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211: Super Santa Sangre · Movie Meltdown

• 0:10
  Speaker 1: Okay, you bozos out there, this is Stephen Kioto and
• 0:12
  Speaker 1: you're listening to Movie Meltdown.
• 0:24
  Speaker 2: The following feature has been rated R by the Motion
• 0:26
  Speaker 2: Picture Association of America. It is intended for mature audiences
• 0:30
  Speaker 2: and parental discretion is advised.
• 0:42
  Speaker 3: It's showtime, folks.
• 0:45
  Speaker 4: Enjoy the show.
• 0:48
  Speaker 3: Our nuclear reactor pumping out one million kilowatts of power.
• 1:23
  Speaker 5: One morning I shot an elephant in my pajamas. How
• 1:25
  Speaker 5: he got in my pajamas, I don't know.
• 1:36
  Speaker 4: Way down among Brazilians, coffee beans grow by the billions.
• 1:41
  Speaker 3: So they've got to find those extra.
• 1:43
  Speaker 6: Cups to fill.
• 1:46
  Speaker 2: They got an awful lot of coffee in Brazil.
• 1:51
  Speaker 7: What's up?
• 1:51
  Speaker 8: Welcome to Movie Meltdown. I'm Brian.
• 1:53
  Speaker 3: I'm Greg.
• 1:54
  Speaker 8: I'm Beau.
• 1:55
  Speaker 4: I'm Ben. I'm Lucy.
• 1:56
  Speaker 6: I'm Alan.
• 1:57
  Speaker 8: And we're back for another session of the Caffeinated Movie Geek.
• 2:00
  Speaker 4: Cappuccino my butt. I still drink coffee.
• 2:04
  Speaker 8: The last fucking thing you need is another cup of coffee.
• 2:08
  Speaker 4: It's time for the Caffeinated Movie Geek.
• 2:11
  Speaker 1: We are coming to you live via digital recording from
• 2:13
  Speaker 1: Nancy's Bagel Grounds where we will get together and drink
• 2:15
  Speaker 1: coffee and talk about a horrifying movie.
• 2:20
  Speaker 8: Lucy, you still don't know what it is.
• 2:21
  Speaker 9: I don't.
• 2:22
  Speaker 10: I tricked you into letting me off the hook and
• 2:24
  Speaker 10: now you have to say what it is.
• 2:26
  Speaker 4: Did you say it was Torgo's Wake?
• 2:27
  Speaker 8: Is that the name of the coffee?
• 2:31
  Speaker 11: This week we are drinking Saddle Mountain.
• 2:35
  Speaker 12: Oh, I did want to say that.
• 2:36
  Speaker 8: Say it now.
• 2:37
  Speaker 12: No, it's too late.
• 2:39
  Speaker 8: Lucy, what random copy are you doing?
• 2:40
  Speaker 12: Honestly, you've already ruined it.
• 2:42
  Speaker 8: Lucy, what random copy?
• 2:44
  Speaker 2: Mother!
• 2:46
  Speaker 8: Organ saddle.
• 2:50
  Speaker 1: All right, so for our little intro here, I had
• 2:54
  Speaker 1: a movie that I watched recently, and I specifically wanted
• 2:57
  Speaker 1: to bring it up because I think we had, I
• 3:00
  Speaker 1: think I heard this conversation going on in a recent episode,
• 3:03
  Speaker 1: but it was like.
• 3:04
  Speaker 8: While we were doing other random stuff.
• 3:06
  Speaker 1: I was probably running cables around or making coffee or
• 3:09
  Speaker 1: something ridiculous. So it wasn't actually on the show. So
• 3:11
  Speaker 1: if it's not on the show, it doesn't exist. So
• 3:15
  Speaker 1: I wanted to throw this out there and see if
• 3:18
  Speaker 1: I was correcting what I thought I heard.
• 3:20
  Speaker 8: But I recently watched Moonrise Kingdom. And I think we
• 3:25
  Speaker 8: were having... I think I heard similar feelings.
• 3:29
  Speaker 1: My feeling is kind of the way Wes Anderson's stuff
• 3:31
  Speaker 1: has gone and has gone for a long time now.
• 3:34
  Speaker 8: It's that.
• 3:35
  Speaker 11: everybody is so quirky.
• 3:38
  Speaker 1: It is quirky turned up to 11, and yet there's
• 3:41
  Speaker 1: not really any heart to it.
• 3:42
  Speaker 8: Is it just me?
• 3:44
  Speaker 4: It was just you.
• 3:45
  Speaker 8: Okay.
• 3:46
  Speaker 4: Yeah.
• 3:47
  Speaker 12: I was charmed.
• 3:48
  Speaker 8: No, I like those kids.
• 3:50
  Speaker 1: The kids are good, and everybody else has these great performances,
• 3:54
  Speaker 1: but it still seems like there's something kind of hollow
• 3:57
  Speaker 1: about that.
• 3:58
  Speaker 4: Well, that's what kind of turned me off about Wes
• 4:00
  Speaker 4: Anderson films, and I've I still need to see Moonrise Kingdom,
• 4:04
  Speaker 4: but Life Aquatic was the one that just completely turned
• 4:07
  Speaker 4: me off. And I think it's after I went back
• 4:10
  Speaker 4: and re-watched his first three, Bottle Rocket and Royal Tenenbaums
• 4:17
  Speaker 4: and Rushmore, I felt like Royal Tenenbaums, it's one of
• 4:21
  Speaker 4: my favorites, but it's also the turning point because in
• 4:24
  Speaker 4: all of his movies, his characters are characterized by being childish.
• 4:28
  Speaker 4: I mean, Bottle Rocket, the Wilson character, brothers are essentially
• 4:31
  Speaker 4: grown-up kids, but it sort of works because they play
• 4:34
  Speaker 4: off one another very well. In Rushmore, the lead is
• 4:37
  Speaker 4: a high school student, so that works within its realm. And,
• 4:42
  Speaker 4: I don't know, I mean, when it comes to Royal Tenenbaums,
• 4:45
  Speaker 4: it sort of exists in its own reality, and it's
• 4:48
  Speaker 4: just the characters at that point, I mean, they still
• 4:52
  Speaker 4: are juvenile in their own sense, and either that or
• 4:55
  Speaker 4: just they're chronically depressed, but that's like the gag.
• 4:57
  Speaker 7: Yeah.
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  Speaker 4: But it got to the point where I almost felt like,
• 5:00
  Speaker 4: by the time I saw Life of Chronic, I felt
• 5:02
  Speaker 4: like he was almost parodying himself.
• 5:05
  Speaker 8: Yeah.
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  Speaker 4: Just the angst was so overwhelming, especially when it came
• 5:08
  Speaker 4: to Murray. It's like Murray's shtick in Rushmore was to
• 5:13
  Speaker 4: be chronically depressed and embittered. And it was funny because
• 5:17
  Speaker 4: you hadn't seen Bill Murray in a role like that before.
• 5:20
  Speaker 4: And then when he did it again in Tenenbaums, it's like,
• 5:23
  Speaker 4: it's all right. But to me, Murray's role didn't stick
• 5:25
  Speaker 4: out that much in Tenenbaums. But then when you put
• 5:27
  Speaker 4: him on the screen for two hours in Life Aquatic,
• 5:29
  Speaker 4: I was like, the gag is old in ten minutes.
• 5:32
  Speaker 4: And from what I understood of people who saw, Darjeeling Limited,
• 5:37
  Speaker 4: and that was not fantastic Mr. Fox, but is there another? No,
• 5:44
  Speaker 4: that's it. No, that's it.
• 5:45
  Speaker 8: Life Aquatic, yeah, that was it.
• 5:47
  Speaker 4: Or Darjeeling, is it? Darjeeling Limited? Yes, not Unlimited.
• 5:51
  Speaker 8: Okay.
• 5:51
  Speaker 4: I heard that it was almost a further extension of
• 5:55
  Speaker 4: the problems that I felt like were arising in Life Aquatic.
• 5:57
  Speaker 4: I haven't seen it, so I don't know if you
• 6:00
  Speaker 4: all could.
• 6:02
  Speaker 8: That's terrible.
• 6:04
  Speaker 13: I think, well, it definitely, I don't know, it feels,
• 6:08
  Speaker 13: it has a serious turn in it. I don't want
• 6:11
  Speaker 13: to spoil it. Darjeeling Unlimited, I mean, not Moonrise Kingdom.
• 6:14
  Speaker 13: Moonrise Kingdom really was really, like, charming. Like, it's his most, like,
• 6:18
  Speaker 13: It's fairytale-ish.
• 6:19
  Speaker 4: And that's why I assumed it probably worked is because
• 6:21
  Speaker 4: he works well with characters that are childish in some way.
• 6:25
  Speaker 4: And so if his main two protagonists are the youngest
• 6:27
  Speaker 4: two that he's ever used before, I could totally see
• 6:29
  Speaker 4: that working. Yeah, there's like... I mean, I kind of
• 6:31
  Speaker 4: got a weird.
• 6:32
  Speaker 13: I can't point to a specific image or scene, but
• 6:36
  Speaker 13: I got this weird kind of Night of the Hunter
• 6:37
  Speaker 13: vibe by the end of the movie.
• 6:38
  Speaker 8: I don't know why, but it.
• 6:40
  Speaker 4: Just kind of felt... Kids on the run.
• 6:41
  Speaker 13: Yeah, kids on the run. And how it had the
• 6:44
  Speaker 13: silhouetted kind of image... I'm not going to spoil too much,
• 6:48
  Speaker 13: but there's, like, a church, and it's at nighttime, and, like,
• 6:51
  Speaker 13: the way he frames it and kind of has this gothic, like,
• 6:55
  Speaker 13: image of this church silhouette, you know, with a kind of, like,
• 6:59
  Speaker 13: and then it's raining, and it's at nighttime.
• 7:01
  Speaker 8: Like, he kind of gave me that kind of vibe,
• 7:03
  Speaker 8: I guess.
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  Speaker 13: But with Darjeeling Limited, like, it didn't kind of hook
• 7:08
  Speaker 13: me in until, like, after, like, the first 45 minutes,
• 7:11
  Speaker 13: and there's this kind of, like, major dramatic turn that
• 7:15
  Speaker 13: kind of, like, jolts all the characters into reality and, like,
• 7:18
  Speaker 13: makes them reassess, like, their own kind of, you know, insecurities.
• 7:22
  Speaker 8: And that kind of made it interesting for me.
• 7:25
  Speaker 13: It didn't, like, and the thing was I had to
• 7:26
  Speaker 13: watch it, like, a couple more times for it to really, like,
• 7:30
  Speaker 13: for me to decide that, yeah, that event in the
• 7:33
  Speaker 13: middle of the movie is what makes it a good
• 7:35
  Speaker 13: movie for me. Like, if it had gone on like
• 7:37
  Speaker 13: the way it was going on with them on the train,
• 7:39
  Speaker 13: kind of the typical, like, you know, your, you know,
• 7:43
  Speaker 13: typical Wes Anderson kind of fare where they're just kind
• 7:45
  Speaker 13: of all just... Yeah, the whole thing on the train,
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  Speaker 13: if it had gone on like that, it would have
• 7:50
  Speaker 13: just not done it for me.
• 7:51
  Speaker 8: He probably would have been another life aquatic, which I
• 7:54
  Speaker 8: can't really stand. He just seemed like he got in
• 7:57
  Speaker 8: that kit.
• 7:58
  Speaker 1: And I hadn't watched the last couple because I kind
• 8:01
  Speaker 1: of just didn't really care about the whole Wes Anderson
• 8:04
  Speaker 1: thing for a while there.
• 8:05
  Speaker 11: And this one looked really good, and I thought, okay,
• 8:07
  Speaker 11: let's see.
• 8:08
  Speaker 8: But I did get that feeling. It did seem like.
• 8:10
  Speaker 1: He didn't start out that way, because I think Bottle
• 8:12
  Speaker 1: Rocket seems pretty real. Those guys don't seem quirky, they
• 8:15
  Speaker 1: just seem kind of dumb. There's a lot of dumb
• 8:18
  Speaker 1: people in the world. So that one didn't seem as weird,
• 8:20
  Speaker 1: and it kind of worked at Rushmore. It was the
• 8:22
  Speaker 1: Royal Tenenbaums, and that's probably one of his most successful ones.
• 8:25
  Speaker 1: But it really is when he got successful, and they
• 8:29
  Speaker 1: threw a lot of money at him, and he had
• 8:31
  Speaker 1: big stars, and.
• 8:32
  Speaker 8: All of a sudden it's like it was.
• 8:34
  Speaker 1: It was that turning point where you could see he
• 8:35
  Speaker 1: was really working on that quirky vibe, and everybody was...
• 8:40
  Speaker 1: almost a caricature more than an actual character. And I
• 8:42
  Speaker 1: feel like that seems like it's been there. I haven't
• 8:44
  Speaker 1: seen the Fantastic Mr.
• 8:46
  Speaker 8: Fox. I actually want to see that.
• 8:47
  Speaker 4: No, that's actually, I just saw that not too long ago,
• 8:49
  Speaker 4: and that's a lot of fun. I was surprised by that.
• 8:52
  Speaker 8: A very different thing.
• 8:54
  Speaker 1: But still, I don't totally question him as a filmmaker,
• 8:58
  Speaker 1: because again, I think Moonrise Kingdom looks amazing. And he
• 9:03
  Speaker 1: still gets great performances, but they just don't seem genuine.
• 9:07
  Speaker 8: I don't know.
• 9:08
  Speaker 12: I feel so differently.
• 9:10
  Speaker 10: His career has been so frustrating to me because I
• 9:12
  Speaker 10: did feel like he was sort of on a downward
• 9:14
  Speaker 10: trajectory from go.
• 9:16
  Speaker 3: I loved Bottle Rocket.
• 9:17
  Speaker 12: I liked Rushmore.
• 9:18
  Speaker 10: I loved Rushmore, not as much as Bottle Rocket. I
• 9:19
  Speaker 10: felt like every movie was getting weaker and weaker.
• 9:22
  Speaker 12: And then kind of on.
• 9:23
  Speaker 10: An upswing, Afterlife, Aquatic, just because you don't get worse
• 9:25
  Speaker 10: than Life, Aquatic, it's literally impossible to make a movie.
• 9:28
  Speaker 12: Worse than that.
• 9:29
  Speaker 10: So Darjeeling Limited was a little better, but I felt
• 9:32
  Speaker 10: like this, I'll go ahead and use the term return
• 9:35
  Speaker 10: to form. Like, I thought it was everything I wanted,
• 9:38
  Speaker 10: everything that I love about his movies, I thought this
• 9:40
  Speaker 10: movie was.
• 9:41
  Speaker 12: And it made me really happy.
• 9:42
  Speaker 8: It looked that way, and that's what I expected going in,
• 9:44
  Speaker 8: I guess.
• 9:45
  Speaker 1: And maybe I expected too much, because I don't know.
• 9:47
  Speaker 1: I think I probably put him back to that level.
• 9:50
  Speaker 1: And I don't know, I think it's still, again, mostly
• 9:54
  Speaker 1: the kids.
• 9:54
  Speaker 8: Like the kids, the kids are what.
• 9:57
  Speaker 13: Brings back the, the human element of his early moves.
• 10:00
  Speaker 13: The adults in the rice game are still kind of
• 10:02
  Speaker 13: that quirky stilted kind of social worker.
• 10:05
  Speaker 1: They're funny, but they're not like they're great performances, but
• 10:08
  Speaker 1: they just don't say, I mean, they're definitely.
• 10:09
  Speaker 8: Not real people.
• 10:10
  Speaker 12: I even liked Bruce Willis. I never liked Bruce Willis.
• 10:13
  Speaker 3: Bruce Willis was awesome.
• 10:13
  Speaker 4: That's the thing.
• 10:14
  Speaker 13: Like, I mean, he was great in this movie, but like,
• 10:17
  Speaker 13: I do have to say that none of the adults, uh,
• 10:19
  Speaker 13: They're very much like how Wes Anderson does adults now.
• 10:23
  Speaker 13: It's just become kind of this thing. And not how he,
• 10:25
  Speaker 13: I guess, did it in, like, Rushmore.
• 10:26
  Speaker 6: Yeah.
• 10:27
  Speaker 13: Or, like, Bottle Rocket, which I haven't spent so long
• 10:30
  Speaker 13: since I've seen Bottle Rocket, I can't even fairly, like,
• 10:33
  Speaker 13: reference anything in that movie because I have such a
• 10:35
  Speaker 13: weak memory of it, but.
• 10:37
  Speaker 10: When Bill Murray goes out to cut down a tree,
• 10:39
  Speaker 10: don't you feel his frustration?
• 10:41
  Speaker 8: It's sad, yeah, but it's like, it's an enigma why
• 10:44
  Speaker 8: he's sad. He's just sad. He might as well be
• 10:46
  Speaker 8: called sad because.
• 10:47
  Speaker 11: I feel like he was on the.
• 10:49
  Speaker 13: Right track by calling, what's her name, Jill Swin, social worker.
• 10:52
  Speaker 13: I was like, yes, just name the person whatever their
• 10:55
  Speaker 13: quirky quality is, and that would make sense because that's
• 10:57
  Speaker 13: all they are.
• 10:58
  Speaker 8: They don't go past that.
• 10:59
  Speaker 13: Like, you know, Bruce Willis is like, you know, self-loathing,
• 11:03
  Speaker 13: you know. I mean, he's just moping. All the adults
• 11:10
  Speaker 13: really like him.
• 11:11
  Speaker 4: Bill Murray seems to play the same character in all
• 11:13
  Speaker 4: of Anderson's films.
• 11:15
  Speaker 1: Even Francis McDormand, who's always pretty good, is good in this,
• 11:19
  Speaker 1: but again, it seems so cartoony.
• 11:22
  Speaker 8: It doesn't seem like a real person.
• 11:24
  Speaker 13: It's like a And Edward Norton's character especially. He was
• 11:27
  Speaker 13: a character of the Scoutmaster who's just like, well, golly gee, Wilkers.
• 11:31
  Speaker 8: I'm like, okay.
• 11:33
  Speaker 3: That's not a real person.
• 11:35
  Speaker 8: It's funny.
• 11:35
  Speaker 3: I like it. It's interesting.
• 11:37
  Speaker 8: It adds texture to it, but it's not how Wes
• 11:39
  Speaker 8: Anderson used to... You didn't get that in Bob Rocket. Yeah.
• 11:44
  Speaker 8: He was a different filmmaker. People like, I mean, I'm
• 11:46
  Speaker 8: thinking of Rushmore mainly because I have a better memory
• 11:47
  Speaker 8: of Rushmore.
• 11:48
  Speaker 13: But just like the adults in that movie were like
• 11:50
  Speaker 13: really complicated and like just, especially the woman who played
• 11:54
  Speaker 13: the teacher who he had a crush on. She had this,
• 11:57
  Speaker 13: I don't know, she kind of had this bitterness, like this,
• 12:00
  Speaker 13: she seemed like a real person. She just didn't seem
• 12:02
  Speaker 13: like this cartoonish kind of.
• 12:04
  Speaker 10: Yeah.
• 12:05
  Speaker 4: Yeah, because I always like that scene to where he
• 12:07
  Speaker 4: just comes back and she's packing up and he's still
• 12:10
  Speaker 4: trying to appeal to her and she's like, grow up.
• 12:13
  Speaker 8: And she sees through his.
• 12:13
  Speaker 13: Bullshit and she's just sick of him and she just
• 12:17
  Speaker 13: gives him basically the lashing that he deserves, that you're
• 12:22
  Speaker 13: a terrible person for doing this.
• 12:25
  Speaker 8: And that is just a real kind of.
• 12:26
  Speaker 13: Genuine angry, I'm sick of your shit, real life moment
• 12:31
  Speaker 13: from an adult and say, I haven't nothing... from any
• 12:36
  Speaker 13: of his characters since then has gone to that level
• 12:38
  Speaker 13: of reality for me, if that makes sense.
