Latest / Houselights: A Film Director Podcast / Chrildren of Men (2006) - Alfonso Cuarón | Houselights #161

Transcript

Chrildren of Men (2006) - Alfonso Cuarón | Houselights #161 · Houselights: A Film Director Podcast

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  Usa usa u usa ut u u u u u u u u u uta
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  sai us satis us u usa usa usu us u us. Welcome to the
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  NED party. H H. Hello everybody at home, and welcome to Houselights
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  House of Quiron, specifically Alfonso Quran, as we continue our deep dive into
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  the directorial works of this uh, this Mexican filmmaker, this visionary, this
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  uh, this this import of import uh. He is someone that we've had
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  a great time analyzing over the past couple of weeks, and tonight we are
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  talking about Children of Men that came out in two thousand and six, and
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  Darren, as you were telling us earlier before we started this conversation, even
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  though this was a critically acclaimed film, and this was I think at the
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  top two hundred and fifty movies that you should see before you die, those
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  kind of thing like top two fifty on letterbox for narrative films, it didn't
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  make a lot of money. Not a lot of people saw it. But
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  tonight, hopefully you guys have seen it, and we have seen it in
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  preparation for this conversation, and I cannot wait to talk about it. I
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  am your host Tristan Riddell, and with me as always is Darren doctor sci
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  Fi Moser himself and John Mills. How are you two doing tonight? I'm
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  doing fine, Thank you. I listen. I you know, this is
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  definitely going to be an interesting discussion because I had a strange epiphany while I
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  was watching it, which you know, gets back to some other stuff,
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  but we'll get there. I am looking forward to discussing this, especially as
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  I know Darren has his own insights on everything. Yeah, I mean it's
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  set in twenty twenty seven. We're a little closer to twenty twenty seven.
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  This movie was made both chronologically and socially, so yeah, that was an
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  interesting watch. You know, like some movies that you watch after you become
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  a parent and you get a different vibe because you have kids. Now,
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  Yeah, I'd say this one also falls into that, like v Ferrindetta or
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  other kind of uprising ish films where yeah, it's a lot to take it.
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  A lot of people die in this movie, Tristan. A lot of
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  people die. Yeah. Why when I saw this in two thousand and six,
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  I saw this in theaters and when like, when you walk out of
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  it, you're like, man, I hope we can avoid that. I
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  hope that doesn't happen. And then you watch it today in twenty twenty three,
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  and you're like, oh God, that's gonna happen, just like watching
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  Future Imperfect from Deep Sase nine where they go back in time to the nineties
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  and it's like sanctuary districts and you're like, yeah, because those aren't gonna
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  happen. Yeah. So, John, when was the first time you saw
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  this movie. I'm pretty sure I saw it on disc you know, in
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  years past. I don't know specifically what year, but i'd heard, not
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  heard. I'd seen different stuff online, you know, talking up you know,
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  reaction to the editing, and you know, the sort of dystopian aspects
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  of it, and it had gotten a lot of positive press, you know,
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  where I was looking at it, and so I'd had an interest and
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  I wound up watching it, and I like, immediately, you know,
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  you can't watch this film and not immediately respect the hell out of what Quiran
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  and his team pull off with a lot of things, making it look like
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  continuous shots to sustain this spence, making it with the way they shot it
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  look more documentary in its feel than anything else. So you know, right
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  off the bat it garners a lot of goodwill because regardless of anything else you're
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  looking at and you're like, this is you know, when you're talking about
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  craft, this is a team that absolutely has complete command of their craft.
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  Whether it's how they choose to use CG, whether it's how they choose to
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  edit, whether it's the music they choose. Everything has such intent behind it
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  that you know that you've watched something special come together, divorcing it from anything
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  else, just in terms of the technical wizardry necessary to make something like this
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  happen. Like you just sort of at the end of it, just baseline
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  impressed that you saw such care go into the creation of something, because even
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  by two thousand and six, we were sort of, you know, becoming
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  accustomed to the slap dash CG blockbuster already by that point, and so this
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  comes out and it's like, oh, that was refreshing. Look, some
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  people knew how to use the tools that were laid before them, isn't that
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  great? Yeah, this is the kind of CG where it's replacing backgrounds and
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  enhancing like skylines, and you don't notice it nearly as much because it is
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  setting it in this future dystopian world, but they're yeah, so, I
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  mean, I'm sure this movie is packed full of effect shots, but if
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  you had to point them out, it'd be much more difficult. And that
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  is, like John said, using the tools. Well, Darren, when
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  was the first time you saw this? I probably saw it in theaters.
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  It's hard to recall, but around this time I would have been still in
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  school and living with a bunch of film majors, so we probably all went
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  and saw this, saw the trailer and got together. But yeah, but
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  I don't think I have I've probably seen it once more since then. I
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  don't own it. I might have rented it or seen it in Blockbuster.
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  But like I've said, it's it's a beautiful film as far as what it
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  makes you feel, what it visually puts on the screen, the story it
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  tells. But it is very depressing. It is very like there's not a
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  lot of hope in there, but like Clive Owen's feeling. But yeah,
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  so I was kind of like, Okay, let's get you know, I'm
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  gonna have a bowl of ice cream, I'm gonna have some happy thoughts,
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  and we're gonna pop in the Children of Men and No, but I am
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  looking forward to to discussing it with you too, and all the long shots,
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  like we're gonna have this long podcast in one take, unedited, just
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  like the movies. Let's just go right into it, because I feel like
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  Children of Men is most famous for that sequence, for the battle sequence in
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  the in the refugee in the in the Yeah, in the refugee district.
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  It's I think it's a seven minutes over seven minutes of a continuous shot.
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  I mean, you know, a simulated continuous shot because you know, like
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  you know, film buffs know that it's linked together through camera and editing trickery,
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  but it's still, you know, incredibly impressive. Now, John,
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  you know what do you think that brings that? Do you think that was
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  unnecessary to have a seven minute long simulated shot? What do you think what
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  do you think it brought to the film? Did you think it added suspense?
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  Did or did you think it was just showing off? No? I
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  think it definitely serves the It serves the build of tension and showing how oppressive
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  it is in that sequence because of the fact that you're used to as an
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  audience member things cutting away and it gives you sort of a sense of relief.
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  You're switching perspective, you're switching who you're with, you're switching, and
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  you can sort of intellectually distance yourself. I think it's a much more visceral
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  way to have you go through a s situation like that. So it definitely
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  winds up when, for instance, everything quiets down and they're walking out with
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  the baby, it's jarring in a completely different way because the way that's sort
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  of more traditionally handled is cut and they walk out of a room and cut
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  to somebody looking a certain way and cut to them walking out, Whereas this
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  is going along and you're like, because the momentum has never shifted in the
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  sense that you don't get that relief cut, you wind up still tense through
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  the whole thing. It importantly gives that sense of they're not out of danger.
