Latest / Nashville Movie Dispatch / Movie Review Rewind, Ep. 54: Tangerine (2015)

Transcript

Movie Review Rewind, Ep. 54: Tangerine (2015) · Nashville Movie Dispatch

• 0:10
  Speaker 1: Flipping back the calendar to highlight Yesteryear's finess while exploring
• 0:15
  Speaker 1: the vast archives in cinema history. This is the movie
• 0:21
  Speaker 1: review Rewind podcast on Nashville Movie Dispatch.
• 0:33
  Speaker 2: Merry Christmas, Eve, Bitch. It is the movie review Rewind
• 0:37
  Speaker 2: podcast right here on Nashville Movie Dispatch. That, of course,
• 0:42
  Speaker 2: is the opening line to the film we'll be discussing today,
• 0:45
  Speaker 2: set on Christmas Eve, Sean Baker's Tangerine. I am your
• 0:50
  Speaker 2: host for the show that I see at Sobro's Network,
• 0:52
  Speaker 2: Big Natural Stony Keeley. You can follow me on Twitter
• 0:55
  Speaker 2: at Stony Keeley and letterboxed collectively at Sobros Network on
• 1:00
  Speaker 2: all major social media platforms, and of course you can
• 1:03
  Speaker 2: check out all of our work reviewing and discussing film
• 1:06
  Speaker 2: at Nashville Movie Dispatch dot substack dot com. Joined as
• 1:10
  Speaker 2: usual my partner in crime at Nashville Movie Dispatch. He
• 1:14
  Speaker 2: is a board member on the Music City Film Critics Association.
• 1:17
  Speaker 2: He is a member of the Southeastern Film Critics Association
• 1:20
  Speaker 2: as well. Our resident film critic, mister big Shot Brandon
• 1:24
  Speaker 2: Vic Brandon. It's the holidays? How you feeling?
• 1:28
  Speaker 3: I love the holidays.
• 1:30
  Speaker 2: It's a beautiful time.
• 1:30
  Speaker 3: Of year, reflective season. I love that it's cold.
• 1:36
  Speaker 2: Yeah.
• 1:36
  Speaker 3: When I was parking here today, I saw one of
• 1:39
  Speaker 3: your neighbors. Looks like they're leaving to go out of town.
• 1:42
  Speaker 3: So I'm excited to see what they have that's nice
• 1:44
  Speaker 3: in their house.
• 1:45
  Speaker 2: Okay, you know you're gonna see what they're what they
• 1:47
  Speaker 2: have in their Amazon packages too.
• 1:49
  Speaker 3: Yeah cool, yeah, that's uh. Yeah, we love Christmas.
• 1:53
  Speaker 2: Yeah, well, we thought that this would be a nice,
• 1:56
  Speaker 2: little off the beaten path kind of Christmas movie. Talk
• 2:00
  Speaker 2: about Tangerine set on Christmas Eve, very visceral.
• 2:05
  Speaker 3: Look, and may I say, people who want to argue
• 2:09
  Speaker 3: about die Hard not being a Christmas movie, yeah.
• 2:12
  Speaker 2: I can't argue this one.
• 2:15
  Speaker 3: You can't argue with Tangerine. No, no, no, it's not
• 2:17
  Speaker 3: a Christmas Eve i'd want to have. But I don't know,
• 2:20
  Speaker 3: it seems Christmas Eve.
• 2:22
  Speaker 2: You think it seemed like an adrenaline rush.
• 2:24
  Speaker 3: And now that's true, if that's what you're going for.
• 2:27
  Speaker 2: Yeah, true, So we'll dig into it. But we thought
• 2:30
  Speaker 2: this was the perfect opportunity to bring our buddy Brett
• 2:33
  Speaker 2: back to the show. Brett, Happy Holidays, Merry Christmas.
• 2:36
  Speaker 4: Harry, Christmas, How how are you feeling this time of
• 2:39
  Speaker 4: year good. I've just finished Christmas shopping. Okay, they can't
• 2:43
  Speaker 4: listen to this because they don't have devices, but yeah,
• 2:47
  Speaker 4: I bought my children. I mean, everyone knows the hottest
• 2:50
  Speaker 4: toy this year is a pickle me Elmo. Okay, and
• 2:53
  Speaker 4: I go, yeah, I got my hands on one, so whoa,
• 2:56
  Speaker 4: they're gonna have to share. I couldn't get two.
• 2:59
  Speaker 2: But you guys are both fathers. Are you gonna be
• 3:03
  Speaker 2: adding tangerine to your family Christmas movie night rotation?
• 3:07
  Speaker 3: Right? I don't think so. My son, who's he's all,
• 3:13
  Speaker 3: he'll be three in February. He really loves eyes wide
• 3:16
  Speaker 3: shut Okay, So I just don't think we can change Christmas. Yeah,
• 3:20
  Speaker 3: I don't think we can change that up.
• 3:22
  Speaker 2: Yeah, as far as outside the box Christmas movies go,
• 3:27
  Speaker 2: this one was on a on a list that I
• 3:31
  Speaker 2: saw pop up, and I thought, oh, well, you know
• 3:33
  Speaker 2: there's two Mondays or excuse me, there's two movie review
• 3:36
  Speaker 2: rewind episodes for December. Because there's five Mondays and we
• 3:40
  Speaker 2: always do pod Monday on Nashville Movie Dispatch. There's a
• 3:44
  Speaker 2: new movie podcast that drops every Monday. I thought, well,
• 3:49
  Speaker 2: you know, this might be an opportunity for us to
• 3:51
  Speaker 2: talk about one of the heavyweights, which we'll do here
• 3:53
  Speaker 2: in a few weeks, but to also sneak in one
• 3:56
  Speaker 2: of these films that canventionally probably wouldn't be considered a
• 4:02
  Speaker 2: Christmas movie. Yeah, but it's set I don't think so
• 4:05
  Speaker 2: on Christmas Eve, so it'd be fun to talk about
• 4:07
  Speaker 2: it a little bit. But it just so happened to
• 4:10
  Speaker 2: work out that Sean Baker, who directed Tangerine, is back
• 4:16
  Speaker 2: in the scene, so to speak, because of the wild
• 4:19
  Speaker 2: success of Anora, which won Best Picture at the Oscars.
• 4:24
  Speaker 3: H yeah, he won four Oscars.
• 4:27
  Speaker 2: Yeah, that was a big night for Sean Baker and
• 4:30
  Speaker 2: a Nora Mikey Madison wins for Best Actress. Really successful
• 4:34
  Speaker 2: night for that film, and so just the timing for
• 4:38
  Speaker 2: this one just kind of worked out. But looking back
• 4:42
  Speaker 2: on it now, where I kind of want to start
• 4:45
  Speaker 2: the show and let me get the synopsis in before
• 4:47
  Speaker 2: we dig in. Tangerine twenty fifteen American comedy drama film
• 4:53
  Speaker 2: directed by Sean Baker, set on Christmas Eve. The story
• 4:57
  Speaker 2: follows a transgender sex worker who discovers her boyfriend and
• 5:01
  Speaker 2: pimp has been cheating on.
• 5:03
  Speaker 4: Her and if that doesn't say Christmas.
• 5:05
  Speaker 2: I don't know what.
• 5:07
  Speaker 3: So that sounds just as fun as Tim Allen becoming Santa.
• 5:12
  Speaker 2: That's something something you definitely want to share with your family,
• 5:15
  Speaker 2: with your your loved ones, absolutctly. This is kind of
• 5:19
  Speaker 2: we were talking about this a little bit before the show,
• 5:23
  Speaker 2: revisiting it through the lens of Anora and the success
• 5:27
  Speaker 2: that Sean Baker has had, even though he's made stuff
• 5:32
  Speaker 2: prior to twenty fifteen. Brandon, you said that this film
• 5:36
  Speaker 2: Tangerine you felt was really the film that put Sean
• 5:40
  Speaker 2: Baker on the map.
• 5:42
  Speaker 3: Yeah, I think it was. I think it was well received,
• 5:47
  Speaker 3: and I can't remember if it premiered at Sundance or not.
• 5:50
  Speaker 2: It had a big festival run. I know it was
• 5:52
  Speaker 2: at Sundance. I don't know if that was.
• 5:53
  Speaker 3: The That probably was the premiere. Maybe it was at Sundance.
• 5:58
  Speaker 4: It was writing to Wikipedia is never wrong.
• 6:01
  Speaker 3: That's correct. So I actually thought it was his first film,
• 6:06
  Speaker 3: but it's but this one was a big deal. He
• 6:10
  Speaker 3: also did it all on some version of an iPhone.
• 6:14
  Speaker 2: Was shot with three iPhone five s, so smartphones.