• 12:40
  Speaker 8: That scene in the bedroom where he's bandaged, like you said,
• 12:44
  Speaker 8: on the head or whatever. But I like Moonrise Kingdom.
• 12:48
  Speaker 8: That's the thing.
• 12:49
  Speaker 4: I still like Moonrise Kingdom.
• 12:50
  Speaker 8: I like it a lot better than, of course, Life Aquatic.
• 12:56
  Speaker 8: I even like it better than Darjeeling, which I thought
• 12:57
  Speaker 8: was very good.
• 12:59
  Speaker 13: I thought Moonrise Kingdom was better, particularly because of the
• 13:02
  Speaker 13: kids and the fairytale kind of... vibe I got from
• 13:05
  Speaker 13: it but Moonrise Hymn is my favorite it's really good
• 13:10
  Speaker 13: and yes it's interesting that you say you didn't feel
• 13:12
  Speaker 13: like it had heart like the my friend who went
• 13:14
  Speaker 13: to see it with me like he was crying in
• 13:17
  Speaker 13: that part with the church and I wasn't quite there
• 13:19
  Speaker 13: but you know like I felt.
• 13:20
  Speaker 1: It you're just dead inside oh wait.
• 13:23
  Speaker 8: I know but meanwhile like Bottle Rock it's my second
• 13:27
  Speaker 8: least favorite of his which is weird because everybody else
• 13:29
  Speaker 8: loves it and I didn't love it I was a
• 13:31
  Speaker 8: little bored I.
• 13:32
  Speaker 4: Don't love it. I find it kind of the middle
• 13:33
  Speaker 4: of the ground.
• 13:34
  Speaker 1: Yeah, but it was a very different style back then
• 13:37
  Speaker 1: compared to what he ended up being.
• 13:38
  Speaker 8: So, yeah, it's just a very.
• 13:40
  Speaker 11: It's weird to look at him comparatively now.
• 13:42
  Speaker 8: Yeah, because actually I did kind of a... For a
• 13:45
  Speaker 8: couple of months I was watching pretty much all his
• 13:47
  Speaker 8: movies to lead up to Moonrise King because I wanted
• 13:50
  Speaker 8: to re-watch the ones I'd seen, watch the ones I hadn't,
• 13:52
  Speaker 8: and so I had Bottle Rocket in between Royal Tenenbaums
• 13:55
  Speaker 8: and Fantastic Mr.
• 13:56
  Speaker 3: Fox.
• 13:56
  Speaker 4: It's completely different.
• 13:58
  Speaker 3: Everything.
• 13:58
  Speaker 4: It's kind of weird, but it's good.
• 14:02
  Speaker 11: So I don't know, I just wanted to see what
• 14:03
  Speaker 11: everybody else thought.
• 14:04
  Speaker 1: I knew we were having some sort of discussion about
• 14:08
  Speaker 1: him recently, so I was like, I wanted to see
• 14:10
  Speaker 1: where everybody else.
• 14:11
  Speaker 4: Weighed in on that one.
• 14:13
  Speaker 1: And specifically, I wanted to intro this episode of that,
• 14:17
  Speaker 1: because he's a director who has a very.
• 14:19
  Speaker 11: Specific visual style and.
• 14:22
  Speaker 1: A look and you know we're going to end up
• 14:25
  Speaker 1: talking about another one of those directors when we come back.
• 14:27
  Speaker 8: So that's your Jodorowsky time we'll take a break and we'll.
• 14:30
  Speaker 6: Come back.
• 14:55
  Speaker 14: C'est le temps de l'amour, le temps des copains et
• 15:00
  Speaker 14: de l'aventure Quand le temps va et vient, on ne
• 15:05
  Speaker 14: pense à rien malgré ses blessures Car le temps de l'amour,
• 15:12
  Speaker 14: c'est long et c'est court, ça dure toujours, on s'en.
• 15:17
  Speaker 6: Souvient Hi, folks.
• 15:28
  Speaker 8: I'm Rico.
• 15:29
  Speaker 6: I'm Nacho. He's Peppy.
• 15:31
  Speaker 15: Si.
• 15:48
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  Speaker 6: See?
• 16:23
  Speaker 9: Rico's Nachos. On sale at the snack bar now. Be
• 16:26
  Speaker 9: prepared to live the most wonderful experience of your life.
• 16:39
  Speaker 9: Alejandro Jodorowsky's film classic, El Topo. El Topo is not
• 16:53
  Speaker 9: a Western. It goes far beyond any Western. El Topo
• 17:05
  Speaker 9: is not a religious film. It contains all religions. It
• 17:15
  Speaker 9: is a mystic film. El Topo is bloody.
• 17:28
  Speaker 7: It is tender. It is sexual. El Topo is miraculous
• 17:44
  Speaker 7: and terrible.
• 17:47
  Speaker 4: It's funny.
• 17:48
  Speaker 1: It's violent.
• 17:49
  Speaker 3: El Topo is monstrous and cruel.
• 18:19
  Speaker 7: El Topo is more than spectacle. It is an experience
• 18:23
  Speaker 7: for all of your life.
• 18:24
  Speaker 12: That movie was pretty good.
• 18:33
  Speaker 1: What?
• 18:34
  Speaker 3: That movie gets an M.G. straight up. Straight up M.G.
• 18:38
  Speaker 6: Material.
• 18:39
  Speaker 12: Honey, is that Robert De Niro across the street?
• 18:44
  Speaker 4: Sure looks like him. Can't be, though.
• 18:46
  Speaker 6: He's calling to us. Let's just go.
• 18:49
  Speaker 3: But it's Bobby fucking D, honey.
• 18:52
  Speaker 8: Hey, yo.
• 18:53
  Speaker 3: That's right. It's Bobby fucking De Niro over here.
• 18:58
  Speaker 16: Hey, a lot of people don't know.
• 18:59
  Speaker 6: This about me.
• 19:00
  Speaker 16: Yeah, I'm mingling down here with the drug dealers, the pimps,
• 19:03
  Speaker 16: the pushers, the low-level.
• 19:05
  Speaker 6: Gangsters, you know.
• 19:06
  Speaker 16: Honestly, I'm slinging some shit myself. You may not know
• 19:09
  Speaker 16: this about me, but I'm a fan of podcasts. Yeah,
• 19:13
  Speaker 16: I've been listening to these guys Bloodbaths and Boomsticks, a
• 19:16
  Speaker 16: couple of knuckleheads from around the way you got guys.
• 19:18
  Speaker 16: john smallberries what a fucking name on this guy you
• 19:22
  Speaker 16: got cory g guy's fucking half retarded over here likes
• 19:26
  Speaker 16: john woo for fuck's sake then you got tim gross
• 19:29
  Speaker 16: he's got the movie watching constitution of a billy goat
• 19:32
  Speaker 16: hey find these guys at bloodbathsandboomsticks.blogspot.com long fucking name but
• 19:40
  Speaker 16: just go find it it's worth it you knuckleheads got
• 19:43
  Speaker 16: that yeah.
• 19:46
  Speaker 8: Bloodbaths, and broomsticks.
• 19:48
  Speaker 3: It's on the.
• 19:50
  Speaker 15: House tweaked audio your source for high performance noise reducing
• 20:03
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• 20:07
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• 20:11
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• 20:14
  Speaker 15: come with a one-year warranty, and now there's a special
• 20:16
  Speaker 15: deal for Movie Meltdown listeners. Just go to tweakedaudio.com, and
• 20:20
  Speaker 15: when you check out, enter the discount code MELTDOWN. Then
• 20:23
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• 20:33
  Speaker 6: They called him Machete.
• 20:41
  Speaker 8: This is Danny Trello, a.k.a.
• 20:43
  Speaker 15: Machete.
• 20:45
  Speaker 4: And you're checking out Movie Meltdown.
• 20:47
  Speaker 17: You better keep checking it out or I'll.
• 20:50
  Speaker 1: Come looking for you. And I got machetes.
• 20:56
  Speaker 4: I soon realized they just fucked with the wrong Mexican.
• 21:06
  Speaker 3: Machete. It's time for Sofa Theater.
• 21:10
  Speaker 1: Machete.
• 21:32
  Speaker 14: They are moving as if they were written.
• 21:36
  Speaker 6: In the sea.
• 21:36
  Speaker 17: My dear friend, I didn't want.
• 21:39
  Speaker 3: To love you.
• 21:44
  Speaker 17: I didn't make your heart hurt. Please, Father, help us.
• 22:04
  Speaker 17: They want to destroy our temple.
• 22:07
  Speaker 15: No one would dare.
• 22:07
  Speaker 6: Do such a thing. Please, please, let me see your church.
• 22:15
  Speaker 6: This is it, Monsignor.
• 22:24
  Speaker 7: This is where we worship our beloved saint and martyr.
• 22:34
  Speaker 10: Here she is, Monsignor.
• 22:43
  Speaker 7: But this is no saint.
• 22:48
  Speaker 6: Monsignor, she is a saint.
• 22:52
  Speaker 8: How could you? Right here.
• 23:00
  Speaker 10: Many years ago, Lirio, a young girl, was attacked by
• 23:07
  Speaker 10: the Terrano brothers.
• 23:09
  Speaker 9: She tried to fight them off with all her strength,
• 23:13
  Speaker 9: but they cut off her arms.
• 23:20
  Speaker 7: They raped her.
• 23:22
  Speaker 4: And left her to die in a pool of blood.
• 23:26
  Speaker 14: And on this ground, miraculously still wet with her holy blood,
• 23:32
  Speaker 14: we built our church.
• 23:44
  Speaker 8: This is pain. No, it's holy blood. This is pain.
• 23:48
  Speaker 8: It's holy blood.
• 23:50
  Speaker 7: You hear me, crazy woman?
• 23:51
  Speaker 5: It's pain.
• 23:52
  Speaker 8: It's not, it's not, it's not.
• 23:54
  Speaker 6: It's pain. It's pain.
• 23:56
  Speaker 8: It's holy blood.
• 23:58
  Speaker 17: It's holy blood.
• 23:59
  Speaker 6: Holy blood. guitar solo guitar solo.
• 24:49
  Speaker 8: Mad, let it smoke, clean and shout.
• 25:11
  Speaker 3: Help!
• 25:12
  Speaker 6: Help!
• 25:13
  Speaker 7: Help!
• 25:44
  Speaker 1: This is a movie about young lovers.
• 25:54
  Speaker 3: What?
• 25:55
  Speaker 12: This is a movie about young lovers.
• 25:56
  Speaker 8: Yeah, yeah. Two kids.
• 25:58
  Speaker 15: Sort of.
• 25:59
  Speaker 8: Not really on the run.
• 26:02
  Speaker 3: Probably should have been.
• 26:04
  Speaker 8: So we all watched the Santa Claus movie. Tim Allen, right?
• 26:09
  Speaker 4: No, I watched Santa Claus, the one with Dudley Moore.
• 26:13
  Speaker 8: John Lithgow.
• 26:17
  Speaker 3: There's that one Saint Nick movie or something where Santa
• 26:21
  Speaker 3: Claus is killing small children. Something like Saint Nicholas or
• 26:28
  Speaker 3: something like that.
• 26:29
  Speaker 4: No, I thought we were supposed to watch Santa Claus
• 26:31
  Speaker 4: and drink Sangria.
• 26:32
  Speaker 8: I was telling Greg, for about five minutes, I seriously
• 26:35
  Speaker 8: considered making a big batch of sangria to bring in,
• 26:37
  Speaker 8: but then I decided not to, obviously.
• 26:39
  Speaker 3: Could have just brought some water with paint, red paint.
• 26:43
  Speaker 12: This is paint.
• 26:44
  Speaker 8: No, it's sangria. It is paint. See, that was in
• 26:47
  Speaker 8: the pool with sangria. Just top it with some oranges.
• 26:50
  Speaker 3: That would be awesome. A church with sangria.
• 26:52
  Speaker 4: What he called man-gria. He made it at the end
• 26:55
  Speaker 4: of the night when, if you weren't drunk, there'd be
• 26:57
  Speaker 4: no way you'd drink it. He just mixed red wine.
• 27:01
  Speaker 4: Sprite, and vodka. Good lord.
• 27:08
  Speaker 3: It actually didn't taste too bad.
• 27:09
  Speaker 4: It actually almost tasted like grape soda.
• 27:11
  Speaker 8: Deceivingly.
• 27:15
  Speaker 3: After you've had eight drinks.
• 27:17
  Speaker 4: I would have tasted had I been sober at the get-go. Sorry,
• 27:22
  Speaker 4: that wasn't pain. It was holy blood. Right. Holy blood.
• 27:25
  Speaker 8: We're not drinking those.
• 27:27
  Speaker 4: Mangria tastes like Fanta.
• 27:29
  Speaker 3: It's great.
• 27:31
  Speaker 8: So in actuality, this week's Sofa Theater feature is Santa Sangre.
• 27:36
  Speaker 8: The year is 1989. Director Alejandro Jodorowsky. The plot, and
• 27:41
  Speaker 8: I didn't like the IMDb, not.
• 27:44
  Speaker 1: That I ever do, but it was really wordy and
• 27:47
  Speaker 1: told the entire plot, so Netflix had a nice little
• 27:49
  Speaker 1: breakdown here.
• 27:50
  Speaker 8: We're going with the synopsis on Netflix.
• 27:53
  Speaker 1: In this intense, hallucination-filled thriller, a traumatized young man helps
• 27:57
  Speaker 1: his vengeful, armless mother on a grisly murder spree.
• 28:01
  Speaker 8: Spoiler alert.
• 28:02
  Speaker 12: Yeah, there you go.
• 28:04
  Speaker 4: Right.
• 28:05
  Speaker 8: I'm hooked. Thank you, Netflix, for your platform.
• 28:07
  Speaker 3: Yeah, that's completely in.
• 28:10
  Speaker 8: But knocks it out in one sentence. The other one's
• 28:12
  Speaker 8: like a paragraph, and it goes through everything in the movie. So, yeah,
• 28:15
  Speaker 8: that's straight to the point.
• 28:17
  Speaker 11: All right, so where would you like to begin on
• 28:21
  Speaker 11: this film?
• 28:23
  Speaker 8: I was telling them before we started, like, I have
• 28:25
  Speaker 8: no idea what I'm going to say about this, and
• 28:28
  Speaker 8: I suggested it, so I feel kind of bad about that.
• 28:31
  Speaker 8: I think there's a lot to talk about. There's a
• 28:33
  Speaker 8: lot to talk about. That's what I was telling Greg, too.
• 28:35
  Speaker 4: It's like, where to start?
• 28:36
  Speaker 1: When I was like, normally I'll just kind of make
• 28:38
  Speaker 1: notes or stuff we need to talk about.
• 28:40
  Speaker 11: And I got into this, and I was just like,
• 28:43
  Speaker 11: I don't know, where do we begin?
• 28:45
  Speaker 4: I have a question.
• 28:46
  Speaker 8: You were drinking during this, so how'd that go?
• 28:49
  Speaker 3: Well, you know, anytime I can be alone and drinking,
• 28:52
  Speaker 3: I feel pretty bad about myself.
• 28:54
  Speaker 4: That's a good question.
• 28:56
  Speaker 3: Right. So, no, it kind of went, it kind of,
• 29:00
  Speaker 3: drinking along with a movie like this is kind of
• 29:04
  Speaker 3: maybe what you should do.
• 29:05
  Speaker 10: I don't know.
• 29:07
  Speaker 3: I guess it depends on what kind of child you take.
• 29:09
  Speaker 12: You don't have hallucinogens.
• 29:09
  Speaker 10: Right.
• 29:10
  Speaker 4: I'm just picturing this great mental image of you in
• 29:12
  Speaker 4: a darkened room. Drunk, crying, watching this movie, and your
• 29:16
  Speaker 4: kid's peering through.
• 29:17
  Speaker 3: The door like, Daddy?
• 29:19
  Speaker 10: Daddy?
• 29:20
  Speaker 3: And then just the wife's.
• 29:21
  Speaker 4: Saying, no, no, no, Daddy needs his podcasting time.
• 29:24
  Speaker 3: They were gone. They all left the house. And I
• 29:26
  Speaker 3: thought this was a perfect time.
• 29:27
  Speaker 12: Screaming or just?
• 29:30
  Speaker 8: So it was the dog looking around the corner going, oh, God,
• 29:33
  Speaker 8: is he still? Oh, yeah.
• 29:35
  Speaker 3: No, he sat in the chair next to me watching it. So,
• 29:38
  Speaker 3: or sleeping.
• 29:39
  Speaker 4: By the end of the movie, he's like, Oh, this
• 29:41
  Speaker 4: is so great. If I had somebody to reach underneath
• 29:44
  Speaker 4: my arm, we'll get a beer.
• 29:46
  Speaker 8: I wasn't, I wasn't drunk by any means.
• 29:47
  Speaker 4: Um, I had a couple of drinks.
• 29:48
  Speaker 3: Uh, no, it, I went into this completely blind. I
• 29:59
  Speaker 3: knew nothing, which I like doing that.
• 30:01
  Speaker 4: Had you seen any of the films prior?
• 30:03
  Speaker 9: No.
• 30:04
  Speaker 8: I just knew them by reputation.
• 30:05
  Speaker 1: I'd seen bits and pieces of the crazier ones, and
• 30:08
  Speaker 1: I knew this by title.
• 30:11
  Speaker 3: Which ones are the crazier ones?
• 30:14
  Speaker 8: No, they're crazier than this.
• 30:18
  Speaker 3: To me, this seems like... This movie, Kramer vs.
• 30:20
  Speaker 4: Kramer, is the most.
• 30:22
  Speaker 3: As much of a... I mean, every idea of a
• 30:25
  Speaker 3: nightmare that you could have is packed into, you know, with...
• 30:31
  Speaker 3: You know, clowns are already creepy enough.
• 30:33
  Speaker 10: Yeah.
• 30:34
  Speaker 3: You know, and cults are pretty creepy. And when you're
• 30:39
  Speaker 3: putting them together.
• 30:40
  Speaker 8: It's... Clowns are friendly, though.
• 30:45
  Speaker 3: I love the clowns. You know, I went to a
• 30:48
  Speaker 3: circus once that had four performing Mexican clowns. And it
• 30:55
  Speaker 3: was long and drawn out, and one of them had
• 30:59
  Speaker 3: a high-pitched voice that my kids still mimic. He says,
• 31:03
  Speaker 3: I love to play music. He's like, I love to
• 31:05
  Speaker 3: play music. And they play this. It goes back and
• 31:10
  Speaker 3: forth with him losing his instrument. It's actually a very
• 31:13
  Speaker 3: entertaining little sketch. A lot of the other kids at
• 31:16
  Speaker 3: the circus were bored and eating popcorn and all that
• 31:20
  Speaker 3: kind of stuff. And we had a lot of fun
• 31:23
  Speaker 3: watching it, and it looked like these four clowns that
• 31:26
  Speaker 3: are in this movie, which kind of makes it even
• 31:30
  Speaker 3: more surreal. The thinking of this nice memory that I
• 31:35
  Speaker 3: have and then putting it into this film.
• 31:37
  Speaker 4: The memory of Greg and his children laughing and just
• 31:39
  Speaker 4: sort of echoing off of the walls of the interior
• 31:41
  Speaker 4: of the circus because everyone else is just sitting there.
• 31:43
  Speaker 3: Right, wondering when Spider-Man's going to come by.
• 31:46
  Speaker 1: Yeah.
• 31:48
  Speaker 3: No, I just think there's a lot of nightmare in this,
• 31:51
  Speaker 3: and I think he taps into it because it's obviously...
• 31:54
  Speaker 3: I think what I'm thinking about during especially the flashback sequences,
• 32:00
  Speaker 3: this is a day or three in the life of
• 32:03
  Speaker 3: this kid, and by all indications, this is normal for him.