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  A lot of movies would have punched out at that point and been like,
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  look, we're gonna be okay sort of thing, whereas this is like,
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  no, this is still a very active, dangerous situation that they're in.
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  And because it never looks away from that sort of you know, continuous
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  move that allows that tension to continually transfer over. It's sort of like what
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  Zimmer did with the Joker's theme in The Dark Night, where it's a note
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  that never resolves itself. It kind of does when things shift, but like
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  the note itself never comes to an appropriate end, and so you're just always
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  like, what's what's happening, what's going on? It just instantly makes you
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  unsettled. And Ludwig Gordonson took that to the extreme with Oppenheimer. Y took
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  what Zimmer did and just ran with it. Stood on the shoulder of giants
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  there, Darren. So you mentioned the CG earlier on. You talked about
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  like CG replacement and everything like that, and I feel like, before I
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  ask you the question, I feel like Alfonso Korn is a minimalist when it
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  comes to CG, Like he wants to use a minimal amount of CG,
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  like like when we camera where possible? Yeah, in camera where possible?
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  And he completely abandons that with the next movie Gravity with Prisoner of Azkaban,
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  you know, like it was filled with CG, but at the same time
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  he was just like, where can we go practical? What can we do
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  with it's real and camera and everything like that. When you were watching Children
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  of Men this time due to the age. And this isn't a criticism of
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  the film, really, it's really just kind of like where we are today
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  in twenty twenty three as of this recording. Did you find some of the
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  CGI distracting or did you feel like it aged well? No, I think
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  it aged particularly well. I want to go back and rewatch. I saw
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  a behind the scenes that was talking about the road ambush scene, and I'm
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  pretty sure there's no top in that car. Like they literally had the top
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  removed of the car, and so they had their camera come in and crane
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  up and down and do all the movements, and then they digitally added the
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  roof of the car later to accomplish a show. It was something like that.
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  The camera is actually was actually a part of the roof's and what I'm
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  thinking of, and it's there they modified the interior. For all of you
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  who are listening who haven't seen the behind these scenes of Children Men, you
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  absolutely should because the ambush scene is a technical feat in itself. I mean,
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  like everybody talks about the battle scene because it's over seven minutes long of
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  a simulated winner, but the ambush scene is insane craftsmanship which is still really
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  long, which is still a very long take. But once you realize,
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  once you see where the camera is inside the car and it's a small car
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  filled with five people, and it's the camera is moving. It's it's not
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  just rotating around, it's actually moving back and forth as well. And so
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  these actors, while you know, saying their lines, emoting, reacting when
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  the camera is not on them, they're throwing themselves backwards in the car,
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  in the seats so that the camera can move around them. And then they're
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  when the camera is about to get on them, they throw their seat back
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  up and they all have to do this wall of moting and it's just it's
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  brilliance. It's a choreographed dance. Thank you, Darren. Yeah, it's
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  amazing. It's amazing. Yeah, like you said, interested, I like
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  the The Road Ambush better than I mean, yeah, the finale, the
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  battle is amazing, and it's kind of the emotional climax of the movie,
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  so I think it gets more of the praise. But I think what they
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  pull off with The Road Ambush is way more interesting. And you're just because
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  it's kind of the first time things go sideways, like the like you have
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  the explosion and on the cafe and other things are going on, but like
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  that's where literally stuff's hitting the fan and it's it's going really bad, really
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  fast. So yeah, and we lose Julianne Moore's character. It's like,
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  oh, guess she's not gonna be on the rest of the movie, and
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  you're like, oh my gosh. It almost felt like, I know this
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  is an extreme example, but Drew Barrymore in Scream, I know, you're
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  like all the posters and the trailers and everything like that shows her and she's
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  just killed at the beginning. No, julian Moore is not at the beginning,
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  but still you think she's going to be a major part of the movie.
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  There was another moment where I felt more tension than in previous watches,
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  even though I know it wasn't going to happen. But when they're when Michael
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  Caine and Clive Owen are just shooting the breeze as they're uncovering the secret turn
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  off the road, I know no one's gonna come around the corner, but
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  I'm like petrified that, like they're taking their sweet time, and this is
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  not the type of country where you take your time revealing the path to the
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  bat cave. You got to get in real fast, cover it back up
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  because you don't want to be discovered. And obviously that is what happens.
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  But yeah, I felt I'm like, wow, why do I feel so
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  much tension in this like exposition dump chat where because they're just taking their take
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  it too long? John, I have a question for you. Yeah.
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  You know, with this movie, one of my favorite things and I'm not
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  prepping this so that you say it's your favorite thing, but one of my
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  favorite things was the perspective of this movie, the perspective of Clive Owen's character,
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  THEO. Every single thing in this movie, apart from maybe one moment,
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  is told from Theo's perspective visually and cinematically. That was one thing I
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  really really enjoyed it. I saw this with the buddy of mine and as
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  we were walking out, he asked me, you know, what's the thing
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  that you like most about the movie? I said, I was like,
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  Oh, it's completely told from Theo's perspective, Like, don't we only know
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  what he knows? We only see what he sees, we only hear what
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  he sees, will only hear what he hears? And my buddy was just
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  like, oh damn, you're right. That changed my whole perspective on stuff.
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  But what did you think about that implementation of that perspective? Do you
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  think it added to the documentary feel or did you feel like we were missing
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  out on something? What did you think of that whole perspective of Theo's this
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  being Theo's movie and the audience being along for the ride. Well, here
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  comes the growner reveal that I hinted at in the beginning, right, because
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  what I realized well first and foremost to speak to that point, I think
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  it's very necessary, especially when you have this sort of like dystopian fantasy that's
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  going on, is it shrinks the world to a believable level, right because
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  all of the extra stuff that they give you in movies and stuff. Again,
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  it's a distancing thing, whether it intends to or not, But all
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  of that world building stuff is fine, but it makes it much more experiential,
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  much more relatable, much more understandable. If you have it where all
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  you're getting is a singular perspective, the way you'd have it in that situation
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  allows you to graft yourself onto that main character a lot more fluidly, I
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  guess and get you know, basically build that necessary connection with the protagonist.
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  But while I was watching it, what I realized what really tickles me about
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  it is the fact that what I was reminded of were films like honestly,
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  Soilent Green and The Omega Man, and even to an extent, Logan's Run,
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  those sort of dystopian future things like this is part of the film cycle,
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  and I'm like, well, was this about the right time for this
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  to show back up? I'm like, yeah, yeah, yeah, yeah,
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  this is about the And the thing is the world building that's done is
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  not too far off from Soilent Green, which is a terribly underrated film.