• 6:19
  Speaker 3: So yeah, it captured the attention of Hollywood, which would
• 6:23
  Speaker 3: lead him to do the Florida Project, and so yeah,
• 6:27
  Speaker 3: I was. I remember seeing it when it first come
• 6:31
  Speaker 3: out at some point in that year when it was
• 6:34
  Speaker 3: actually in theaters. Yeah, and it was a nice It
• 6:37
  Speaker 3: was nice to revisit because holiday cheer. Of course, you
• 6:42
  Speaker 3: always get holiday cheer from it. But I think I
• 6:46
  Speaker 3: kind of understand it more because Sean Baker has gone
• 6:52
  Speaker 3: on to do Florida Project, Red Rocket and as you
• 6:55
  Speaker 3: were talking about in Nora, so going back kind of
• 7:00
  Speaker 3: the way that he does things, the stories he wants
• 7:02
  Speaker 3: to tell the people that he cast, the kind of environment,
• 7:05
  Speaker 3: the atmosphere, it's all. It's all kind of relatively raw
• 7:08
  Speaker 3: and kind of the underbilly of some kind of town,
• 7:13
  Speaker 3: or the work. He loves prostitutes. I think that should
• 7:17
  Speaker 3: be mentioned. But I actually enjoyed sex.
• 7:21
  Speaker 2: Workers, sex workers Red rockets about a porn star.
• 7:25
  Speaker 3: That's true. Well yeah, but then Anora comes back to
• 7:29
  Speaker 3: sex workers again.
• 7:30
  Speaker 2: Yeah. Well no, I'm saying they're all sex workers. And
• 7:34
  Speaker 2: when I was a kid, they were going to get canceled.
• 7:36
  Speaker 2: They were when I was Okay, there we go.
• 7:39
  Speaker 3: When I was a kid. When I was a kid,
• 7:41
  Speaker 3: that was times of change. That was in the seventies,
• 7:43
  Speaker 3: so things have changed. But I actually found it a
• 7:48
  Speaker 3: lot funnier than I remember.
• 7:50
  Speaker 2: I thought it was really real funny.
• 7:53
  Speaker 3: Kind of discounted the humor of it all and the
• 7:57
  Speaker 3: and the kind of immediacy that it has, like it's
• 8:00
  Speaker 3: all just kind of within a day, and it's such
• 8:05
  Speaker 3: a variety of walks of life. Yeah that I kind
• 8:10
  Speaker 3: of I kind of forgot how Like I actually laughed
• 8:15
  Speaker 3: more than a few times just because of how ridiculous
• 8:18
  Speaker 3: it was, but also these reactions of things, because the
• 8:22
  Speaker 3: whole the whole plot is basically like her trying to
• 8:27
  Speaker 3: find this woman that supposedly her pimp slash boyfriend is
• 8:31
  Speaker 3: cheating on and anyway, it kind of just kind of
• 8:36
  Speaker 3: goes off the reels from there. But yeah, I mean
• 8:37
  Speaker 3: I liked it.
• 8:38
  Speaker 2: And Wikipedia summary is is just set on Christmas Eve.
• 8:42
  Speaker 2: The story follows a transgender sex worker who discovers her
• 8:45
  Speaker 2: boyfriend and pimp has been cheating on her. One sentence
• 8:48
  Speaker 2: like that that's the movie. That is, That is what
• 8:52
  Speaker 2: the film is. But I do think that it was
• 8:56
  Speaker 2: it was pretty cool to see this because you saw
• 8:58
  Speaker 2: this did you see it when it came out twenty
• 9:00
  Speaker 2: fifteen or was it on down the road?
• 9:01
  Speaker 3: It was whenever it did get that release, which I
• 9:04
  Speaker 3: still think it was in twenty fifteen, I did go
• 9:07
  Speaker 3: see it.
• 9:07
  Speaker 2: Yeah, so, Brett, am I mistaken you saw this for
• 9:10
  Speaker 2: the first time for this podcast too.
• 9:12
  Speaker 3: I did.
• 9:13
  Speaker 4: And one of the reasons that stood out to me,
• 9:14
  Speaker 4: this exact same story happened to me in Chris. Is
• 9:18
  Speaker 4: that right twenty twenty one?
• 9:20
  Speaker 2: I think? Yeah?
• 9:21
  Speaker 3: Is it Krispy Kreme though? Or it was?
• 9:23
  Speaker 2: Yeah, we have a donut time here in Mount Juliet
• 9:25
  Speaker 2: by the way, you do, it's out near Glaidville. Yeah,
• 9:28
  Speaker 2: that donut time.
• 9:30
  Speaker 3: Wow. I'm a diabetic, so.
• 9:32
  Speaker 2: I don't gotcha. Sorry, Brett, I didn't mean to interrupt your.
• 9:34
  Speaker 3: Yeah, let's hear it.
• 9:35
  Speaker 4: Yes, this was the first time I had seen it,
• 9:36
  Speaker 4: and lots of Anora vibes, like the seeds of Anora. Yeah,
• 9:42
  Speaker 4: you feel it going in that direction.
• 9:44
  Speaker 2: I'm just curious. Hold on, Yeah, we can't just breeze
• 9:48
  Speaker 2: past the fact that you said this happened.
• 9:50
  Speaker 3: Yeah, yeah, you chugged that Erry Monkey. But you tell
• 9:52
  Speaker 3: us how this was like your own Christmas.
• 9:55
  Speaker 4: Well, I had to go around.
• 9:56
  Speaker 2: I was.
• 9:57
  Speaker 4: It was when I was looking for pickle me Elmo.
• 10:03
  Speaker 4: I had to go around town looking for him. And
• 10:06
  Speaker 4: then my friend Robin was singing at the club and
• 10:12
  Speaker 4: had this event that she kept handing out flyers for
• 10:16
  Speaker 4: wanted everyone to come, and I was the me and
• 10:20
  Speaker 4: the local broker who had pickle me Elmo. I took
• 10:24
  Speaker 4: him with me and we went and it was a
• 10:27
  Speaker 4: very sweet moment.
• 10:29
  Speaker 3: I remember when this was a couple of years ago.
• 10:33
  Speaker 3: But the hottest toy was Slurbo Man. You might remember.
• 10:37
  Speaker 3: I do remember that slur Boman.
• 10:38
  Speaker 4: Yeah, he never got that one.
• 10:40
  Speaker 3: He slurred his words because he was a drunk. And anyway,
• 10:43
  Speaker 3: I bought that for my nephew he was three. He
• 10:46
  Speaker 3: was so excited for it. He kind of it was
• 10:48
  Speaker 3: a mix between like a kind of like a Johnny
• 10:52
  Speaker 3: Cochrane and the Brooklyn Brawler and uh, anyway, I remember
• 10:57
  Speaker 3: it well, fun toy KB Toys had it, and yeah,
• 11:01
  Speaker 3: so I totally I totally get it. But Robin, you said, yeah, Robin,
• 11:06
  Speaker 3: I see, okay.
• 11:07
  Speaker 4: Purposefully ambiguous.
• 11:09
  Speaker 3: Yeah, well yeah, he said, I or y both. Okay,
• 11:15
  Speaker 3: all right, well I'm suspicious now.
• 11:17
  Speaker 2: Okay, I you know, I did think I don't want
• 11:20
  Speaker 2: to I don't want to let this just pass us
• 11:22
  Speaker 2: by with me forgetting to say it. But I did
• 11:24
  Speaker 2: catch myself when the cab driver shows up to the
• 11:28
  Speaker 2: to the show and they'd already left. But I did
• 11:31
  Speaker 2: catch myself thinking, oh, that's so sweet. He actually went
• 11:33
  Speaker 2: to the show.
• 11:34
  Speaker 3: And he's in Anura.
• 11:36
  Speaker 2: Yeah he's the dad or not the dad, he's the
• 11:39
  Speaker 2: guy that they send.
• 11:41
  Speaker 3: Yeah, he's the head.
• 11:42
  Speaker 2: Yeah.
• 11:43
  Speaker 4: He he stood out to me for that, And then
• 11:46
  Speaker 4: I started looking a little bit more. I think he's
• 11:48
  Speaker 4: in almost all of Sean Baker's well known movies, so
• 11:51
  Speaker 4: I was.
• 11:51
  Speaker 3: Wondering if he was, if he was in Florida Project,
• 11:54
  Speaker 3: and I think he is.
• 11:58
  Speaker 2: And we could look at he was great in an Aura. Yeah, absolutely,
• 12:02
  Speaker 2: let's see. I'm going to look at his filmography before
• 12:04
  Speaker 2: wet and.