• 32:09
  Speaker 3: Because with a dad like that and a mom like
• 32:12
  Speaker 3: that and just being surrounded by a circus... He's going
• 32:15
  Speaker 3: to have this stuff every single day. Maybe not quite
• 32:19
  Speaker 3: as dramatic as the events that unfold, but it's more
• 32:23
  Speaker 3: than just the three or four strange things that happened
• 32:27
  Speaker 3: to him in that three-day period. He's had a lifetime of.
• 32:31
  Speaker 8: But I think this one's pretty extreme.
• 32:33
  Speaker 1: I mean, I'm sure there's still a lot of kids
• 32:35
  Speaker 1: that grow up and, I mean, it really was a
• 32:37
  Speaker 1: weird way of life for, you know, generations there of,
• 32:39
  Speaker 1: you know, that circus family idea.
• 32:42
  Speaker 4: Right.
• 32:42
  Speaker 1: But I think a lot of it, I mean, you
• 32:44
  Speaker 1: get used to the weird stuff and everything becomes routine,
• 32:47
  Speaker 1: where this seemed very horrific.
• 32:48
  Speaker 10: Yeah.
• 32:49
  Speaker 1: I mean, even if you're not in the circus, your
• 32:52
  Speaker 1: dad screwing around and your mom trying to kill your
• 32:53
  Speaker 1: dad is going to mess you up.
• 32:55
  Speaker 4: Well, there's a cool documentary, Circo, I don't know if
• 32:59
  Speaker 4: you've seen it. seen it it's um spanish i think
• 33:02
  Speaker 4: it's spanish documentary but um it just follows the lives
• 33:08
  Speaker 4: of these families within the traveling circus and it's just
• 33:11
  Speaker 4: pretty fascinating to watch just the parents training the children
• 33:15
  Speaker 4: to follow in their footsteps or you know they might
• 33:17
  Speaker 4: choose a different path but it's still within the circus
• 33:19
  Speaker 4: and stuff like that i mean and for them i
• 33:21
  Speaker 4: mean what we kind of consider you know fantastic it's
• 33:24
  Speaker 4: just sort of you know hum drum and every day
• 33:26
  Speaker 4: for them so.
• 33:28
  Speaker 1: I think that part you would get used to, but
• 33:31
  Speaker 1: this has a lot of other horrible elements going on.
• 33:34
  Speaker 4: Come on!
• 33:36
  Speaker 6: Come on!
• 33:37
  Speaker 10: Come on!
• 33:38
  Speaker 17: Don't be afraid!
• 33:40
  Speaker 6: Come on!
• 33:42
  Speaker 17: You can't do anything!
• 33:45
  Speaker 8: Read my lips, you stupid deaf mute!
• 33:49
  Speaker 9: Come on!
• 33:50
  Speaker 17: Don't just stand there!
• 33:54
  Speaker 8: I should have left you in the poorhouse when your
• 33:56
  Speaker 8: mother died.
• 33:57
  Speaker 17: Now practice.
• 34:00
  Speaker 4: I mean, I feel like in the way of Jodorowsky stuff,
• 34:02
  Speaker 4: this is his most accessible, what I've seen.
• 34:04
  Speaker 1: Yeah, everything I've heard about this, this is probably of
• 34:08
  Speaker 1: the weird, because then he does his other later stuff
• 34:11
  Speaker 1: really nobody likes, and it's not as crazy and psychedelic
• 34:14
  Speaker 1: as this.
• 34:15
  Speaker 4: I haven't seen anything post-Santa Santa.
• 34:17
  Speaker 1: Yeah, I was trying to look, because he's only done
• 34:19
  Speaker 1: like six features, and then the last two, I think,
• 34:22
  Speaker 1: nobody really likes.
• 34:24
  Speaker 4: I've got the box set that they put out, so
• 34:26
  Speaker 4: I mean, I've seen... four of his others apart from this.
• 34:29
  Speaker 1: Yeah, I think Tusk was like his kid's movie, if
• 34:32
  Speaker 1: you can imagine his attempting to do a kid's movie.
• 34:35
  Speaker 8: And whatever that last.
• 34:37
  Speaker 1: One was, he got to work with real name actors
• 34:40
  Speaker 1: around here, but again, it was like paying.
• 34:43
  Speaker 4: Nobody liked it.
• 34:44
  Speaker 1: But it was again, it was the studio at that
• 34:46
  Speaker 1: point stepping in because they were putting money in and
• 34:48
  Speaker 1: real actors, they were like.
• 34:49
  Speaker 11: Yeah, you can't do that nonsense. We'll pull the plug
• 34:51
  Speaker 11: right out of this.
• 34:51
  Speaker 4: And actually, I think what inspired that to be made
• 34:54
  Speaker 4: was his films sort of got rediscovered when they were re-released.
• 35:00
  Speaker 8: Finally.
• 35:01
  Speaker 4: Yeah, and just a lot of Hollywood actors in that
• 35:03
  Speaker 4: sort of discovered him. They were like, oh, this guy's awesome.
• 35:05
  Speaker 4: We should throw some money at him and be in it.
• 35:08
  Speaker 8: Which still might come around. I mean, he's still out
• 35:11
  Speaker 8: there and supposedly making his autobiography.
• 35:14
  Speaker 7: Yeah.
• 35:15
  Speaker 1: Which is still supposed to be like a weird surreal movie,
• 35:18
  Speaker 1: which that tells you he's just kind of like that.
• 35:21
  Speaker 3: He's a decent actor.
• 35:22
  Speaker 4: I mean, he does really well, at least in Holy Mountain.
• 35:25
  Speaker 4: I mean, you've seen Holy Mountain. Yeah, it was years ago,
• 35:28
  Speaker 4: but I loved it. Yeah, I really like it too.
• 35:31
  Speaker 3: That's actually.
• 35:33
  Speaker 13: Was he like the Jesus character?
• 35:36
  Speaker 4: No, he was.
• 35:38
  Speaker 4: I'm trying to think. The Alchemist, I think, is what
• 35:40
  Speaker 4: they gave the characters.
• 35:41
  Speaker 8: Oh, yeah, that he meets at the top of the.
• 35:43
  Speaker 4: That basically the nine, or the people representing the nine
• 35:47
  Speaker 4: planets in the solar system all go to. Oh, yeah.
• 35:51
  Speaker 4: That's Jodorowsky. I need to rewatch that. I forgot about
• 35:54
  Speaker 4: that whole thing. Stylistically, that's an amazing thing. And I
• 35:56
  Speaker 4: love the fact that when it comes to Holy Mountain,
• 35:58
  Speaker 4: you break off. It becomes like.
• 36:01
  Speaker 4: It's almost like an anthology of short films when it
• 36:04
  Speaker 4: gives you the background on each character. He builds up
• 36:07
  Speaker 4: so much towards all of this revelation thing in the
• 36:11
  Speaker 4: grand scheme of things, it's almost a mockery of the audience. Like, no,
• 36:14
  Speaker 4: this isn't important at all. Did you like the revelation
• 36:16
  Speaker 4: at the end?
• 36:17
  Speaker 8: Without spoiling it for all these people.
• 36:19
  Speaker 4: That was surprising. It was something to where at first
• 36:22
  Speaker 4: I was like, I don't know, but it actually came
• 36:26
  Speaker 4: to really grow on me for that. Yeah. You don't
• 36:29
  Speaker 4: see that coming. And actually, I think it would be
• 36:32
  Speaker 4: kind of odd to see him try to end it
• 36:33
  Speaker 4: some other way, because I felt like it was almost
• 36:35
  Speaker 4: him trying to say to the audience, it's like you've
• 36:40
  Speaker 4: sat here and you've watched for an hour and a
• 36:42
  Speaker 4: half this movie about these characters that are trying to
• 36:44
  Speaker 4: find the meaning of life, and you in turn have
• 36:46
  Speaker 4: become invested, and whatever I told you the meaning of
• 36:49
  Speaker 4: life is, you would sit here and try to evaluate
• 36:52
  Speaker 4: your own life in that sense, like, Oh, I wonder
• 36:54
  Speaker 4: if that applies to me. And instead, he just backs
• 36:57
  Speaker 4: up the camera to where you see that you're on
• 36:59
  Speaker 4: a set and breaks the fourth wall.
• 37:00
  Speaker 8: And it's like, no, this is a movie.
• 37:02
  Speaker 4: There's nothing to learn here.
• 37:04
  Speaker 12: Thank you, Alan, for your.
• 37:07
  Speaker 4: Strength.
• 37:09
  Speaker 12: No, no, I am thanking you.
• 37:10
  Speaker 8: I literally am thanking you.
• 37:13
  Speaker 4: By the time you get to that point, you're going
• 37:15
  Speaker 4: to be so lost in everything you've seen prior, you're
• 37:17
  Speaker 4: not going to remember a.
• 37:18
  Speaker 15: Word I said.
• 37:20
  Speaker 4: When you watch the people in gas masks dancing with
• 37:23
  Speaker 4: the naked elderly individuals, and you see all the pigs crucified,
• 37:27
  Speaker 4: you're not going to remember what I'm talking about.
• 37:33
  Speaker 12: Well, that's kind of the ending of this movie, too, right?
• 37:35
  Speaker 10: Oh, by the way, everything that came before it wasn't real,
• 37:37
  Speaker 10: except for the first 20 minutes.
• 37:39
  Speaker 8: Not like Holy Mountain. Sort of. In a different way.
• 37:43
  Speaker 6: I think this.
• 37:45
  Speaker 3: Earns that, though.
• 37:46
  Speaker 8: Yeah, I think he does.
• 37:48
  Speaker 3: You're allowed to say, oh yeah, he's that messed up.
• 37:51
  Speaker 8: You're seeing it from a very specific perspective.
• 37:53
  Speaker 13: Not so much like everything didn't happen, but like everything happened,
• 37:59
  Speaker 13: but it's just been perceived in a totally.
• 38:02
  Speaker 10: I'm just bummed that there wasn't the most loyal little
• 38:06
  Speaker 10: person ever. I was like, he's so non-judgmental.
• 38:13
  Speaker 12: He just rides it out.
• 38:15
  Speaker 3: He even cranks the concertina. That's beautiful.
• 38:19
  Speaker 1: I need somebody to run my music. Hit shuffle on
• 38:24
  Speaker 1: this while I go kill this guy.
• 38:28
  Speaker 3: I mentioned this With, I guess, Alan last night, did
• 38:32
  Speaker 3: this work as almost like a super villain origin story
• 38:38
  Speaker 3: to you? The whole time with him as a young man,
• 38:42
  Speaker 3: I just felt like, oh, that's Bruce Wayne.
• 38:44
  Speaker 8: It's the Joker as a kid.
• 38:46
  Speaker 3: Yeah, I mean, he just seems like this is how
• 38:48
  Speaker 3: a super villain could be created.
• 38:50
  Speaker 12: Yeah, you watch your parents get killed and.
• 38:52
  Speaker 3: Then everything goes to shit. Yeah, and just grew up
• 38:54
  Speaker 3: as a magician, circus actor, performer, and then... all of
• 38:59
  Speaker 3: that can be how you would, I mean, that's how
• 39:01
  Speaker 3: you'd get a supervillain, that he would be that crazy.
• 39:05
  Speaker 3: And he's there, you know, watching old films and trying
• 39:08
  Speaker 3: to make himself invisible. I mean, that's mad scientist kind
• 39:12
  Speaker 3: of stuff.
• 39:14
  Speaker 8: His mother did say, I will always be inside you,
• 39:16
  Speaker 8: so he could come back, he could be his own nemesis. Right.
• 39:20
  Speaker 3: I don't know. I was having fun, maybe it was
• 39:23
  Speaker 3: the alcohol, but I was having fun playing with that
• 39:26
  Speaker 3: in my mind as the whole thing was going on.
• 39:28
  Speaker 3: especially because the world's strongest woman that he faces, you know,
• 39:35
  Speaker 3: you're like, oh, this is the big battle scene between the,
• 39:38
  Speaker 3: you know, the good guy and the bad guy. And
• 39:41
  Speaker 3: I don't know. You could cast the American version. You
• 39:43
  Speaker 3: could cast Arnold Schwarzenegger as I don't know. I was
• 39:45
  Speaker 3: just playing with that, having fun with those ideas that, yeah,
• 39:49
  Speaker 3: it really does work as a horrible supervillain.
• 39:52
  Speaker 8: I vote for Nathan Fillion.
• 39:55
  Speaker 3: That's fun.
• 39:55
  Speaker 4: Well, if anything, I mean, you've got the same sort
• 39:57
  Speaker 4: of origin story behind him that theoretically you could have
• 39:59
  Speaker 4: behind Norman Bates. Because, I mean, the relationship that goes
• 40:03
  Speaker 4: on is very, very similar.
• 40:05
  Speaker 3: They even show the chair at.
• 40:06
  Speaker 8: The top of the stairs.
• 40:07
  Speaker 12: Yeah, that was a definite reference.
• 40:08
  Speaker 3: I don't know. I had fun with that stuff.
• 40:12
  Speaker 8: It's funny, that part didn't really click with me.
• 40:15
  Speaker 1: Again, maybe because I wasn't seeing it as that until
• 40:19
  Speaker 1: you get to the end and you get that whole reveal.
• 40:21
  Speaker 8: And then it's more of like creating a serial killer.
• 40:23
  Speaker 1: But again, I don't think I was taking that ride
• 40:26
  Speaker 1: the whole way through. I was sort of more watching
• 40:28
  Speaker 1: it from his point of view and watching his weird
• 40:32
  Speaker 1: way of dealing with all this stuff and how overbearing
• 40:35
  Speaker 1: the mom is.
• 40:37
  Speaker 11: I guess that's a different issue altogether.
• 40:39
  Speaker 3: She is a mom.
• 40:41
  Speaker 8: Towards the end when everybody started disappearing and it was
• 40:43
  Speaker 8: revealing these people were all part of his imagination was
• 40:45
  Speaker 8: anybody else wondering if maybe the deaf mute girl was
• 40:49
  Speaker 8: also not real so I was just kind of waiting
• 40:51
  Speaker 8: for her to disappear too I don't think so.
• 40:54
  Speaker 1: I don't know I don't think so only because I
• 40:57
  Speaker 1: felt like she needed to be real to bring it
• 40:59
  Speaker 1: out of it she had to be real to kind
• 41:02
  Speaker 1: of rescue him from this insanity.
• 41:04
  Speaker 8: And she had her other plot lines too so I
• 41:06
  Speaker 8: didn't really think that she was if she wasn't there
• 41:09
  Speaker 8: who slept on top of a truck I kind of
• 41:13
  Speaker 8: actually wish that we could maybe surmise that maybe she's
• 41:17
  Speaker 8: not real, but she clearly is because of all the
• 41:20
  Speaker 8: other stuff.
• 41:22
  Speaker 3: There's no way for her to not be.
• 41:25
  Speaker 8: Because he needed her. To be rescued by her love.
• 41:28
  Speaker 8: Maybe he's not real.
• 41:31
  Speaker 12: Maybe none of.
• 41:31
  Speaker 3: Us are real. Maybe none of us watched the same
• 41:36
  Speaker 3: movie that doesn't play out.
• 41:40
  Speaker 4: Maybe he's a product of her imagination.
• 41:44
  Speaker 8: All reality after Holy Mountain is part of Holy Mountain.
• 41:48
  Speaker 8: It's one never-ending movie.
• 41:50
  Speaker 4: I'm going to imagine that he's not real and she's
• 41:53
  Speaker 4: actually the main character.
• 41:54
  Speaker 12: I want the little guy to be the main character then.
• 41:56
  Speaker 10: Aladdin.
• 41:56
  Speaker 3: Aladdin should have a spin-off.
• 41:57
  Speaker 7: He did.
• 41:58
  Speaker 4: Disney made him. Wait, was he doing the voice?
• 42:00
  Speaker 11: I don't think so.
• 42:00
  Speaker 4: They made him Pollard. Just a little bit.
• 42:03
  Speaker 3: Anybody notice how much animals and how the animals dealt
• 42:05
  Speaker 3: with Disney? membered body parts or dead people.
• 42:21
  Speaker 12: Oh, they are bloodthirsty.
• 42:22
  Speaker 10: Yeah.
• 42:23
  Speaker 6: All of them. Yeah.
• 42:25
  Speaker 3: It was, and, but, and then, um, when the, the
• 42:29
  Speaker 3: elephant is sent off into the cavern, the humans do
• 42:33
  Speaker 3: the exact, or the, you know, do the exact same thing.
• 42:37
  Speaker 3: And even all the way at the end with, with the,
• 42:39
  Speaker 3: the body that's supposed to be there at the end,
• 42:42
  Speaker 3: it's not even, I guess, necessarily a body. The birds
• 42:46
  Speaker 3: are surrounding that. It just, I don't know. It, uh,
• 42:49
  Speaker 3: I don't know, it was something that carried through.
• 42:53
  Speaker 8: What's happened?
• 42:54
  Speaker 6: The elephant is dying. Please, don't die.
• 43:02
  Speaker 3: Please.
• 43:05
  Speaker 4: Please.
• 43:21
  Speaker 1: I'm trying to decide what you guys thought of the
• 43:22
  Speaker 1: whole elephant thing. First of all, just the elephant is
• 43:26
  Speaker 1: dying scene, and then the elephant funeral.
• 43:29
  Speaker 8: I don't know.
• 43:31
  Speaker 11: Aside from that, what was everybody's take on that?
• 43:34
  Speaker 1: Because that seems like a pretty big piece in this
• 43:36
  Speaker 1: weird puzzle, and it's not super self-explanatory.
• 43:42
  Speaker 4: And not super necessary to the plot, either.
• 43:44
  Speaker 6: No, not really.
• 43:45
  Speaker 1: But obviously to him it was, because, I mean, he
• 43:48
  Speaker 1: built a giant elephant coffin.
• 43:51
  Speaker 3: Right.
• 43:52
  Speaker 8: It was amazing.
• 43:54
  Speaker 3: I think the only thing about that that I kind
• 43:58
  Speaker 3: of pieced together in my brain is an elephant in
• 44:02
  Speaker 3: a troop that was that small is a huge part
• 44:05
  Speaker 3: of your drawing power. Yeah.
• 44:07
  Speaker 6: Mm-hmm.
• 44:08
  Speaker 3: And if you lost the elephant, you've probably lost a
• 44:10
  Speaker 3: lot of the people coming to your circus. And that
• 44:14
  Speaker 3: may have been the catalyst for why the father was like,
• 44:16
  Speaker 3: screw it, I'm going to go on and sleep with
• 44:20
  Speaker 3: the tattooed ladies because we're going to have to break
• 44:24
  Speaker 3: up anyway. That funeral.
• 44:28
  Speaker 4: To me, just the funeral in and of itself, I
• 44:30
  Speaker 4: took it as this is just a troupe of people
• 44:32
  Speaker 4: where they're flashy about whatever they do.
• 44:34
  Speaker 15: They are just.
• 44:36
  Speaker 4: There has to be an entertainment element to it. I mean,
• 44:38
  Speaker 4: it's for the objective viewer. I mean, that would be
• 44:41
  Speaker 4: something almost as fascinating as a performance.
• 44:44
  Speaker 8: I mean, it is an amazing scene. Just the... The
• 44:48
  Speaker 8: clowns crying at the funeral.
• 44:50
  Speaker 3: The black and white American flag.
• 44:52
  Speaker 12: Oh, and the sequined mourning outfit was my very favorite
• 44:55
  Speaker 12: thing that ever happened.
• 44:56
  Speaker 8: Well, and the tattooed girl that hers is just lit
• 45:00
  Speaker 8: open now.
• 45:00
  Speaker 4: I'm like, oh, she's in mourning.
• 45:03
  Speaker 1: Of course.
• 45:04
  Speaker 8: So, I don't know.
• 45:06
  Speaker 1: It's a really impressive scene visually. And then when we
• 45:09
  Speaker 1: get to the whole just dumping the body, that was, yeah, the...
• 45:14
  Speaker 1: savages that come running down there it's like again that
• 45:17
  Speaker 1: seems like.
• 45:17
  Speaker 11: A very specific point.
• 45:19
  Speaker 1: That he's trying to make and i don't know if
• 45:20
  Speaker 1: it is just the brutality of.