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  It's definitely a product of its time, but a lot of people just know
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  the punchline and they forget that there's a real impetus. The book that Soiling
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  Green's based on is garbage, so don't read it. But like it made
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  it kind of a strange experience this time, because I didn't really see it
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  in that light the first time I watched it. But I think that that
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  is also a necessary element of that apocalyptic sci fi sort of thing for it
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  to work the way that this one does you need to have that limited worldview
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  so that you're much more in the moment, so that you feel the confusion,
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  dismay, and struggle of the character to try to make sense of everything
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  that's going on. So, did you feel like this movie had too much
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  exposition not enough exposition? Do you feel like I had just the right What
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  do you think? No, I don't think it had too much, but
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  not by a long shot. The odd thing, and I think this has
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  more to do with the sort of like the sustained tension is the movie is
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  itself is not what I would classify as a long movie, but this is
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  a tight hour for five. Yeah, but it wears you out in such
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  a way that it feels like you were there for longer than that, which
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  is both a good thing in the sense that like you feel like you've really
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  been through it, but is unfortunate in the sense that it's a little bit
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  disorienting because you are left with with some of those disconnected questions, like there
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  there are some things I would have actually liked to hear fleshed out a little
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  bit more. It's like, you know, sort of like how did we
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  get here? Sort of thing would have been nice to have because Jasper is
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  obviously the older character, you know, and he does that, he hints
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  it like sort of the before times sort of thing, but he's I would
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  I would have wanted. I don't know where i'd place it. I don't
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  know if it's really a tangible sort of thing, but it's And I'm not
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  knocking the film as because of it. I'm just saying, like it's it's
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  a disorienting thing because the film feels longer than it is it does, so
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  that that's just what's weird. And the thing is, maybe I just want
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  more time with j Asper because I really loved him as a character. I
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  really it was fun to see Michael Caine. This is one of those performances
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  from Cain where you can tell he's having as much fun with it as anybody
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  else. Is. This isn't Michael Kain showing up and saying, bloody good,
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  thanks for the paycheck, I'll show myself out. This is Michael Kain
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  showing up and saying, oh, this is this is this is interesting.
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  I can do something Because I think he based his character on John Lennon,
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  who he knew personally, and so like that's the inspiration for the character.
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  So in a sense, I think that gives Jasper even more of a like
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  I didn't know John Lennon, but if that's sort of who John Lennon was
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  that Michael kin knew, I'm like, oh, that guy was actually a
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  lot more chill than I thought he was. You know, yeah, I
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  mean Michael Kaine as Jasper was an absolute treat every single time. It's interesting
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  because you want to spend more time with him, but at this with that
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  in mind, though, it kind of is reminiscent of Clive Owen talking with
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  Jasper, where Jasper says, you know, you could always just move in
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  with us, but then THEO says, yeah, but then I would have
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  nothing to look forward to. And I kind of that's how I kind of
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  feel about Jasper's character, where he's in it just enough for you to really
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  love the interactions. You're sad he's gone, when you're sad he's gone,
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  but but you you weren't inundated with him. And one of the like you
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  know I mentioned before about the about the perspectives of Leo. The only thing
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  that kind of deviates away from that is when we see Jasper go into his
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  own home and he brings out the quietest and Ye's like, but that's it,
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  right, that's it I can think of. That's just not Clive Owen.
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  And it's a woner where we still see Clive Owen in the shot,
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  like he starts the shot and Clive Owen drives off and the camera tracks back,
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  and so it's not like it's completely void. It's not like we're cutting
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  to a different location at a different time. He was still just there.
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  And even when we see Jasper die, it's from Theo's perspective from the woods.
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  And I love that Jasper went out like a like a jackass. He
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  said. He's like, He's like I'm gonna you know, it's like if
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  if I'm gonna if I'm gonna go down, I'm you know, like I'm
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  gonna go down as a smart ass. And it's so true to the character.
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  Now, Darren, what did you think of the characterizations? Because we
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  have a lot of unique people here. We have we have THEO, we
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  have Julian, we have chilta Ege of four as Luke, you know,
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  Michael Kane's Jasper. We have Miriam, we have key Uh, we got
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  Charlie Hunum as the freakin' bastard Patrick. We got so many different types of
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  people here, Like, what did you think about this mismash of people and
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  the people who played them? Yeah, I mean it was also interesting because
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  it I think if there's anything that dates it, and it's not in a
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  bad way, but it's who was kind of popular in six, Like this
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  feels like an O six movie, not because of the CG or or even
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  the story, it's kind of who is the lead in it? Because yeah,
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  these are all kind of like they were very popular. You could see
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  them in this level budget of this level type of movie, you know,
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  six, it makes total sense. But yeah, I I mean you want
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  to talk We've talked a lot about protagonist confusion. There is no protagonist confusion
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  in this movie. You know whose story it is, and I know we
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  touched on like that perspective, especially kind of the documentarian style and how that
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  really just draws you in. But yeah, as far as the other characters,
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  I love how they're not safe, like many of them, I think
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  almost all of them die throughout the course of this story, and so that
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  makes you start to value I think once Julian Moore dies, you're like,
• 1:19:51
  oh, oh, it's going to be that kind of a movie where anybody
• 1:19:57
  could die for apparently no reason, because that's life in this crazy world.