• 12:05
  Speaker 3: Can I say that he is He was kind of
• 12:08
  Speaker 3: the most I think, in a lot of ways, the
• 12:11
  Speaker 3: most tragic character because of what the life he's, the
• 12:17
  Speaker 3: life that he desires in the life that he has,
• 12:21
  Speaker 3: and then it's kind of what I think, it's one
• 12:24
  Speaker 3: of the last things you see him in and it's
• 12:28
  Speaker 3: you know, it's funny when like I think it's his
• 12:30
  Speaker 3: mother right that they're fighting in the door. But but
• 12:33
  Speaker 3: when it's when the dust settles everything, and it is
• 12:36
  Speaker 3: I mean it is I think in a lot of ways,
• 12:39
  Speaker 3: relatively sad of kind of the life because it's almost
• 12:42
  Speaker 3: like looking at it now, it's almost like he he
• 12:46
  Speaker 3: has never been able to live exactly how he wanted
• 12:49
  Speaker 3: to live. Yeah, but now he has these responsibilities and
• 12:52
  Speaker 3: it's not that he doesn't love his family, but clearly
• 12:55
  Speaker 3: he's not he's not being truthful about who he is
• 13:00
  Speaker 3: and what he wants.
• 13:01
  Speaker 2: Yeah. I really did feel like that was a sobering,
• 13:07
  Speaker 2: sad addition to the film because it is like you
• 13:10
  Speaker 2: could you could just kind of see it in him,
• 13:14
  Speaker 2: like the frustration, like the wanting more.
• 13:17
  Speaker 3: And well it's that first scene when you don't quite
• 13:21
  Speaker 3: know yet. Yeah, but he actually has a woman and
• 13:24
  Speaker 3: he is pissed. Yeah, he's like what are you doing
• 13:27
  Speaker 3: on this side of the tracks? Like so it kind
• 13:30
  Speaker 3: of sets the tone of like he he knows exactly
• 13:33
  Speaker 3: what he wants, but it's not the light but it's
• 13:35
  Speaker 3: still yeah, it's still just a fake thing. It's almost
• 13:41
  Speaker 3: like his family is the fake part of it. But yeah,
• 13:45
  Speaker 3: but it's also kind of funny when he's like, what
• 13:47
  Speaker 3: is this what is this?
• 13:49
  Speaker 2: Get out?
• 13:50
  Speaker 3: Get the fuck out. So it's kind of funny.
• 13:52
  Speaker 4: Well, in the trajectory of the film, by the time
• 13:55
  Speaker 4: he shows up, you've already met Cindy Rella.
• 13:59
  Speaker 3: And.
• 14:01
  Speaker 4: In my mind, I'm kind of viewing it as, Oh,
• 14:03
  Speaker 4: we're seeing how these different group, these different people are
• 14:07
  Speaker 4: marginalized and kind of pushed aside, and I was thinking
• 14:10
  Speaker 4: of him as one of those people too. So I
• 14:13
  Speaker 4: was really surprised, like I thought we were going to
• 14:16
  Speaker 4: because even earlier in the film, you get people throwing
• 14:20
  Speaker 4: up in his cab that like, people kind of mis
• 14:23
  Speaker 4: his occupation, his status, all of that, and so I
• 14:27
  Speaker 4: kind of expected, oh, this is going to be He's
• 14:31
  Speaker 4: going to be another person who's mistreated in this way.
• 14:34
  Speaker 4: But then in a way, he's kind of he's passing
• 14:37
  Speaker 4: it along, like you said, you know, whatever we want
• 14:42
  Speaker 4: to say about kind of his desire there, he's deceiving
• 14:47
  Speaker 4: his family and that kind ofing. So he's kind of
• 14:48
  Speaker 4: passing that that along.
• 14:50
  Speaker 3: But the thought of like trying to get out of
• 14:53
  Speaker 3: a Christmas Eve dinner seems impossible, Yes, that only Tom
• 14:58
  Speaker 3: Cruise could do something like because that just seems impossible.
• 15:02
  Speaker 2: I don't know I will.
• 15:02
  Speaker 3: Say, what a hell of a car wash he had?
• 15:09
  Speaker 2: Really got his money's worth it. Yes, so I don't
• 15:13
  Speaker 2: know about you guys, but we have pretty big Christmas eaves.
• 15:16
  Speaker 2: I think it would be really easy for me, how
• 15:18
  Speaker 2: far I want to take this joke, It would be
• 15:21
  Speaker 2: really easy for me to slip off unnoticed, you think, so.
• 15:26
  Speaker 3: To go essaist that would be It would mean immediately
• 15:37
  Speaker 3: I'd be immediately found out. Yeah, they think it would
• 15:40
  Speaker 3: be even weird if I even went to a car wash.
• 15:43
  Speaker 2: Well, you're a listener of attention, though.
• 15:46
  Speaker 3: Center of attention.
• 15:47
  Speaker 2: I just sit in back and I don't. Well, well maybe.
• 15:51
  Speaker 3: If anything, my wife will know. My wife will know
• 15:54
  Speaker 3: if I'm not there.
• 15:54
  Speaker 2: My wife doesn't care. She does not care.
• 15:57
  Speaker 3: Let me tell you, when you have kids, you will
• 15:59
  Speaker 3: because oh because if somebody needs to be if they're
• 16:02
  Speaker 3: having to look after him, they're going to say, where
• 16:04
  Speaker 3: the hell is the other one? Yeah, that's how I
• 16:06
  Speaker 3: get trapped. Now, as far as other family, maybe not
• 16:09
  Speaker 3: that that. That could be true.
• 16:12
  Speaker 4: At the same time, because you have a kid, that
• 16:14
  Speaker 4: might be a good distraction. That's true because grandparents are there.
• 16:18
  Speaker 3: Just take the kill, now, that's true. Yeah, I could
• 16:20
  Speaker 3: I could. I mean, nobody would get anything out of that.
• 16:23
  Speaker 3: I'll tell you that right now.
• 16:24
  Speaker 2: Yeah, just put your kids in right.
• 16:27
  Speaker 3: Before anything touches anything. My son will cry out a
• 16:31
  Speaker 3: big ass dinosaur roar. And trust me when I tell you, hey,
• 16:34
  Speaker 3: nobody want to hear that. Nobody want to hear that.
• 16:39
  Speaker 2: All right? So I looked it up and Sean Baker's
• 16:42
  Speaker 2: first directorial credit is for a film called Four Letter
• 16:46
  Speaker 2: Words in two thousand. Okay, I looked at.
• 16:50
  Speaker 3: Fifteen.
• 16:51
  Speaker 2: Yeah. Since then, he did take Out in two thousand
• 16:54
  Speaker 2: and four, Prince of Broadway in two thousand and eight,
• 16:57
  Speaker 2: Starlet in twenty twelve, Tangerine and twenty fifteen, The Florida
• 17:01
  Speaker 2: Project twenty seventeen, Red Rocket twenty twenty one, and then
• 17:05
  Speaker 2: Honora in twenty twenty four. The actor that plays oh
• 17:10
  Speaker 2: Ros Mick, I don't know if I'm pronouncing.
• 17:12
  Speaker 3: It about the taxi cab.
• 17:14
  Speaker 2: Yeah, Karin Carrig Julian I can't no, I'm butchering his
• 17:18
  Speaker 2: name joined him in two thousand and four's Takeout, So
• 17:22
  Speaker 2: the second movie Shaan Baker did. He's been in every
• 17:25
  Speaker 2: Seaan Baker movie since. Okay, all right, so he is
• 17:27
  Speaker 2: he is a lifer, and he even got a co
• 17:30
  Speaker 2: producing credit for twenty twelve's Starlet. So their boys their voice.
• 17:35
  Speaker 3: Sean Baker, I don't remember. I really don't remember him
• 17:39
  Speaker 3: in Florida Project or.
• 17:41
  Speaker 4: I feel like he was pretty far down the cast list.
• 17:44
  Speaker 4: I have not seen Florida Project, but I looked at
• 17:46
  Speaker 4: that specifically, and he was pretty far down the castle list.
• 17:49
  Speaker 4: So maybe he's a minor character.
• 17:51
  Speaker 3: Neither of you have seen Florida Project.
• 17:53
  Speaker 2: Right now, I think I'm gonna watch it. Watch it, yeah,
• 17:56
  Speaker 2: because I really watch it.
• 17:57
  Speaker 3: It's really good. And if I'm not mistaken, willm to folks.
• 18:00
  Speaker 3: Brooklyn Prince, who played the girl in Florida Project, I
• 18:04
  Speaker 3: don't like she was nominated for stuff, not for an Oscar,
• 18:07
  Speaker 3: but I'm pretty sure Willim Dafoe got for Supporting Actor.
• 18:10
  Speaker 3: He didn't win, but he was nominated. But that was
• 18:12
  Speaker 3: my favorite sham Baker film until Lenora. Yeah, I fantast
• 18:18
  Speaker 3: and then Red Rocket is now I've only seen the
• 18:20
  Speaker 3: main four. I have not seen the ones prior to Tangerine,
• 18:25
  Speaker 3: but I will say that Red Rocket was the least
• 18:28
  Speaker 3: impressive for me. And even though Simon Rex got a lot,
• 18:31
  Speaker 3: I mean anything does kind of brings out, I mean,
• 18:36
  Speaker 3: some great performances, and it's still kind of this like gritty,
• 18:40
  Speaker 3: raw side of life that you a lot of us
• 18:43
  Speaker 3: are not familiar with, and there is I think it's funny,
• 18:48
  Speaker 3: but there's also tragedy to it. And I think that's
• 18:50
  Speaker 3: that's the case for at least those four from Tangerine on.