• 45:23
  Speaker 8: All life at that point that that again we're as
• 45:26
  Speaker 8: bad as the animals i found myself wondering about something
• 45:29
  Speaker 8: really random and because i don't know i was kind
• 45:32
  Speaker 8: of in a weird state of mind i was really
• 45:33
  Speaker 8: tired and everything um but the ramp that they kind
• 45:36
  Speaker 8: of pushed the elephant down it suddenly struck me like
• 45:39
  Speaker 8: why would there be this giant wouldn't ramp there. And
• 45:42
  Speaker 8: then I couldn't decide if like I was being stupid
• 45:43
  Speaker 8: for wondering about that or if that really was just
• 45:45
  Speaker 8: kind of a weird thing to just have ready and
• 45:47
  Speaker 8: to go.
• 45:48
  Speaker 1: I guess if it was just like the dump, I mean,
• 45:51
  Speaker 1: it was where they were sort of like dumping everything.
• 45:54
  Speaker 11: Maybe they've got the truck backs up on the ramp
• 45:56
  Speaker 11: or something.
• 45:57
  Speaker 6: I don't know.
• 45:58
  Speaker 8: That's the only thing I can think of.
• 45:59
  Speaker 1: If it is just the general city dump for that
• 46:02
  Speaker 1: part of the world, maybe that's where everybody goes and
• 46:05
  Speaker 1: drops off their elements.
• 46:07
  Speaker 8: I don't know. I mean, It's very strange, but it's
• 46:10
  Speaker 8: a very strange world we're involved in in this movie.
• 46:15
  Speaker 8: I was also kind of bothered by how quickly the
• 46:18
  Speaker 8: tattoo was made on his chest. It was really fast.
• 46:23
  Speaker 3: There was no cut. It was, hey, we're done already.
• 46:26
  Speaker 1: If we're playing that game, I was really bothered by
• 46:28
  Speaker 1: how bad the tattoo lady's tattoos were.
• 46:31
  Speaker 8: I'm like, she is not tattooed. I was like, really?
• 46:34
  Speaker 8: I mean, I know in 89 it wasn't quite as over.
• 46:37
  Speaker 1: run with tattooed girls in the world as it is now,
• 46:40
  Speaker 1: but still, you couldn't have searched some actual circus?
• 46:43
  Speaker 4: That was him probably doing it on purpose. I mean,
• 46:45
  Speaker 4: because the father is equally as disgusting. I think he
• 46:49
  Speaker 4: just wanted to make the act of sex disgusting. Again,
• 46:54
  Speaker 4: this being from the point of view of the main character,
• 46:56
  Speaker 4: if you were a kid and you catch your father
• 46:58
  Speaker 4: doing that with somebody or nobody's doing it with somebody,
• 47:00
  Speaker 4: it's going to be sort of surreal and disgusting to you.
• 47:02
  Speaker 1: Not even that she was unattractive, just that those tattoos
• 47:05
  Speaker 1: looked terrible.
• 47:07
  Speaker 8: They were so fake. I was like, you couldn't find
• 47:09
  Speaker 8: a real tattooed woman?
• 47:10
  Speaker 10: Come on.
• 47:11
  Speaker 4: Did the kid.
• 47:14
  Speaker 8: He obviously didn't see his mom get the arms cut off.
• 47:18
  Speaker 8: He saw her wheeled out. He didn't see the acid thrown.
• 47:21
  Speaker 8: I can't remember. Was he in the eyesight of his
• 47:24
  Speaker 8: dad killing himself?
• 47:25
  Speaker 3: Yes, that was the one thing he did see.
• 47:28
  Speaker 8: Yeah, because he was in the trailer. The deaf mute
• 47:32
  Speaker 8: girl saw more, though.
• 47:33
  Speaker 10: Yes.
• 47:34
  Speaker 4: Which is why... she's the more traumatized.
• 47:38
  Speaker 1: One but that's so many levels that's inception level now
• 47:42
  Speaker 1: where you've got her imagining a character who's imagining a
• 47:45
  Speaker 1: character who is in control of that character even though
• 47:48
  Speaker 1: he doesn't exist that's a lot to deal with not
• 47:52
  Speaker 1: saying that crazier things have happened in this movie.
• 47:55
  Speaker 8: But does anybody see a high tension yes yeah so
• 48:00
  Speaker 8: a little bit yeah okay That left me with a
• 48:03
  Speaker 8: lot of questions, too.
• 48:04
  Speaker 4: That left me pissed off.
• 48:05
  Speaker 8: Yeah, that one left me a little pissed off.
• 48:07
  Speaker 4: It's one that actually I don't remember much about because
• 48:09
  Speaker 4: I saw it in the theater and I remember thinking, okay,
• 48:11
  Speaker 4: this turned to shit and it kind of wiped itself
• 48:13
  Speaker 4: in my memory.
• 48:14
  Speaker 1: Well, I think it's all really good up to that point,
• 48:16
  Speaker 1: but I think once you throw that switch, everything goes
• 48:20
  Speaker 1: back and it just starts.
• 48:21
  Speaker 8: Falling apart, really.
• 48:22
  Speaker 3: I don't know.
• 48:23
  Speaker 8: Well, yeah.
• 48:24
  Speaker 4: Well, that's in like that post-Sixth Sense era to where
• 48:27
  Speaker 4: every horror movie had to have a twist to it.
• 48:29
  Speaker 4: Everything is shit. And they didn't even think about how
• 48:31
  Speaker 4: to make it match up with.
• 48:33
  Speaker 13: Yeah, there's no, like, supporting evidence, really, either of these. Like,
• 48:37
  Speaker 13: I would say more so in Sansa Sangre, just because
• 48:39
  Speaker 13: it's so surreal and you can put whatever, like, theory
• 48:42
  Speaker 13: or whatever you want in it.
• 48:43
  Speaker 4: It at least makes some kind of sense. It makes
• 48:45
  Speaker 4: its own refraction of reality.
• 48:47
  Speaker 13: Yeah, but, like, with High Tension, that just was just
• 48:50
  Speaker 13: a cheap kind of thing that didn't make sense. Especially
• 48:53
  Speaker 13: when you watch it again, you're like, it works perfectly
• 48:56
  Speaker 13: fine without that.
• 48:56
  Speaker 4: I don't know why.
• 48:58
  Speaker 12: It's necessary.
• 49:00
  Speaker 10: What kind of narcissist is she that she imagines this
• 49:02
  Speaker 10: whole scenario where she saves someone with her love?
• 49:06
  Speaker 4: That's romantic.
• 49:08
  Speaker 3: She has to have something to do when the soldiers
• 49:12
  Speaker 3: are coming in and raping her.
• 49:13
  Speaker 8: Good point.
• 49:15
  Speaker 4: She was fantastic, though.
• 49:17
  Speaker 8: I loved the outfit with the weird things on the head.
• 49:20
  Speaker 8: I just really liked just looking at her.
• 49:22
  Speaker 13: Not.
• 49:23
  Speaker 4: No, that's okay.
• 49:26
  Speaker 8: You can like that.
• 49:26
  Speaker 6: It's okay, Alan.
• 49:28
  Speaker 8: Right. She was costumed well and acted well. Well, that's
• 49:35
  Speaker 8: the other... Again....
• 49:37
  Speaker 1: I guess if it were a normal, a more normal movie,
• 49:40
  Speaker 1: I don't think I would be reaching for everything.
• 49:43
  Speaker 8: But everything seems like it's supposed to be something.
• 49:45
  Speaker 1: Because even her, like, in the, like, massively, like, they
• 49:49
  Speaker 1: go to a lot of work to make her face
• 49:51
  Speaker 1: that white.
• 49:52
  Speaker 8: And on the one hand, she's a mime.
• 49:54
  Speaker 1: But is it also that she's this savior and that
• 49:57
  Speaker 1: she really is this pure soul that is going to
• 49:59
  Speaker 1: come and rescue him?
• 50:00
  Speaker 6: I don't know.
• 50:01
  Speaker 1: It just seems like that. And then it also ties
• 50:03
  Speaker 1: into the victims once he starts killing people.
• 50:06
  Speaker 15: Mm-hmm.
• 50:07
  Speaker 8: That one is, you have to piece something together out
• 50:11
  Speaker 8: of that.
• 50:11
  Speaker 11: It's not normal at all, what he's doing.
• 50:15
  Speaker 8: There was that scene right before she went to save
• 50:16
  Speaker 8: him where she painted her face. It was like putting
• 50:19
  Speaker 8: on her superhero mask.
• 50:22
  Speaker 1: That's the thing, that whole second half, she's not like that.
• 50:25
  Speaker 1: But when she goes to save him, she does. Again,
• 50:27
  Speaker 1: I thought, even the face paint for her kind of
• 50:30
  Speaker 1: has some sort of symbolism.
• 50:32
  Speaker 3: The house isn't.
• 50:33
  Speaker 12: Going to recognize her.
• 50:33
  Speaker 3: He wouldn't have recognized her otherwise. He would have just
• 50:36
  Speaker 3: killed her.
• 50:38
  Speaker 8: She wouldn't have let that happen. She was letting it happen.
• 50:42
  Speaker 8: Was she just standing there with her arms outstretched? Was
• 50:45
  Speaker 8: she trying to give him a chance to.
• 50:49
  Speaker 8: I think that was part of it. I think he
• 50:50
  Speaker 8: had to come to that realization on his own.
• 50:53
  Speaker 1: He had to destroy the mother thing of his own
• 50:56
  Speaker 1: free will almost to save her. It's like if he
• 50:59
  Speaker 1: was going to kill her, I think she was going
• 51:00
  Speaker 1: to let it happen because one way or the other.
• 51:02
  Speaker 11: It's just like the only way to save him is
• 51:04
  Speaker 11: to offer myself up to him.
• 51:06
  Speaker 4: Yeah, because to resist is going to be like every
• 51:09
  Speaker 4: other previous victim. So he's not going to take note
• 51:13
  Speaker 4: of it.
• 51:13
  Speaker 2: Yeah.
• 51:14
  Speaker 8: So that makes her the superhero.
• 51:17
  Speaker 3: It is a superhero origin story. She's the mime.
• 51:20
  Speaker 4: She's awesome.
• 51:22
  Speaker 8: It's the worst superhero ever.
• 51:24
  Speaker 4: Right.
• 51:26
  Speaker 3: At least she can't have any soliloquies telling you how
• 51:29
  Speaker 3: bad you are.
• 51:29
  Speaker 8: No cheesy catchphrases. She just puts her hands on your
• 51:32
  Speaker 8: chest and does the eagle thing.
• 51:35
  Speaker 3: Also, did it bother anybody else that he was Phoenix,
• 51:39
  Speaker 3: but that was an American eagle on his chest that
• 51:42
  Speaker 3: his dad.
• 51:42
  Speaker 8: Was tattooing instead of Phoenix? Well, it's also spelled wrong.
• 51:45
  Speaker 8: Did you see the spelling on it?
• 51:46
  Speaker 11: I was just like, who named this child?
• 51:48
  Speaker 3: That dad?
• 51:49
  Speaker 8: Look at him.
• 51:50
  Speaker 3: Look at that guy.
• 51:52
  Speaker 8: He's disgusting.
• 51:53
  Speaker 1: But again, I think it's that whole weird motion that
• 51:58
  Speaker 1: she makes is that whole freeing yourself. Again, it's that
• 52:01
  Speaker 1: grand scheme of how the story goes.
• 52:04
  Speaker 8: I'm assuming as to why he's Phoenix. That thing that
• 52:07
  Speaker 8: she does at the.
• 52:07
  Speaker 1: End when she sort of freed him from his imprisonment
• 52:10
  Speaker 1: of his mother, blah, blah.
• 52:12
  Speaker 11: It's all very structured to be that.
• 52:14
  Speaker 8: I don't know.
• 52:17
  Speaker 1: I give him credit for just having the audacity to
• 52:20
  Speaker 1: do some of the stuff that he does. In general,
• 52:22
  Speaker 1: I guess, but specifically in this movie, I ended up
• 52:25
  Speaker 1: liking it a lot.
• 52:26
  Speaker 8: More than I expected.
• 52:27
  Speaker 10: But I like, too, where the moments where you're like, well,
• 52:29
  Speaker 10: this is just silliness and surreality, like the strong woman,
• 52:33
  Speaker 10: but then that's leading to someplace really beautiful where he
• 52:36
  Speaker 10: has purposefully tried to find the strongest woman ever so
• 52:39
  Speaker 10: that she'll be able to resist him and break his
• 52:41
  Speaker 10: arms and end it all. And that was such a
• 52:43
  Speaker 10: lovely moment where you think that it's going someplace really silly,
• 52:46
  Speaker 10: but it goes someplace really profound.
• 52:48
  Speaker 8: Exactly.
• 52:48
  Speaker 13: All of his movies, I feel like, have that thing, too,
• 52:51
  Speaker 13: where there's something like you have to just get past
• 52:53
  Speaker 13: some annoyance.
• 52:55
  Speaker 8: The annoying bits. They're just like, this is just kind of.
• 52:58
  Speaker 13: But once you wait it out and see the movie
• 53:01
  Speaker 13: to the end, you kind of see.
• 53:03
  Speaker 4: What he pulled off in the long run. You're like, oh, okay.
• 53:05
  Speaker 13: Because I felt that way with Holy Mountain. Particularly the
• 53:08
  Speaker 13: first half of Holy Mountain. You're just like, what is
• 53:10
  Speaker 13: this movie doing?
• 53:11
  Speaker 4: It is trying a bit because you go like 40
• 53:16
  Speaker 4: minutes before anybody says a line of dialogue.
• 53:18
  Speaker 1: Yeah.
• 53:18
  Speaker 8: And the way it's edited, the action... I don't know.
• 53:24
  Speaker 13: It's hard to tell how the action is moving at
• 53:26
  Speaker 13: a lot of points because it's just edited so sporadically.
• 53:29
  Speaker 13: It's all over the place. But then it kind of
• 53:31
  Speaker 13: goes into the second half, and the character.
• 53:33
  Speaker 4: Did.
• 53:34
  Speaker 8: I say Holy Mountain?
• 53:35
  Speaker 3: I meant El Topo.
• 53:36
  Speaker 4: Excuse me. El Topo, the cowboy one where Orozco plays
• 53:39
  Speaker 4: El Topo. See, El Topo for me is a little...
• 53:42
  Speaker 4: I find that just slow.
• 53:44
  Speaker 8: Yeah, exactly.
• 53:44
  Speaker 13: And then it goes into this second half where he
• 53:48
  Speaker 13: basically just totally... The main character, El Topo, just, like,
• 53:51
  Speaker 13: has this kind of interesting... He changes into this kind of, like, humorous, like,
• 53:55
  Speaker 13: you know, lighthearted Buddha. And it's just kind of cool, like,
• 53:59
  Speaker 13: how you kind of, like... It's like, oh, I didn't
• 54:01
  Speaker 13: know they were going to go this direction with this
• 54:03
  Speaker 13: kind of, you know, bloodthirsty gunslinger. Like, now he's this
• 54:07
  Speaker 13: kind of cool dude.
• 54:08
  Speaker 4: And he has... Again, he has a little person friend.
• 54:10
  Speaker 3: And it makes it fun.
• 54:11
  Speaker 4: Yeah.
• 54:12
  Speaker 13: And by the end of the movie, you're kind of like...
• 54:14
  Speaker 13: And you look in the movie at, like, the whole thing, like...
• 54:17
  Speaker 13: You step back and you're like, okay, that was really
• 54:19
  Speaker 13: interesting because that went to some places I would have
• 54:21
  Speaker 13: never expected.
• 54:23
  Speaker 8: And that's kind of what I got from the opening.
• 54:26
  Speaker 4: I just wish El Topo had the visual sense that
• 54:29
  Speaker 4: he picked up later on post Holy Mountain.
• 54:32
  Speaker 13: I see what you mean because Holy Mountain definitely felt
• 54:34
  Speaker 13: more assured. Was El Topo even, like, it didn't have
• 54:38
  Speaker 13: the big widescreen, did it? I feel like Holy Mountain
• 54:41
  Speaker 13: had more of a panoramic kind of look to it.
• 54:44
  Speaker 10: Yeah.
• 54:45
  Speaker 8: That was more kind of interesting.
• 54:47
  Speaker 1: That's why I feel like this movie is, and again,
• 54:50
  Speaker 1: I need to go back and watch all of his
• 54:52
  Speaker 1: other stuff, but I feel like what I know of him,
• 54:55
  Speaker 1: this seems like is almost the perfect medium.
• 54:58
  Speaker 8: It is.
• 55:00
  Speaker 4: It's almost like, if you could draw an allegory with
• 55:03
  Speaker 4: another surreal director, David Lynch. this would be, Santa Sangre
• 55:08
  Speaker 4: would be like Lynch's Blue Velvet.
• 55:10
  Speaker 8: That's what I was going to say.
• 55:12
  Speaker 4: It's surreal, but it still has a plot that you
• 55:15
  Speaker 4: can follow, and it's still open interpretation, especially based upon
• 55:19
  Speaker 4: what exactly is happening.
• 55:20
  Speaker 10: As.
• 55:23
  Speaker 4: Opposed to Lost Highway, when it comes to Lost Highway.
• 55:27
  Speaker 4: I love that movie, but every time I watch it,
• 55:30
  Speaker 4: I go in thinking, okay, now I've got it figured out.
• 55:32
  Speaker 8: You've got it all figured out.
• 55:32
  Speaker 3: I'm like, damn it, I.
• 55:34
  Speaker 4: I understand less the more I watch it.
• 55:38
  Speaker 11: I think that's why this one kind of grew on me.
• 55:40
  Speaker 8: Initially I went in.
• 55:41
  Speaker 1: And, again, just knowing what he does and knowing him
• 55:44
  Speaker 1: by reputation, I'm like, it's just going to be a
• 55:46
  Speaker 1: bunch of weird shit for the sake of weird shit.
• 55:48
  Speaker 1: And I think what works so well about this is
• 55:51
  Speaker 1: that it does have such a good structure to it.
• 55:53
  Speaker 8: It does tell the story. And it takes its weird.
• 55:56
  Speaker 1: Little, you know, sometimes he does things just for the
• 55:59
  Speaker 1: sake of being weird, but not much. Like, even the
• 56:01
  Speaker 1: ones that seem like that sometimes come back around and
• 56:03
  Speaker 1: they do have their purpose. I think that's why this
• 56:06
  Speaker 1: one worked. And even, I mean, it's only been like
• 56:08
  Speaker 1: a day since I watched it. But, like, as the day, like,
• 56:11
  Speaker 1: when I was done, I was like, oh, okay, that
• 56:12
  Speaker 1: was pretty. And, like, as the day went on, I
• 56:13
  Speaker 1: was just like, no, that was pretty impressive, actually, what
• 56:17
  Speaker 1: was going on there.
• 56:18
  Speaker 8: We could watch Holy Mountain.
• 56:19
  Speaker 4: That could be an Easter show.
• 56:21
  Speaker 3: I was thinking Valentine's Day.
• 56:24
  Speaker 12: Oh, for this one, sorry.
• 56:25
  Speaker 8: For Santa Sangre.
• 56:25
  Speaker 12: Valentine's Day and then Easter.
• 56:27
  Speaker 8: For Holy Mountain.
• 56:27
  Speaker 4: But Easter would work for... Yeah, Santa Sangre would work
• 56:29
  Speaker 4: for Valentine, yeah. Wow.
• 56:31
  Speaker 3: I feel like, though, this is.
• 56:33
  Speaker 13: I don't know, like, I only know those other two
• 56:35
  Speaker 13: movies he did before this, but was this the first
• 56:37
  Speaker 13: movie he did that was just, like, set in, like,
• 56:41
  Speaker 13: a specific time?
• 56:43
  Speaker 8: Like, it didn't have... It wasn't... It was just.
• 56:45
  Speaker 3: Because I just.