• 1:20:01
  So yeah, you start to be like, oh, no, Jasper,
• 1:20:04
  Jasper no, because you know that's coming, because it's like, well,
• 1:20:09
  who's the one he's made most of a connection with, Even just leaving to
• 1:20:14
  Theo's death at the very end, well just spoilers, but just thinking of
• 1:20:18
  the fact that one of the world building things that I enjoy is there are
• 1:20:27
  little touches that make it feel more rooted in some of you know, even
• 1:20:32
  the little touches that we see in the real world. Because naming the suicide
• 1:20:36
  kits that they're sending the people quietus, I'm like, yeah, that exactly
• 1:20:42
  sounds like some jackass sitting in a room being like, oh it's a suicide
• 1:20:45
  kit. Hey like hamlet quietus. Yeah, let's do that. Oh yeah,
• 1:20:49
  high fives all around guys, And it's like it's one of those things
• 1:20:53
  where it's like, you know, yeah, like that's just such a middle
• 1:21:00
  finger sort of. I do want to praise it for how it builds this
• 1:21:04
  future world. It it dodges a lot of the the cringey tropes you get
• 1:21:10
  of creating false futures, like there's no slang term for the refugees, they're
• 1:21:18
  just refugees or they call which wasn't just a basically okay, yes, thinking
• 1:21:29
  I thought that would mean like something that was Actually you could have used any
• 1:21:32
  other example and would have been right, but you chose the one, the
• 1:21:36
  one slang that came up with. Well okay. Well then I will say,
• 1:21:40
  though that fuji felt so natural that it didn't pull me out, like
• 1:21:45
  you know what I mean, We've all seen these future movies where they're like,
• 1:21:48
  oh yeah, and then we're gonna go get the stems and go over
• 1:21:53
  to the to the rollbacks, and it's like what you just you're making up
• 1:21:56
  stuff, you're throwing things at the screen, and this was in the way
• 1:21:59
  way back, and this is all just shale, you know, like,
• 1:22:00
  oh gosh, it's so shall I hate you. But although I will say,
• 1:22:06
  as having teenage kids, that the slang terms that are coming and going
• 1:22:11
  with alarming rapidity, now it's we might have to reassess this because it's I
• 1:22:17
  agree, it's crazy. But the problem with nicknames and slaying is you can
• 1:22:24
  never get it right. You can never like you're always guessing, and society
• 1:22:29
  doesn't evolve like that, and so we have no contact, so it doesn't
• 1:22:32
  it doesn't fit. But I mean I think you, I think you really
• 1:22:38
  hte it because one thing that I really focus on is the technology where it's
• 1:22:42
  not insane, you know, like this was this was came out in two
• 1:22:45
  thousand and six newspapers and street signs and that's about it. That's as like
• 1:22:50
  as fans. Well, I'll say the screens in their office were pretty badass.
• 1:22:55
  I like those, I won't. Yeah, And and on top of
• 1:22:59
  that, they they avoided a trope that I can't friggin stand is that whenever
• 1:23:03
  you show a screen in the future, you can see it from both sides,
• 1:23:08
  which but it's flipped and you're just like, no, I don't want
• 1:23:12
  people to see what I'm looking at just mirrored on the other side. It
• 1:23:16
  would masier though, so just and that's the thing is that, like the
• 1:23:23
  screens were just a little cooler, and there was more LED advertisements all over
• 1:23:27
  town. That's pretty Minority Report level of advancement, Like I know, think
• 1:23:33
  I think it was even I think it was even smarter than Minority Report.
• 1:23:36
  Way smarter, way smarter than I rolle because it wasn't throwing flying things.
• 1:23:43
  Once you start throwing flying things, then you've made a jump like hover this
• 1:23:48
  and drone that. And I didn't see any of that. It was like
• 1:23:51
  we use bullets and guns like God intended to kill each other. And also
• 1:23:56
  on top of I mean like you can also take it take a look at
• 1:23:59
  it and kind of like the Star Wars angle like compared to the prequels where
• 1:24:02
  technology is stagnant because of a fascist regime where you know, like things don't
• 1:24:09
  excel because you know, like the you know your money's going to other places.
• 1:24:12
  Your money's not going to innovation, your money's going to survival. Well,
• 1:24:15
  and also I think it's desire. Nobody has a desire to advance anything
• 1:24:20
  because it's helpless. Why why maybe why would I think, well if the
• 1:24:26
  yeah, if the entire planet is dying, you know it would actually be
• 1:24:32
  it would actually be you'reilled together a lot pretty well for eighteen years of like
• 1:24:38
  armed like that. That's that's the one thing I think that undercuts sort of
• 1:24:42
  like this, Oh the future is so believable because I think by year ten,
• 1:24:45
  like chips are on the table, like it's it shows over at that
• 1:24:48
  point. If there's ten years and no kid is born on the face of
• 1:24:51
  the planet, nah, it's it's done. Like you're not making it eighteen
• 1:24:56
  years into this like that. The the because is the one thing that keeps
• 1:25:01
  anybody, even in wartime situation, from going as hog wild as you know,
• 1:25:06
  we think sometimes it's because of that natural limitter about tomorrow where it's like,
• 1:25:12
  okay, well I could nuke everything today, but then there's nothing for
• 1:25:15
  me to rule tomorrow, so I won't use the news. Nothing for my
• 1:25:16
  kids, like kids are a major part of our psyche of something better tomorrow.
• 1:25:24
  Two. Okay too. I'm not saying you guys are wrong, because
• 1:25:27
  you make some very solid points, but like to play Deadvill's Advocate just a
• 1:25:30
  little bit because of that isolated perspective of what you're talking about, John,
• 1:25:35
  you know, like we're on one island. You know, we're Britain.
• 1:25:39
  It's just like that's it. Like they even say like at the beginning,
• 1:25:42
  you know, like you know, Britain soldiers on, Like everybody else has
• 1:25:44
  fallen, but Britain has soldiers on. Because they talk like if you read
• 1:25:47
  some of the newspaper headlines like Africa was nuked, like Africa's gone, and
• 1:25:54
  and like Russia has fallen, like you know, like basically all the immigrants
• 1:25:58
  from Asia moved to Russia, then Russia into Europe and that's why Britain shut
• 1:26:02
  down immigration. And like there's a conversation that Julian and THEO have where like
• 1:26:09
  they haven't spoken in twenty years, but THEO says like, like, hey,
• 1:26:13
  you know where your parents in New York when it happened. She's like,
• 1:26:15
  yeah, they were, and that's all the information we got. That's
• 1:26:19
  you know, you know what, That's an excellent point. I suppose.
• 1:26:24
  Then my question becomes, how why the hell with Britain have survived? But
• 1:26:27
  it's okay, It's okay it needs to for the movie. But that that's
• 1:26:31
  a valid point. It's got another better, I think. I think that's
• 1:26:33
  a I think that's a valid counterpoint. But yeah, but I mean,
• 1:26:39
  I guess my counterpoint to that is I I just see everything in like there
• 1:26:43
  is nothing to stand walls up two or four or anything. By that point,
• 1:26:45
  I think, I think because it's a literal island, it helps.
• 1:26:50
  And also because I mean, they ruled one of the longest running empires.
• 1:26:54
  Of all time. You know, maybe they have a little bit of they
• 1:26:56
  have a cheat code. I don't know. Well, they didn't have an
• 1:27:00
  off of a cheat code to have it be the BBC that's broadcasting, so
• 1:27:02
  you know who knows that's true? How mean? I hated that one.
• 1:27:05
  No, it was b c C, b c C. I miss that
• 1:27:09
  because they didn't pay for the copyright. Its just I just wish they would
• 1:27:13
  have just hey, the extra money for God's sake. That's like what that's
• 1:27:17
  like when somebody's drinking and it's a can can sprint yes yes, yes,
• 1:27:25
  oh no I And the thing is that's one of those shots where like I
• 1:27:29
  see b c C and I'm like, don't pay attention to it. Don't
• 1:27:31
  pay attention to it. Don't be that guy, that guy, don't be
• 1:27:33
  that guy CCN Like yes, yes, like I know that. Like I'm
• 1:27:41
  totally going in a different direction. But like we talked about Quietest earlier.