• 18:54
  Speaker 2: Yeah, I again, not having seen the Florida Project, the
• 18:58
  Speaker 2: three films that I have seen of his, there is
• 19:01
  Speaker 2: a common thread there of like Brett mentioned, like marginalized people,
• 19:07
  Speaker 2: sex workers and how I don't know if.
• 19:09
  Speaker 3: There's sex workers in Florida Project.
• 19:11
  Speaker 2: I'll be honest, Well, no, I'm just saying the three
• 19:13
  Speaker 2: that I'm seeing.
• 19:14
  Speaker 3: Yeah, I'm just saying like there are a lot of
• 19:15
  Speaker 3: these themes are constant. Yeah, but like if there's a
• 19:20
  Speaker 3: hooker in that one, how thank you?
• 19:22
  Speaker 2: How like people are impacted by the industry, the exploitation,
• 19:29
  Speaker 2: that sort of thing. I think it's a really interesting
• 19:33
  Speaker 2: glimpse into that those three films. But I felt like
• 19:38
  Speaker 2: I benefited by watching Tangerine for the first time, having
• 19:44
  Speaker 2: seen Anora, having seen Red Rocket, and I'm curious for you, Brandon,
• 19:49
  Speaker 2: just like from the Raw experience of it seeing it
• 19:52
  Speaker 2: for the first time, not really really being familiar with
• 19:55
  Speaker 2: Sean Baker's game, so to speak, How did the film
• 19:59
  Speaker 2: impact you in that regard of showing in a sense
• 20:03
  Speaker 2: like what these marginalized people from different walks of life
• 20:06
  Speaker 2: are going through.
• 20:07
  Speaker 3: Well, and this was the first Seaan Baker movie I
• 20:11
  Speaker 3: had seen when I saw it.
• 20:14
  Speaker 4: But the.
• 20:18
  Speaker 3: Way he's able to explore these areas of life that exists,
• 20:24
  Speaker 3: even though maybe we pretend it doesn't, but he also
• 20:27
  Speaker 3: gives such humanity to it that they are real people,
• 20:32
  Speaker 3: Like this is a real thing. You don't have to
• 20:34
  Speaker 3: like it, you don't have to agree with what they're doing,
• 20:36
  Speaker 3: but the thing is is that it exists and that
• 20:40
  Speaker 3: they are They are human beings. And there's a way
• 20:45
  Speaker 3: that he touches on these things while also showing the,
• 20:50
  Speaker 3: like I said, kind of the humorous side of like, Okay,
• 20:54
  Speaker 3: look how these things are being seen, Look how they're
• 20:58
  Speaker 3: being treated. Look like take away, whatever their profession is,
• 21:03
  Speaker 3: what they do for money, Yeah, look at this scenario,
• 21:06
  Speaker 3: look at the situation. But I will say, and I
• 21:11
  Speaker 3: think going back to it, and I have not watched
• 21:14
  Speaker 3: Tangerine since I first saw it, so now I've gotten
• 21:18
  Speaker 3: three more films from Sean Baker, and it very much
• 21:21
  Speaker 3: aligns with the type of stories he wants to tell,
• 21:26
  Speaker 3: the type of people he wants to kind of explore depict,
• 21:32
  Speaker 3: and it kind of makes sense like he is kind
• 21:35
  Speaker 3: of shining a light on a slice of life that
• 21:40
  Speaker 3: I think is there's prejudice that comes with it. There's judgment,
• 21:45
  Speaker 3: but there's also there is this sympathetic, empathetic look at
• 21:52
  Speaker 3: that of what they do and how they do it
• 21:57
  Speaker 3: as far as like the people, not so much as
• 21:59
  Speaker 3: them trying to search for like you know, someone's cheating
• 22:01
  Speaker 3: on me or whatever. That's kind of like that's a
• 22:04
  Speaker 3: universal that's a universal theme that's been depicted for god
• 22:09
  Speaker 3: knows how long. But I love where he kind of
• 22:12
  Speaker 3: puts these situations in and it's things that might make
• 22:16
  Speaker 3: that might seem awkward or they're foreign, or maybe you
• 22:20
  Speaker 3: don't like maybe you you know, you want to dismiss it. Yeah,
• 22:24
  Speaker 3: And I like that about him that he's willing to
• 22:27
  Speaker 3: do it, and he's willing to give these people some
• 22:31
  Speaker 3: humanity and personality. And then and to me, it's very
• 22:36
  Speaker 3: much Florida project is very much one I'm not quite
• 22:40
  Speaker 3: sure if I can say it about Red Rocket, but
• 22:41
  Speaker 3: I do think Anora Florida Project and Tangerine is that
• 22:46
  Speaker 3: it's location, location location very well.
• 22:50
  Speaker 2: Yeah, this does kind of feel like a glimpse into
• 22:53
  Speaker 2: the the world of la There's there's a whole lot,
• 22:58
  Speaker 2: a whole lot going on there. And that is kind
• 23:00
  Speaker 2: of what I wanted to segue into because this film
• 23:03
  Speaker 2: was heralded for his filming it on an iPhone and
• 23:08
  Speaker 2: it looks good. It does. It looks really good. The
• 23:12
  Speaker 2: color in this. I feel like he uses color to
• 23:15
  Speaker 2: kind of bring out a sort of vibrant nature of
• 23:18
  Speaker 2: the characters. Uh. The way he uses music, the type
• 23:21
  Speaker 2: of music, it almost like it almost feels like you've
• 23:26
  Speaker 2: like popped an adderall and you're just like hyper focused.
• 23:28
  Speaker 2: Maybe cocaine. I've never done cocaine, so I can't these.
• 23:33
  Speaker 3: I've smoked a raga though, and I can tell you.
• 23:35
  Speaker 2: That, Yeah, that a white Houses driving.
• 23:39
  Speaker 3: That's right. There are certain things I'll appreciate that. There
• 23:43
  Speaker 3: are certain things where it kind of like there's this
• 23:46
  Speaker 3: kind of like tone and kind of energy and then
• 23:51
  Speaker 3: that the music kicks in and a lot of times
• 23:54
  Speaker 3: it's when she's kind of like everybody someone is on
• 23:57
  Speaker 3: the move.
• 23:58
  Speaker 2: And there they're on as and we're not sta been
• 24:00
  Speaker 2: in the.
• 24:00
  Speaker 3: Same place for that long either.
• 24:02
  Speaker 4: Yeah, those are the things that hit you from the
• 24:05
  Speaker 4: beginning of the film that you it's almost like you've
• 24:08
  Speaker 4: got to catch up with him, You've got to exactly
• 24:10
  Speaker 4: what you said, stony, the the yellow tone of the images,
• 24:16
  Speaker 4: the soundtrack, like it just it all, it's all in
• 24:19
  Speaker 4: your face and you've got to kind of keep up
• 24:21
  Speaker 4: as it starts.
• 24:22
  Speaker 2: And I didn't. I didn't make note of this until
• 24:24
  Speaker 2: late in the film, so I don't. This isn't like
• 24:26
  Speaker 2: data tract or anything like that. But I felt like
• 24:30
  Speaker 2: there was a sense of warm colors when heightened senses
• 24:36
  Speaker 2: like anger you're on a mission, you get like an
• 24:38
  Speaker 2: orange yellow kind of tent. But then there were cases
• 24:41
  Speaker 2: where things were a little calmer outside of the donut time,
• 24:45
  Speaker 2: where it's almost like a bluish cool kind of tent
• 24:48
  Speaker 2: to it. Just an observation I made. I'd have to
• 24:51
  Speaker 2: go back and watch it to really like keep track
• 24:53
  Speaker 2: of that. But it felt like he really leveraged those
• 24:57
  Speaker 2: things from a cinematography standpoint, from a production standpoint to
• 25:02
  Speaker 2: create really enhance the visceral, guttural sort of nature of
• 25:08
  Speaker 2: this story and what these characters were going through. He
• 25:11
  Speaker 2: do you have? I thought you were right.
• 25:12
  Speaker 3: I was just gonna say, you're talking about that donut
• 25:14
  Speaker 3: time and outside. But while they're in donut time, as
• 25:17
  Speaker 3: a diabetic, I was looking at those cases and seeing
• 25:20
  Speaker 3: some of those eclears and donuts. Oh man, let me
• 25:22
  Speaker 3: tell you, I just went on ahead and took some pills. Anyway.
• 25:25
  Speaker 3: I didn't even just to be safe, I didn't. And
• 25:27
  Speaker 3: just to be clear, I didn't taste anything. I just
• 25:30
  Speaker 3: did it.