• 56:46
  Speaker 13: Holy Mountain and El Topo was just in, like, a
• 56:48
  Speaker 13: surreal version of all times put together.
• 56:51
  Speaker 4: You know what I mean?
• 56:52
  Speaker 6: Like, medieval.
• 56:52
  Speaker 4: He doesn't really.
• 56:55
  Speaker 4: Cravat i mean that's not really i have seen cravat.
• 56:58
  Speaker 8: Maybe that's why like this one felt the most.
• 57:01
  Speaker 13: Grounded in reality it was just a story he was
• 57:05
  Speaker 13: more concerned with telling a story in this time instead
• 57:07
  Speaker 13: of like you know el topo which was just this
• 57:10
  Speaker 13: mythic western.
• 57:12
  Speaker 4: Mixed most westerns i guess you could almost say are
• 57:15
  Speaker 4: mythical yeah it's the it's the closest equivalent to mythology
• 57:20
  Speaker 4: that we have as americans i mean maybe the prohibition
• 57:23
  Speaker 4: era sort of falls in that realm.
• 57:25
  Speaker 13: Yeah but like how it doesn't it kind of like
• 57:27
  Speaker 13: has like what i'm saying is like you can't like
• 57:31
  Speaker 13: put your finger down history where it is because it's
• 57:33
  Speaker 13: like has the clockwork orange like when is this taking
• 57:36
  Speaker 13: place i feel like santa sangre like it was a
• 57:39
  Speaker 13: set yeah it really was you know specific place yeah.
• 57:43
  Speaker 4: Yeah because holy mountain i mean it seems like it's
• 57:45
  Speaker 4: a good yeah it's biblical era story, but then all
• 57:48
  Speaker 4: of a sudden, next thing you know, you've got, like,
• 57:50
  Speaker 4: modern elements added into it. So it's just... Yeah.
• 57:55
  Speaker 8: Again, that's what I think works with this. Because I
• 57:58
  Speaker 8: do like.
• 57:59
  Speaker 1: I like the weird movies. Obviously, we've watched a lot
• 58:01
  Speaker 1: of weird stuff on this show. But I think I
• 58:04
  Speaker 1: like them more when they can really.
• 58:06
  Speaker 8: Do something with it, you know?
• 58:08
  Speaker 1: If you're just being weird for the sake of being weird,
• 58:10
  Speaker 1: sometimes it's effective, but you don't really get anything at
• 58:13
  Speaker 1: the end of it.
• 58:13
  Speaker 8: Whereas if you can.
• 58:14
  Speaker 1: in the process of being totally weird and these amazing
• 58:17
  Speaker 1: visuals also tell your story and deliver something at the end.
• 58:21
  Speaker 1: I think that's way more impressive. I think this movie
• 58:24
  Speaker 1: does that more than I expected.
• 58:25
  Speaker 8: Going in it.
• 58:26
  Speaker 3: I think you're right. I think, you know, you can
• 58:30
  Speaker 3: have something that is purposefully surreal, intentionally surreal, and that
• 58:39
  Speaker 3: doesn't always work. But when it's surreal for a purpose,
• 58:42
  Speaker 3: that happens. there's a reason why it looks this way.
• 58:48
  Speaker 3: It's because of how traumatic everything was. It works. I
• 58:53
  Speaker 3: think I would have been turned off if it weren't
• 58:56
  Speaker 3: for that. The story fits the visuals that you get
• 59:01
  Speaker 3: out of it. Because normally I'm turned off by that
• 59:06
  Speaker 3: if it doesn't have, if it's just, like I said, surrealism.
• 59:10
  Speaker 3: for the sake of being surreal is not.
• 59:13
  Speaker 1: It can be impressive in a visual sense, but again,
• 59:15
  Speaker 1: it's just kind of lacking something.
• 59:17
  Speaker 4: Like an example of something then that you find surreal
• 59:20
  Speaker 4: but don't like? That's dark, though.
• 59:25
  Speaker 8: Was that even surreal?
• 59:27
  Speaker 4: It tried to be. It sure as hell tried to be. S.
• 59:29
  Speaker 3: Darko?
• 59:30
  Speaker 8: It was just complicated.
• 59:31
  Speaker 4: That's equal to Donnie Darko.
• 59:32
  Speaker 3: Oh, yeah. S.
• 59:33
  Speaker 8: Darko.
• 59:34
  Speaker 3: I thought you said S. Cargo. That's a perfectly good
• 59:38
  Speaker 3: example because I think they're almost a good example of both.
• 59:45
  Speaker 3: Donnie Darko is fine in the way it uses it.
• 59:50
  Speaker 3: Of course that's the way it is. S. Darko is
• 59:53
  Speaker 3: so packed with oh, well, you need to know about
• 59:56
  Speaker 3: this first, and you need to know about what I
• 59:58
  Speaker 3: was thinking about this first. No, I don't.
• 1:00:01
  Speaker 4: I never saw it because I just heard it was
• 1:00:03
  Speaker 4: just nonsense.
• 1:00:04
  Speaker 8: Because in Donnie Darko, Richard Kelly knew what he was
• 1:00:06
  Speaker 8: going for. He knew what everything meant. You feel like
• 1:00:08
  Speaker 8: he knows what everything means.
• 1:00:10
  Speaker 4: In S.
• 1:00:10
  Speaker 8: Darko, it's like it was different filmmakers, and like, okay,
• 1:00:13
  Speaker 8: we don't know what this means, but we're going to
• 1:00:16
  Speaker 8: put in all the visual tricks that Richard Kelly did,
• 1:00:18
  Speaker 8: and it just... I think they went the opposite direction.
• 1:00:21
  Speaker 8: I think.
• 1:00:22
  Speaker 1: they knew more than they needed to. Like they were
• 1:00:25
  Speaker 1: so busy, like, okay, we know people are gonna get
• 1:00:27
  Speaker 1: his shit because we're not the original director and.
• 1:00:29
  Speaker 8: We're stealing somebody else's property. So we're gonna do all
• 1:00:32
  Speaker 8: this homework.
• 1:00:32
  Speaker 1: Because everything they did within the way that they tell
• 1:00:35
  Speaker 1: the story makes sense.
• 1:00:36
  Speaker 8: It fits within their grand scheme. It's bullshit. But they
• 1:00:40
  Speaker 8: mapped it all out.
• 1:00:41
  Speaker 1: And in their mind it works because they were going
• 1:00:43
  Speaker 1: back and looking at his original movie and then looking
• 1:00:46
  Speaker 1: at that weird director's cut that he did and like
• 1:00:48
  Speaker 1: piecing together all the mythology that he had in that
• 1:00:51
  Speaker 1: movie and then, like, cramming it all over that movie
• 1:00:55
  Speaker 1: where it barely made sense, and it certainly didn't make
• 1:00:57
  Speaker 1: sense to anybody who didn't know him.
• 1:00:59
  Speaker 4: And see, that's what I think works so well about
• 1:01:01
  Speaker 4: Donnie Darko, is you can tell he has an entire...
• 1:01:04
  Speaker 4: I mean, Richard Kelly knows exactly what's happening, why it's happening,
• 1:01:08
  Speaker 4: the science and the logic and all this, and then
• 1:01:10
  Speaker 4: what he does is once he's mapped it all out
• 1:01:12
  Speaker 4: and he's got the storyline, he takes the elements away
• 1:01:15
  Speaker 4: that the audience doesn't need to understand the plot, because
• 1:01:19
  Speaker 4: if you... I mean, I haven't seen Es Darko, but
• 1:01:21
  Speaker 4: it sounds like basically it becomes less about the character
• 1:01:24
  Speaker 4: and more about the phenomenon. Whereas in Donnie Darko, it's
• 1:01:28
  Speaker 4: more about the character and not necessarily the phenomenon.
• 1:01:30
  Speaker 8: And the mechanics of the phenomenon.
• 1:01:33
  Speaker 1: Everything that gets labeled in Donnie Darko then gets put
• 1:01:36
  Speaker 1: into play multiple times.
• 1:01:39
  Speaker 4: In Es Darko. Yeah, you don't need to understand that.
• 1:01:43
  Speaker 4: fantastic elements that are happening to them it's.
• 1:01:45
  Speaker 1: Just kind of cheapens it really i liked it better
• 1:01:48
  Speaker 1: that first time you didn't know what the hell was
• 1:01:50
  Speaker 1: going on then later when he did the super director's.
• 1:01:53
  Speaker 13: Cut yeah i wasn't a fan of that how the
• 1:01:55
  Speaker 13: director's cut yeah it maps just everything.
• 1:01:57
  Speaker 8: Out yeah it was just too much.
• 1:02:00
  Speaker 4: Even then i found that novel to see once just
• 1:02:03
  Speaker 4: you got a little bit more background information but yeah
• 1:02:05
  Speaker 4: i prefer the original on that And I feel like,
• 1:02:08
  Speaker 4: I mean, I still feel like the original version is like,
• 1:02:11
  Speaker 4: it has the feel of a horror movie.
• 1:02:13
  Speaker 8: Definitely.
• 1:02:14
  Speaker 13: Like, it's like, amount of it is, it feels like
• 1:02:17
  Speaker 13: horror movie and like all of that was just kind of,
• 1:02:21
  Speaker 13: it wasn't there in the director's cut and that kind
• 1:02:23
  Speaker 13: of bummed me out. Because I like, the first one
• 1:02:25
  Speaker 13: had this kind of danger. I was like, is this
• 1:02:26
  Speaker 13: a scary movie? Is it like a sad character? It's like,
• 1:02:29
  Speaker 13: it was just a weird mixture of things and then
• 1:02:32
  Speaker 13: the director's cut was just basically like.
• 1:02:34
  Speaker 4: Yeah, there is very much that sense of dread throughout
• 1:02:37
  Speaker 4: much of it. one of my favorite images in any
• 1:02:39
  Speaker 4: movie isn't that to where it's, it's a very, very
• 1:02:42
  Speaker 4: minor scene, but it's when all the kids are at
• 1:02:43
  Speaker 4: the bus stop and just a plane goes overhead and like,
• 1:02:47
  Speaker 4: there's no conversation that is watching overhead. And then that's it.
• 1:02:50
  Speaker 4: It's like, I love that. I love the fact that
• 1:02:53
  Speaker 4: nobody is going to look at planes the same for
• 1:02:56
  Speaker 4: the rest of their lives because of what's already happened
• 1:02:58
  Speaker 4: at the beginning. It's just, it's a very poignant moment.
• 1:03:01
  Speaker 4: I think it's like my favorite in the entire film
• 1:03:03
  Speaker 4: is that little point. But yeah, I mean, you, Once
• 1:03:08
  Speaker 4: you start explaining it, and I think it's not so
• 1:03:10
  Speaker 4: much that the elements aren't there, it's just in the
• 1:03:12
  Speaker 4: director's cut you're distracted by what he's adding.
• 1:03:15
  Speaker 13: Yeah.
• 1:03:16
  Speaker 4: To where it's like, okay, I'm going to give you
• 1:03:17
  Speaker 4: pieces of a puzzle now for you to figure out,
• 1:03:19
  Speaker 4: and suddenly what's going on in the main storyline, you
• 1:03:23
  Speaker 4: start to shift a little away from it.
• 1:03:26
  Speaker 8: Jumping ahead to our Donnie Darko episode.
• 1:03:29
  Speaker 16: Yeah.
• 1:03:29
  Speaker 8: Which we are supposed to do somewhere down the line.
• 1:03:31
  Speaker 4: Didn't we already do an Estarko episode?
• 1:03:33
  Speaker 8: Yeah, we did.
• 1:03:33
  Speaker 10: Yeah.
• 1:03:34
  Speaker 8: That's an entirely different movie.
• 1:03:36
  Speaker 4: Right, of course. Well, hell, you could just have an
• 1:03:39
  Speaker 4: original cut versus director's cut episode, because some turn out well.
• 1:03:43
  Speaker 4: I mean, director's cut of Alien or Blade Runner, much
• 1:03:47
  Speaker 4: better than the original.
• 1:03:48
  Speaker 1: So, on this movie, I did want to get to
• 1:03:50
  Speaker 1: some of the visuals and see, like, right as we
• 1:03:55
  Speaker 1: start off, what about him.
• 1:03:57
  Speaker 8: And the tree? I mean, is there a specific... reasoning
• 1:04:04
  Speaker 8: for that?
• 1:04:05
  Speaker 1: I mean, most asylums you go to don't have people
• 1:04:07
  Speaker 1: climbing the tree and sleeping in a basket.
• 1:04:11
  Speaker 8: Maybe him coming down from the tree is him coming
• 1:04:14
  Speaker 8: to reality.
• 1:04:17
  Speaker 3: But he has to go back up the tree to.
• 1:04:21
  Speaker 6: Escape.
• 1:04:21
  Speaker 4: I mean, it clearly looks like, I mean, Jodorowsky just
• 1:04:26
  Speaker 4: got actual, not necessarily inmates, but just patients from some
• 1:04:30
  Speaker 4: sort of hospital somewhere, and I was like, You could
• 1:04:32
  Speaker 4: not do that in America, I don't imagine. That's almost
• 1:04:35
  Speaker 4: like hailing back to, and it's very fitting for this,
• 1:04:39
  Speaker 4: but like back to Todd Browning's Freaks or something.
• 1:04:42
  Speaker 1: Well, that's what I was wondering, watching them take them
• 1:04:44
  Speaker 1: out into the town. Why is it that they're all
• 1:04:48
  Speaker 1: of this specific condition? Is it just because it makes
• 1:04:51
  Speaker 1: a lot of people uncomfortable? Because that's kind of what
• 1:04:53
  Speaker 1: it feels like.
• 1:04:53
  Speaker 6: It makes.
• 1:04:54
  Speaker 1: You sitting at home feel weird, and you're not even
• 1:04:57
  Speaker 1: sure why sometimes.
• 1:04:58
  Speaker 4: Or even why he's thrown into the mix with them, too.
• 1:05:02
  Speaker 3: I think to me is they didn't know what to
• 1:05:04
  Speaker 3: do with him. And they probably, their scientific community probably said,
• 1:05:12
  Speaker 3: we have this kid, he's messed up, and they had
• 1:05:14
  Speaker 3: nowhere to put him. Well, let's just put him there.
• 1:05:16
  Speaker 3: They take care of those. One is a genetic thing,
• 1:05:23
  Speaker 3: the other is a trauma thing. Their government or whoever
• 1:05:27
  Speaker 3: took him in said, let's just put him there and
• 1:05:30
  Speaker 3: let's forget about him. That happens all the time, that
• 1:05:32
  Speaker 3: people aren't treated the way they are supposed to be.
• 1:05:35
  Speaker 4: Knowing Jodorowsky, it's not too far to assume that he
• 1:05:38
  Speaker 4: might have been making some social commentary on life.
• 1:05:41
  Speaker 3: He obviously was making some plenty of comments about religion
• 1:05:45
  Speaker 3: anyway but so i.
• 1:05:47
  Speaker 4: Mean that's pretty characteristic of him yeah all the stuff.
• 1:05:49
  Speaker 1: I think the tree thing is again almost ties into
• 1:05:52
  Speaker 1: i mean so much of this is based on the
• 1:05:54
  Speaker 1: weird animal relationships i think it is almost that same
• 1:05:57
  Speaker 1: thing with the the savages later that that humans are
• 1:06:01
  Speaker 1: animals just like it's a very literal version of look
• 1:06:04
  Speaker 1: he's one shade from being an ape.
• 1:06:06
  Speaker 8: At this point right i don't know it's especially.
• 1:06:09
  Speaker 11: Him sleeping in the basket like Then he's just a pet,
• 1:06:12
  Speaker 11: you know?
• 1:06:12
  Speaker 8: It's very.
• 1:06:14
  Speaker 4: We could make this companion piece with instinct. I'd forgotten
• 1:06:17
  Speaker 4: all about seeing that at the village back in the day.
• 1:06:19
  Speaker 11: God.
• 1:06:21
  Speaker 4: Anthony Hopkins, how far you sank? How far you sank?
• 1:06:25
  Speaker 8: He sinks pretty far quite often, actually.
• 1:06:28
  Speaker 4: Sounds like a euphemism. I like that.
• 1:06:30
  Speaker 8: I am staying out of it. So then when they
• 1:06:33
  Speaker 8: were giving cocaine to the.
• 1:06:35
  Speaker 3: I wonder if they were really giving them because they
• 1:06:39
  Speaker 3: really took something. Is that pixie sticks? What is it?
• 1:06:43
  Speaker 4: Were you all disturbed or laughing? Because I was laughing.
• 1:06:46
  Speaker 4: Maybe I'm a bad person, but I thought it was
• 1:06:48
  Speaker 4: really funny.
• 1:06:48
  Speaker 8: Again, I think it works on that level.
• 1:06:51
  Speaker 1: It's already an uncomfortable situation and then that just takes
• 1:06:54
  Speaker 1: it up several notches.
• 1:06:56
  Speaker 8: When you're giving them coke... It's a sequence like when
• 1:07:00
  Speaker 8: he's going down the street with the With the boombox
• 1:07:03
  Speaker 8: and like they're dancing.
• 1:07:04
  Speaker 4: I love that whole sequence.
• 1:07:05
  Speaker 8: That is fun.
• 1:07:07
  Speaker 1: I like when he just kind of like clocks that
• 1:07:09
  Speaker 1: guy and knocks him out and just keeps dancing with
• 1:07:11
  Speaker 1: the boombox.
• 1:07:12
  Speaker 8: It's like, whoa, all right, well, you don't mess with
• 1:07:15
  Speaker 8: the film. I'm curious how they all, because they were
• 1:07:18
  Speaker 8: left on their own to go see Robinson Crusoe. And
• 1:07:20
  Speaker 8: then they apparently like all got back okay in the game.
• 1:07:24
  Speaker 8: Hospital attendants presumably didn't know that something was wrong.
• 1:07:28
  Speaker 3: Well, the guy that was supposed to be watching their
• 1:07:30
  Speaker 3: chaperone was making.
• 1:07:32
  Speaker 4: Out with the girl.
• 1:07:33
  Speaker 3: So he didn't care. He probably rounded them back up,
• 1:07:36
  Speaker 3: told them not to say anything, and then.
• 1:07:38
  Speaker 10: You know.
• 1:07:39
  Speaker 4: He's like, did you have a good time last night?
• 1:07:40
  Speaker 3: Right, yeah.
• 1:07:41
  Speaker 8: Yeah, he didn't want to tell anybody what happened because
• 1:07:44
  Speaker 8: then he would get drunk.
• 1:07:44
  Speaker 3: Right, so I'm sure that kind of, not to that level,
• 1:07:48
  Speaker 3: but I'm sure that stuff happens all the time.
• 1:07:50
  Speaker 8: Oops, we lost the patient's microphone.
• 1:07:53
  Speaker 1: As long as we get him back, nobody needs to
• 1:07:54
  Speaker 1: know about this.
• 1:07:55
  Speaker 8: There was that, just remember, there was that weird Robinson
• 1:07:59
  Speaker 8: Crusoe dress.
• 1:08:00
  Speaker 3: Yeah, that was.
• 1:08:01
  Speaker 8: From a shaking head thing.
• 1:08:02
  Speaker 3: Yeah.
• 1:08:03
  Speaker 8: That's also kind of surreal.
• 1:08:05
  Speaker 3: Yeah.
• 1:08:06
  Speaker 11: But that point, actually, I was going to go into, too.
• 1:08:09
  Speaker 1: Like, it's funny that that is also what triggered this
• 1:08:13
  Speaker 1: whole thing, basically.
• 1:08:14
  Speaker 8: Like, he had been.
• 1:08:16
  Speaker 1: Just almost catatonic or at least animalistic up until that point.
• 1:08:20
  Speaker 1: And it wasn't until he got out and he saw
• 1:08:22
  Speaker 1: the tattooed woman that it like snapped everything back. And
• 1:08:26
  Speaker 1: all of a sudden he sort of came back to reality,
• 1:08:29
  Speaker 1: but also became psychotic.