• 1:27:45
  One thing, one of my favorite lines is from Jasper when it's just like
• 1:27:48
  it's like, yeah, they're they're handing out Quietest uh and antidepressants with rations,
• 1:27:56
  but yet ganja is still illegal, right right? Yes, yeah,
• 1:28:01
  yes that is. But well something that would happen that speaks really truly to
• 1:28:10
  what Another one of the things that I think is great about Jasper's character is
• 1:28:15
  he really embodies that old school all governments suck sort of attitude, a rebel
• 1:28:21
  before the war kind of well, yeah, like he he, like Jasper,
• 1:28:27
  is the type of character that goes and I know I keep shining on
• 1:28:30
  Jasper here, but like Jasper is that kind of character that reminds you,
• 1:28:33
  especially with his age, that there's always been something to hate about what's going
• 1:28:38
  on. And he sort of hit that point where he's like, yeah,
• 1:28:41
  you know Wherel's on fire always has been sort of thing. Like he's he's
• 1:28:45
  hit that point where he's just comfortable with it. He's like, yeah,
• 1:28:46
  you know, run out of steam, it was bound to happen sort of
• 1:28:49
  thing. And it's in contrast to THEO who's going through just because paying any
• 1:28:59
  attention to it would cost too much. When he's forced to pay attention to
• 1:29:01
  it is when he has to leave work, he's like, it's affecting me
• 1:29:04
  a lot more than I thought. I have to go. But he cites
• 1:29:09
  the one thing that his boss knows is going to let him go. Right
• 1:29:12
  about the death of Diego. He's not. He doesn't come in and say,
• 1:29:17
  I almost got bombed to death today, right, Could I take a
• 1:29:21
  mental health day? He's like no, I think Baby Diego's affecting me as
• 1:29:26
  then the boss is like, well, yes, of course go. You
• 1:29:29
  get the sense in that moment that like almost dying in your coffee shop being
• 1:29:32
  bombed is not a reason to go home anymore. It's like, yeah,
• 1:29:35
  you know, it happens. You know what, That's okay, all right.
• 1:29:40
  I think that's a really good perspective. It's hilarious and sad, but
• 1:29:43
  I think that's a really good perspective on it because that's something that always bugged
• 1:29:45
  me where I'm just like, why would you you have the ultimate excuse,
• 1:29:50
  like you saw a woman hold her own arm in front of you. I
• 1:29:55
  think you can go home today. But he's like, nah, I'm sad
• 1:29:58
  from Baby Diego. The yes. Well, it's like it's like that's the
• 1:30:02
  socially acceptable thing to be upset about versus the actual like there was a bombing
• 1:30:09
  today, but that's not socially acceptable to complain. Speaking of the coffee shop
• 1:30:15
  bombing thing, I think that also shows some smart editing creative choices because it
• 1:30:20
  cuts off right right as she's walking out and we're still disoriented, and then
• 1:30:26
  it just picks up and we're like, wait, we didn't get that lingering
• 1:30:30
  scene of him walking through the devastation with a dazed look and the ringing in
• 1:30:34
  his ears and all of that type of stuff. It's I think it winds
• 1:30:38
  up underscoring the fact that it's like, this is a jarring, traumatic thing,
• 1:30:42
  but it's just a thing that happens, because then he's just going to
• 1:30:45
  work, or you could look at it choice because it's his perspective. He's
• 1:30:49
  already blacked it out, Like we don't get to see the aftermath because he's
• 1:30:54
  already suppressed that. I mean, I mean, it's really a little much
• 1:30:58
  into it. But yeah, just overall, I think they really nail the
• 1:31:05
  art of background exposition because it is because you're coupling it with the documentary style.
• 1:31:15
  I mean, yeah, there's a couple of like pans over the wall
• 1:31:17
  covered in newspaper clippings that are all very poignant to the plot. But you
• 1:31:23
  know what, hey, if Doc Brown can pan over clocks at the very
• 1:31:28
  beginning, you know of back to the future, like no, no,
• 1:31:30
  I think this one and like you guys said, like the whole New York
• 1:31:35
  thing, and they left us wanting more, which is much better. And
• 1:31:40
  then spoonfeed us no, and we didn't cut to like and now in the
• 1:31:45
  situation room with the president, he's going to talk about some peace treaty with
• 1:31:48
  the Middle East that has nothing to do with this plot. But we just
• 1:31:53
  needed to have more knowledge of what is the government like, No, no,
• 1:31:57
  we don't need to know that. We don't need to know we bye
• 1:32:00
  by. Like you said, keeping it a smaller story, I mean,
• 1:32:03
  it's a it's a big day for this guy. It's a very I wouldn't
• 1:32:06
  say small story, but it's a very tight local radius for what is going
• 1:32:14
  on, almost like an episode of twenty four. Really, it kind of
• 1:32:16
  felt like that, like today's the day it all went bad. Yeah,
• 1:32:21
  it only takes place over the course of like three days or something anytime.
• 1:32:26
  Yeah, And I love stories like that that happen really tight, and it
• 1:32:31
  was I love I love it when the exposition is in the air. I
• 1:32:35
  love when it's not just like and this happened, then this happened, then
• 1:32:38
  this happened. And I think Alfonso Gron even talked about that in interviews about
• 1:32:45
  how you know, like I don't want to be held hostage by exposition,
• 1:32:48
  and I don't want I don't want I want people to think about it.
• 1:32:51
  I don't want people. I don't want to spoon feed it to the audience.
• 1:32:54
  It's it's something like I think he called it, like when you have
• 1:32:58
  too much exposition. It's like having lazy readers go to the cinema or something
• 1:33:02
  to that effect. And he's absolutely right. He's absolutely right. We don't
• 1:33:08
  need to have a five point power point presentation of what happened in New York,
• 1:33:13
  the scrolling text after the bombs fell, and no, that would have
• 1:33:18
  been terrible. Oh my, Well, this does have the very traditional sort
• 1:33:25
  of dystopian fantasy opening with a news clip in the beginning to set the stage
• 1:33:30
  for everything, but it's specifically about the one story, as opposed to like
• 1:33:35
  what you're talking about when you open with like I am Legend, where it's
• 1:33:40
  like, we're going to tell you the entire history of this whole thing that
• 1:33:43
  happened and the thing blah blah blah. It's like, no, it's we
• 1:33:46
  encounter it the way he encounters it in his day, which is going to
• 1:33:50
  get a cup of coffee. Everybody's watching the stuff and he's like, yeah,
• 1:33:53
  okay, I just want my coffee and go please. Well and again
• 1:33:56
  it's this is you know, like we said, it's three days, but
• 1:34:00
  in these three days you have the death of Baby Diego to the uprising like
• 1:34:04
  they mentioned, like, oh the uprising's happening. They haven't even seen the
• 1:34:10
  kid and they're uprising already. So those three days is like a pivotal moment
• 1:34:15
  in the history of Britain. This is also what sets apart this in terms
• 1:34:19
  of like that dystopian genre, is you roll the dice on whether you find
• 1:34:27
  out that Baby Diego was an imposter and the real one had died years before.
