440
<v Speaker 1>because they're big and loud and scary. I don't know,

1044
00:56:59.480 --> 00:57:04.960
<v Speaker 1>like dark Dominions. But instead, this movie is a visual feast,

1045
00:57:05.199 --> 00:57:06.480
<v Speaker 1>and so it's so much fun.

1046
00:57:06.280 --> 00:57:09.960
<v Speaker 2>To watch for sure, worth it in the theater. Don't

1047
00:57:10.000 --> 00:57:18.280
<v Speaker 2>bother d Box though, it's just dollying back and forth

1048
00:57:18.320 --> 00:57:21.199
<v Speaker 2>across the theater so much Dolly track. Do you agree

1049
00:57:22.079 --> 00:57:23.599
<v Speaker 2>like I wish I could have invested de.

1050
00:57:23.679 --> 00:57:25.800
<v Speaker 1>Box would be funny if you tried to look at

1051
00:57:25.840 --> 00:57:27.639
<v Speaker 1>like one half of the frame and it would slide,

1052
00:57:27.840 --> 00:57:29.880
<v Speaker 1>so you've had to look at the middle of the

1053
00:57:29.960 --> 00:57:34.079
<v Speaker 1>frame all the time. Sorry.

1054
00:57:34.159 --> 00:57:36.360
<v Speaker 2>Thank you everybody for downloading and listening to this show.

1055
00:57:36.400 --> 00:57:39.880
<v Speaker 2>We appreciate your time and your attention. Whether you agreed, disagree,

1056
00:57:40.000 --> 00:57:42.119
<v Speaker 2>or just came here to shout at your phones, we

1057
00:57:42.280 --> 00:57:45.480
<v Speaker 2>appreciate you. Whatever you do. Now, watch more movies, don't

1058
00:57:45.519 --> 00:57:47.639
<v Speaker 2>let them get you angry, and remember just because it

1059
00:57:47.719 --> 00:57:51.000
<v Speaker 2>has just because it has a post credit scene doesn't

1060
00:57:51.000 --> 00:57:55.480
<v Speaker 2>mean it's not wearing pinstripes and wide lapels. Meeting adjourned