• 25:30
  Speaker 2: Yeah. I do love the donut time scene because it
• 25:33
  Speaker 2: does kind of feel like one of those moments where
• 25:36
  Speaker 2: all these people from different walks.
• 25:37
  Speaker 3: It's a perfect location in such a weird, strange way.
• 25:42
  Speaker 2: Yeah. But back to the production after viewing this is
• 25:47
  Speaker 2: courtesy of Wikipedia. The principal photography took place in Hollywood,
• 25:52
  Speaker 2: including West Hollywood Club Santa Monica Boulevard on December twenty fourth,
• 25:57
  Speaker 2: twenty fourteen, So they actually started principal photography on Christmas
• 26:00
  Speaker 2: Eve trailing about the film, and they wrapped on January
• 26:04
  Speaker 2: twenty January eighteenth of twenty fifteen. After viewing iPhone experiments
• 26:08
  Speaker 2: on Vimeo. Baker shot the film using iPhone five S smartphones.
• 26:14
  Speaker 2: The money saved on camera equipment was used to pay
• 26:17
  Speaker 2: for shooting locations and to pay extras. They used the
• 26:20
  Speaker 2: film ic Pro app, a video app to control focus, aperture,
• 26:25
  Speaker 2: and color temperature, as well as capture video clips at
• 26:28
  Speaker 2: higher bit rates, and an anamorphic adapter from moondog Labs
• 26:33
  Speaker 2: to capture widescreen, as well as Tiffin's Steadycam Smoothie to
• 26:36
  Speaker 2: capture smooth moving shots. Baker was able to get some
• 26:40
  Speaker 2: of the kit for free after reaching out to moondog Labs,
• 26:43
  Speaker 2: whose anamorphic adapters were still in their prototype stage on Kickstarter,
• 26:47
  Speaker 2: they sent him three. He had informed them that he
• 26:49
  Speaker 2: was working with Mark Duplas, Duplas duplus how do you
• 26:53
  Speaker 2: duplas on the project. It would let us shoot the
• 26:57
  Speaker 2: way Sergio Leone would shoot west I. So this was
• 27:02
  Speaker 2: pretty like ground roots filmmaking, fucking indie that's fucking indie film.
• 27:11
  Speaker 2: That's yeah, better than I could have I could have
• 27:13
  Speaker 2: put it.
• 27:14
  Speaker 3: Yeah, something there's a lot of sog there, and that's
• 27:23
  Speaker 3: that's to be appreciated and respected.
• 27:25
  Speaker 2: So that was something that he was lauded for for
• 27:28
  Speaker 2: this film was just kind of you know, the the
• 27:31
  Speaker 2: gritty kind of man on the street like DIY filmmaking
• 27:35
  Speaker 2: aspect of it as well.
• 27:37
  Speaker 3: But it fits perfectly with the story.
• 27:40
  Speaker 2: Yeah.
• 27:40
  Speaker 3: So there's like, even if he didn't want to do it,
• 27:44
  Speaker 3: that's the perfect way to capture a story like this
• 27:47
  Speaker 3: because you believe it. You believe you're walking in certain
• 27:53
  Speaker 3: areas that honestly, in real life you wouldn't go to,
• 27:56
  Speaker 3: you wouldn't turn down, you wouldn't meet these these characters.
• 28:02
  Speaker 4: You get this over the shoulder perspective. Yes, and it
• 28:04
  Speaker 4: feels very visceral and very I mean it's very disorienting.
• 28:10
  Speaker 4: It was to me when the film starts.
• 28:12
  Speaker 3: Oh yeah, there's yeah, there's some chaos and.
• 28:14
  Speaker 4: Then you but once you catch it, you're like, this is,
• 28:18
  Speaker 4: like you said, this is perfect for what this film
• 28:20
  Speaker 4: is doing.
• 28:22
  Speaker 2: Yeah. So this, like we said before, it's great to
• 28:24
  Speaker 2: watch on Christmas. Yeah. Made its world premiere January twenty third,
• 28:29
  Speaker 2: twenty fifteen, at Sundance as part of their Next Program.
• 28:34
  Speaker 2: Magnolia Pictures bought world rights to the film and confirmed
• 28:38
  Speaker 2: they plan releasing it later in twenty fifteen, and then
• 28:41
  Speaker 2: it hit the circuit at San Francisco International Film Festival,
• 28:45
  Speaker 2: Seattle International Film Festival, oak Cliffe Film Festival, had its
• 28:49
  Speaker 2: Australian debut at the Sydney Film Festival, Provincetown International Film Festival,
• 28:55
  Speaker 2: the Bam Cinema Fest, and the Czech Republic. I mean
• 28:59
  Speaker 2: this was a This was like the definition of a
• 29:02
  Speaker 2: festival film had some legs and obviously felt like a
• 29:08
  Speaker 2: sort of launching port watching point for a new stratosphere
• 29:12
  Speaker 2: for Sean Baker. So I mean big picture wise, like
• 29:18
  Speaker 2: total package, I felt like this film was a lot
• 29:23
  Speaker 2: funnier than I expected it to be, including in moments
• 29:27
  Speaker 2: that I don't think should have been funny. But you
• 29:29
  Speaker 2: couldn't help but laugh when she says you didn't have
• 29:34
  Speaker 2: to Chris Brown the bitch that I was belly laughing
• 29:37
  Speaker 2: at that. But I do think that the style and
• 29:41
  Speaker 2: the direction behind this film really kind of really kind
• 29:46
  Speaker 2: of took it to another level. So from a production standpoint,
• 29:51
  Speaker 2: I guess finishing up our thoughts on that, Brett, I
• 29:55
  Speaker 2: don't know if you got the chance to speak on
• 29:58
  Speaker 2: like how you saw the production of it, how it
• 30:00
  Speaker 2: enhance the film.
• 30:01
  Speaker 4: Yeah, I think I think it absolutely did. It hit
• 30:04
  Speaker 4: the tone of what's kind of this manic feeling of
• 30:09
  Speaker 4: the whole film. The production value matches that very much.
• 30:14
  Speaker 4: You know, earlier we were talking about it being a
• 30:16
  Speaker 4: Christmas movie, and we were kind of joking about that.
• 30:18
  Speaker 4: But I think it does fit in the way that,
• 30:21
  Speaker 4: especially from an adult, you know viewpoint, maybe not from
• 30:25
  Speaker 4: a child's eyes, from an adult standpoint, that some of
• 30:29
  Speaker 4: that magic is gone and it's just a day that
• 30:33
  Speaker 4: some people are just getting through. Yeah, And I think
• 30:36
  Speaker 4: it fits in that in you know, everything that we
• 30:40
  Speaker 4: see happens throughout the film.
• 30:42
  Speaker 3: Do you think a child would see some kind of
• 30:44
  Speaker 3: magic out of this movie?
• 30:45
  Speaker 4: I do, absolutely, yeah, specifically in Doughnut Time.
• 30:49
  Speaker 2: See. I did feel like setting this film on Christmas
• 30:56
  Speaker 2: Eve was a really nice touch because I did catch
• 31:00
  Speaker 2: myself thinking throughout the film where I would be on
• 31:03
  Speaker 2: Christmas Eve and like surrounded by loved ones, having a
• 31:07
  Speaker 2: nice feast of a meal, and you know, seeing the
• 31:11
  Speaker 2: kids running around excited for Santa Claus and all that stuff,
• 31:15
  Speaker 2: and to think, like, man, different worlds. I think it
• 31:21
  Speaker 2: was a pretty harrowing thought to have in that moment.
• 31:23
  Speaker 2: And I don't know that I don't know that you
• 31:27
  Speaker 2: get that impact if the film is not set on
• 31:30
  Speaker 2: Christmas Eve. It's good creative decision.
• 31:33
  Speaker 3: And soon do you say that, because even though like
• 31:36
  Speaker 3: it is mentioned throughout and I think there are some
• 31:38
  Speaker 3: actual like Christmas decorations, I there were times where I
• 31:42
  Speaker 3: totally forgot this was Christmas Eve. Yeah, Like there were
• 31:46
  Speaker 3: times where like I had, like I totally it had
• 31:50
  Speaker 3: totally escaped me that we're actually talking like when and
• 31:54
  Speaker 3: then it's kind of brought back in, Like with the
• 31:57
  Speaker 3: guy we're talking about the dinner, You're like, oh, yeah,
• 31:59
  Speaker 3: like this is like a Christmas Eve dinner and he's
• 32:02
  Speaker 3: acting like he doesn't have time yeah, for his family
• 32:07
  Speaker 3: and his mother and everything else, and so uh.
• 32:09
  Speaker 4: The glaring sun of La and all of that, it
• 32:12
  Speaker 4: feels very fine.