• 1:34:31
  Like a lot of times with these sorts of movies, you find out
• 1:34:35
  that Baby Diego, like that character that conceit is hidden away somewhere and you
• 1:34:42
  find out that it's all been a lie to keep people pacified, because so
• 1:34:45
  long as Baby Diego was alive, people would be happy with it. Again,
• 1:34:48
  getting back to it, like the soylent green sort of thing, so
• 1:34:50
  long as you don't know how the sausage is made, you'll eat the sausage
• 1:34:54
  sort of thing. And so I'm paying the movie a great compliment in the
• 1:34:59
  fact that never the the mission that the protagonist goes on is one that is
• 1:35:05
  worthwhile, with no detour to find out that there's some sort of like hidden
• 1:35:11
  subterfuge piece to what we saw earlier. Like it's just it's it's a very
• 1:35:16
  linear story. We don't have these twists and turns through conspiracy Land or anything
• 1:35:23
  like that. Yeah, yeah, it was. Yeah, I don't think
• 1:35:27
  it was needed. I think we learned only what we needed to learn from
• 1:35:31
  Theo's perspective, from Jewel to egy of four's character, and you know,
• 1:35:36
  he like an uprising is going to happen, you know, like that's what
• 1:35:40
  he that's what he was pushing for. He wanted the uprising to happen,
• 1:35:43
  and Julian didn't and she was killed for it, and that's all we needed
• 1:35:46
  to know. Well, yeah, and that those twists, because not only
• 1:35:51
  did I watch this, but I watched a couple there's a couple of YouTube
• 1:35:56
  channels that do commentary, are not commentary but review of you know, millennials
• 1:36:00
  that have never seen X, which there's a lot of millennials that have never
• 1:36:03
  seen certain movies, but that twist of like when you realize that the the
• 1:36:13
  hijacking on the road was like planned by the same group that rescued them,
• 1:36:17
  and you're like, oh, dang, we are in trouble, Like we
• 1:36:21
  are not safe. Like that is the most disconcerting part of almost the whole
• 1:36:26
  movie of like who you thought was the refuge is really like your your your
• 1:36:31
  days are numbered at that point. And what a scene where when they're trying
• 1:36:38
  to escape the farm and they're trying to jump start the car. I mean,
• 1:36:42
  the tension just oh my gosh, it's so slow but yet it's so
• 1:36:47
  tense at the same time. But it's it's so believable because he gets enough
• 1:36:53
  momentum to go down the hill. So it's easy for a heavy car to
• 1:36:56
  go down the hill, but it takes a lot of time for you know,
• 1:37:00
  people to run down the hill. And one dude, he was booking
• 1:37:03
  it. He was just like and if he if he disobeyed our orders,
• 1:37:09
  you know, Clive Owen would have been gone. But you know, like
• 1:37:12
  he I thought it was poetic justice that THEO pushed out the car door on
• 1:37:17
  him again like you did when he was on the motorcycle. I thought that
• 1:37:21
  was perfect. It was poetic and h and he hits that haystack hard,
• 1:37:29
  Like I kind of want to know how they did that because it looked like
• 1:37:32
  Charlie Hunham, but I severely doubt it was, you know, like when
• 1:37:36
  who hit the haystack? But anyway, it's just it's Patrick. But yeah,
• 1:37:42
  like with that scene, it's just it's so great. And I love
• 1:37:45
  how smart THEO was with like taking out the you know, like taking out
• 1:37:48
  the car parts to make sure that they you know, they can't be followed
• 1:37:51
  by every car. And I love how in that moment he's pushing the car
• 1:37:58
  and the two the two guards are there and you're like in the audience is
• 1:38:01
  like, wait, they're there, what are you doing? What are you
• 1:38:03
  doing? Like they're right in front of you, and all of them know
• 1:38:08
  like it's now or never. Either we do it now. There's not going
• 1:38:11
  to be a oh, let's just back up into the garage and wait thirty
• 1:38:15
  minutes, Like no, you got to strike because once they know you're trying
• 1:38:18
  to escape, it's over. You have the element of surprise, and once
• 1:38:21
  you lose that, it's much harder exactly and that actually leads me to another
• 1:38:27
  thing where earlier in the movie we hear Chulty, each of Four's character say,
• 1:38:32
  you know, don't use that car that needs to be jumpstarted. That
• 1:38:35
  was one thing I really really liked about this movie is that nothing came out
• 1:38:41
  of nowhere. This everything was thought out. Everything there was no Chekhov's gun
• 1:38:47
  was utilized very properly for this movie. And even about getting on a boat,
• 1:38:51
  and they get on a boat at the end, it's not like,
• 1:38:55
  why are we on a boat at the end? Like, No, we
• 1:38:57
  talked about that. We talked about everything. And also like it took me
• 1:39:00
  a couple of watches to realize this, but one of the like because it
• 1:39:05
  was always a question of how on earth did they find Jasper's hideout. But
• 1:39:10
  at the beginning of the film, and you don't know this until you rewatch
• 1:39:14
  it, one of the fishes was following theo at the beginning of the film
• 1:39:17
  when he was on the bus going to Jasper's, so they knew where he
• 1:39:21
  was going and that's how they were able to find him. You know.
• 1:39:25
  The movie is just filled with stuff like that, and I just I really
• 1:39:29
  appreciate how thought out everything is and I think to bring it back to Coron
• 1:39:35
  because this is a director based podcast. You know, like when you look
• 1:39:40
  at all of the one shots that he loves, which we saw in previous
• 1:39:43
  movies like Prisoner of Azkaban and Great Expectations, you have to plan this out.
• 1:39:48
  With Children of Men, it took days upon days, and it took
• 1:39:53
  out like five hours to reset a shot for the battle sequence, just and
• 1:39:58
  I think only one time were they able to do all of it, Like
• 1:40:00
  only one one take was usable for for like one of the battle shots,
• 1:40:05
  and it was It just goes to show that he is an expert craftsman of
• 1:40:12
  putting everything on screen. It's just like he has to plan for the day,
• 1:40:15
  he has to plan for the shot, and he plans for the story.