• 1:08:31
  Speaker 8: And it like broke that mother part off in his head.
• 1:08:34
  Speaker 8: And it was at that point that she appeared to him.
• 1:08:36
  Speaker 1: She hadn't been there for the last 10 years or
• 1:08:38
  Speaker 1: however long he would have been locked up. So it
• 1:08:41
  Speaker 1: was only coming in contact with somebody else, specifically somebody
• 1:08:44
  Speaker 1: who kind of set that chain.
• 1:08:46
  Speaker 8: Whole chain of events into motion.
• 1:08:47
  Speaker 1: I don't know, I thought that was funny that it
• 1:08:50
  Speaker 1: was a very specific thing coming in contact with his
• 1:08:54
  Speaker 1: past that brought him back into this weird state. Had
• 1:08:57
  Speaker 1: he not gone out there, that probably never would have happened.
• 1:09:00
  Speaker 15: Happened.
• 1:09:00
  Speaker 1: All those people wouldn't have gotten killed because he just
• 1:09:02
  Speaker 1: would have been living in a tree the whole rest.
• 1:09:04
  Speaker 8: Of his life.
• 1:09:06
  Speaker 3: So treatment causes serial killers is what you're saying? They
• 1:09:11
  Speaker 3: should have kept him locked up?
• 1:09:13
  Speaker 4: Was that treatment?
• 1:09:16
  Speaker 3: That's what they thought they were doing. It's like, oh, well,
• 1:09:19
  Speaker 3: he's coming down. He's back in real life. We can
• 1:09:21
  Speaker 3: take him out and get him.
• 1:09:22
  Speaker 1: He needs to come in contact with people and learn
• 1:09:25
  Speaker 1: how to kill them.
• 1:09:25
  Speaker 4: Right.
• 1:09:27
  Speaker 8: That's what happened this time. He may have eventually been
• 1:09:30
  Speaker 8: okay if he hadn't seen the tattooed woman.
• 1:09:32
  Speaker 3: Well, here's the other thing. Maybe he imagined everyone else.
• 1:09:38
  Speaker 3: Who's to say that she even was there? If you're
• 1:09:40
  Speaker 3: going to say that the girl could have been imagined...
• 1:09:42
  Speaker 3: Why wasn't she? Maybe he was just waiting for the
• 1:09:45
  Speaker 3: first woman.
• 1:09:46
  Speaker 4: Maybe there was just someone who resembled her.
• 1:09:49
  Speaker 3: And so that was enough to push him over the edge.
• 1:09:51
  Speaker 3: Maybe he never saw her, and he just needed some
• 1:09:54
  Speaker 3: kind of hope.
• 1:09:54
  Speaker 8: He just saw some woman with a tattoo.
• 1:09:58
  Speaker 3: I just need a hope.
• 1:09:58
  Speaker 8: It's going to trigger everything.
• 1:10:01
  Speaker 4: I'm still kind of chewing over what Greg said earlier,
• 1:10:04
  Speaker 4: like the surreal for the sake of surreal. I'm almost
• 1:10:06
  Speaker 4: sitting here trying to think, Because we were talking about
• 1:10:09
  Speaker 4: Lynch earlier, and I was saying just Inland Empire for
• 1:10:12
  Speaker 4: me and the latter half of Mulholland Drive. It's like
• 1:10:14
  Speaker 4: sheer nonsense, but I love all this other stuff. I'm
• 1:10:17
  Speaker 4: almost trying to define my own particular boundaries here on
• 1:10:21
  Speaker 4: when is surreal in film too surreal.
• 1:10:25
  Speaker 1: Well, I mean, it can still be effective as surreal,
• 1:10:28
  Speaker 1: but it doesn't always work as a story.
• 1:10:30
  Speaker 8: Yeah, when it's storytelling. Though, have you seen The Discreet
• 1:10:36
  Speaker 8: Charm of the Bourgeoisie?
• 1:10:37
  Speaker 10: Mm-hmm.
• 1:10:37
  Speaker 4: I like Louis Reneau's self also in The Phantom of Liberty,
• 1:10:40
  Speaker 4: and I find that fun.
• 1:10:41
  Speaker 8: Because I remember I saw Discrete Charm years ago, and
• 1:10:44
  Speaker 8: I really didn't like it.
• 1:10:46
  Speaker 4: I mean, it works as a series of vignettes. It
• 1:10:49
  Speaker 4: feels like it goes on a little too long, because
• 1:10:51
  Speaker 4: I'm like, okay, I kind of get it. I get
• 1:10:53
  Speaker 4: what you're doing. But I still find it fun. I
• 1:11:00
  Speaker 4: just recently watched, have you ever seen Black Moon?
• 1:11:02
  Speaker 8: No.
• 1:11:02
  Speaker 4: Louis Malle, who did... Elevator to the Gallows and a
• 1:11:08
  Speaker 4: few other films, it's almost like his version of Alice
• 1:11:10
  Speaker 4: in Wonderland. And that's one where, based on everything I
• 1:11:13
  Speaker 4: read about it, I thought I would like it. And
• 1:11:15
  Speaker 4: it's just, it was all right. But it didn't really, like,
• 1:11:18
  Speaker 4: grab me, grab me. And I think for me, when
• 1:11:20
  Speaker 4: it comes to surreal, almost for the sake of surreal,
• 1:11:23
  Speaker 4: I think there just has to be a lot of
• 1:11:25
  Speaker 4: visual elements to it that I like. I'm sorry. No,
• 1:11:29
  Speaker 4: go ahead. I was just going to basically say, like,
• 1:11:31
  Speaker 4: you know, El Topo I can't get into, but Holy
• 1:11:33
  Speaker 4: Mountain I can. And I think it's just almost... If
• 1:11:36
  Speaker 4: you're going to be surreal, I like saturation of color.
• 1:11:38
  Speaker 4: If it is surreal and it is bland, and the
• 1:11:40
  Speaker 4: same was with Black Moon. It's a very surreal landscape
• 1:11:44
  Speaker 4: in which this girl is wandering around this farmhouse, but
• 1:11:45
  Speaker 4: it's like, in color.
• 1:11:47
  Speaker 3: It's bland.
• 1:11:48
  Speaker 4: But you watch, like, what was it? It's Lemora, I
• 1:11:52
  Speaker 4: think is the name of it. Are you familiar with
• 1:11:54
  Speaker 4: the film or anyone? It's like Lemora, A Child's Tale
• 1:11:57
  Speaker 4: or something like that. That's one where it's a similar storyline,
• 1:11:59
  Speaker 4: but just it's... I think it's just the visual style
• 1:12:02
  Speaker 4: of the director. If you like their visual style, you'll
• 1:12:04
  Speaker 4: get into it.
• 1:12:05
  Speaker 8: No, I don't know.
• 1:12:06
  Speaker 10: I think for me it has a lot to do
• 1:12:07
  Speaker 10: with sincerity and intention, though. I feel like David Lynch
• 1:12:11
  Speaker 10: understands what David Lynch makes.
• 1:12:14
  Speaker 8: Somebody needs to.
• 1:12:15
  Speaker 10: I feel like if somebody does it, just like, let's
• 1:12:17
  Speaker 10: throw some crazy stuff out there, then that doesn't ring
• 1:12:20
  Speaker 10: true and that has nothing you can connect to. But
• 1:12:22
  Speaker 10: I think with Lynch's stuff, There's something there. We may
• 1:12:25
  Speaker 10: not be able to access it, but there's some sort
• 1:12:28
  Speaker 10: of world.
• 1:12:29
  Speaker 13: Even in Inland Empire, I never get the impression that
• 1:12:32
  Speaker 13: David Lynch is just spewing.
• 1:12:35
  Speaker 8: He's just like, I don't know what to put in here.
• 1:12:37
  Speaker 4: This is weird.
• 1:12:37
  Speaker 8: I'm going to throw this in.
• 1:12:38
  Speaker 4: I feel like there's some of that in Inland Empire.
• 1:12:42
  Speaker 8: Inland Empire, I will.
• 1:12:44
  Speaker 4: It's my least favorite of his movies, so maybe that'll...
• 1:12:47
  Speaker 4: I don't feel.
• 1:12:48
  Speaker 8: That way at all.
• 1:12:49
  Speaker 13: I feel like that's his most confident and fully realized movie.
• 1:12:54
  Speaker 8: I agree.
• 1:12:55
  Speaker 13: Some days I watch it and I'm like, this is
• 1:12:57
  Speaker 13: an impossible masterwork.
• 1:13:00
  Speaker 8: I think he can get too deep.
• 1:13:02
  Speaker 6: He does deep, yeah.
• 1:13:03
  Speaker 13: What I'm saying is he didn't just not know what
• 1:13:07
  Speaker 13: he was doing.
• 1:13:07
  Speaker 4: I waited several years and came back and re-watched it
• 1:13:10
  Speaker 4: and it didn't really change too much for me. I
• 1:13:13
  Speaker 4: was like, can't get past that last 20 to 30 minutes.
• 1:13:17
  Speaker 8: That's the thing.
• 1:13:18
  Speaker 13: Some of my favorite movies kind of have that enigmatic
• 1:13:23
  Speaker 13: quality to it, but the best ones don't feel to
• 1:13:27
  Speaker 13: me like they're just being weird. There wasn't a determined vision.
• 1:13:35
  Speaker 13: Say with a lot of Terrence Malick's movies, like The
• 1:13:38
  Speaker 13: Thin Red Line, a lot of that kind of feels
• 1:13:40
  Speaker 13: like maybe disjointed and that like but I feel like
• 1:13:44
  Speaker 13: I'm like even though I may not grasp like even
• 1:13:47
  Speaker 13: like what you said the last half of Mulholland Drive
• 1:13:48
  Speaker 13: like the last hour like the thin red line set
• 1:13:50
  Speaker 13: because it kind of just.
• 1:13:51
  Speaker 4: It's pretty much everything post theater for me on Mulholland Drive.
• 1:13:56
  Speaker 13: Yeah it just feels like yeah it's like I know
• 1:14:00
  Speaker 13: when I feel that like I don't I don't quite
• 1:14:03
  Speaker 13: grasp or I don't like I'm not cool with what's
• 1:14:06
  Speaker 13: going on on screen but I can also see that
• 1:14:08
  Speaker 13: yeah the director totally knows what he was doing in
• 1:14:10
  Speaker 13: his own head But then I can also feel like
• 1:14:13
  Speaker 13: I'm not cool with what's on screen. And the director
• 1:14:14
  Speaker 13: totally doesn't know what the fuck is going on either.
• 1:14:16
  Speaker 13: This whole movie is just a piece of shit that
• 1:14:19
  Speaker 13: doesn't deserve... But those are the really bad ones.
• 1:14:22
  Speaker 4: I think you kind of knew, but it felt rushed
• 1:14:24
  Speaker 4: to me. I think you could almost draw an analogy
• 1:14:27
  Speaker 4: between Mulholland Drive and the entire series of Twin Peaks.
• 1:14:31
  Speaker 4: Because Mulholland Drive, it was supposed to have been... Twin
• 1:14:35
  Speaker 4: Peaks does feel like that movie. It was supposed to
• 1:14:36
  Speaker 4: have been a serial or another Twin Peaks. And it
• 1:14:39
  Speaker 4: was the first two episodes to where he just connected
• 1:14:42
  Speaker 4: the first two episodes and then just tacked on an ending.
• 1:14:45
  Speaker 4: And I felt like that was the case with Twin Peaks.
• 1:14:47
  Speaker 4: It's like when you watch that final episode of Twin Peaks,
• 1:14:51
  Speaker 4: they spend so much time just rushing and trying to
• 1:14:53
  Speaker 4: wrap up everything they've opened up. I felt it was
• 1:14:56
  Speaker 4: the same way in All on Drive. No, the last one.
• 1:14:58
  Speaker 3: The last five or six episodes are like, we've got
• 1:15:01
  Speaker 3: to hurry up and finish this.
• 1:15:02
  Speaker 4: And that's the way I felt like the last half
• 1:15:06
  Speaker 4: of Mulholland Drive was. It was like, we've got to
• 1:15:09
  Speaker 4: hurry up and wrap up this.
• 1:15:10
  Speaker 8: I feel like that's what makes it so important.
• 1:15:12
  Speaker 13: Because before that, Lynch is making us... He gives us
• 1:15:16
  Speaker 13: the impression that we're supposed to be following this by logic. Like,
• 1:15:18
  Speaker 13: what is this all leading up to? Like, this is okay.
• 1:15:20
  Speaker 13: This is a plot point. And then he's just like,
• 1:15:22
  Speaker 13: he cuts the leg from all of it. Like, up,
• 1:15:25
  Speaker 13: under from the first half of the movie.
• 1:15:26
  Speaker 8: And he's like, no.
• 1:15:28
  Speaker 13: This movie is really about how it makes you... It's
• 1:15:32
  Speaker 13: just going for the feel of a nightmare, sort of.
• 1:15:36
  Speaker 13: He puts weird shit that doesn't seem to make sense
• 1:15:39
  Speaker 13: logically anymore, but he knows that he doesn't want it
• 1:15:42
  Speaker 13: to make sense logically.
• 1:15:44
  Speaker 8: He's conscious of that. I think that's being nice.
• 1:15:46
  Speaker 5: I think.
• 1:15:47
  Speaker 8: Well, maybe it's because I love... I love this movie.
• 1:15:50
  Speaker 8: That's the thing.
• 1:15:51
  Speaker 13: It's hard to defend Holland Drive because, like I said,
• 1:15:53
  Speaker 13: it's such a weird... I can't tell.
• 1:15:55
  Speaker 4: You what's going on. Eraserhead, Wild at Heart, all of it,
• 1:15:59
  Speaker 4: but it's just that one.
• 1:16:02
  Speaker 8: But I think, like I was saying, I think you
• 1:16:04
  Speaker 8: can get too deep.
• 1:16:05
  Speaker 1: I think you get to a point where I don't
• 1:16:07
  Speaker 1: doubt you as an artist and you as the artist
• 1:16:10
  Speaker 1: knowing that you have a grand scheme and you have
• 1:16:13
  Speaker 1: meaning behind.
• 1:16:14
  Speaker 8: Everything, but if the viewers.
• 1:16:17
  Speaker 1: Aren't taking any of that, it's almost a wasted effort
• 1:16:20
  Speaker 1: I mean, there should at least be something.
• 1:16:22
  Speaker 8: Maybe not everything.
• 1:16:23
  Speaker 1: Maybe you want a little mystery you still have to,
• 1:16:25
  Speaker 1: or you want people to be able to talk about
• 1:16:27
  Speaker 1: what this means or what that, but they need to
• 1:16:28
  Speaker 1: be able to take something, or at least a good
• 1:16:30
  Speaker 1: amount of something that you get, a structure.
• 1:16:33
  Speaker 8: Or something that you at least, something you want out
• 1:16:36
  Speaker 8: of this, you know, especially a movie.
• 1:16:38
  Speaker 13: See, the genius to me of Mulholland Drive, and like,
• 1:16:41
  Speaker 13: In terms of just watching a movie, I prefer Blue Velvet. Like,
• 1:16:44
  Speaker 13: I would rather, like, Blue Velvet as you watch it
• 1:16:46
  Speaker 13: is a better movie than The Holland Drive. But the
• 1:16:48
  Speaker 13: genius to me, like, and I think this is intentional,
• 1:16:50
  Speaker 13: of The Holland Drive is the movie that's in your
• 1:16:52
  Speaker 13: head after you see it is a masterpiece. And, like,
• 1:16:55
  Speaker 13: what you're watching is just kind of like programming that masterpiece.
• 1:16:58
  Speaker 13: And that's kind of how I feel about that movie.
• 1:17:01
  Speaker 3: You're going to love it. It totally works if you
• 1:17:02
  Speaker 3: look at it that way. And I think that's a genius.
• 1:17:04
  Speaker 13: I honestly think that's what he was doing. And, like,
• 1:17:06
  Speaker 13: that's how I kind of. it's not like I don't
• 1:17:08
  Speaker 13: re-watch Mulholland Drive over and over and over like as
• 1:17:10
  Speaker 13: much as I would watch like Blue.
• 1:17:12
  Speaker 10: Velvet I haven't seen it since it came out and
• 1:17:14
  Speaker 10: I remember seeing it in the theater and thinking that
• 1:17:16
  Speaker 10: there was a fairly cut and dry story that was
• 1:17:18
  Speaker 10: edited in a really interesting way and there was like
• 1:17:21
  Speaker 10: a reality side and a dream side I feel like
• 1:17:23
  Speaker 10: we need a Mulholland Drive.
• 1:17:24
  Speaker 1: Episode just so I can watch it again I remember watching.
• 1:17:29
  Speaker 12: It and thinking that it all fit yeah we.
• 1:17:31
  Speaker 4: Could con over in on that because he gets pretty
• 1:17:33
  Speaker 4: heated on that.
• 1:17:34
  Speaker 8: Movie I am totally up for that so Even.
• 1:17:38
  Speaker 4: If you go back to his Eraserhead, that is definitely
• 1:17:42
  Speaker 4: one of his more surreal films, but to me, there's
• 1:17:44
  Speaker 4: a clear message and a consistency from beginning to end.
• 1:17:48
  Speaker 11: There is, but again, it almost.
• 1:17:51
  Speaker 8: He piles a lot of stuff on there, and a
• 1:17:53
  Speaker 8: lot of it is Lynch weird for the sake of
• 1:17:55
  Speaker 8: being weird. And I still like it.
• 1:17:58
  Speaker 1: Again, I appreciate him as a weirdo artist, but again,
• 1:18:01
  Speaker 1: it's not like Blue Velvet. Blue Velvet is a well-structured story,
• 1:18:06
  Speaker 1: and Razorhead has got some themes that it's working with,
• 1:18:09
  Speaker 1: but it's more of a.
• 1:18:10
  Speaker 8: Piece of art.
• 1:18:11
  Speaker 4: See, I've always just taken a Razorhead as you are
• 1:18:13
  Speaker 4: watching somebody's dream. You're watching the dream of somebody who
• 1:18:16
  Speaker 4: just found out that his girlfriend is pregnant, and this
• 1:18:19
  Speaker 4: is the nightmare he's having. It's kind of like Possession.
• 1:18:23
  Speaker 4: That movie I was just saying. That, I think, could
• 1:18:26
  Speaker 4: almost work as a companion piece because I feel like
• 1:18:29
  Speaker 4: it's almost in the same vein, but there you're watching
• 1:18:31
  Speaker 4: the nightmare of a man who just found out that
• 1:18:33
  Speaker 4: his wife is cheating on him or his girlfriend is
• 1:18:35
  Speaker 4: cheating on him.
• 1:18:37
  Speaker 3: Too thematically.
• 1:18:37
  Speaker 4: Well, I mean, it's just you're seeing whoever she's having
• 1:18:41
  Speaker 4: an affair with as a monster, which, I mean, there
• 1:18:44
  Speaker 4: is definitely a film that gets pretty damn surreal.
• 1:18:48
  Speaker 8: It was a really interesting watching Eraserhead re-watching Eraserhead after
• 1:18:51
  Speaker 8: having a child it was a completely different thing it's
• 1:18:57
  Speaker 8: like I suddenly felt sympathetic.
• 1:18:58
  Speaker 4: Towards this crying lizard thing and I wanted to the
• 1:19:02
  Speaker 4: thing needs a hug you know one of my friends
• 1:19:07
  Speaker 4: went through a divorce like a decade ago and Just
• 1:19:11
  Speaker 4: out of nowhere, he was just like, never get married.
• 1:19:14
  Speaker 4: Have you seen Eraserhead? I was like, yeah. You seen
• 1:19:16
  Speaker 4: American Beauty?
• 1:19:17
  Speaker 15: Yeah.
• 1:19:18
  Speaker 4: Well, marriage is... That's totally what it's like. God, that
• 1:19:23
  Speaker 4: is bleak.
• 1:19:23
  Speaker 3: Those are documentaries.
• 1:19:24
  Speaker 4: That is ridiculously bleak.