• 32:13
  Speaker 3: There's also where La doesn't really feel like Christmas because
• 32:17
  Speaker 3: it's seventy fucking degrees anyway, so nobody can you know,
• 32:20
  Speaker 3: it's it's the same as it was and in the summer.
• 32:23
  Speaker 2: So there's there's a line in the film where the
• 32:26
  Speaker 2: a different guy. Oh he's not a cab driver, he's
• 32:30
  Speaker 2: just a guy driving around looking for looking for love
• 32:32
  Speaker 2: in all the wrong places, where he says, come on,
• 32:35
  Speaker 2: it's Christmas and what he is talking about, this is
• 32:38
  Speaker 2: a man whose family is driving him nuts. So he
• 32:41
  Speaker 2: is propositioning the sex worker to just hold his balls
• 32:45
  Speaker 2: while he jerks, h.
• 32:48
  Speaker 3: Come on, saying come on, it's Christmas, and he's still
• 32:50
  Speaker 3: not and he's still not happy and wants his money back.
• 32:53
  Speaker 2: Yeah, so it is there is some like a jarring disconnection.
• 32:58
  Speaker 3: Yeah, oh yeah, absolutely, And I think it does. I
• 33:02
  Speaker 3: think it does really kind of support what you're saying,
• 33:05
  Speaker 3: is that the difference of what that day means to
• 33:11
  Speaker 3: someone here and someone that is as far as way,
• 33:17
  Speaker 3: as far as possible from this reality. But and again
• 33:24
  Speaker 3: there's also this kind of like sadness to it all
• 33:27
  Speaker 3: that this is how people are spending their Christmas Eve,
• 33:30
  Speaker 3: when because that's not how you are spending your Christmas Eve.
• 33:35
  Speaker 4: But there's also this overlapping sentimentality of I think of
• 33:41
  Speaker 4: the character Alexandra, she's passing out these flyers.
• 33:44
  Speaker 2: Of this event, she's oh yeah.
• 33:46
  Speaker 4: And they get there, and I mean, to me, that's
• 33:48
  Speaker 4: the most striking moment of the film when they're's. Maybe
• 33:52
  Speaker 4: not that the end is the most striking, but that's
• 33:55
  Speaker 4: one of the most striking. Is Yes, when she's singing
• 33:58
  Speaker 4: and it's a very sense see her moment you know,
• 34:02
  Speaker 4: could be funny, it could be whatever, but it's kind
• 34:05
  Speaker 4: of this moment of who will show up for me
• 34:08
  Speaker 4: when I am doing the thing that I'm most passionate
• 34:11
  Speaker 4: about and the thing that I really care about. And
• 34:14
  Speaker 4: despite this quest that Cinderella is on, she shows up
• 34:19
  Speaker 4: for her friend in this moment, yeah, and brings this
• 34:22
  Speaker 4: other woman, Dina, who she also They kind of have
• 34:26
  Speaker 4: this connection during that time of like, we're both people
• 34:30
  Speaker 4: who kind of find ourselves in the same situation.
• 34:33
  Speaker 3: As I was rewatching this, I just thought, God, Emilia
• 34:37
  Speaker 3: Perez really was a shitty movie.
• 34:42
  Speaker 4: Yes, this is the better version of what that wanted
• 34:45
  Speaker 4: to be, absolutely yeah.
• 34:47
  Speaker 3: And they did it roughly ten years ago.
• 34:50
  Speaker 2: I think it was also a nice a nice touch
• 34:55
  Speaker 2: to kind of show that often the case again to
• 34:59
  Speaker 2: go back to the portrayal of marginalized people, it's like
• 35:03
  Speaker 2: the marginalized people are there for one another, but no
• 35:06
  Speaker 2: one from the outside.
• 35:07
  Speaker 3: Is and they only have themselves.
• 35:11
  Speaker 2: I thought that was a really effective component of the
• 35:15
  Speaker 2: storytelling here. Was like, man, this is there's something about
• 35:18
  Speaker 2: the film that makes you feel and part of that
• 35:22
  Speaker 2: is because of the point of view directing. Like Brett
• 35:24
  Speaker 2: mentioned earlier, you feel like you're in it. You've got
• 35:28
  Speaker 2: the the third person, like you're you're there in the
• 35:31
  Speaker 2: room with them, And it was just really really effective
• 35:35
  Speaker 2: to me, and I just, man, it was for as
• 35:40
  Speaker 2: funny as it was, I think there were moments like
• 35:42
  Speaker 2: that that kind of made me feel deeply lonely and
• 35:45
  Speaker 2: deeply sad.
• 35:45
  Speaker 3: There is some that kind of stop you in your
• 35:47
  Speaker 3: tracks and they kind of remind you of like, yeah,
• 35:52
  Speaker 3: it's not this isn't some fairy tale, fictional thing like
• 35:55
  Speaker 3: this really is people who are doing their best and
• 36:00
  Speaker 3: and I guess the privilege we have is seeing it
• 36:05
  Speaker 3: from an outside view. But to credit to Sean Baker
• 36:09
  Speaker 3: is that he's also this is the most inviting kind
• 36:13
  Speaker 3: of thing, like over your shoulder type thing of like
• 36:17
  Speaker 3: if you're gonna walk in someone's shoes. This is pretty
• 36:20
  Speaker 3: much it as close as your as you may get.
• 36:24
  Speaker 4: There's and I hope I'm not jumping ahead in the
• 36:28
  Speaker 4: conversation in this, but there's that moment at the end
• 36:32
  Speaker 4: that is there's a deep conflict that's taken place, but
• 36:39
  Speaker 4: then there's this moment of shared shame, humiliation, whatever you
• 36:45
  Speaker 4: want to call it and shared we both know what
• 36:49
  Speaker 4: it's like to be treated this way by others, and
• 36:52
  Speaker 4: I'm going to give up a part of my dignity
• 36:55
  Speaker 4: to care for you in that which is the best
• 36:59
  Speaker 4: moment moment of the movie.
• 37:01
  Speaker 2: Yeah, yeah, I did. I have to admit I had.
• 37:04
  Speaker 2: I cried at the end of this movie. It's great,
• 37:06
  Speaker 2: it was. It was awesome.
• 37:09
  Speaker 3: Yeah, but you know what, and that's well said Brett,
• 37:14
  Speaker 3: because it is something that it's very subtle and it
• 37:19
  Speaker 3: but it is very effective because at the end of
• 37:23
  Speaker 3: the day, there is this real friendship and relationship no
• 37:28
  Speaker 3: matter what else has happened around them, and there is
• 37:33
  Speaker 3: this sign of of giving this to your friend because
• 37:39
  Speaker 3: there is there is a a humiliation to it and
• 37:44
  Speaker 3: a degrading aspect to it, but nobody knows it more
• 37:49
  Speaker 3: than the person that she's sitting next to. And that
• 37:52
  Speaker 3: it does say a lot, and honestly, it really hits
• 37:56
  Speaker 3: because of the journey you've been through for an hour
• 38:00
  Speaker 3: and twenty minutes from you know whatever.
• 38:03
  Speaker 2: Yeah, so let's let's talk about that nice little twist
• 38:06
  Speaker 2: at the end. Spoilers If you haven't seen Tangerine, Yeah,
• 38:09
  Speaker 2: if you haven't seen it. I don't know why stabbed
• 38:12
  Speaker 2: while you're listening to this podcast, but a nice little
• 38:16
  Speaker 2: twist at the end when they're outside the doughnut time
• 38:19
  Speaker 2: and Chester reveals that to Cindy that he had also
• 38:22
  Speaker 2: slept with Alexandra, who was Cindy's friend throughout great moment
• 38:26
  Speaker 2: of betrayal, moment of conflicts, as Brett called it, a
• 38:30
  Speaker 2: second ago, and then Cindy kind of storms off, leaving everything,
• 38:35
  Speaker 2: and then she a car drives up, appearing to solicit
• 38:39
  Speaker 2: work from her, and then they throw a cup of
• 38:43
  Speaker 2: their piss in her face and drive away, shouting transphobic slurs.
• 38:48
  Speaker 2: And that's where we see Alexandra catch up with Cindy,
• 38:52
  Speaker 2: takes her to the laundromat, and that's where we see
• 38:55
  Speaker 2: she's throwing her clothes in the wash, and then Sin
• 39:00
  Speaker 2: has to take her wig off, which is a really
• 39:03
  Speaker 2: humiliating moment, and so she.
• 39:06
  Speaker 3: So stripped down too, So yeah, she's as vulnerable and
• 39:10
  Speaker 3: naked as humanly possible.
• 39:12
  Speaker 2: And that's where we see Alexandra take her wig off
• 39:16
  Speaker 2: offer it to Cindy, and that's how the film ends.
• 39:18
  Speaker 2: But really just felt like for this wild, unhinged ride
• 39:23
  Speaker 2: that we've been on. That was, like I said, visceral, guttural.