• 1:40:17
  Well, don't disagree with a single thing. I agree with all of
• 1:40:20
  that. What I what strikes what strikes me with Children of Men is I
• 1:40:27
  see Quaron become the director I know him to be now, whereas with the
• 1:40:31
  three we looked at previously, he's very much he's warming up and in a
• 1:40:35
  sense, I think that we all owe Prisoner of Azkaban a lot of thanks
• 1:40:45
  because I think that's what unlocks the ability and gives him the comfort to learn
• 1:40:51
  how to use all of those tools. Because pre Prisoner of Azkaban, I
• 1:40:55
  do not see the director who pulls this off. After Prisoner of Azkaban,
• 1:40:59
  I see a guy who sat there and paid really close attention to how you
• 1:41:01
  set this stuff up and said, Okay, I know what I'm going to
• 1:41:04
  do with this. And I think it's huge to make that leap because I
• 1:41:12
  can trace now with the movies that we looked at. I don't see his
• 1:41:15
  first two movies that we looked at leading to this per se Visually, yes,
• 1:41:20
  you know, I'm visually yes, performing, so all of those sorts
• 1:41:25
  of things. But then Prisoner of Azkaban is where you see somebody come in
• 1:41:28
  and say, oh, oh cool, look what I can do. Okay,
• 1:41:31
  and then he comes to it and he says, all right, well,
• 1:41:33
  I don't want to be in the wizarding world now, I want to
• 1:41:35
  be in the real world. How do I make this work? And it's
• 1:41:38
  like, I think it's revelatory. I think Children of Men with the technical
• 1:41:44
  wizardry and the solid, solid story and performances. My biggest question I'm left
• 1:41:50
  with at the end of it is why it didn't connect with audiences enough to
• 1:41:55
  become Now, I would never see this becoming a blockbuster. This isn't going
• 1:41:58
  to be like an eight hundred fifty mills and doubled. But I don't I
• 1:42:00
  don't understand why I didn't at least double its budget sort of thing like this
• 1:42:04
  is exactly the sort of thing that should have found an enduring sci fi audience
• 1:42:11
  at the very least. I don't remember enough about the landscape of when it
• 1:42:14
  was released. Maybe there's some sort of explanation there. I took a look
• 1:42:17
  at movies that came out in two thousand and six, because this for this
• 1:42:21
  day in O six, this was Christmas Day in O six, December twenty
• 1:42:26
  fifth, in six, Yeah, wan, I mean, which means they
• 1:42:30
  knew that they were going for awards with it. I mean, we all
• 1:42:33
  know the Christmas Day release is one of two things. We think we can
• 1:42:36
  make a lot of money off of families or we're gonna get oscars And you're
• 1:42:40
  past the uh like Lord of the Rings era, like that's done by six
• 1:42:46
  earlier, there's earlier this year Departed and Prestige came out. Okay, yeah,
• 1:42:54
  but you also have Okay, the top ten films of two thousand and
• 1:42:57
  six, Pirates of the Caribbean at Man's Chest. I was at the second
• 1:43:01
  or the third one. I don't remember. Who gives a ship Da Vinci,
• 1:43:04
  Code ice Age, The Meltdown, Casino Royale is in the mix o
• 1:43:11
  Night at the Museum, Cars X Men, The Last Stand, Mission Impossible,
• 1:43:16
  Three Superman Returns, and Happy Feet. That's not a that's not a
• 1:43:23
  Children of Men friendly for children of landscape right there. No, it's not,
• 1:43:28
  it's not at all. Yeah. It was nominated for three Academy Awards
• 1:43:31
  adapt its Best Play, Cinematography, and Editing, and did not win any
• 1:43:35
  of them. Who won for cinematography that year? Do you do you have
• 1:43:39
  it handy? Or can can you? Yeah? Can you look that up?
• 1:43:43
  Well? While we're talking here, one thing that well, Darren,
• 1:43:46
  while you're looking that up, one thing I do want to Okay, I'm
• 1:43:54
  not even I'm not even gonna pretend that we're gonna We're just gonna I'm gonna
• 1:43:59
  ask you that question again, and I'm gonna cut this out, and then
• 1:44:00
  you're just gonna know automatically, I was gonna do a whole thing about Danny
• 1:44:11
  Houston. Okay, you're muted. No, you're muted. You are ready?
• 1:44:15
  Okay, Okay, who won for Best Cinematography? Do you know that
• 1:44:19
  pans Labyrinth? So? Oh god, Okay, that did not No,
• 1:44:25
  that did not deserve that. Screw that. No, but I get why
• 1:44:28
  it was, like, it's not one of those ones where Black Dahlia,
• 1:44:30
  Children of Men, The Illusionist and The Prestige The Illusionist. Yeah, which
• 1:44:35
  was it that kind of like the Prestige Light. I can't remember that one.
• 1:44:39
  It's it's not It's not as bad as people think it is. It's
• 1:44:43
  not as good as you're trying to portray either. What. No, I'm
• 1:44:45
  not saying that. I'm not saying it's good. It's just like people if
• 1:44:48
  Pristige it's not terrible. That's the tagline for The Illusionist is it's not terrible?
• 1:44:55
  All Right. I can't argue with that. I think that's pretty accurate.
• 1:44:59
  Who won for Best Editing? Because it was the wrong choice? Oh
• 1:45:03
  my gosh. The editing on this is perfect, like especially with you know
• 1:45:06
  you talked about this earlier in the film. But just like when he cuts
• 1:45:10
  the Children of Men the opening title and I love that Kron he has the
• 1:45:13
  opening title and the closing title like it that's that's kind of his signature,
• 1:45:16
  and it kind of leads me to there's one comment that I wanted to make
• 1:45:20
  is that this movie has is unflinching with its violence, but it is not
• 1:45:26
  gratuitous with his violence. Pam's Labyrinth gratuitous with his violence. But Children of
• 1:45:32
  Men it shows you what violence actually looks like without you know, like you
• 1:45:39
  without shoving it in your face, like when you see Sid get smacked in
• 1:45:43
  the face with a car battery, Like that's what it would look like if
• 1:45:45
  someone got smacked in the face with a car battery, or when Jasper was
• 1:45:48
  shot through the hand, you know, things like that. But we're not
• 1:45:53
  we're not lingering on it. So for best editing, it was The Departed.