• 1:19:26
  Speaker 8: I've had.
• 1:19:28
  Speaker 1: This was within a week. I had two people who
• 1:19:30
  Speaker 1: were actually in... I know a lot of people in very.
• 1:19:35
  Speaker 8: Unfulfilling marriages, more than likely, and weird situations.
• 1:19:39
  Speaker 1: But I had two people that I at least had
• 1:19:41
  Speaker 1: relatively decent, you know, I had faith that they were
• 1:19:44
  Speaker 1: actually in a committed, loving relationship, and they had kids,
• 1:19:47
  Speaker 1: and they had a nice family. And within a week,
• 1:19:49
  Speaker 1: two of those people in that group told me, don't
• 1:19:51
  Speaker 1: ever get married. Whatever you do, don't get married, don't
• 1:19:55
  Speaker 1: have kids. And I was just like, Jesus Christ. Even
• 1:19:58
  Speaker 1: from the good side, I'm not getting any good stories.
• 1:20:01
  Speaker 3: I have the best, I think, the best possible setup
• 1:20:04
  Speaker 3: for a family. I mean, I'm completely happy, but When
• 1:20:07
  Speaker 3: our first child, those first three months, she cried nonstop.
• 1:20:13
  Speaker 3: Every night at 6 o'clock she would cry. It was
• 1:20:15
  Speaker 3: this colicky. She was frustrated that she couldn't communicate, I think,
• 1:20:20
  Speaker 3: because once she was able to start communicating, it all stopped.
• 1:20:23
  Speaker 3: But it was, we just about got kicked out of
• 1:20:26
  Speaker 3: our apartment because it was six solid hours of crying
• 1:20:30
  Speaker 3: every night. It was horrific. And it was sleep-deprived. on
• 1:20:36
  Speaker 3: our part, I was barely, I was crawling around, just
• 1:20:40
  Speaker 3: getting through the day. And it was like this almost
• 1:20:44
  Speaker 3: vision quest hallucination moments where you were half asleep, half awake.
• 1:20:49
  Speaker 3: And it can be like that for a while. Our
• 1:20:56
  Speaker 3: second child, because people are always like, what do you,
• 1:20:59
  Speaker 3: you know, why are you having such trouble? Why are
• 1:21:00
  Speaker 3: you having, you know, these problems with your child? And
• 1:21:05
  Speaker 3: it really was. And, and with our second child who
• 1:21:08
  Speaker 3: had endlessly more health related issues and hospitals, hospitalization and problems,
• 1:21:16
  Speaker 3: but there was no problems. He was just other than that,
• 1:21:20
  Speaker 3: it was a perfect baby. And we got sleep and
• 1:21:22
  Speaker 3: we were You know, everything was okay, but those first
• 1:21:25
  Speaker 3: three months, like, aged me seven.
• 1:21:27
  Speaker 6: Eight years.
• 1:21:28
  Speaker 3: That's what happened.
• 1:21:30
  Speaker 4: That's where your hair went.
• 1:21:32
  Speaker 3: No, it was gone long before that. But, yeah, and
• 1:21:35
  Speaker 3: so I can understand that, especially in a racer. I
• 1:21:38
  Speaker 3: think if I went back now, I'd probably go, oh,
• 1:21:40
  Speaker 3: I get it. You know, I could see that. But
• 1:21:44
  Speaker 3: I do think there was a lot of it that was, hey,
• 1:21:46
  Speaker 3: look what I can do.
• 1:21:47
  Speaker 11: Especially at that point in his career.
• 1:21:49
  Speaker 3: That's the part that I don't like. And, you know,
• 1:21:51
  Speaker 3: I brought this up with Alan before. We talked about
• 1:21:54
  Speaker 3: it on the show, and I don't know how many
• 1:21:55
  Speaker 3: other people have seen it, but almost two– Two separate
• 1:22:00
  Speaker 3: movies to me is in Beyond the Black Rainbow. There's
• 1:22:04
  Speaker 3: the beginning and the end that fit really well as
• 1:22:08
  Speaker 3: almost a surreal movie. But there's a middle section, a
• 1:22:13
  Speaker 3: 10-minute sequence that is just almost like Lynch made it.
• 1:22:19
  Speaker 3: I'm not going to ruin anything for you, but it
• 1:22:23
  Speaker 3: doesn't fit to me. It doesn't work for me. It
• 1:22:25
  Speaker 3: seems forced and surreal.
• 1:22:27
  Speaker 8: I love it.
• 1:22:29
  Speaker 3: I know, and it's great that it clicked with you,
• 1:22:32
  Speaker 3: but everything after that when she's escaping is beautiful. It's well-paced,
• 1:22:38
  Speaker 3: and I've even heard people that didn't like it. I
• 1:22:41
  Speaker 3: loved the rest of it. I should never have stopped,
• 1:22:44
  Speaker 3: but that one 10-minute sequence just about ruined that movie
• 1:22:48
  Speaker 3: for me.
• 1:22:49
  Speaker 4: It's a flashback, though. I don't know.
• 1:22:52
  Speaker 3: It was interesting.
• 1:22:53
  Speaker 4: I found it very interesting. It's funny because I think
• 1:22:55
  Speaker 4: of surreal and just people not being able to get
• 1:22:57
  Speaker 4: through it. When we had Tree of Life at Baxter,
• 1:23:01
  Speaker 4: I can't... I mean, that summer, any manager who was working,
• 1:23:06
  Speaker 4: that was the number one movie that people were walking
• 1:23:08
  Speaker 4: out of. And it was the sequence to where it
• 1:23:11
  Speaker 4: went back into the creation of the universe. And for me,
• 1:23:16
  Speaker 4: when I'm watching them, it's like, I can't look away.
• 1:23:19
  Speaker 4: This is gorgeous.
• 1:23:21
  Speaker 3: The music was.
• 1:23:22
  Speaker 4: But... It's just people were walking out, and the dinosaur
• 1:23:25
  Speaker 4: is showing compassion. She's like, I like art films. I
• 1:23:29
  Speaker 4: like art films, but can I get my money.
• 1:23:31
  Speaker 8: Back on this?
• 1:23:33
  Speaker 1: I think that was marketed wrong anyway, though.
• 1:23:35
  Speaker 8: There was a whole lot of Brad Pitt in that trailer.
• 1:23:37
  Speaker 1: And it was just made to look like there was
• 1:23:39
  Speaker 1: a lot more of a story going on.
• 1:23:41
  Speaker 3: They pulled an Inglourious Basterds on it.
• 1:23:45
  Speaker 8: Exactly. I didn't feel cheated by the Tree of Life trailer, actually.
• 1:23:48
  Speaker 8: I felt okay when I watched it. Again, I think
• 1:23:50
  Speaker 8: if you're okay with the end result, you don't mind.
• 1:23:52
  Speaker 4: And also, I think if you're familiar with Malick prior
• 1:23:56
  Speaker 4: and you know his sense of storytelling, you're like, okay,
• 1:23:59
  Speaker 4: I see something like this. This is going to be
• 1:24:01
  Speaker 4: a more avant-garde piece for him, whereas the average person
• 1:24:05
  Speaker 4: might not. They're in trouble.
• 1:24:08
  Speaker 8: It was you who were talking about people who went
• 1:24:10
  Speaker 8: to see Melancholia. Yeah.
• 1:24:12
  Speaker 4: This is weird. Or was that, no, it was me.
• 1:24:14
  Speaker 4: It was when I was seeing it at the village.
• 1:24:16
  Speaker 8: Yeah.
• 1:24:16
  Speaker 4: Cause the moment that the credits rolled, some guy just
• 1:24:19
  Speaker 4: got up and just already piece of shit and walked out.
• 1:24:21
  Speaker 8: I have several people like, you know, they hear the
• 1:24:24
  Speaker 8: story about a planet's going to crash into earth. So
• 1:24:26
  Speaker 8: they go expecting to see, Like a Roland Emmerich film.
• 1:24:31
  Speaker 4: I like that deep impact.
• 1:24:32
  Speaker 3: I want to see this.
• 1:24:34
  Speaker 8: And then it's like a wedding party for the first time.
• 1:24:37
  Speaker 8: This is not awesome at all.
• 1:24:40
  Speaker 3: They think they've gone into the wrong movie.
• 1:24:44
  Speaker 4: For Sutherland's in it. It's like, I've got to stop
• 1:24:48
  Speaker 4: this planet.
• 1:24:52
  Speaker 3: I was holding a fake phone in my ear for
• 1:24:53
  Speaker 3: you people listening in.
• 1:24:55
  Speaker 6: I will.
• 1:24:55
  Speaker 4: But I was just cracking up at, oh, I've just
• 1:24:57
  Speaker 4: gone blank on the character act. Udo Kier's wedding planner
• 1:25:01
  Speaker 4: character throughout that. Oh, I remember that. It's like constant,
• 1:25:04
  Speaker 4: just like fidgety. It's like you could tell he just
• 1:25:06
  Speaker 4: wanted to grab and re-ring everything and everybody in that
• 1:25:09
  Speaker 4: room at any given time.
• 1:25:11
  Speaker 3: And even change who the parents were.
• 1:25:13
  Speaker 8: Yeah.
• 1:25:16
  Speaker 4: To me, there was so much fun. I mean, that
• 1:25:18
  Speaker 4: almost kind of gets into other surreal directors. I mean,
• 1:25:20
  Speaker 4: Lars von Trier just in general.
• 1:25:23
  Speaker 8: Or Greenaway. Or Greenaway, Peter Greenaway. I kind of link
• 1:25:27
  Speaker 8: Trier and Greenaway together in my head for some reason.
• 1:25:30
  Speaker 4: I was even thinking Cronenberg earlier, too. Not so much
• 1:25:32
  Speaker 4: with a lot of his later stuff, but, I mean, like,
• 1:25:35
  Speaker 4: you know, the videodrome through, like, Naked Lunch era. Though,
• 1:25:40
  Speaker 4: I mean, you could talk about the surreal nature of
• 1:25:43
  Speaker 4: Naked Lunch, but that's almost just in Burroughs' lap as
• 1:25:46
  Speaker 4: it is.
• 1:25:48
  Speaker 3: Cronenberg's.
• 1:25:50
  Speaker 4: Just in the way of other, like, surreal imagery did you.
• 1:25:53
  Speaker 8: See cosmopolis we were talking about this before you see
• 1:25:56
  Speaker 8: what cosmopolis yes and.
• 1:26:00
  Speaker 4: I need to go back and re-watch it no yes i.
• 1:26:05
  Speaker 18: Have the ticket to prove it's one to where the
• 1:26:13
  Speaker 18: pace threw me off at first it took me about
• 1:26:15
  Speaker 18: half an hour to get into the crawl of it
• 1:26:18
  Speaker 18: i was like oh, the pace is going to move
• 1:26:21
  Speaker 18: at the same.
• 1:26:21
  Speaker 4: Rate as the limo. Stop here. And just people keep
• 1:26:28
  Speaker 4: popping in and out. And I'm.
• 1:26:32
  Speaker 10: Like, okay.
• 1:26:32
  Speaker 4: I think I like a lot of what was going
• 1:26:36
  Speaker 4: on dialogue-wise. I mean, just especially the end dialogue scene
• 1:26:42
  Speaker 4: between Robert Pattinson's character and– Paul Giamatti. Paul Giamatti. I
• 1:26:47
  Speaker 4: like that whole sequence between the two of them. And
• 1:26:51
  Speaker 4: the scene in the barbershop I like a lot. There's
• 1:26:53
  Speaker 4: a lot of cool dialogue to it. It's one, every
• 1:26:56
  Speaker 4: now and then I'll watch a movie to where it's
• 1:26:58
  Speaker 4: a little bit different than what I expected and it
• 1:27:00
  Speaker 4: throws me off at first. And so typically that's a
• 1:27:04
  Speaker 4: movie to where I recognize just knowing how I am
• 1:27:06
  Speaker 4: as a viewer. I go back and watch it knowing...
• 1:27:10
  Speaker 4: what the pace is going to be like, and I'll
• 1:27:11
  Speaker 4: totally be into it. But the pace threw me off
• 1:27:14
  Speaker 4: a bit at first.
• 1:27:15
  Speaker 12: Yeah, I loved it. I found that first half hour challenging.
• 1:27:17
  Speaker 10: I don't know if it was so much the pace
• 1:27:19
  Speaker 10: as it was so stylized that you don't know.
• 1:27:21
  Speaker 12: If Rob Pattinson is making.
• 1:27:22
  Speaker 10: A choice with this performance or if he's just sucking
• 1:27:25
  Speaker 10: so hard.
• 1:27:26
  Speaker 3: And then you realize, okay.
• 1:27:27
  Speaker 12: No, this is purposeful and this is going so well.
• 1:27:29
  Speaker 4: And that's what the whole, it's like the whole thing,
• 1:27:31
  Speaker 4: it's like, okay, we're focused on all this banal bullshit.
• 1:27:34
  Speaker 4: Then I'm like, oh, never mind. That's the social commentary
• 1:27:37
  Speaker 4: of it all. Now I fucking get it. But at
• 1:27:41
  Speaker 4: first I was like, okay, is something going to happen?
• 1:27:46
  Speaker 8: I find myself really interested in his post-Twilight acting career
• 1:27:49
  Speaker 8: because I find I kind of actually like him in Cosmopolis.
• 1:27:52
  Speaker 4: I liked him in this movie, yeah. I thought he
• 1:27:53
  Speaker 4: was actually good.
• 1:27:54
  Speaker 8: I'm curious to see what he'll do. He's going to
• 1:27:58
  Speaker 8: pull out Leonardo DiCaprio.
• 1:27:59
  Speaker 13: We're just going to kind of watch him slowly become
• 1:28:02
  Speaker 13: a more and more solid actor. But it's going to
• 1:28:05
  Speaker 13: take several moves for him to get to Like, he's always, like, say, DiCaprio,
• 1:28:10
  Speaker 13: for instance, was always, oh, he was always solid, you
• 1:28:13
  Speaker 13: know what I mean? Like, even in the 90s, he wasn't, like,
• 1:28:16
  Speaker 13: a great actor or anything, but he worked, you know,
• 1:28:18
  Speaker 13: it worked.
• 1:28:20
  Speaker 4: He was nominated for an Oscar in the 90s, though.
• 1:28:22
  Speaker 4: That's the funny thing. That's the funny thing.
• 1:28:23
  Speaker 13: Yeah, that's kind of what got him famous was Gilbert Grave.
• 1:28:26
  Speaker 13: But maybe it's because of the way he was cast as, like, kind.
• 1:28:29
  Speaker 4: Of the leading man and stuff.
• 1:28:31
  Speaker 13: But, like, not until, like, for me, at least, like,
• 1:28:35
  Speaker 13: say the departed and aviator and like Shutter Island.
• 1:28:38
  Speaker 4: Like, the later... Even Aviator, I had trouble buying him.
• 1:28:41
  Speaker 13: Yeah, even Aviator, but, like, Shutter Island, like, that was
• 1:28:43
  Speaker 13: the first movie where I was like, he's really kind
• 1:28:45
  Speaker 13: of elevated himself a little bit. And then after seeing
• 1:28:47
  Speaker 13: Django Unchained, I'm like, okay, he's, like, cemented.
• 1:28:51
  Speaker 4: I liked him in Gangs of New York, though. I
• 1:28:55
  Speaker 4: liked him in Gangs of.
• 1:28:55
  Speaker 8: New York better than I did in Aviator.
• 1:28:56
  Speaker 3: He did a lot of those streaming.
• 1:28:58
  Speaker 8: Oh, that's the thing. Like, he was given.
• 1:29:00
  Speaker 13: He's good at acting really light, just angry, confused, and.
• 1:29:04
  Speaker 4: Stabbing someone and screaming.
• 1:29:06
  Speaker 8: You know what I mean?
• 1:29:06
  Speaker 13: And he did a lot of that in that movie,
• 1:29:08
  Speaker 13: and he was fine.
• 1:29:09
  Speaker 8: He was very emotional.
• 1:29:11
  Speaker 3: He learned that on Growing Pains.
• 1:29:17
  Speaker 8: Screaming and stabbing people. He was good in.
• 1:29:19
  Speaker 4: Catch Me If You Can.
• 1:29:20
  Speaker 8: He was good in Catch Me If You Can. That's
• 1:29:22
  Speaker 8: the thing. Yeah, that was it, really. He was really, yeah.
• 1:29:25
  Speaker 8: I forgot about that.
• 1:29:26
  Speaker 3: But yeah, Aviator, it was one.
• 1:29:28
  Speaker 4: Was he nominated for an Oscar for that? He was.
• 1:29:30
  Speaker 8: That's what I thought. I can't remember.
• 1:29:32
  Speaker 4: I remember thinking there was somebody that year that was
• 1:29:34
  Speaker 4: so much more deserving, and I can't remember, God, who
• 1:29:37
  Speaker 4: it was at the time. I thought the movie overall
• 1:29:39
  Speaker 4: was decent, but even then, it just didn't click.
• 1:29:43
  Speaker 8: It's one of my.
• 1:29:44
  Speaker 13: A lot of people think it's... It's my least favorite Scorsese.
• 1:29:48
  Speaker 8: We're talking Scorsese movies. Yeah, I think just as an actor, we've... Well.
• 1:29:53
  Speaker 4: If we're going to loosely connect it like Brian did earlier,
• 1:29:55
  Speaker 4: we're talking about directors with distinct styles. Yeah, it's a
• 1:29:58
  Speaker 4: small circle.
• 1:30:00
  Speaker 8: I'm actually bringing that back around. So, you doubted me.
• 1:30:06
  Speaker 1: What I brought up earlier was the whole style of
• 1:30:09
  Speaker 1: that director with his weird quirkiness. Does it detract from
• 1:30:14
  Speaker 1: the characters?
• 1:30:15
  Speaker 8: Does it not give you.
• 1:30:16
  Speaker 11: What you need from the characters?
• 1:30:17
  Speaker 1: Does it take away from the overall story? I actually
• 1:30:20
  Speaker 1: wanted to ask the same thing with this movie and this.
• 1:30:23
  Speaker 8: Director, or maybe his career overall.
• 1:30:26
  Speaker 1: Does his weird and surreal nature take away from the
• 1:30:30
  Speaker 1: overall story? Does the, I got to do this because
• 1:30:34
  Speaker 1: it looks weird, take away from what would be a
• 1:30:36
  Speaker 1: good character building moment?
• 1:30:38
  Speaker 4: And I think it just depends on the plot. In
• 1:30:40
  Speaker 4: Santa Sangre, there's less of that than there is in
• 1:30:44
  Speaker 4: his other films. Because in his other films, I mean,
• 1:30:46
  Speaker 4: there are characters in there where it's like, That's a
• 1:30:49
  Speaker 4: funny little vignette, but it does absolutely nothing whatsoever to
• 1:30:53
  Speaker 4: advance the plot. Or it does nothing to add to
• 1:30:56
  Speaker 4: this character's background or anything.
• 1:30:59
  Speaker 3: It's just there.
• 1:31:00
  Speaker 8: This one I don't think it does really.
• 1:31:02
  Speaker 1: But there are still moments where it does that.
• 1:31:04
  Speaker 4: It is one of the tightest of his films.
• 1:31:07
  Speaker 3: I don't think there's much that's superfluous about it.
• 1:31:10
  Speaker 1: I was trying to come up with the whole, like,
• 1:31:13
  Speaker 1: nothing was, but, like, then I actually was trying to
• 1:31:15
  Speaker 1: see if there was anything mentioned, and they said, like,
• 1:31:18
  Speaker 1: the removing the ear thing. That's just a guy that
• 1:31:22
  Speaker 1: does that. Like, he came up to him and said, hey,
• 1:31:24
  Speaker 1: I can do this, and he went, all right, let's
• 1:31:27
  Speaker 1: put you in the movie. Like, there is, they talk
• 1:31:28
  Speaker 1: to him. They're like, there is no meaning behind it.
• 1:31:30
  Speaker 8: There's no reason.