• 39:27
  Speaker 2: It was funny. It got to a point where it
• 39:31
  Speaker 2: felt very real, raw and emotional, and in that moment
• 39:37
  Speaker 2: they sprinkled something that was incredibly beautiful and hopeful out
• 39:42
  Speaker 2: of it. And I just thought it was a really
• 39:46
  Speaker 2: good way, really effective way for Sean Baker to land
• 39:49
  Speaker 2: the plane.
• 39:50
  Speaker 3: I do too, and especially coming from kind of where everything,
• 39:54
  Speaker 3: every every dying kind of comes to a head at
• 39:56
  Speaker 3: tone at time. To them, we kind of in to
• 40:00
  Speaker 3: where it all started with these two characters and how
• 40:05
  Speaker 3: personal their friendship and relationship is and really the friendship
• 40:08
  Speaker 3: that is that has always been there no matter what
• 40:12
  Speaker 3: else has kind of transpired.
• 40:15
  Speaker 2: Which to me is the hallmark of a great holiday film.
• 40:18
  Speaker 3: Bingo and I thought at the end when they showed
• 40:22
  Speaker 3: Sanna come across.
• 40:24
  Speaker 2: That was great.
• 40:25
  Speaker 4: Great, there's the moment. Brandon, maybe you can speak to this.
• 40:28
  Speaker 4: You've seen the four major Sham Baker films, but there's
• 40:33
  Speaker 4: it's very reflective of what happens at the end of
• 40:36
  Speaker 4: an aura. The wall comes down at the end. Yeah,
• 40:40
  Speaker 4: there's this moment of connection and kind of I'm and
• 40:44
  Speaker 4: I just wonder if it's that kind of a hallmark
• 40:46
  Speaker 4: of him.
• 40:47
  Speaker 3: Yeah, I'll be honest, I don't quite I know there's
• 40:54
  Speaker 3: there's truth in that and in the four films that
• 40:56
  Speaker 3: I've seen, and I know like Red Rocket is definitely
• 41:01
  Speaker 3: one where he kind of comes to terms with who
• 41:04
  Speaker 3: he is at the end. Forgive me, I don't quite
• 41:09
  Speaker 3: remember the ending of Florida Project, but I do know
• 41:11
  Speaker 3: there is a lot of it that deals with kind
• 41:13
  Speaker 3: of the single mother and these girls that run around
• 41:15
  Speaker 3: the hotel that's run by William Dafoe. But yes, I
• 41:20
  Speaker 3: think that's that's always in some form of fashion. There's
• 41:23
  Speaker 3: a presence of that that no matter what kind of
• 41:27
  Speaker 3: life someone's leaving or a life that's just being lived,
• 41:35
  Speaker 3: there there is this there's also this kind of redeeming
• 41:38
  Speaker 3: quality about it. And it kind of goes back to
• 41:41
  Speaker 3: what I was saying earlier about the humanity of these
• 41:44
  Speaker 3: characters that no matter what situation they're in, they are
• 41:49
  Speaker 3: still people. And I think he's great at it, and
• 41:52
  Speaker 3: I and honestly, Tangerine just kind of re solidified what
• 41:58
  Speaker 3: these other films have, and like you know, obviously Anora
• 42:00
  Speaker 3: was fresh on the brain and it's kind of like, yeah,
• 42:04
  Speaker 3: you know, he's kind of giving respect to people that
• 42:08
  Speaker 3: I think a lot of people don't, and that's kind
• 42:12
  Speaker 3: of what and it goes back to the marginalized, you know,
• 42:16
  Speaker 3: communities that he's kind of like, yeah, you know what,
• 42:19
  Speaker 3: these it happens. These are real people, They're living their lives.
• 42:24
  Speaker 3: So yes, I'm almost one hundred percent confident that the
• 42:28
  Speaker 3: Florida Project addresses that in some way. But I definitely
• 42:31
  Speaker 3: know Tangerine, Anora and obviously Red Rocket, especially by the end,
• 42:37
  Speaker 3: it is kind of it does come to this sort
• 42:41
  Speaker 3: of kind of head on thing of kind of who.
• 42:46
  Speaker 2: They are, where we are.
• 42:48
  Speaker 3: And what does it mean and it doesn't matter, you know,
• 42:53
  Speaker 3: the life you're living. I think it all is kind
• 42:55
  Speaker 3: of this revelation of the here and now and and
• 43:00
  Speaker 3: you know what we're trying to what they're trying to accomplish,
• 43:04
  Speaker 3: and what they're trying to say. And I think he
• 43:06
  Speaker 3: kind of he's he's done a fabulous job of just
• 43:12
  Speaker 3: showing just showing these different elements in life that I
• 43:16
  Speaker 3: think a lot of us would say, Yeah, you know what,
• 43:18
  Speaker 3: I've never been there, I've never met these kind of people.
• 43:20
  Speaker 3: And so to your point, I think that I think
• 43:23
  Speaker 3: he does. I think it's always something he's trying to
• 43:26
  Speaker 3: bring to the table in some way within the storytelling.
• 43:30
  Speaker 4: When you mentioned this earlier, but those moments of levity
• 43:34
  Speaker 4: throughout the film that you know, parts that are funny,
• 43:37
  Speaker 4: parts that are light whatever. We think of these situations
• 43:44
  Speaker 4: as so dark and heavy, and they are, I mean,
• 43:47
  Speaker 4: and he shows that too. But I think that's what
• 43:50
  Speaker 4: really brings the humanity through is those moments of levity
• 43:54
  Speaker 4: that like, this is this is normal life for some semple.
• 43:58
  Speaker 3: And I think some of that goes into like the reactions,
• 44:00
  Speaker 3: Like the reactions from these characters in Tangerine is funny
• 44:04
  Speaker 3: because it's so outlandish to us. But then it's kind
• 44:07
  Speaker 3: of like if you if you kind of take a
• 44:10
  Speaker 3: step back and you find out you know, you like
• 44:12
  Speaker 3: to forget what they do, but you like this person
• 44:15
  Speaker 3: they're cheating, and you want to find out who it is.
• 44:17
  Speaker 3: It just so happens that they are you know, they're
• 44:20
  Speaker 3: a prostitute. Oh this oh okay, the guy that she's with, Oh,
• 44:23
  Speaker 3: that's her pimp. Okay. And then so it's like how
• 44:26
  Speaker 3: can you find yourself in these situations? But the thing
• 44:29
  Speaker 3: is there's people in these situations. But they're having the
• 44:32
  Speaker 3: reaction that a lot of people would have if they didn't,
• 44:36
  Speaker 3: if they weren't in this business, you know what I mean.
• 44:39
  Speaker 3: And that's what's I think that's what's fun about it
• 44:42
  Speaker 3: and funny, but it's also heartbreaking in a way. Yeah,
• 44:46
  Speaker 3: there were all of these have that have those characters.
• 44:50
  Speaker 4: There's a level that we can all relate, whether.
• 44:52
  Speaker 3: We doesn't marry right or not right, I do. I
• 44:56
  Speaker 3: will say I do think it would be more effective
• 44:58
  Speaker 3: if I was a horror watching it.
• 45:00
  Speaker 2: Okay, Well that's a bit much, but.
• 45:03
  Speaker 3: I'm just saying more.
• 45:05
  Speaker 2: Yeah, fair enough, Okay, moving on, actually not moving on.
• 45:09
  Speaker 2: Those are all Tangerine Brett. I know you said you
• 45:14
  Speaker 2: had a lot of notes for this one. Did we
• 45:16
  Speaker 2: get through everything that you wanted to talk about?
• 45:18
  Speaker 3: I think so.
• 45:19
  Speaker 4: One thing that really stood out to me from the film,
• 45:22
  Speaker 4: and we've hit on it some is and it's in
• 45:25
  Speaker 4: Anora too.
• 45:26
  Speaker 2: This is why I.
• 45:27
  Speaker 4: Say, you kind of see the seeds of where he's
• 45:29
  Speaker 4: going to go with Anora later on and maybe in
• 45:31
  Speaker 4: his other films, of someone that's viewed as a commodity,
• 45:36
  Speaker 4: but their desire to be valued by others, whether it's
• 45:39
  Speaker 4: Alexandra singing, whether it's Dina with Cindy in the bathroom,
• 45:47
  Speaker 4: that moment where they kind of have this moment of like,
• 45:50
  Speaker 4: we're opponents, but we're also in the same situation and
• 45:53
  Speaker 4: we we understand one another. And you know, that's that's
• 45:57
  Speaker 4: really kind of the point of Anora too.
• 46:00
  Speaker 3: It does seem to be this understanding that they're still
• 46:03
  Speaker 3: they're not as different as you may think.
• 46:06
  Speaker 4: Yeah, and that that really was the most kind of
• 46:09
  Speaker 4: what stood out to me most from this film.
• 46:11
  Speaker 2: Yep, alrighty.