• 1:45:59
  Oh okay, well, it's hard to argue with Thelma Shootemaker. Well,
• 1:46:02
  I mean, of the of the mix, I probably would have gone
• 1:46:04
  with United ninety three, honestly, because I thought that movie was just that
• 1:46:09
  movie is edited so well you don't even notice that there's no music in it,
• 1:46:12
  like it's just it. Okay, fine, No, See the thing
• 1:46:15
  is what I haven't seen it. I haven't seen it, so I can't
• 1:46:17
  comment on it, pot I that's just look, do I think it's better
• 1:46:21
  than Children of Men? Know, but if there's one on the list that
• 1:46:26
  you're going to give it to this, not Children of Men, I would
• 1:46:28
  have given it to United ninety three of the ones. I didn't see Blood
• 1:46:31
  Diamond, but I saw the I saw The Departed, I saw Babel,
• 1:46:34
  I saw Children of Men, and I saw United ninety three Children of Men.
• 1:46:39
  I don't know what criteria they were using not to I mean, you
• 1:46:43
  know, awards shows are pointless anyway. I mean, of the Departed won
• 1:46:46
  four awards and Pans won three, so it was kind of sweeping up.
• 1:46:53
  Now, I'm just curious about Best Adapted Screenplay, and the winner was that
• 1:46:59
  Departed. Okay, all right, that's fair. I mean I for the
• 1:47:03
  longest time I said that Children of Men, like I was on a high
• 1:47:05
  with this movie, and for the longest time I said that Children Men was
• 1:47:09
  the best movie they came out in two thousand and six, up against Departed
• 1:47:13
  and Prestige, and that that's tough. That is tough because those are three
• 1:47:17
  fantastic films. Yeah, yeah, all right, Well, I think we're
• 1:47:24
  at that point. It's closing time. And I want to know how many
• 1:47:29
  Darren, how many CGI babies are you? Are you giving this film?
• 1:47:32
  That's true. I had thought of that, but that totally makes sense that
• 1:47:35
  they at least a doll, because there's no way you can do a wonner
• 1:47:41
  with a real baby and hope it works out. It's like, oh,
• 1:47:45
  it was all good except for the last thirty seconds where the baby threw up.
• 1:47:48
  Yeah, well or coming out of the birth canal right, yeah,
• 1:47:55
  all right, let's time it, folks. We got one shot. But
• 1:47:59
  no, I mean I I m h you always pick me first, which
• 1:48:05
  makes me no. I can't judge that I do always pick first. I
• 1:48:09
  don't know why I do that. That's all right, I can pause and
• 1:48:12
  we can go to John. No, no, no, I'm gonna I'm
• 1:48:14
  gonna give it a four. I'm gonna pause. We're gonna go to John.
• 1:48:18
  Well, I've given it. I'm just messing with I'm totally messing with
• 1:48:23
  you. No, I give it a four. Uh again, it's a
• 1:48:27
  really good movie. The reason I just don't give it a five is maybe
• 1:48:33
  it's a personal reason, but just I don't own it. I don't intend
• 1:48:39
  to regularly watch it. It's not a fun movie. It's a beautifully made
• 1:48:45
  movie. But yeah, Darren's not giving it a five. I'm giving it
• 1:48:50
  four CGI explosions. Let me go in verse of Darren's reasoning here and say
• 1:48:59
  that I think in anybody else's hands, this is a four because I think
• 1:49:02
  the underlying stuff is all there. I think that other directors could do something
• 1:49:09
  with this script in their own way that would be interesting and worth watching.
• 1:49:13
  I think that there is, you know, precedent for it in the genre.
• 1:49:16
  The thing that I always find uncomfortable is we've hit this phase that seems
• 1:49:24
  elongated. Because film goes in cycles. We haven't escaped from our post apocalyptic
• 1:49:30
  obsession this time, whereas by the time the late seventies were coming around,
• 1:49:34
  everybody was like, Okay, look I just want to go have a good
• 1:49:36
  time. Could we just sort of like light gap in so to come back
• 1:49:39
  in. Yeah, I feel like we're a little bit trapped in a rut
• 1:49:44
  in that way. But that's just me. I think it's you know,
• 1:49:46
  multifactorial, different landscape, all those sorts of things. But I think that
• 1:49:50
  while this would be a four, in other people's hands, it's a five,
• 1:49:55
  and it gets that extra star simply because those sequences that we were to
• 1:50:00
  talking about earlier are insane. I will gladly and with great joy and self
• 1:50:08
  satisfaction, award extra points for just being un effing touchable in terms of constructing
• 1:50:15
  things that are this complex. You deserve extra credit for that. That's like,
• 1:50:19
  this is the kid coming in and instead of doing what I did with
• 1:50:24
  turn papers, actually wrote more pages than necessary and spaced it without adding an
• 1:50:28
  extra point two between the lines. So like, this is an undeniable tour
• 1:50:34
  de force and it is revelatory because Quaron becomes who he's gonna be from that
• 1:50:42
  point forward right here. So yeah, this is a five This is a
• 1:50:47
  I'm with you, John, This is a five star film for me.
• 1:50:50
  This is a top ten film for me, Like this is in my personal
• 1:50:57
  top ten. I love this movie. Think it's perfectly crafted. There's not
• 1:51:01
  a single thing that I would change. And this movie, I think elevates
• 1:51:08
  Koran to the rank of master, you know, unlike Anakin. I think
• 1:51:12
  he achieved the rank of master here. And I know I'm joking, but
• 1:51:16
  I hate you both for making me go first and then being like you would
• 1:51:21
  be stupid, Darren, Have I have I ever once in our entire time
• 1:51:30
  doing this show together, I've always always backed you. Stand by your convictions,
• 1:51:35
  don't let us sway you. And that's why you will always go first
• 1:51:39
  swimming. And and just you know, I gave you the option even after
• 1:51:44
  you gave your rating. I said we're gonna pause and go to John and
• 1:51:46
  you refuted me, but regardless. Okay, so, but but that's the
• 1:51:50
  thing is that, like I I watched this movie today, Like I've seen
• 1:51:56
  this movie a lot, but I haven't seen it for years, and I
• 1:52:00
  I watched it today and I cried three times. And I'm man enough to
• 1:52:03
  admit it that I cried three times during this film. This emotionally resonated with
• 1:52:09
  me, and it always does. And even though I've seen it multiple times,
• 1:52:13
  I'm still emotionally affected by it. And I think that's sign of a
• 1:52:16
  great movie. And Qorn is just an expert craftsman, and I am so
• 1:52:21
  excited to see what he does in the future after what we've seen post Children
• 1:52:27
  of Men. And I cannot wait until we talk about next week with his
• 1:52:31
  next film, Darren, what is that next week We're going high above the
• 1:52:38
  Earth. Maybe a couple more wonners, with his out of this world take
• 1:52:42
  of gravity. Join the revolution, Join the net poltye