• 1:31:32
  Speaker 12: But it does play into the deaf-mute thing, too.
• 1:31:34
  Speaker 10: Mm-hmm.
• 1:31:34
  Speaker 4: But that visual thing, that's characteristic of this movie. There's
• 1:31:38
  Speaker 4: this whole scene in Holy Mountain that has nothing to
• 1:31:41
  Speaker 4: do with anything where this old man takes out his
• 1:31:44
  Speaker 4: eye and gives it to this little girl.
• 1:31:46
  Speaker 8: Yeah, that's what the ear reminded me of. It's just there.
• 1:31:51
  Speaker 4: It's just there.
• 1:31:53
  Speaker 8: I think there's still.
• 1:31:54
  Speaker 1: moments when he's doing that, when he's just kind of, again,
• 1:31:56
  Speaker 1: he's just kind of showing off.
• 1:31:57
  Speaker 11: He's like, I can be weird because I want to.
• 1:32:00
  Speaker 4: But at the same time, it shows you, I'm sorry,
• 1:32:02
  Speaker 4: I can't.
• 1:32:03
  Speaker 8: No, go ahead.
• 1:32:04
  Speaker 4: I'll be brief. I'll just say, to me, it's him
• 1:32:07
  Speaker 4: just establishing this exists in a slight refraction of reality,
• 1:32:11
  Speaker 4: and it's those little moments like that that do just,
• 1:32:13
  Speaker 4: I don't know.
• 1:32:15
  Speaker 12: I was just going to say, I can't blame him. Like,
• 1:32:16
  Speaker 12: if a guy had come up and said, I can pull.
• 1:32:18
  Speaker 10: Off my ear, and he hadn't put that in the movie, like,
• 1:32:21
  Speaker 10: that would have been the crime.
• 1:32:23
  Speaker 11: What would have happened?
• 1:32:24
  Speaker 8: That guy might have just.
• 1:32:25
  Speaker 13: All reviews of the movie, like, when it came out,
• 1:32:27
  Speaker 13: it's like, it's pretty good, but you know what it needed?
• 1:32:30
  Speaker 4: Some new.
• 1:32:31
  Speaker 3: Right.
• 1:32:32
  Speaker 4: That would really.
• 1:32:33
  Speaker 3: Or if we'd have been sitting here and heard that
• 1:32:35
  Speaker 3: they had put that on the cutting board... Yeah, but
• 1:32:37
  Speaker 3: that was an option that they walked away from. Like,
• 1:32:39
  Speaker 3: why wouldn't you put that in? That would be.
• 1:32:41
  Speaker 12: That was the right thing to do.
• 1:32:42
  Speaker 4: Work for Tarantino, I guess.
• 1:32:47
  Speaker 8: Slightly different versions, but yeah. But again, I don't think
• 1:32:51
  Speaker 8: there's a ton in that.
• 1:32:52
  Speaker 1: I think even the more weird scenes, some of them
• 1:32:56
  Speaker 1: are my favorite.
• 1:32:57
  Speaker 11: One of my favorite scenes is the cemetery scene.
• 1:33:00
  Speaker 8: It's fucking creepy. With all of them coming out.
• 1:33:03
  Speaker 1: Yeah, with all the bodies coming out and the horse.
• 1:33:06
  Speaker 1: It's weird, but it's gorgeous. And it's creepy and effective.
• 1:33:12
  Speaker 8: And it does... fit in the plot.
• 1:33:14
  Speaker 1: It's not like it's just thrown in there for the
• 1:33:16
  Speaker 1: hell of it. Everything is very specific about that. And
• 1:33:19
  Speaker 1: it works to this movie's.
• 1:33:21
  Speaker 8: Advantage, I think.
• 1:33:22
  Speaker 10: I thought that scene was great because we didn't realize
• 1:33:24
  Speaker 10: the magnitude of the crimes until that scene happened.
• 1:33:27
  Speaker 3: I thought it was just a few until.
• 1:33:28
  Speaker 8: Yeah.
• 1:33:29
  Speaker 12: And they're like, oh man, he's been at this a while.
• 1:33:31
  Speaker 4: It's just shit.
• 1:33:33
  Speaker 3: I really liked, and this is not part of any
• 1:33:36
  Speaker 3: of this, I really liked the invisible man scene. I
• 1:33:38
  Speaker 3: liked all of that, that he's got it on in
• 1:33:41
  Speaker 3: the background. Every part of that was a lot of
• 1:33:43
  Speaker 3: fun to me.
• 1:33:46
  Speaker 1: And even funnier that his mother was making fun of
• 1:33:48
  Speaker 1: him because he didn't.
• 1:33:51
  Speaker 11: His experiment didn't work.
• 1:33:56
  Speaker 3: I really liked that. And then that he has to
• 1:33:58
  Speaker 3: go up and knit for her.
• 1:34:01
  Speaker 4: I don't know.
• 1:34:02
  Speaker 8: But again, all that, I mean, it's so weird.
• 1:34:04
  Speaker 1: Even his production and the story of man, like, it's
• 1:34:07
  Speaker 1: all very weird in, like, just a production way. Like,
• 1:34:11
  Speaker 1: it really is, like, something you would probably see out
• 1:34:13
  Speaker 1: there in some weird second-rate, like, circus.
• 1:34:16
  Speaker 3: You know, that scene I read in the credits, it
• 1:34:19
  Speaker 3: said that that was an act that Marceau had done,
• 1:34:24
  Speaker 3: is that creation of man was, that was, I mean,
• 1:34:27
  Speaker 3: they gave him credit for it because that was a rip-off.
• 1:34:29
  Speaker 3: That's his little performance that they do in it.
• 1:34:32
  Speaker 1: And it was interesting once, because again, as it started
• 1:34:35
  Speaker 1: revealing what was going on, I was like, so wait,
• 1:34:38
  Speaker 1: he was.
• 1:34:39
  Speaker 8: Just up there doing the mother?
• 1:34:41
  Speaker 1: So I'm glad that they worked in that weird puppet
• 1:34:44
  Speaker 1: so it would at least explain to you.
• 1:34:46
  Speaker 8: No, he was still doing a very... you know elaborate
• 1:34:49
  Speaker 8: act yeah and.
• 1:34:50
  Speaker 1: It is the kind of act once again you would
• 1:34:51
  Speaker 1: see and you'd be like oh okay.
• 1:34:53
  Speaker 3: How does the mouth move though that just really.
• 1:34:56
  Speaker 1: Bothered me and then i didn't want to answer right
• 1:35:01
  Speaker 1: no i i was like okay it had to have
• 1:35:02
  Speaker 1: been a foot or something.
• 1:35:05
  Speaker 3: Otherwise it gets into a really creepy what am i
• 1:35:08
  Speaker 3: doing to my mom thing which.
• 1:35:10
  Speaker 4: She did sort of have that relationship yeah yeah.
• 1:35:15
  Speaker 1: I mean, it's always kind of drawn as a parallel
• 1:35:18
  Speaker 1: to Psycho.
• 1:35:19
  Speaker 8: You feel like, I mean, we mentioned.
• 1:35:20
  Speaker 4: Or just the general, like, you know, Oedipus sort of.
• 1:35:23
  Speaker 1: I think there's a lot of tone to it, but specifics,
• 1:35:27
  Speaker 1: I don't feel like, you know, it's even taking much
• 1:35:30
  Speaker 1: from it other than the weird mother-son kill-for-me relationship.
• 1:35:33
  Speaker 3: Kind of thing. I think without the chair at the
• 1:35:36
  Speaker 3: top of the stairs rocking, I think that would have been...
• 1:35:39
  Speaker 3: You couldn't draw comparisons. You'd be like, oh, it's just
• 1:35:43
  Speaker 3: An Oedipus thing. But when you see the rocking chair
• 1:35:45
  Speaker 3: and you've just come from a scene that is mimicking
• 1:35:50
  Speaker 3: an old horror movie, then you have to assume that
• 1:35:54
  Speaker 3: that was meant to be.
• 1:35:56
  Speaker 6: Absolutely.
• 1:35:57
  Speaker 8: And I've heard it tied to The Hands of Orlok.
• 1:35:59
  Speaker 8: that like silent movie where like.
• 1:36:02
  Speaker 1: He gets his hands cut off and then they replace
• 1:36:04
  Speaker 1: it which this story has been done a million times
• 1:36:06
  Speaker 1: too where they replace it with someone else's hands and
• 1:36:08
  Speaker 1: then like those hands try to kill people so it's
• 1:36:11
  Speaker 1: sort of a weird mixture between the two of those
• 1:36:14
  Speaker 1: sort of with a lot of other weird stuff.
• 1:36:16
  Speaker 10: Thrown in yeah Yeah, it was definitely a wear-up cycle
• 1:36:19
  Speaker 10: and played with it. And that's what I really liked
• 1:36:21
  Speaker 10: about the reveal when they pull off the sheet from
• 1:36:23
  Speaker 10: the bed, because you're expecting when the girl originally does
• 1:36:26
  Speaker 10: it and she doesn't look appalled, she just sort of
• 1:36:28
  Speaker 10: has that, I don't know how you describe that.
• 1:36:30
  Speaker 8: I was like, what did she just see?
• 1:36:32
  Speaker 12: Why is she jumping away? What's happening? And then when
• 1:36:34
  Speaker 12: they pull it up and you see the doll, you're like, oh,
• 1:36:36
  Speaker 12: this is brilliant.
• 1:36:37
  Speaker 8: It's equally creepy, but not as decayed.
• 1:36:42
  Speaker 3: Again, another thing that's puppets and clowns, And cults, they're
• 1:36:47
  Speaker 3: all scary things.
• 1:36:48
  Speaker 10: Yeah. Birds.
• 1:36:50
  Speaker 4: Did you see The Last Circus?
• 1:36:52
  Speaker 1: No.
• 1:36:53
  Speaker 10: Oh.
• 1:36:53
  Speaker 1: No.
• 1:36:53
  Speaker 4: Yeah. Have you seen the trailer for it? Do you
• 1:36:56
  Speaker 4: know what this is?
• 1:36:56
  Speaker 15: Mm-mm.
• 1:36:57
  Speaker 4: Okay.
• 1:36:58
  Speaker 8: I'm just going to not say anything, and tonight you'll
• 1:37:01
  Speaker 8: find the trailer for The Last Circus on your wall.
• 1:37:03
  Speaker 8: It's on Netflix, so you can watch the movie, but
• 1:37:04
  Speaker 8: you'll enjoy.
• 1:37:05
  Speaker 4: The trailer tonight.
• 1:37:06
  Speaker 8: And once again, the kids will be screaming, what's wrong
• 1:37:09
  Speaker 8: with Dad?
• 1:37:09
  Speaker 3: That's normal.
• 1:37:10
  Speaker 8: Oh, okay.
• 1:37:12
  Speaker 4: My son's got Shono's Strange Circus, too. It was down there.
• 1:37:17
  Speaker 4: We should have a creepy circus movie night.
• 1:37:20
  Speaker 6: We have to.
• 1:37:21
  Speaker 4: Right.
• 1:37:22
  Speaker 8: That's... Big Top Peewee.
• 1:37:26
  Speaker 3: Oh!
• 1:37:27
  Speaker 8: They forgot creepy circus movies.
• 1:37:29
  Speaker 10: Actually.
• 1:37:30
  Speaker 4: Why don't we just take all of this equipment into
• 1:37:33
  Speaker 4: the Ringling Brothers thing coming up here, or the Cozair
• 1:37:35
  Speaker 4: here in like a month, and just review the performance
• 1:37:38
  Speaker 4: live like we're watching a movie and just see if
• 1:37:41
  Speaker 4: somebody says anything to us. Probably not. Because you were
• 1:37:46
  Speaker 4: talking about doing more events earlier.
• 1:37:48
  Speaker 8: Nobody wants to be involved with us. Come on.
• 1:37:52
  Speaker 4: And we'll get involved with them. I'm sorry, but I'm
• 1:37:55
  Speaker 4: just not investing any interest in that clown down there.
• 1:37:58
  Speaker 4: Where is Greg?
• 1:37:59
  Speaker 1: He doesn't seem committed.
• 1:38:05
  Speaker 8: I thought there was a clown.
• 1:38:06
  Speaker 4: Phone it in.
• 1:38:07
  Speaker 8: It's that guy. That dude falls off and falls on
• 1:38:10
  Speaker 8: our table.
• 1:38:10
  Speaker 10: Whoa!
• 1:38:11
  Speaker 4: That was crazy.
• 1:38:12
  Speaker 3: Seen it. Oh, yeah.
• 1:38:17
  Speaker 11: Is there anything else we need to wrap up this movie?
• 1:38:20
  Speaker 4: Cotton candy now.
• 1:38:22
  Speaker 8: It's not that circus. Barbecue elephant. Just the beginning.
• 1:38:25
  Speaker 11: Yeah.
• 1:38:27
  Speaker 4: Exactly. One animal.
• 1:38:28
  Speaker 3: I'm trying to think.
• 1:38:29
  Speaker 4: Of other weird things.
• 1:38:30
  Speaker 10: Sorry.
• 1:38:31
  Speaker 4: We'll keep forgetting Lucy's here. I'm going to eat some
• 1:38:35
  Speaker 4: animals that are in danger. Hi, Lucy.
• 1:38:37
  Speaker 8: I don't know.
• 1:38:40
  Speaker 1: I think, again, I ended up liking it a lot
• 1:38:43
  Speaker 1: more than I expected, but I kind of have a
• 1:38:46
  Speaker 1: lot of respect for him now, which I didn't know
• 1:38:48
  Speaker 1: what to think of it before, but.
• 1:38:49
  Speaker 8: Now I think.
• 1:38:51
  Speaker 1: Again, looking at what he does and his attitude towards this,
• 1:38:56
  Speaker 1: he really is like a true artist. He doesn't go
• 1:38:59
  Speaker 1: into it just to make a movie. He has a
• 1:39:01
  Speaker 1: very specific, not just point of view, but just a
• 1:39:05
  Speaker 1: vision that he's trying to get out there. I think
• 1:39:09
  Speaker 1: this may be the tightest version of it, but just
• 1:39:11
  Speaker 1: in general. Again, even if I don't like his other
• 1:39:14
  Speaker 1: stuff as much story-wise, I think I just sort of
• 1:39:17
  Speaker 1: respect what he's trying to do.
• 1:39:21
  Speaker 13: I think he kind of does fall into that kind
• 1:39:24
  Speaker 13: of short list of directors who I think like, you know, oh,
• 1:39:29
  Speaker 13: if I were to see like a weird avant-garde like
• 1:39:32
  Speaker 13: art display in a museum and their movie was being
• 1:39:34
  Speaker 13: looped through a projector on a wall, like over and over,
• 1:39:37
  Speaker 13: I'd be like, that makes sense.
• 1:39:38
  Speaker 8: You know what I mean?
• 1:39:39
  Speaker 2: Like.
• 1:39:40
  Speaker 8: Like, Hodorovsky or maybe, like... Fellini or.
• 1:39:41
  Speaker 4: Something like that.
• 1:39:42
  Speaker 13: Fellini or, like, maybe even, like, someone like Nicholas Rogue
• 1:39:45
  Speaker 13: or some of the, like, just... I mean, I feel
• 1:39:47
  Speaker 13: like they're really in it for the art of it
• 1:39:48
  Speaker 13: and not necessarily making a movie about, you know, something
• 1:39:52
  Speaker 13: you want to.
• 1:39:53
  Speaker 4: It's.
• 1:39:53
  Speaker 13: I mean, they're always conscious of making a good work
• 1:39:56
  Speaker 13: of art instead of just making an entertaining movie. Even
• 1:39:59
  Speaker 13: though it does, I mean, you know, both examples, like,
• 1:40:02
  Speaker 13: Hodorovsky's movies and... Fellini like I think those were as
• 1:40:07
  Speaker 13: good entertainments also, but like the director you can tell
• 1:40:10
  Speaker 13: they're just They're the artists you know quote-unquote first and
• 1:40:13
  Speaker 13: foremost again. There's a fine line there, too Yeah, it
• 1:40:16
  Speaker 13: is a very fun like I mean you could argue
• 1:40:18
  Speaker 13: about that you know I all day.
• 1:40:21
  Speaker 1: I've seen many a performance art is what they'll call
• 1:40:24
  Speaker 1: it or a installation or a piece or just in
• 1:40:27
  Speaker 1: the art world and I'll just be like I Don't
• 1:40:30
  Speaker 1: know that you're going for anything other than weird right
• 1:40:32
  Speaker 1: now you know? And it definitely comes into play in
• 1:40:34
  Speaker 1: these kind of movies, too. But, yeah, it's a fine
• 1:40:37
  Speaker 1: line on what is, and again, that's all the holder
• 1:40:41
  Speaker 1: kind of thing. But sometimes, I swear, I think they're
• 1:40:43
  Speaker 1: just trying to see what they.
• 1:40:45
  Speaker 8: Can get away with. I work at our friendly neighborhood
• 1:40:48
  Speaker 8: contemporary art museum slash hotel with the Red Penguins. I've
• 1:40:51
  Speaker 8: been there four years, and I have seen some stuff.
• 1:40:54
  Speaker 1: That's some of the ones I was thinking of, actually,
• 1:40:58
  Speaker 1: I've seen there.
• 1:40:58
  Speaker 4: One of the directors, too, Ron Frick, because you just
• 1:41:00
  Speaker 4: saw Samsara. I mean, That in and of itself is
• 1:41:03
  Speaker 4: like a clear vision, too. That's coming out on DVD
• 1:41:06
  Speaker 4: on Tuesday, right? It's coming out not soon enough day
• 1:41:10
  Speaker 4: is what it is. I want it now, but yes.
• 1:41:14
  Speaker 3: You can't wait two days.
• 1:41:15
  Speaker 7: I can't.
• 1:41:16
  Speaker 4: You've got to see it. I want to ground it
• 1:41:21
  Speaker 4: up into a powder and mash it in my eyes.
• 1:41:23
  Speaker 8: Take it to a bunch of kids, you know.
• 1:41:29
  Speaker 4: Maybe snort it. I'm going to ground up a Blu-ray
• 1:41:33
  Speaker 4: of your movie and then snort it and go see
• 1:41:35
  Speaker 4: it in theaters.
• 1:41:38
  Speaker 8: Come on.
• 1:41:39
  Speaker 4: I wonder if a director would take that as a compliment.
• 1:41:42
  Speaker 8: I'm sure they would be so proud.
• 1:41:45
  Speaker 4: Lynch probably would.
• 1:41:47
  Speaker 3: Oh, yeah.
• 1:41:47
  Speaker 8: No, he'd put it in his coffee.
• 1:41:50
  Speaker 4: Another cup of coffee!
• 1:41:51
  Speaker 9: Mix it with coffee.
• 1:41:53
  Speaker 3: Barbie would like a snort.
• 1:41:55
  Speaker 8: Yes, she would.
• 1:41:58
  Speaker 10: All right.
• 1:41:58
  Speaker 8: Well, I'd say that rounds this one out. Otherwise, that
• 1:42:01
  Speaker 8: about does it. We will return next week. Same geek time,
• 1:42:03
  Speaker 8: same geek beat.
• 1:42:04
  Speaker 4: Thanks, fools.
• 1:42:27
  Speaker 12: Bye.
• 1:42:27
  Speaker 10: Bye. We'll be right back.
• 1:43:48
  Speaker 6: Y me quedé con los restos Desde ese mente.
• 1:45:10
  Speaker 3: Oh, you're still recording.
• 1:45:26
  Speaker 8: You know we do a show.
• 1:45:28
  Speaker 4: I forget that sometimes.
• 1:45:32
  Speaker 15: This episode is a production of Movie Meltdown, produced and
• 1:45:34
  Speaker 15: edited by The Oddity Studios, with opening music performed by
• 1:45:38
  Speaker 15: The Empires. For more on how to sponsor or support
• 1:45:41
  Speaker 15: the show, email producer at moviemeltdown.com.
• 1:45:43
  Speaker 6: Talk hard!