• 46:13
  Speaker 3: I think my Mount Rushmore Thank You for Asking, is
• 46:17
  Speaker 3: a noura red Rocket Florida project and Tangerine.
• 46:21
  Speaker 2: That's going out on a limb there that's controversial for
• 46:25
  Speaker 2: those for those that might want to peruse or pursue,
• 46:29
  Speaker 2: excuse me, pursue the prospects of adding Tangerine to their
• 46:34
  Speaker 2: physical media collection. You can get it on Blu Ray
• 46:37
  Speaker 2: for twelve ninety nine on Amazon. There is a sick
• 46:41
  Speaker 2: limited edition Blu Ray in a box set that is awesome,
• 46:47
  Speaker 2: but it's sold out on Amazon. I looked it up
• 46:50
  Speaker 2: on eBay and you can get it for fifty bucks.
• 46:52
  Speaker 3: But I was wondering because I know and Noora came
• 46:54
  Speaker 3: out in April for Criterion Collection. Oh yeah, and I
• 46:57
  Speaker 3: was wondering, is that the only one?
• 47:00
  Speaker 2: I think so because I looked it up the box
• 47:02
  Speaker 2: set that I'm looking at, I thought had the little
• 47:04
  Speaker 2: Criterion see on the spine of it, but it doesn't
• 47:08
  Speaker 2: show up in the collections.
• 47:09
  Speaker 3: I think Florida Project. I was wondering because I could
• 47:12
  Speaker 3: see Tangerine being a part of it. But I mean,
• 47:15
  Speaker 3: to my to my surprise, A Noora was just like boom,
• 47:19
  Speaker 3: yeah right there, So.
• 47:20
  Speaker 2: Well it's awesome. Yeah, and Tangerine is awesome too. Where
• 47:24
  Speaker 2: did you guys? Land rating wise? I went with a
• 47:27
  Speaker 2: three and a half out of five.
• 47:29
  Speaker 3: You know what, Thank you for asking, because I did
• 47:32
  Speaker 3: a letter box of just the Sean Baker movies that
• 47:34
  Speaker 3: I've seen, which is only those four. Okay, and I
• 47:38
  Speaker 3: have I have thank you.
• 47:44
  Speaker 2: Yep, this is podcasting. Yeah, we live.
• 47:48
  Speaker 3: I have a Nora at number one for four and
• 47:50
  Speaker 3: a half, the Florida Project four, Tangerine three, and Red
• 47:55
  Speaker 3: Rocket two and a half.
• 47:56
  Speaker 2: Okay, there you go.
• 47:58
  Speaker 3: But Tangerine being three and a half kind of like
• 48:00
  Speaker 3: that too. But but yeah, so I got there.
• 48:03
  Speaker 4: I gave it a three and a half. Also, that
• 48:08
  Speaker 4: ending scene really kind of set it over the edge
• 48:11
  Speaker 4: for me.
• 48:11
  Speaker 3: Positively, I do think from it, not even just that
• 48:15
  Speaker 3: at the dry clean or whatever it was, but also
• 48:19
  Speaker 3: when we kind of everything everybody meets each other at
• 48:22
  Speaker 3: donut time and it's only an hour and twenty seven
• 48:25
  Speaker 3: minutes something like that, so by the time you're kind
• 48:28
  Speaker 3: of piecing piece and piecing, someone meets someone. But when
• 48:31
  Speaker 3: everybody kind of comes together at don'nut time, that's like,
• 48:34
  Speaker 3: it's it's it's very rewarding. And then the end with
• 48:37
  Speaker 3: just the two ladies sitting there, you know, being as
• 48:41
  Speaker 3: vulnerable as possible, I think is a nice touch. It's
• 48:45
  Speaker 3: a nice ending to a movie that I don't think
• 48:47
  Speaker 3: anybody really could imagine the ending.
• 48:50
  Speaker 4: So I think an interesting piece of this movie. And
• 48:54
  Speaker 4: again I can't help but connected to Anora is you
• 48:57
  Speaker 4: start from this place of I can't relate to these people.
• 49:00
  Speaker 4: I don't know what this is like at all, and
• 49:02
  Speaker 4: you end in a place of I can relate to
• 49:06
  Speaker 4: these people very well, which I think is what he does.
• 49:09
  Speaker 4: So well.
• 49:09
  Speaker 2: Yeah, man, that's such a great place to end the
• 49:14
  Speaker 2: show on.
• 49:15
  Speaker 3: But I let's not do it.
• 49:17
  Speaker 2: I want to ask if you guys had any particularly
• 49:21
  Speaker 2: favorite quips, one liners, or quotes or scenes or anything
• 49:26
  Speaker 2: like that. If we're disqualifying the ending scene, because it
• 49:29
  Speaker 2: was a pretty powerful moment. I think that would naturally
• 49:33
  Speaker 2: be the lasting impression in most people's minds.
• 49:36
  Speaker 3: But I found it funny when she's asking her pimp
• 49:42
  Speaker 3: about sleeping with that one girl and he just says
• 49:47
  Speaker 3: he had to test the merchandise.
• 49:49
  Speaker 2: Yeah, that was something for sure. It was seeing it
• 49:54
  Speaker 2: was weird seeing Chelsea Lynn and this as well. If
• 49:56
  Speaker 2: you don't remember her, she was trailer trash Tammy on vine,
• 50:02
  Speaker 2: which is a sign of the times in twenty fifteen.
• 50:05
  Speaker 2: My god, so it was she was a popular YouTuber
• 50:09
  Speaker 2: back in the day. Like when was she the other
• 50:12
  Speaker 2: she was the I guess she was the pimp in
• 50:16
  Speaker 2: Dina's house that she was taken from.
• 50:19
  Speaker 3: Yeah yeah, yeah, yeah, okay, all right.
• 50:21
  Speaker 2: So that that was kind of jarring and kind of
• 50:23
  Speaker 2: a reminder of like, oh yeah, that was a thing
• 50:25
  Speaker 2: at one point in time as well. I don't know
• 50:27
  Speaker 2: if she's still doing comedy or not, or if she's
• 50:30
  Speaker 2: still doing probably on TikTok or something now, but that
• 50:33
  Speaker 2: was that was Jarring. My favorite quote, as I tweeted
• 50:36
  Speaker 2: this because I laughed so hard, is when Chester is
• 50:39
  Speaker 2: like in the midst of losing his shit over everything
• 50:42
  Speaker 2: that's going on between Cindy and Dina and Alexandra outside
• 50:47
  Speaker 2: the donut time, he says, you get my ass thrown
• 50:50
  Speaker 2: out of motherfucking donut time where I conduct my day
• 50:53
  Speaker 2: to day shit.
• 50:55
  Speaker 3: I also and it's not a single quote, but I
• 50:57
  Speaker 3: just love seeing that at donut time, watching getting pissed.
• 51:04
  Speaker 2: Yeah, there's just so over it. Yeah, I just love.
• 51:07
  Speaker 3: How like it's things escalate and what's his You know
• 51:11
  Speaker 3: that the cab driver guy and his mother gets involved
• 51:14
  Speaker 3: and she's just like it goes from almost being pissed,
• 51:17
  Speaker 3: like she can't believe what's happening to like, you know,
• 51:19
  Speaker 3: I should call the police.
• 51:21
  Speaker 2: Yeah, well that's going to do it. Any final thoughts
• 51:24
  Speaker 2: anything we gotta get. We got to empty the chamber
• 51:26
  Speaker 2: now before we get out of.
• 51:27
  Speaker 3: Here, all right, No, I wanted to endo my mount rushmore, Okay,
• 51:31
  Speaker 3: and then Brett really won uped everyone and then you
• 51:33
  Speaker 3: still continue.
• 51:34
  Speaker 2: Well, I wanted to get the favorite moments in Yeah,
• 51:37
  Speaker 2: so I don't I.
• 51:39
  Speaker 3: Just yeah, I just here we go I wish, I just,
• 51:43
  Speaker 3: I just I wish I could have related more if
• 51:46
  Speaker 3: I was a whore. That's all okay, all right, And
• 51:49
  Speaker 3: again I grew up in the seventies, so I can
• 51:51
  Speaker 3: say that.
• 51:52
  Speaker 2: All right. Well, uh, that is Brandon that you hear.
• 51:56
  Speaker 2: Joined by Brett, I'm Stony. This has been another episode
• 52:00
  Speaker 2: of the Movie Review Rewind podcast. As usual, you can
• 52:03
  Speaker 2: check out all of our work at Nashville moovidispatch dot
• 52:07
  Speaker 2: substack dot com, and subscribe to Nashville Movie Dispatch wherever
• 52:11
  Speaker 2: you take in your podcast. We'll be back in a
• 52:14
  Speaker 2: couple of weeks to relive one of the classics, one
• 52:17
  Speaker 2: of the heavyweights of the Christmas rotation National Lampoons Christmas Vacation.
• 52:23
  Speaker 2: Until then, you stay classy moviegoers.